MM, MMA, Yale School of Music BM, The Juilliard School
Awards:
2017-Present - Performing Artist at the Yale School of Management 2018 - Guest artist and soloist at the University of Scranton 2017 - Guest artist and soloist at Norfolk Chamber Music Festival 2014 - CD, David Sampson: Notes From Far Away Places, Juilliard Trumpet Ensemble 2012 - Aspen Music Festival
Overview:
In 2015, I graduated from The Juilliard School with my Bachelor of Music degree, and went on to obtain two Master of Music degrees from The Yale School of Music. Studying at Juilliard and Yale has been a challenging and inspirational experience that provided me with the opportunity to study with experienced and highly motivating professionals, and surround myself with talented, and creative musical colleagues. I am currently pursuing orchestra auditions and performing new and little-known music with my harp and trumpet chamber group, Only Two.
EXPERIENCE
From 2011 to 2014, I was a Juilliard Pre-College mentor. It was my job to offer support and advice to students in orchestra and brass quintet rehearsals. At Yale, I became a Teaching Artist in 2015 and gave private lessons to Yale Undergraduate students. As a Yale Teaching Artist, I also worked for the Music in Schools Initiative, teaching classes, sectionals, and private lessons to students in public schools in the greater New Haven area. Currently, I am a teacher at Sharps and Flats Conservatory, a local music academy for young musicians, and also have a private studio. I have taught students ranging from 9 to 60 years old. It’s always very exciting for me to find a student with whom I can share my musical experience and help grow, no matter their age or musical level.
METHODS USED
My first objective when meeting any new student is to figure out what their strengths and weaknesses are, and what their overall goal in music is; whether it’s learning a new piece, playing jazz, playing for fun, getting first chair or making it into an ensemble. Being a classically trained trumpet player, I have come across nearly every issue and technical exercise imaginable. For all my students, I want to make sure that they are playing the trumpet correctly physically and not forming any bad habits. This means that I generally draw my material from various books and exercises that I know work: Bai Lin lip slurs, Shuebruk Lip Trainers, Clarke Technical studies, long tones and articulation exercises from Arban’s and Franquin, and also etudes to practice musicality from Herring, Concone and Bordogni. I know working on these technical exercises will help my students tackle their more musical assignments with greater ease and ability.
LESSON STYLE
I believe that no two students are alike; for each of my students, I create an individual, custom-tailored plan and routine to help solve the most challenging issues in their playing. I advise my students to keep a practice log and write down everything they accomplish and challenges they notice in a practice session. What went well? What didn't go so well? Writing things down provides us with a timeline of progression to see what works and what doesn’t. I also believe that it’s important to read as much music as possible. Every week there will be a new list of things to work on, so the material is constantly changing and never gets boring or stagnant.
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