Teaching Philosophy
My goal as a teacher is to help my students create a seamless link between the instrument they play and the musical ideas inside of their heads. Working on identifying intervals at sight and being able to accurately sing or buzz those intervals is crucial. If a student can accurately sing a passage to me, not just in terms of pitch but also style, they will be able to play it. I also need to help my students form strong musical opinions that will inform their artistic decisions. I can help students form these crucial opinions by encouraging them to listen to a wide variety of music and asking them to clearly articulate their opinions about it.
The majority of the time my students spend practicing their craft is on their own. This means that I have to give them the tools to solve their own problems as much as possible. I highly encourage my students to record themselves often, and listen to those recordings carefully. The more effectively they can diagnose the root of their own problems, the faster they will improve. For students to be able to effectively troubleshoot, they must understand the fundamentals of playing a brass instrument. This includes how to breath, the proper role of the buzz, and how to properly articulate. Having an accurate understanding of these basic concepts promotes the development of a characteristic sound.
Every time I hear a student play, I am assessing the effectiveness of their preparation. If their audiation is clearer, their accuracy and intonation will improve. If they’re using their air properly, their slurs will be smooth and their range will gradually extend. It is important that I share my assessments honestly with my students, even if the honest truth is that they could be working harder. The environment I create in my studio is one that values progress over perfection. Mistakes are not something to be avoided, but instead crucial pointers towards progress. Monitoring their progress also shows me ways that I can improve my teaching. We all think differently, and as a teacher I am always in search of new ways to help my students grasp the concepts we work on. In the end, my desire is to give my students all of the tools I know of, and in doing so become obsolete.
Required Texts and Materials
Instrument
Mouthpiece
Cleaning equipment
Valve oil
Tuner and metronome (phone is acceptable, tonal energy is an excellent app)
Recording device (phone is acceptable)
Notebook and pencil
Glenn Martin, The Well-Tempered Instrumentalist
J.B. Arban, Complete Method for Trombone and Euphonium
H. Clarke, Technical Studies (treble or bass clef depending on student’s preference)
Bai Lin, Lip Flexibilities for All Brass Instruments
Payne/Bowman/Werden, Euphonium Excerpts
M. Bordogni, Melodious Etudes for Trombone
Policies and Expectations
Students are expected to show up to each lesson on time, warmed up, and ready to play.They should be prepared to write down their assignments for the week, and have all required texts and solo repertoire they have been assigned for the week.
If a student needs to cancel or reschedule a lesson, they must let me know as soon as possible, preferably 24 hours in advance. If they do not inform me before the lesson, they will be liable for the cost of that lesson. If I have to reschedule a lesson for any reason, I will give the student no less than 24 hours notice.
If a student has any questions between lessons, they should feel free to contact me. Such curiosity is highly encouraged.
During each lesson students will demonstrate their progress from the past week. This progress should reflect consistent and thoughtful practice. I expect students not only to play during lessons, but also sing, buzz, and breath. I do not expect perfection, but rather welcome all mistakes. They are the most vital data pointing the way towards possible progress, but this is only true if the student worked diligently throughout the week.
Home 