Teaching Philosophy
My teaching philosophy is based on a macro to micro approach and the idea that each individual has his or her own unique challenges in the study of the flute and piccolo. It is essential to work through student weakness while refining strengths. I agree with flutist Trevor Wye and believe that with time, patience and intelligent work every student is capable of reaching full potential, but the journey and its length might vary from one student to the next. I feel my students deserve instruction that caters to their own unique individual needs, within the structure of the principles of flute and piccolo playing. In the studio I use teaching analogies to meet different learning styles, as well as teaching tools such as recordings, recording devices, breath builders, the pneumo pro, etc.
Through a holistic approach, I strive not only to help my students gain a strong foundation, but to be able to apply these principles to their own unique physiology, learning styles and thought processes. My goal is to give each individual that I work with the means to fulfill their true artistic potential and to perform above their expectations of themselves. I feel it is important for students to set their own goals at the beginning of each semester. The most progress can be made when students have well thought out goals to work towards throughout the entire academic year.
In order to create a more well-rounded education for each and every student, I believe it is important to host multiple masterclasses throughout the academic year with nationally and internationally renowned flutists, as well as hold performance and topic classes, mock auditions, studio recitals, and chamber music opportunities. In addition to performing, students should be exposed to the many opportunities that the university and surrounding communities have to offer including concerts, conventions, and guest lectures.
All students must eventually achieve a standard of competence in tone production, dynamic control, correct fingerings and fingering patterns, articulation styles, intonation tendencies, care for the instrument, as well as an understanding of interpretive instructions found in music, performance practice styles, and conventions pertinent to the music. Once students have gained a strong foundation, I view my role as a facilitator and a resource, encouraging students to set their own goals, to evaluate themselves, and to suggest their own repertoire, study materials and sequence of study, all with my guidance and coaching. This motivates and encourages active rather than passive participation, ultimately leading to more independent thinking.
Beyond the realm of instrumental performance, I believe it is extremely important to mentor and guide my students through other important academic endeavors, such as graduate school admissions, rewards and other achievements, giving guidance on portfolios, applications, audition programs, creating and editing resumes, essays, and personal statements, and providing letters of recommendation. It is important to mentor each student to think about what they want to do with their career and make sure they understand all options available. I want every student to leave my studio securing jobs with the resources to continue to teach themselves and others.
Through a holistic approach, I strive not only to help my students gain a strong foundation, but to be able to apply these principles to their own unique physiology, learning styles and thought processes. My goal is to give each individual that I work with the means to fulfill their true artistic potential and to perform above their expectations of themselves. I feel it is important for students to set their own goals at the beginning of each semester. The most progress can be made when students have well thought out goals to work towards throughout the entire academic year.
In order to create a more well-rounded education for each and every student, I believe it is important to host multiple masterclasses throughout the academic year with nationally and internationally renowned flutists, as well as hold performance and topic classes, mock auditions, studio recitals, and chamber music opportunities. In addition to performing, students should be exposed to the many opportunities that the university and surrounding communities have to offer including concerts, conventions, and guest lectures.
All students must eventually achieve a standard of competence in tone production, dynamic control, correct fingerings and fingering patterns, articulation styles, intonation tendencies, care for the instrument, as well as an understanding of interpretive instructions found in music, performance practice styles, and conventions pertinent to the music. Once students have gained a strong foundation, I view my role as a facilitator and a resource, encouraging students to set their own goals, to evaluate themselves, and to suggest their own repertoire, study materials and sequence of study, all with my guidance and coaching. This motivates and encourages active rather than passive participation, ultimately leading to more independent thinking.
Beyond the realm of instrumental performance, I believe it is extremely important to mentor and guide my students through other important academic endeavors, such as graduate school admissions, rewards and other achievements, giving guidance on portfolios, applications, audition programs, creating and editing resumes, essays, and personal statements, and providing letters of recommendation. It is important to mentor each student to think about what they want to do with their career and make sure they understand all options available. I want every student to leave my studio securing jobs with the resources to continue to teach themselves and others.