Artist + Teaching statement

 What is your philosophy about teaching and music education?

 “Silence is the canvas on which we paint.” (Livingston Taylor) I start with the basics of the guitar or ukulele to build upon and answer every question and encourage more questions. It is more effective for the students to express the musical direction they prefer, be it Bach, Beatles, folk, rock, jazz, country, acoustic or electric. Students will practice more when they like the music on the music stand.

 What has lead you down the path of teaching your musical specialty?

 I started teaching a few months after I began taking guitar lessons at 12 years of age and would sit with my mom at the kitchen table re-creating the chord charts my teacher gave me. I would teach my students the latest song on the radio, Writing out the chord chart and providing a general map of a song. I rented a little studio space to teach and so it began. There is something about seeing a student “get it” is the reward of a lifetime. It was and still is exciting to learn and teach a new song. When you see that excitement in a student, you know it’s working.

 What inspires you and your teaching techniques?

 My first guitar teacher, Rich Roberts in Kansas City, taught me how to listen to a song and learn by ear. Rich said, “the note goes up, the note goes down, the note stays the same. Ok, this is the first chord, where is the next one? Listen to what happens in that first five or ten seconds of a song. Listen.” Before I knew it I could play that three-minute song and was thinking about the next one. After learning a few songs that way, I could not stop. Still can’t 56 years later!

Also, meeting many musicians in different situations has exposed me to endless influences. Always something new to learn. A new chord, a song I’d never heard by an artist I’d never heard of, a new tone, endless.

Every student learns in a different way. Find a way to help the student grow.

 Teaching Bio 

For many years I taught at home and played a wide variety of gigs. After relocating to Vermont in 1980 and having three children, l wanted to take teaching more seriously. I began to build a studio in Burlington and worked and taught at Calliope Music for 9½ years, followed by the Elley-Long Music Center in Colchester for ten years. It was there that I met Troy Peters, the conductor of the Vermont Youth Orchestra and the Middlebury College Orchestra. Through his recommendation I began teaching at Middlebury College in 2006. There I met Sadie Brightman and was invited to be a part of the amazing Middlebury Community Music Center from the beginning. I am the fortunate teacher. I have the perfect blend of teaching and performing.

Performance Bio 

I started performed at school dances and coffee houses in the 1960s. The 70s brought clubs, hotel bars (during the great disco scare!), restaurants and recording studios. The 80s brought ski areas to the mix including an 18½ year run at TopNotch in Stowe, Vermont. I’m in my 25th year performing at Leunigs Bistro in Burlington. Weddings and special events help fill the calendar as well.

I have performed and recorded with percussionist Dave Whittle, flute player Laurel Ann Mauer, bassist Art DeQuasie, bassoonist Rachel Elliot, french horn player Mia Fritze, flute player Kara Krikorian, cellist Bonnie Klimowski, violist Paul Reynolds, dobro player Adam Frehm, trombone player Bear Irwin, bass player Ron White & bass player/producer Mike Boise. I have also performed with percussionist Nicola Cannizzaro, violinist Emily Sunderman, multi-instrumentalist Peter Hamlin & piano player/singer Sarah Trouslard.

While performing, I play guitar, ukulele, mandola and sing. To me, performing is the best way to keep my level up as high as it can be. I’ve grown to a very comfortable place knowing I can do a performance relatively stress-free while giving audiences something to consume and enjoy.