My goal is to discover, nurture, strengthen and encourage the creative talent within each clarinetist while always making artistry the highest objective. My teaching endeavors to guide students towards becoming the best musical version of themselves by developing all aspects of playing — musicianship, tone, technique and performance skills — in order to reach their highest potential, whatever their goals.

My experience as a professional performer, educator, soloist, and chamber musician informs my teaching practice and philosophy.

I employ a pedagogical approach that is rooted in a deep understanding of clarinet fundamentals and musicianship helping students to gain the skills necessary to succeed. Students study standard and contemporary works at their level. Discussion of phrasing and style in the manner of D. Stanley Hasty and Mitchell Lurie is ongoing. Joe Allard’s attention to releasing excess tension was the foundation for my study of the body. Because tightness can affect the ease of performance, I address tension issues and quickly find solutions. Students receive a thorough foundation for becoming outstanding clarinetists and exceptional musicians. This includes learning how to read pop and jazz charts, working on opera music, preparing for any type of audition, and reviewing strategies for starting teaching studios in urban centers. 

When recruiting, I look for students who not only are superb musicians with keen rhythm, excellent tonguing and facile technique, but those who are patient with themselves, creative, kind, eager and engaged in the process of learning.

In addition, my studio is:

Results-oriented

The ultimate objective is to prepare students musically and technically for future aspirations, whatever they may be. Mastery of the clarinet will be accomplished by the study of etudes, methods, excerpts and repertoire, appropriate for each level.

Customized

Lessons are adapted to the individual’s needs and abilities. I am not interested in clarinet clones, but rather am passionate about guiding students to be the best versions of themselves as musicians. In short, I will strive to help students find their own unique ‘clarinet voice’. 

Supportive in problem-solving

Issues and challenges of playing will be identified and solutions introduced in music being studied. If necessary, exercises specific to the problem will be given. 

Thorough in studying best practice techniques

Intelligent practice is an art that must be learned in order to excel. In high school and college I largely sight-read music because no one showed me how to practice. My effective practice strategies only came about by playing weekly orchestra concerts, where large amounts of music must be learned quickly and thoroughly. This was trial by fire and nerve-wracking. Therefore strategies I have learned for efficient, intelligent practice will be shared in lessons. Based on years of teaching and performing, these methods are effective.

In closing:

The real challenge of the clarinet is as much about creativity, good phrasing, color in the sound and style as it is about brilliant technique. I believe that performing is not about our egos or how many notes we can play; it is truly about singing through the clarinet, serving the composer, and connecting with our audience.