• I am firmly guided by the belief that it is more important for educators to teach to the student rather than the subject matter. Every student has different abilities, interests, and styles of learning, and it is the teacher’s responsibility to recognize, nurture, and develop a unique approach that suits the individual.

• I believe that anyone is capable of learning to play an instrument. With the proper guidance, physical and mental barriers can be overcome. It takes a master teacher with a problem solving mind, the ability to address various learning styles, and a keen insight into human nature to adapt to the students’ needs at that moment with thoughtfulness and care.

• The study of music teaches us a discipline that goes far beyond the practice room and concert stage. We learn patience, humility, empathy, teamwork, and emotional expression that contribute to us as sensitive, caring people. One of an educator’s primary goals is to model the attitude, commitment, and work ethic that we hope to impart to our students.

• The power of music has brought enormous joy to my life, and I sincerely hope to show the depth and beauty of this art to my students. Like most meaningful pursuits, the love, mystery, and excitement of it grows as one digs deeper in study. When applicable, I believe in drawing connections to other subjects including math, science, and language. Using this integrative approach, the appreciation and process of studying music becomes a platform for critical thinking and a nurtured curiosity that enriches one’s character for a lifetime. But we must always remember: this is supposed to be fun! We don’t work music, we play music.

• I feel fortunate to have studied with several of the greatest brass gurus of our time including Laurie Frink, WIlliam Adam, and Dominic Spera. I’ve combined this training with my real-world experiences to develop a fun, interactive, and sensitive teaching style. Being and active performer and composer I’ve found that playing and writing directly inform my teaching and vice versa–without both of these aspects I wouldn’t have the same insight as an educator.

• In lessons I absolutely address important musical and instrumental details such as breathing, fingering, posture, reading music, tone production, and rhythm, but the guiding force in my teaching style is to present these concepts within the larger context. I deal with the macro, and thus, the micro generally takes care of itself. Music is challenging (if it were easy, everyone would do it!), but I believe that many concepts can be explained quite simply. Often times, words get in the way. That is why playing with and for my students is a key aspect of my teaching during every lesson. How did we learn to speak as children? Through listening and modeling. It’s the same with the language of music. I do use method books quite regularly but also I believe in a creative approach that incorporates a wide range of styles, theory, improvisation, ear training, and composition for all-around musicianship–concepts that can be difficult to understand if only using books.

• In the words of my teacher William Adam: Let’s fire it up!