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BM, Brigham Young University-Idaho, Flute Performance
2008-Soloist with the Mountain Crest Marching Band
2009-Cache Valley Young Artists Cup 2nd place winner
2009-Invited performer for the Noon Music at the Logan Tabernacle
2009- Performed with the Lyceum Festival Orchestra in Park City
2010-Cache Valley Young Artists Cup 2nd place winner
2010- Bridgerland Flute Festival Gold medalist
2015- Performer for the Salt Lake Flute Forum, masterclasses with Jill Felber and April Clayton
2016- Finalist for the Idaho Falls Symphony Concerto Competition
2017- First chair and section leader for the BYU-Idaho Symphony Band tour to Mexico
2017- Winner for the BYU-Idaho Symphony Concerto Competition
2019-2020 school year, band teacher Syracuse Arts Academy
2021-2022 Principal Flute Eagle Mountain Symphony Orchestra
2022 soloist with EMSO on Mozart in G
I have been playing the flute since I was 11 years old. I began studying with a nice lady name Marsha Stokes who gave me a great start on my technique. I have since studied with Rebecca Fuller, Dr. Virginia Stitt, Dr. Nadine Luke, and Mercedes Smith (principal of the Utah Symphony). I completed a music minor at Southern Utah University, but switched to a music major when I transferred to Brigham Young University-Idaho. I graduated with a Bachelor of Music in Flute Performance in 2018. My passion is playing with large ensembles, particularly symphonic orchestras. I love teaching flute lessons. It keeps my skills sharp, but I also find immense satisfaction in helping other young flute players succeed. I aim to give my students all the resources they need to realize their full potential.
I have been teaching flute since 2015. Where ever I have traveled for work or school, I have been able to teach private lessons for the duration of my stay. I've taught masterclasses in middle schools, held sectionals for high schools, and assisted with a summer rookie camp for incoming freshman flute players. I've attended and participated in professional masterclasses. In college I was a TA for music theory, and was also first chair and section leader for much of my time there. I've taken classes focused on woodwind pedagogy. I have experience teaching ambitious 11-year-olds, stubborn high-schoolers, beginners, and even students with diagnosed anxiety. Although I have the same curriculum for all my students, I think it is important for students to feel safe during lessons, and to be allowed to progress at their own pace.
My curriculum in based on learning western technique with heavy emphasis on learning the circle of fifths. Students learn to play all major and minor scales, and learn to apply them in music by playing etudes in all 24 keys. I also incorporate aspects of the Suzuki method such as tone exercises, developing a good ear, and repertoire provided in their books. I use a pass-off chart to motivate and direct students in their progress. Rewards for pass-offs are presented at each of our semi-annual recitals, which are not only open to the public, but students are given posters to hang up and taught to self advertise. In lessons I am honest, but encouraging. I make it a point to be particular in catching bad habits before they begin. I am especially attentive to hand posture, tone, and rhythm.
Lessons follow a predictable flow. We always begin with tone warm-ups. I enjoy incorporating fun activities to teach tone, such as blowing across different sized objects to learn what it feels like when the air stream splits. We sing while playing to learn throat and jaw posture, have competitions to see who can hold a note longest to develop air support, etc. After tone, we work on technique, usually scales or etudes. We then move on to repertoire, or rhythm depending on the stamina of the student. We end the lesson with lots of positive feedback, and a short list of what they need to work on for that week. I provide a notebook at the first lesson. Technique materials, such as their rhythm packet, is provided by me, though I expect students to purchase their own repertoire and etude books.