Playing any musical instrument is complicated. We are required to synchronize all of the aspects of our playing including breathing, blowing and manipulating the embouchure, moving our fingers, articulating, adjusting our intonation, phrasing, and listening to others, while trying to convey a musical emotion. Talk about multitasking! My approach is to break down the playing into these various categories and isolate each aspect into its purest form. I provide every student with a personal practice journal with separate categories including tone, finger technique, articulation, control and flexibility, etudes, repertoire. It becomes an effective "to do" list for practice. We start simply and over time the demands become more complex. For example, we begin articulation with simple legato and staccato tonguing, then gradually add varied articulations, and finally more advanced techniques including double, triple and flutter tonguing. But we also return and review the basics. I believe that review is what builds technique and confidence.

Trust. As a teacher, I frequently ask the student to take a risk in a particular aspect of his or her playing--from how they breathe, to the shaping of a phrase, to expansion of their dynamic range. I can still remember my early lessons -- the anticipation, the excitement, the nerves. While for some students it may not seem like a big deal to play an arched phrase with a full sound, to others it may feel like baring the soul. It can take time, but I believe it's the job of the teacher to earn the trust of the student. Once that is accomplished, a committed and hardworking student will rise to the challenge of playing the instrument at a higher level. I think it's important to find common ground with a student beyond the flute. Frequently a student has a passion in other areas, say poetry, or drawing, or dance, even culinary arts. I do all that I can to make connections between those interests and flute playing.

On a recent snowy day, I worked with a student on a low register exercise that we likened to hot chocolate. "How rich, creamy, and luscious can you make your low G?" I have another student who is a very talented visual artist. It's easy to make analogies between flute playing and drawing. The tactile qualities that are so much a part of drawing or painting, such as shading and mixing of colors, translate well to the flute.

Not at all. I teach students of all ages, levels, and abilities. What matters most to me is that the student is invested and is willing to make a real effort. I often start students as beginners. In fact, many of my most successful students began with me at an early age, say between 9 and 11, and continued through high school and beyond. There is a special bond that forms between a student and teacher in the study of a musical instrument. We come together once a week to explore the thing we most love in the world. It's an incredible connection and one that can form a lasting and significant relationship.

That's a big question! If I had to choose one thing, it would be the ability to produce a beautiful sound ALL OF THE TIME. You really won't impress anyone, even with the fastest, best controlled fingers, and impressive articulation, if you can't produce a beautiful sound. My students and I work at great length on tone development, in ways that are challenging, inspiring, and fun. Beyond that is the "gestalt" of music making. While tone may be the most important part of playing the flute, all other aspects, including breathing, finger work, articulation, and phrasing, must be developed in an organized way. The constant advice that I got from my own teacher, Louis Moyse was, "Be alert. Be aware." My students are very familiar with these simple phrases. Not only good advice for flute study, but for life.