My philosophy of teaching is based in mentoring violinists in carving their own pathways in the music industry. One of the most important and over-arching themes summing up my approach is that of flexibility. The cultivation of flexibility in all aspects of playing, including technically, musically, and mentally is the recipe for discovery and achieving balance. When students become aware that flexibility is the key ingredient to growth of all areas of playing, their growth as an instrumentalist, musician, and human being not only benefits, but leads them on the journey of self-discovery and development. The changing music field we are experiencing in the 21st Century requires that musicians be versatile in adapting their skills to fit industry standards as well as the evolving trajectory of the industry itself.

The development of a violinist’s technical flexibility directly affects the ease with which they can express themselves musically. As a teacher, I enjoy the unique challenge each individual student presents in crafting effective methods to compliment and expand upon the technical skills previously developed. The ability to guide students that are so different from each other requires flexibility in my teaching, that I am purposeful in structuring my approach to fit the individual in a way that will make a difference in yielding tangible results. Teaching isn’t telling, I believe it is finding a way to lead the student in the process of discovering answers, essentially teaching them how to ultimately teach themselves so they can learn to rely upon themselves in the future. Looking both within themselves and outside of themselves, students can start to create a coherent playing ability that they can also take ownership.

Resources are an important aspect of mentoring the next generation of violinists. I use a variety of materials in the studio to develop the areas of playing that need strengthening, however, the true measure demonstrating growth and development is found on stage, through performing. Regular opportunities to perform in front of an audience is vital for violinists, therefore, students I teach have the opportunity to perform for their classmates in weekly studio class held in a recital hall. In this class setting, students not only have ample opportunity to perform, they also help each other by providing feedback. In addition to performing in regular studio classes, I also teach an orchestral repertoire and audition class where screened mock auditions are held simulating an actual orchestral audition.

Performing chamber music is also an important part of the education of a versatile violinist. It is also my philosophy that students also need the experience of performing with their teachers when there is an opportunity. Rehearsing and performing with students is important in growing skills that, unfortunately, most violinists learn only once they are out of school. In addition, I attend school orchestra rehearsals where I contribute feedback to string players in leadership positions. I’ve also performed in the back of the violin section on occasion so that students can learn by actually performing with me how to better play in the back of a section.

While broadly emphasizing flexibility in all areas of playing is the capsule of my philosophy of teaching, providing learning opportunities through collaboration with students in performance, as well as being involved in their education beyond the walls of the studio are equally important components of truly investing in the quality of education my students receive.

Music is language, a means of communicating and sharing those emotions that go far beyond words, into a realm of being that exceeds the tangible. Through performance, musicians express the deepest utterances of their soul, their innermost heartfelt emotions.

Because music goes beyond language it’s important to develop the ear to first listen to ourselves from within so that our performance results in an authentic outward manifestation of our internal musical intentions and emotions. To train this ability to perform authentically through the viola, it is necessary to also develop the ear in ways similar to how infants gain their speaking skills. Training the ear to hear the subtleties of pitch, intonation, various tuning systems, sound quality and colors, etc., coupled with developing a reliable technical foundation is essential in cultivating flexibility in the hands to easily/fluently follow the ear in accurately and honestly expressing our heartfelt musical intentions.

When learning a language, developing a good vocabulary is fundamental for effective communication to occur. In viola playing, having a “good vocabulary”, or basic technique, is most essential because without absolute technical control it is difficult and frustrating to express musical intent clearly. A deficient technical command of the instrument can result in physical tension, stage anxiety, and injury. Authentic musical intent coupled with ease of expression, is the ultimate goal in performance. Keeping this goal in the forefront of my mind, I develop the basic skills to achieve this end. In the left hand these basic skills include intonation, shifting, vibrato, articulation, rhythm, and coordination, while in the right hand basic skills involve unfaltering bow control over the basic strokes: legato, detache, martele, colle, spiccato, and combinations of these strokes. In my viola studio at CCM, I cultivate these basic skills using a collection of exercises that I compiled based on my direct experience with Dorothy DeLay combined with what I have gleaned from my obsession with studying other pedagogues, and with consideration of the latest science of neuroplasticity, GPS: Grounded Practice Strategies, Volume I.

My approach is one based in the knowledge that each student is a unique individual with different backgrounds, muscular-skeletal structures, learning styles, and creativity. Out of respect for the uniqueness of each individual student, my endeavor is not to create Avatars of myself, but to inspire violists to recognize and embrace their own uniqueness. Since no two students learn in the same way I have found it inappropriate or necessary to approach each student with the same “formula”, but instead prioritize them as individuals in growing their skills so that they can preserve and enhance their own uniqueness. Emphasizing principles of playing over a “formula approach” facilitates efficiency in achieving balance and symmetry, flexibility (technically, musically, physically, creatively) and ensures the development of their own style of playing that allows them to freely express themselves. The fundamental principles developed through the GPS: Volume I links into the GPS: Volume II that covers multiple scale systems, double-stopping, and ear training necessary to navigate the four tuning systems. Mastery of these basic techniques arms the performer with the necessary tools to convey to the audience their desired musical intent.

The experience and knowledge I impart on my students is structured in such a way that when they leave CCM they are self-sufficient; they become their own teacher. Ultimately, my endeavor is to assist students in developing the necessary skills to express themselves freely through the viola, to strive for excellence, and to value and enjoy the process as much as the outcome. While I enjoy performing and have been fortunate in having shared the stage with more great artists than I ever expected, professionally my passion and first place priority is teaching and helping students achieve their dreams.