

Towards an Emotionally Satisfying Practice
Satisfaction is a very important concept that I try to get across when I do master classes and work with students. If you are struggling
Satisfaction is a very important concept that I try to get across when I do master classes and work with students. If you are struggling
Once you’ve put a lot of information into your brain, we all know some of it sticks, some it doesn’t, and some of it sticks
How do I work on sound quality on the piano? My first response is to say: I don’t know. That’s probably how many of my
I find that building emotional associations helps with memorization. Let’s say I’m working on a piece and it’s on the verge of being memorized, and
It’s important to me that my students are introduced to the music of Chopin and composers of his generation early because modern piano technique starts
When I graduated from conservatory, I realized I was unhappy with my sound on the piano. After much contemplation and discussion, I observed that my
When I was finishing my conservatory degree at 18, I felt that something was wrong. Until that moment, although I did not recognize it at
When I sit down with a score of a new piece I am learning, my mental practice is divided into two basic parts. First, I
For string players, when we are in college and grad school, orchestral excerpts are seen as somewhat auxiliary — we are busy learning all the
Outside of my orchestra gig, I perform in a fun contemporary music group called New Music Detroit. I love digging into freshly-written music by today’s