BA, Wheaton College MA, Music and International Relations
Awards:
Edna D. Parks Award in Music Theory
Wheaton College, Music Department Award, 2016
Overview:
I'm a dedicated cellist and collaborative musician. Through my training, I have been fortunate to work with a number of inspiring mentors and teachers. I began my serious training on the cello in Santa Barbara, California where I participated in the Santa Barbara Music and Arts Conservatory. It was through this program that I came in contact chamber music, and artist-teachers who instilled in me a drive for the richness, color and palette of sound possibilities the cello can create. I am currently about to complete my undergraduate degree at Wheaton College in Norton, MA. During my freshman year, I auditioned for and was accepted into the Boston Philharmonic Youth Orchestra. With this ensemble, I gained extensive training as a touring cellist in a large orchestra. We perfomed regularly in Symphony Hall Boston, Sander's Theatre Harvard, a tour to Carnegie Hall (reviewed by the NY Times and turned into a live recording for sale), as well as a tour to The Netherlands in June 2013 where we played in 5 cities culminating in a performance in the Concertgebouw Amsterdam.
EXPERIENCE
As student, I always took note of ideas that were mentioned to me in my lessons and then experimented further with those ideas teachers gave me. I believe that a student should take on self-initiated approach to their instrumet. Guidance is key during my lessons. I have limited experience with younger children; however, my same ideology would apply for any age. I aim to make music intuitive, conversational, and practical. I was once told "how primitive the string instruments are, unchanged for 300 years," which is entirely true. Mentronomes, tuners, etc. are helpful, though my aim with students is to give them tools for a technical and musical relationship with their instrument, one where they can explore the cello as much as they wish!
METHODS USED
I do not typically use method books. With younger students, I rely on Suzuki text materials but teach using my own ergonomic, technical and musical methods that I have developed as a cellist in my own playing. Beginner/Youth Etudes: -Scale Book -Rick Mooney Position Books -Selected Repertoire For more advanced students, I enjoy explaining and/or assigning pages to read from Diran Alexanian's Treatise on the Theory and Technique of the Violoncelliste. This text can be found on IMSLP. When using this text, I like to have a dialogue with my student regarding the ideas in order to sort through any confusion or comfort problems so that we can begin refining the priniciples this text lays down from beginner to virtuoso cellist. Advanced to Very Advanced/ Adult Etudes: -Popper High School for Cello Playing -Piatti 12 Caprices for Cello -Various Virtuoso Repertoire -Scales in universal fingering
LESSON STYLE
I emphasize ergonomic/body comfort in playing the cello. Comfort is most important before being able to progress and reach technical heights. There is no formula for any single student to make progress. I work with students to discover their goals on the cello, and to help them expand as instrumentalists, musicians and human beings. Musically, I focus heavily on music theory which I will explain as necessary. I place importance on theory because it allows an understanding of musical patterns that can be easily applied on the cello. Patterns and relationships form the basis of all music, though artistry is reached through phrasing and use of the bow. Which I emphasize the left hand, I also give equal if not more importance to the bow and right hand technique. Teaching is a mutual environment between student and teacher. I aim at fostering a good relationship with my students to help them meet their needs and goals.
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