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We view ourselves as a concepts teachers, in that we put great importance on having our students understand why a given approach will help them grow as musicians. We feel fortunate to have been exposed to many different methods of pedagogy over the years, which has given us a vast foundational catalogue to reference, adapt and develop concepts when working with students. Ergo, our teaching philosophy would best be characterized by the following: connection, curiosity, independence and growth.

Teaching a new student for the first time is an exploration for both parties involved. We view our initial charge as finding connections that will enable a student to progress beginning with the very first lesson. Learning how to relate to students is paramount to our philosophy. Helping them view their strengths and weaknesses as equal opportunities for growth allows them to connect their present ability with the level they desire to achieve. We teach in a kinesthetic way, which optimizes the student’s physicality. A longtime proponent of functional integration, we are convinced that the key to playing an instrument is understanding how the body moves; when we integrate movement, tension in the body melts away allowing us to become more efficient and expressive players. We emphasize the connections between technique and musicality; tactus and phrasing; fluidity and consistency; tradition and innovation; and ultimately, practice and performance.

The expression "two steps forward, one step back" describes the progress we sometimes experience while playing an instrument. We have learned that fostering a 
curiosity in our students keeps them motivated and on track, especially when the path forward seems unclear. Responding in a curious way to our struggles allows us to stay engaged, less frustrated and in that discovery zone where we are most creative. Viewing mistakes as potential light-bulb moments waiting to happen reframes them as necessary parts of mastering our instrument, rather than as insurmountable obstacles. To this end, we encourage students to seek out other interpretations, performance styles and even entirely foreign genres to diversify their knowledge base and widen their perspective. Curiosity breeds successful musicians.

If the spirit of discovery is to be sustained with our instruments, it is crucial for students to be able to make decisions for themselves. As such, we structure lesson plans to foster independence in students. Just as there is no ideal student, there is no singular way to teach an instrument. Our methods are comprised of time-proven and progressively more challenging regimens of rudimentary exercises, etudes, repertoire and physical activities inspired by our studies in Feldenkrais. Students must play a major role in the direction of their education if they are to be successful. Ideally, most discoveries should happen in a student’s practice sessions, not only in their lessons. Our crucial function as teachers is to coach a student on how to notice when these moments occur, so they can build on them with the technical tools we’ve developed in lessons.

The common thread throughout our teaching philosophy is the idea of 
growth. This is the most valuable aspect of musical study, and perhaps life as a whole. The best part about growth is that it is always available to us. With consistent encouragement, students will come to realize their potential is unlimited. Being able to share in these beautiful experiences through this craft is why we teach, as connecting through music brings us closer to our humanity.


And while instrumental study can instill within us a sense of discipline, prepare us for a career in the arts and improve our coordination skills through building neurological connections in the brain, fundamentally - even heroically - music teaches and prepares us for life's lessons. 

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