As a teacher, it is my goal to provide guidance that will help my students develop their

own voices and artistic convictions. I believe in nurturing the individuality of the
student, as well as teaching him or her the skills to make interpretive decisions based on
both musical instincts and intellect. Because of the complex emotions involved in making
music, my relationship with the student is always based on mutual respect and flexibility.
It is important that students feel safe to be vulnerable as they work towards mastering
their art, and for this reason I work to help my students understand that open intellectual
exchange is healthy and pertinent in the development of a musician. As an artist-teacher,
I hope my own commitment to constant learning will provide a model for my students, as
we strive together for deep emotional involvement, imagination and genuine expression
in music.

My central philosophy is to challenge students to embrace their individuality and work
towards expressing artistry in music with the utmost sincerity. I see my philosophy as
having three partsfirst, personal artistry and strengths; second, technique; and third,
what I call the third ear.

Artistry/Strengths




Technique Third Ear

The most important aspect lies at the apex of the triangle; I seek to always use the
students innate artistry and musical instincts as the focal point of my teaching, no matter
their current level of development. To do so, I must listen for a combination of both
natural talent and the students educational background. I truly believe that every person
has something unique to share through music and through a comprehensive
understanding of their individual abilities and unique learning styles, I can begin to help
build and foster their personal voice and musical convictions.

The first supporting leg of this triangle is technique, or the development of physical
freedom and mastery. I always tell my students, the better your technique is, the more
you can do artistically; technique serves artistry, but without technique, artistry will not
be expressed to its fullest potential. Technique must always be connected to music;
every technical exercise (scales, arpeggios, chords, double thirds, etc) should be musical
and shaped. Technique must also reach beyond mere technical facility and include
control of touch, voicing, and sound production, all of which are tools that will give the
student a wide range of sound and nuance. I believe in helping my students find the most
natural and free approach to playing by developing a totally fluid connection of
movement and energy in the body to all technical gestures.

The final leg of my model that ties the triangle together is what I call the third ear. This
is the capacity for self-reflective and critical listening, which comes from its connection
to the spiritual state of enlightenment symbolized by the third eye. In my experience,
many students do not listen to themselves while they are playingthey may hear or feel
something internally, but they often lack the ability to really hear themselves from the
outside. This is one of the most important aspects of performing and it is only when one
is physically present in the music while also observing oneself through the third ear
that technique and artistry can be consistently tied together. The third ear learns to
listen objectively to the music that emerges from the piano while also hearing the next
sound; it is in this state of intense and focused listening that musicality and interpretation
are developed. As the third ear becomes refined, it begins to take on the role of teacher,
and through it, the student will learn to trust, take ownership of, and celebrate the endless
possibilities of his or her talent.

The inherent individuality of each student is priceless. No matter the level of
achievement, career goals or background, it is my philosophy that each student will
always leave their lesson learning something that will enrich his or her musical
understanding. As much as I believe mentoring is important at all phases of musical
development, I hope to arm my students as independent thinkers with deep convictions
and the ability to effectively execute their artistic interpretations. When I have taught
myself out of a job because my student has the confidence to believe that ultimately the
worlds best teacher is oneself, I will know I have succeeded.