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Piano

"I encourage all my piano students to improvise, no matter what their style is. I want my students to develop an awareness and openness to different approaches, gain a better sense of what they want to express and how to do it, and develop 'bigger ears.' It's really important to get back to the essence of listening; it's the number one thing I stress as a player. Good dynamics, expression, and interaction all follow from that."

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"I try to teach students ways of practicing in which inspiration and analysis mutually support each other. My aim is to teach them an appreciation of both intuition and analysis so there is no conflict between the two. Instead, they mutually enhance each other. I want to see my students grow more inspired as well as more knowledgeable. I always emphasize having fun while learning, enjoying the process. I encourage my students to always practice in a musical way, never approaching music mechanically or viewing it as a mere skill."

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"Playing the piano has got such a physical component to it. Understanding the gestures, the body motion, the language of each style—then incorporating an intellectual knowledge of the music along with the sound—it all works together. There’s no substitute for just getting in there, experiencing it, and playing, playing, playing."

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"I've been doing yoga for about ten years, and my yoga informs my piano playing in terms of feeling balanced. When you're trying a yoga pose that's too difficult, you have to back up until you find a version of that pose that you can do well. The same is true with piano playing; if you're trying something that is just too difficult, you can pound away all day long and it's not going to work. You have to back up a little bit, find a version that is comfortable, master that, and then take it to the next level. You want to sound good right now, even if it's just one measure, one note; go from there, and build on that."

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"My teaching style is individually based on each student's particular musical needs rather than a one-size-fits-all teaching style. I listen to the student play, and assess his or her musical needs on various levels. Then we set goals at the beginning of the semester and follow through by checking in with those goals throughout the semester. It's really individualized. I think this interpersonal style, which includes talking and getting to know the person as well as the musician, can lead to greater exploration along the path of musical self discovery."

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"I bring in my experiences from outside the school because I want to prepare my students for what’s out there. I want them to know what to expect. When you’re in school it can be kind of mesmerizing, then you’re out and all of a sudden it’s, 'Gee, this is the real world.' I’ll tell them, for instance, that they should know how to do a certain thing in their chords because someday they might be out on a gig and someone might ask, 'Can you play this open voicing?' or say, 'I want this for my recording and that’s the sound I’m looking for.' I want my students to be ready for anything and everything out there."

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  • B.M., Boston Conservatory of Music
  • Graduate studies, Boston University
  • Performances at numerous festivals, on radio and television, and with Art Farmer, Clark Terry, Carol Sloane, Slide Hampton, and Ernestine Anderson
  • Recordings with Dick Johnson, Phil Wilson, Herb Pomeroy, and Rebecca Parris

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  • B.M., Boston University
  • Extensive experience in clubs, television, radio, and theaters, including performances with Henry Mancini, Teddy Wilson, Buddy DeFranco, Mel Torme, Luciano Pavarotti, Eddie Daniels, Stan Getz, Cleo Laine/John Dankworth, and Airto Moreira
  • Pianist for the Boston Pops Orchestra under John Williams and Keith Lockhart
  • Recordings with the Boston Pops Orchestra and in solo, duo, and quartet settings

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