Teaching

Teaching Philosophy

My primary goal as a teacher is to actively support my students in becoming the best musicians and human beings they can possibly be. I consider myself an essential part of their musical journey and, therefore, responsible for their growth. I assist them in eliminating the barriers that prevent them from fully expressing their musical ideas and encourage them to pursue a lifelong refinement of their art.

I guide my pedagogical philosophy through four main principles that help me meet students where they are and improve their playing exponentially. 

• First, I find the student's unique needs and characteristics that will inform any problem-solving process we adopt. 

• Second, I design effective learning strategies to address the student's needs and characteristics. 

• Third, I find creative ways to shape the student's path and keep them engaged in the work, teaching them how to practice efficiently and achieve their goals. 

• Lastly, I use honest, respectful, and positive communication, which facilitates the non-judgmental environment that is vital for thriving learning.

During this learning journey, I emphasize the use of three practice strategies:

• Repetition is the mother of all learning: using thoughtful repetition to create desired habits and achieve predetermined short and long-term goals. 

• Slowly but surely: using methodical and slow practice that allows a deeper understanding of the multiple skills needed to play an instrument and make compelling music. 

• Trial and error: using playful and fearless experimentation to find a broader spectrum of possibilities and better chase the ideals for our goals and skills.

I require my students to work on reed-making, fundamentals, solo pieces, chamber music, and orchestral repertoire, while always prioritizing a high level of expression and refinement in their music-making. Their music-making should strive for the following playing standards: a clean technique, great intonation, excellent rhythm, excellent legato, a great tone, a wide range of dynamics, a wide range of articulations, excellent rubato, excellent double tonguing, and an excellent vibrato. Additionally, I insist that they continually develop their musicianship through four key musical practices: listening to great musicians, learning great music, playing with great musicians, and studying with great teachers.