Frequently Asked Questions

  • As a teacher, I strive to create a supportive, positive environment where students develop strong cello technique while cultivating a lifelong love and appreciation for music. I hold students to high standards while encouraging curiosity, self-discipline, and confidence, guiding them through scales, exercises, études, and repertoire that match their level and interests. Beyond technique, I emphasize musicality, listening skills, and independent thinking so that students learn to shape their own musical voice rather than imitate mine. Lessons also incorporate music theory, history, and opportunities for ensemble playing, helping students become well-rounded musicians. Ultimately, my goal is not only to help students grow as cellists, but also to equip them with skills such as thoughtful practice, goal-setting, and perseverance that will benefit them in all areas of life.

  • Yes!

    Before lessons can begin, this policy must be read and signed by both the student and a parent (if the student is under 18).

  • Half-hour lessons cost $55 per week, 45-minute lessons cost $65 per week, and hour lessons cost $75 per week.

    To keep things simple, payment for the month are due on the first lesson of every month. The monthly cost of each lesson time is $220, $260, and $300, respectively. These costs remain the same regardless of the number of weeks in the month, so some months may be “cheaper” if they have five weeks. However, it all balances out—the costs are calculated for 48 lessons per year, divided by 12 months.

  • I am generally flexible, but please see my lesson policy for information regarding attendance, punctuality, and cancellations.

  • For especially young beginners, I ask that parents sit in the lesson in order to know the student’s practice expectations and goals for the following week. At home, I simply ask that you back up my teaching by reminding your child of efficient practice skills, and help make sure that they are enjoying their lessons.

  • Here is a list of materials that you will need to bring to lessons:

    • A cello, in a case

    • Cello bow

    • Rosin

    • Pencil

    • Rockstop/endpin strap

    • Music currently working on

    • Etude, scale, or exercise books as assigned by teacher

    • A blank manuscript book

    Music and books will be discussed in the first lesson.

    You are also expected to have access to the following equipment/materials at home for practice, in addition to the above items:

    • Music stand 

    • Metronome

    • Tuner

    • Armless chair of appropriate height—when the student sits, their thighs should be parallel to the floor.

    • Extra set of strings, in case one snaps

    For a metronome and tuner, I highly recommend the TonalEnergy App

  • If you do not yet have access to an instrument, please give me a call and we can talk through the options for you or your child. In most cases, renting an instrument from a local violin shop when you are first starting out will give you the best value. Please contact me for recommendations.

    If you are a beginner, I do not recommend buying an instrument yet, especially online. Many “cello kits” sold online on sites like Amazon sell cheap, plywood instruments with poorly fitting pegs and bad strings. These instruments are actually more difficult to learn on because they are hard to play, the wood does not resonate, and they do not stay in tune.

  • If you or your child is over 5 feet tall, a full size cello is necessary, though some professionals play a 7/8 size if a full size is too big for them.

    Here is a helpful guide, based on your child’s height:

    1/8 size: 48" to 50"

    ¼ size: 51" to 54"

    ½ size: 55" to 58"

    ¾ size: 59" to 61”

  • Yes. I want my students to be comfortable performing—playing for other people makes every musician nervous, including myself every time I get on stage. But, it is an important skill. I plan for biannual recitals, usually placed in May and November. I also occasionally hold studio class, where the whole studio meets up to discuss technique and perform for each other in a more informal setting.

  • Studio classes, which are strongly encouraged but not required, are held every so often. In each class, a few students will play a piece they have been working on—not necessarily completely performance ready. I will give constructive comments, and perhaps ask an older student for kind but constructive comments as well. Before a studio class, I will ask a student whether they want to play for the rest of the class. I will never ask a student to play if they are not prepared; however, studio class is important. It gives valuable performance experience to students and begins to teach them the skill of learning how to listen and give feedback to others. After performances, I may go over a technique with the whole class.

    For studio classes, I do ask that parents do not stay in the room unless their child is performing. The presence of unknown adult faces makes many young students feel very nervous when they are onstage performing. The aim of studio class is to make performing easier—they are informal, relaxed, and a bonding experience for students.

  • I do! Please contact me for details.

  • Whether you are simply a person who wants a new hobby, your child wants to pick up an instrument, or you are an advanced player looking to push your playing to the next level, my studio is right for you. I will tailor my expectations and standards to your commitment level, however high it may be. The thing I am most concerned with is consistent improvement in both technique and musical personality.

  • While tracking hours is very helpful, I emphasize quality over quantity. 20 minutes of great practice is much more helpful than cramming for two hours the day before your lesson—trust me, I have done both. If you can get consistent time, even just for a half hour, you will see quick improvement.

    With that being said, young beginners should be have about 30 minute-long practice sessions, either every day or every other day. Advanced students in high school or approaching college should aim to practice an hour or more each day. Still, I understand that everyone has other things to do in their life. Do not worry if you miss a practice session or have an unfocused day. Quality and consistency is key.

  • It is different for every student. For young beginners, there is a well-defined track of steps that one must accomplish to move on to the next goal. I will communicate these goals to both the student and their parent. With more advanced students, I talk honestly about both long-term and weekly goals, and then tailor a student’s learning to those goals.

    I set practice goals every week by writing in the staff notebook you bring to lessons.

  • I have studied with many wonderful cellists and musicians, who have each contributed to my skills today. I began my studies with Joseph Hébert, and completed my undergraduate work at TCU with Dr. Juliette Herlin. Over the summers, I have studied with Benjamin Hughes and Alistair McRae. I consider Dr. Misha Galaganov to be important in my chamber music development.

    In both solo and chamber music settings, I have played in masterclasses given by David Finckel, James Baik, Norman Fischer, Matthew Zalkind, Joshua Gindele, Jesus Castro-Balbi, Philip Borter, Christoph Vandory, John Largess, and Sandy Yamamoto, among others.

    In an orchestral setting, I have played under conductors such as Marin Alsop, Leonard Slatkin, Keith Lockhart, JoAnn Falletta, Sebastian Lang-Lessing, Germán Gutiérrez, and many others. I have experience in professional regional symphony orchestras and high-level summer programs.

  • I am well-versed in standard concerto repertoire, and have studied the Bach suites in detail. I have significant experience with the Popper études and Piatti caprices, as well as various sonatas, showpieces, short concert pieces, and orchestral excerpts. I also love performing contemporary music, both for solo cello and in chamber music. I generally do not assign pieces that I have not worked on myself. Please ask if you would like a full list of repertoire I have studied.