Studio Philosophy, Values, and approach
Everyone is a musician
I believe that every student, regardless of age and background, will learn to play the piano in a way that is realistic for and meaningful to them.
Music for Music’s Sake
Research shows that learning music aids in language development, spatial-temporal skills, and can increase test scores. In addition to the academic benefits of music education, I believe that music is worthy of being pursued simply for its inherent beauty.
Relationships and Trust are Key
Students need a safe place to make mistakes, ask questions, take risks, solve problems, and freely explore new concepts. It is the teacher’s responsibility to create this space and craft experiences that lead to learning. I view my role as more of a facilitator than an instructor—my students are my co-pilots, rather than passengers.
Repertoire that motivates
An engaging, pedagogically sound repertoire that speaks to the individual student plays a major role in a student's ongoing interest in music. I use method books as a general guide, but supplement heavily from diverse sources to create a repertoire-rich environment.
The parent’s role is crucial
Students need parental encouragement and support at all stages of learning. Parental involvement in lessons—including participation in the lesson itself—is crucial for the advancement of young beginners because parents become the teacher during home practice.
Effort over talent
I believe that consistent, goal-directed behavior should be emphasized over the concept of innate talent. Everyone has the potential for growth and enjoyment!
Progress over perfection
I emphasize forward motion, consistent growth, honest effort, and authenticity over note-for-note perfection. Progress may present itself in different ways at different times, and it’s natural for the intensity of lessons to ebb and flow. No two musical journeys are identical!
The best competition is with oneself
Being better musicians than we were yesterday is infinitely more important than being better than someone else. I use very few competitive elements in my studio and ensure that students who are genuinely interested in competitive events have a healthy, realistic mindset before pursuing auditions.
Nurture a culture of—not a demand for—excellence
The way we speak to our students shapes their perceptions of themselves. Correcting mistakes with positivity and belief in the student is imperative. I believe that self-reflection without judgement is how students ultimately develop the grit it takes to achieve at high levels.
Unhurried fundamentals
My students and I take our time with building foundational skills like rhythm, technique, and music-reading. I view foundational skills not as boxes to be checked off, but as concepts to be visited and revisited (and revisited, and revisited…) to encourage as many ways of knowing as possible. I have found that this approach promotes depth of knowledge and fosters students’ ownership of their learning. While students will certainly make great musical progress, my emphasis is not on reaching advanced levels as quickly as possible.
Music Learning Theory
My teaching is informed by Music Learning Theory, which you can read more about here. This means that a cornerstone of my teaching is delaying reading traditional staff notation. Think about when your child was learning to speak. Did they immediately begin reading books as soon as they could talk? Students, by design, will not learn to read music in their first semester of lessons with me. Instead, we’ll explore all kinds of music and allow our ears to learn to hear music before learning to read it—this way, we mimic the language-learning process. While this approach is well-researched and accepted in the music education community, it can seem a little unusual. I’m always happy to answer any questions families have about Music Learning Theory and address any concerns about delayed music-reading!