Teaching Philosophy
(Adult students see note at bottom)My approach to teaching is shaped by curiosity, conversation, and respect for the individual in front of me.
I spent my formative years at the Chattanooga School for the Arts and Sciences (CSAS), where the Paideia philosophy was not just taught, but practiced. Learning there was active. Teachers expected engagement, dialogue, disagreement, and questions—and they met students with genuine enthusiasm when that happened. That early experience made one thing clear to me: real learning happens when students are participants, not passengers.
That belief still anchors my teaching today.
Engagement Before Instruction
I begin by engaging the student’s curiosity. Rather than lecturing, I invite conversation. Whether we’re working on a passage, a technique, or a full piece, I ask students to notice what they hear, feel, and experience first. From there, we talk about why something works, not just how to reproduce it.
I introduce a wide range of musical ideas and repertoire, then ask students to articulate their responses—what caught their attention, what felt awkward, what surprised them. We unpack those reactions together, connecting musical choices to physical mechanics, structure, and expression. Students are encouraged to draw from their own experiences, not abandon them at the door.
Responsive and Adaptive Teaching
No two students learn the same way, and I don’t teach as if they do.
Flexibility is essential. Some students are visual processors, others learn best through sound or physical repetition. Some arrive with confidence; others arrive carrying years of doubt. My job is to observe quickly, listen carefully, and adapt in real time.
This applies to children and adults alike. Ability levels, learning styles, and life experiences vary widely—and effective teaching responds to that reality rather than forcing everyone into the same mold.
What I Want for My Students
My goal is not perfection. My goal is awareness.
I want students to develop the ability to listen deeply, understand what they’re hearing and playing, and speak about music with clarity and confidence. I want them to explore music through multiple lenses—historical, cultural, analytical, and personal—so their relationship with music grows beyond notes on a page.
Most of all, I want students to feel empowered to explore, question, and enjoy the process.
A Special Note for Adult Students
I genuinely love teaching adults—and I’m actively welcoming more.
Many adult students come to music carrying unnecessary pressure: past experiences, comparisons, or the idea that they need to “prove” something. Let me be very clear—music is not an audition. You are playing for yourself.
If you are beginning for the first time, returning after years away, or picking up an instrument you’ve always wanted to try, you are exactly who I enjoy teaching. Violin, viola, and cello are lifelong instruments, and there is no expiration date on curiosity or joy.
Music should not be a source of anxiety or inadequacy. Everyone has “wonkies.” That’s part of being human—and part of making music. We work with them, laugh at them, and gradually smooth them out together.
I currently teach adult students during daytime hours, as afternoons are reserved for school-aged musicians. If you’re looking for a thoughtful, supportive, and grounded approach—one that respects your goals, your pace, and your reasons for playing—I’d be glad to work with you.
Let’s make music that feels honest, satisfying, and fully yours.