I am offering patient, thorough, professional instruction for all styles, ages and skill levels. Learn the absolute basics, re-learn your old instrument, or take your playing in new directions. Studying a wind instrument can enhance many aspects of your well-being through experiential learning, breath awareness, and concentration. My job as a teacher is to guide others through the same obstacles which I have encountered in establishing a relationship with your instrument, in order to achieve the goal of making music.

-22 years of experience
-Expanded teaching methods developed at community music schools in Chicago, Eugene, Oakland, and Alameda with all levels of students on clarinet and bass clarinet in private and ensemble settings
-MM Jazz Studies, BM Clarinet Performance, BS Audio Recording from Indiana University School of Music (Howard Klug, James Campbell, David Baker, Alfred Prinz, Pat Harbison)
-Extensive performance history in rock bands, orchestras, jazz and experimental ensembles including performances with notable local musicians Bryan Kehoe, Beth Custer, Carla Kihlstedt, Ben Goldberg, Aaron Novik, Mitch Marcus, Sylvain Carton, Graham Connah, Sheldon Brown, Scott Hill, Mark Orton and Nathan Clevenger
-Specializing in all aspects of the bass clarinet.

The study of an instrument is the process of taking an external musical object and making it a part of ourselves. It is the duality of this external/internal conflict which presents obstacles and frustration for the instrumental music student. Fortunately for wind instrument students, the required use of breath to sound the instrument helps to begin a strong connection between internal and external. It is this interface of breathing and tone production which must be at the core of any wind player's efforts. Technique, rhythm, articulation, phrasing, and musicality will all develop and flow freely once proper breathing and tone production are addressed.

The mind of the wind player is challenged with the simultaneous consideration of so many elements: breath, posture, theory, technique, rhythm, dynamics, tonguing, etc.: it is the job of the instructor to guide the student towards prioritizing these elements in different contexts. The exercises and music used as training materials for developing these elements are both a means and an end: they help us focus on our connection with our instrument and they are also the vocabulary and compositions that are used in performance to communicate with, entertain, or otherwise transform an audience.

Anyone with desire, an instrument, and a teacher can learn a wind instrument. The basic practice of everyone will be the same: breath, tone, and establishing a connection with your instrument. Just past this, rhythm is the primary element of a large percentage of music, particularly ensemble-based music, and the student and teacher must be prepared for ceaseless diligence regarding rhythmic integrity. It's the beginning of your practice session: do you know where your metronome is?