Teaching

Every student has their own methods of learning and problem solving. It is the teacher's responsibility to guide each student through their technique and musical discoveries. There are several fundamental violin principles I learned during my time at CMU that I instill in each student.

Standard violin technique philosophies should be taught as guidelines that fit the individual. Each student's learning process, coordination, and anatomy are unique. When instruction is confined to a fixed model and imposed uniformly upon students, it risks failing to address specific challenges a student encounters. I believe it is essential to develop individualized solutions that respond to each student's technical abilities and musical goals. This approach helps prevent the accumulation of inefficient habits that can lead to chronic pain or injury. More importantly, it creates space for students to experiment with their sound and phrasing so they begin to form their own musical intuition. I strive to improve each student's ability to evaluate their own playing so that they are capable of identifying technical issues independently and practice with purpose.

In order to maximize progress while practicing, students must not neglect their individual musical ideas when building a strong technical foundation. All physical aspects of playing should be in service of a musical idea. Younger students have a tendency to practice mindlessly. They develop poor practice habits and put their musical development on pause. By unifying the two, students build reliable physical habits while developing their artistry from the beginning.

There are broader psychological challenges that students may face. I have met many talented violinists who never experienced joy while playing or gradually burnt out and quit. The cumulative stress from auditions, performances, comparison, or perceived plateaus in growth can have adverse effects on mental health and playing ability. I believe this begins in the practice room when students begin to stagnate in their routines. Loss of inspiration and motivation can quickly follow. I hope to help students maintain their curiosity and build resilience, especially while learning new repertoire. When I'm looking for new ways to improve my technique or sound, I listen to masterclasses or different performances and try to improve one specific aspect of my playing at a time. This approach makes me think critically about my own playing and provides examples of how I can practice differently. I also encourage students to utilize the 1% improvement philosophy that is often used by professional athletes. While it is obviously difficult to quantify musical improvement, students will see the compounded effects if they attempt to improve by just 1% every practice session.