My Teaching Philosophy

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    My approach to teaching music—and really, teaching anything—is to turn each lesson into an educational hangout. I want students to have fun while learning and to experience the same excitement, curiosity, and sense of wonder that first drew me to music. 

Simply put: music should be fun. 

I believe every student is a unique lock, and it's my responsibility to find the right key. My lessons are typically up to 60 minutes long and usually begin with a 10-minute conversation about the student's life and interests. If a student loves tennis, for example, we'll talk about the latest tournament. Building a personal connection creates trust, and trust is, in my opinion, the most important ingredient in any teacher-student relationship. 

Students—especially younger ones—are unlikely to retain information if they don't trust their teacher or if they aren't enjoying the process. 

While I've accumulated a wide range of experience and musical knowledge over the years, I strongly believe that students should bring their own musical tastes into the lesson. One of the first things I ask is for a list of their 5–10 favorite songs. Most of the time, that's where we find our next piece to work on. 

Through the music they already love, I introduce theoretical concepts and technical skills in a meaningful and engaging way. 

Of course, some students prefer that I choose the next song for them, and I always have a few ideas ready. I also tend to give more material than students can realistically complete between lessons—not to overwhelm them, but to ensure they always have something productive to work on. 

I encourage students to continue playing pieces we've learned in the past, gradually building a personal repertoire they can enjoy and share with others. I'm always open to discovering new artists and music through my students as well. 

One phrase you'll never hear me say is, "No, you can't play that song." Instead, I say, "Not yet." 

I rarely assign traditional technical exercises. In my experience, they often consume valuable lesson time and can sometimes limit a student's creativity. To put it another way: 

"Why talk about bananas when you can eat bananas?" 

Rather than repetitive drills, I prefer to find a musical piece, etude, or song that naturally addresses a specific technical challenge. Students tend to stay more engaged when technique is learned through real music rather than isolated exercises. 

For my online students especially, I frequently provide on-the-spot video demonstrations and encourage them to reach out between lessons with questions. Whether the issue is musical or simply related to practicing effectively, I'm happy to help. I do ask that students provide a few hours' notice if they need to cancel a lesson. 

One area where I remain firm is music reading. I strongly believe that every musician should learn to read music. Beyond the practical benefits, it provides a universal language that allows musicians to communicate with one another anywhere in the world. 

It's the language of music—and someday you'll thank me for insisting on it! 

My lessons are relaxed, welcoming, and definitely "no jacket required." There's always room for laughter in class. When students genuinely enjoy music, connect with their instrument, and take pride in their progress, they naturally work harder and improve faster. 

Every student's journey is different, and progress depends largely on the individual's commitment and goals. However, I can honestly say that within a few years, most dedicated students develop the skills and confidence to explore music independently. They begin learning songs on their own, discovering new techniques, and in some cases even performing professionally. 

(And yes, "professional" simply means somebody is getting paid!) 

These principles guide all of my teaching, whether I'm working with private students, classroom groups, ensembles, or online learners. 

Lesson Availability 

Lessons are available both in person and via Zoom.