There is no shortage of great performers and teachers in the Boston metro. What makes me special?
- I was not born a great trumpet player, or into a musical family, nor have I ever been a prodigious talent. This means that I have had to figure out and learn it all from an average baseline. The result is that I have a wide array of solutions to every playing and musical problem, many of which I have personally had to develop for myself.
- I am (proudly) a life-long student of music. I have paid oodles of money to actively seek out and learn from the finest musicians in the world. I regularly play for David Bilger, principal trumpet of the Philadelphia Orchestra. I have also had the great pleasure of studying with the finest teachers and players in the business, whose wisdom I am proud to pass on at a fraction of the price of a plane ticket. In addition, I am constantly seeking out new approaches, practicing new and old ideas, studying music, and refining my own abilities.
- The proof is in the pudding. My students compete at the highest levels in Massachusetts and on the East Coast, regularly placing above students at even the top prep schools and conservatory programs. I am proud that my students place highly at district and state levels, and participate in the finest camps and private programs in the country. I have a 100% success rate at college music program placement among students who take lessons over the course of several years, and maintain close relationships with key college studio teachers around the country.
- I am one of the most versatile musicians out there. And not in a ‘jack-of-all-trades, master-of-none’ kind of way. More like a ‘holistic, encompassing understanding of music and its language’ kind of way. This is the weird bi-product of being a very fast learner. My investment in all musical applications, from jazz to classical, arranging, new music, and everything in-between, has come in part from the diverse interests of my students. I seek to be an ally to every goal.
What You Get
I make certain that every student walks away from each lesson with an honest evaluation of their progress over last lesson, and a clear path forward. Lessons are, after all, not cheap, and I do not take students’ time or resources for granted. A lesson might consists of:
- Time spent getting better at the instrument. This means sound, articulation, flexibility, and other fundamental concepts. Lessons often mirror the way a student should spend his or her practice time.
- Goal-setting, working toward goals, and evaluating success. This takes the form of audition and recital preparation, mock performances, and ‘practice practicing’ (i.e. showing students how to practice things they are struggling with).
- Improving musical vocabulary. This means becoming more familiar with scales, arpeggios, aural acuity, sightreading, transposition, and other concepts that feed music directly to the ear and the brain. This is often done via duets, which comprise a large proportion of lesson assignments.
- Like going to the store, every student walks out of the door with a tangible product. This can mean an assignment with a clear idea of how to work on it, a project to complete, or an overarching plan for how to approach a new waypoint. Without exception, every student knows what to work on week over week. This has the added benefit that, over time, students develop a portfolio they can use to apply to other playing opportunities or resumes.