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For performance events, I typically offer recitals and half-recitals. For teaching, I offer masterclasses, clinics, and lessons (individual and shared).

I like to think of lessons as a kind of musical doctor’s visit: sometimes we come in for a check-up, while at other times we come in for specific issues or concerns. I encourage people who set up a lesson to come in with a variety of things prepared, whether solos, etudes, or orchestral excerpts. Most important, I strongly encourage lesson-takers to bring their questions and issues that they would like to address. Knowing those questions at the beginning of the lesson ensures that we have an opportunity to discuss and work on the specific points that are a priority for the student. Regardless, the lesson typically covers a good bit more material than just the questions themselves.

My goal is for each person I coach to come away with a strong idea for how to continue to address and practice the topics that we discuss. I consider a successful lesson one in which the person I’m coaching has not just a clear idea of what to work on, but also a clear understanding of how to work on it to achieve their specific goals. I start the person down the road, walk with them the first part of the way, and give them instructions so that they can continue on their own.

In certain circumstances, two individuals may choose to book a split-lesson. During these lessons I will work with each individual for 30 minutes of the lesson, while the other individual observes the other’s work. As a mini-masterclass, it provides more and longer individual feedback (and in a more intimate environment) than a masterclass, while allowing two people to split the cost of a lesson. This works best when both individuals are comfortable discussing highly individualized topics in front of each other.

While I am open to ideas for specific situations, I generally find it helpful to have at least 20 minutes to work with each individual student. Although I tailor my comments to each performer’s individual needs, I generally also broaden my discussion with each student to provide points that everyone in attendance can find valuable. Having at least 20 minutes per performer allows me ample time to reach both the group and the individual performer. Other options within a masterclass include my performing an unaccompanied or accompanied solo work, and having a Q & A during the last portion of the 2 or 2 ½ hour class.

A clinic is typically a 50-minute event on a given topic. Most times I choose the topic on which I teach, but I am also open to the presenter’s requests. Topics can include but are not limited to various aspects of music making, from the earliest stages of preparation to performance.