TEACHING

The importance of respecting the musical soul of all students lies at the core of my teaching philosophy. In following the tradition of Dr. Shinichi Suzuki, I believe that all people can make music and have an innate capacity for musical understanding. With the reverence for this vital element of humanity, it is possible to understand the potential for expression and realization of a student’s musicality. A student must have access to nourishment of artistic inspiration. When working with a student, I strive to understand his/her worldview and feed connections between classical music and quotidien culture, while also challenging held opinions. This is possible for all ages and abilities. With younger students, musical themes and subject matter are incorporated into art and games. With older students, research is encouraged to explore cultural richness surrounding a piece or tradition. With this supplementary knowledge comes inspiration to master the expression of the work and participate in its survival. This connects the student to the work and the community of musicians that believe in the importance of a work’s position in the cultural arts sphere. A strong feeling of connection is paramount to maintaining the practice of music. Regardless of a student’s goal to pursue music as a career, the relationships and unquantifiable experiences in making music are the fuel to continue coming back to the instrument and the art after the case has been closed. In working with a student to improve his/her skills on the instrument, I keep kindness and respect at the center of every interaction. This encourages a mutual respect of the student for his/herself, the instrument and the teacher. 

In order for the student to be free in expression, musical technique must be fluid and natural. Emphasis is placed on a release of tension in playing. Etudes are used to develop specific skills in detail. Scales are foundational to fluid technique and clarity of tone and intonation. This remains true across all levels of ability. With beginners, five-note scales are introduced for developing finger shape and ear training. Intermediate and advanced students gain knowledge of all major and minor scales and arpeggios to build upon other skills (shifting, tone production, intonation, straight bow, flexibility, string crossing, speed, vibrato, etc.) Work with the tuner is assigned to fine-tune the ability to hear the center of a pitch while furthering the student’s ability to play in-tune with piano. Various rhythms, bowings and speeds are assigned to solidify internal rhythm and coordination. Whenever I am presenting a concept, skill or exercise to a student, I am careful to obtain clarity in the explanation by demonstration, review and written notes. The student is encouraged to invent other applicable exercises in order to develop skills necessitated by the repertoire. Repertoire is assigned to progressively cultivate mastery across styles and difficulty. Choice always rests with the student, according to his/her goals and interests. Ownership of repertoire is very important.

Skills of listening are developed through chamber music principles. Duets and accompaniments are initiated early for young students and chamber music ensembles are encouraged for advanced students. Once again, it is the essential factor of connection to the instrument, art form and community that will keep a student engaged. The development of a student’s sense of empathy and compassion for the souls of others is infinitely more important than the obligatory technical execution of a piece of music.