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My priorities as a teacher are to bring the strong techniques
from both the Salzedo and Grandjany methods to bear when
establishing hand position and practice habits. I also place
great emphasis on the skills required to be a good ensemble player. I think many harpists see themselves as primarily soloists and neglect the importance of good ensemble training. My students are all required to do a certain amount of playing with other local musicians. Another priority is improvisational,compositional, and arranging skills. Today's working harpists frequently are asked to play from piano or guitar parts, especially in the arena of playing for weddings and receptions. An understanding of how to make such music workable for the harpist as well as enjoyable for the audience is a must. All my students must be prepared to arrange parts for themselves. Additionally, I insist that all my students at least attempt to improvise and compose. Improvisation is a vital tool for both ear and rhythm training. It also allows a musician to think as not only an interpreter of other people's music but as a composer. This different point of view often lends a greater depth of understanding when performing all kinds of music. It allows the performer to see music from "the inside out" as it were. Finally, I have over twenty years experience in performance coaching and offer many techniques to conquer nerves and enhance musical interpretation.
I take my teaching very seriously and do all within my power to contribute to my students' growth, not only as a harpist but as an all around musician.
from both the Salzedo and Grandjany methods to bear when
establishing hand position and practice habits. I also place
great emphasis on the skills required to be a good ensemble player. I think many harpists see themselves as primarily soloists and neglect the importance of good ensemble training. My students are all required to do a certain amount of playing with other local musicians. Another priority is improvisational,compositional, and arranging skills. Today's working harpists frequently are asked to play from piano or guitar parts, especially in the arena of playing for weddings and receptions. An understanding of how to make such music workable for the harpist as well as enjoyable for the audience is a must. All my students must be prepared to arrange parts for themselves. Additionally, I insist that all my students at least attempt to improvise and compose. Improvisation is a vital tool for both ear and rhythm training. It also allows a musician to think as not only an interpreter of other people's music but as a composer. This different point of view often lends a greater depth of understanding when performing all kinds of music. It allows the performer to see music from "the inside out" as it were. Finally, I have over twenty years experience in performance coaching and offer many techniques to conquer nerves and enhance musical interpretation.
I take my teaching very seriously and do all within my power to contribute to my students' growth, not only as a harpist but as an all around musician.
I
also maintain a private studio in Kenosha and am available for
masterclasses. My background is in both Salzedo and Grandjany technique.
I also have a strong background in improvisation and arranging.
Follow the links below to view the schools
TEACHING
I am currently the harp instructor at the following institutions:
