My main influence was (and remains) the approach of renowned pedagogue Karen Tuttle. I spent nearly a decade studying with her through three degree and diploma programs, and I served as a teaching assistant to her during most of that time. I continued to visit, play for her, and talk about playing and teaching long after I’d established my own performing and teaching career – until shortly before she passed away in 2010. Meanwhile, Karen noted early on – and I continue to recognize and acknowledge in my teaching – that everyone is different: There is no one-size-fits-all approach, as everyone is unique physically, psychologically, with varied habits and styles of learning, and circumstances that may change frequently.

At the same time, I’m fascinated by the teaching and learning processes, and by different approaches to making music, so I’ve always been a bit of a master class “junky”, attending classes and observing coachings offered by artist-teachers with widely differing approaches and philosophies – and on many different instruments.

I encourage my students to be lifelong explorers of motion, energy, and physical ease. I’ve dabbled in Yoga, Alexander, and Feldenkrais, and have lately focused on some other practices that help me continue exploring physicality in ways that relate to my own playing as well as my teaching:  a regular study of Qi Gong and another continuing study of motion/proprioception, energy use, and muscle/connective tissue engagement and release. Since my brain loves to look at things from many angles, and describe motions and sensations in many ways, these practices have also been useful in demonstrating concepts to many of my students.