I am a composer, performer, and producer of progressive acoustic and electroacoustic music. My music is characterized by disjunct, interlocking rhythms; extended harmonies and angular melodies; glitch and soundscape textures; and gradual, additive development. I am a vigorous advocate for musical pluralism and draw inspiration from a wide variety of musical influences, including indie and alternative rock, jazz, progressive metal, hip-hop, and EDM. An avid performer of contemporary music, I co-direct, compose for, and play piano in the brain funk band Emergency Stopping Only. Lead alongside composer/saxophonist/vocalist Leonardo Carmelo Escobar and drummer/producer Collin McFadden, ESO also features violinist KeAndra Harris and bassist Joe Warnecke. I currently pursue dual Master of Music degrees in Composition and Intermedia Music Technology at the University of Oregon School of Music and Dance, where I study with composers David Crumb, Robert Kyr, and Jeffrey Stolet. I received the Bachelor of Music in Composition from Boise State University in August 2018, where my primary teachers included composers David Biedenbender, Sam L. Richards, Eric Alexander, J. Wallis Bratt, and pianist Del Parkinson.
I am deeply committed to attaining the highest level of craftsmanship that I can, both in my compositional output and in my piano playing. Teaching is extremely satisfying to me because of the chance it gives me to see that same passion for music take root and flourish within my students.
Very patient and fun to work with. Good listener and does well with individuals who are new to piano.
One of the first things I try to do when working with a new student is to accurately assess what the student's goals are. What does he/she want out of lessons? What are his/her short-term and long-term goals in music? Does he/she hope to eventually pursue music professionally? What kinds of music interest him/her most?
After getting a sense of what the student's interests are and what he/she hopes to accomplish, I will work individually with the student to select methods books and pieces of music for him/her to use as learning tools and to build his/her repertoire. These materials will change over time as the student progresses.
I currently pursue dual Master of Music degrees in Music Composition and Intermedia Music Technology at the University of Oregon School of Music and Dance. In August 2018, I graduated from Boise State University with a Bachelor of Music degree in Music Composition.
Everything is based off of these single-lesson prices: 30-minute lessons are $20; 45-minute lessons are $30; and 60-minute lessons are $40. The monthly tuition is equal to the per-lesson rate multiplied by 4 (i.e. a month of 30-minute lessons is $80, and so on). If the student's normal lesson time happens to fall on a 5th week of the month, that 5th lesson is included at no extra charge. Tuition is due at the first lesson of each month.
If the student needs to cancel or reschedule a lesson, they must give me at least 24 hours advance notice prior to the beginning of the lesson time. If they do so, then I will guarantee either a make-up lesson or a credit back to the student in the form of a discount on the following month's tuition. If the student cancels less than 24 hours in advance, I cannot guarantee a make-up lesson or credit, though I will try to accommodate. Anytime I need to cancel a lesson, I will always guarantee a make-up lesson or credit.
I started teaching piano in 2010 because I enjoyed tutoring kids. As I continued and got better as a teacher and as a musician, I also started offering lessons in composition, saxophone, euphonium, and trombone. For a few years, I frequently taught students online via video chat applications such as FaceTime, Google Hangouts, and Skype. I taught domestic and international students that ranged in skill level from beginning to advanced, and which ranged in age from children to middle-aged adults. Within the last couple years, I have narrowed my teaching focus to just piano and composition, thereby offering excellent lessons in just my specialties, rather than just okay lessons in something at which I am less skilled. This has made teaching far more rewarding and enjoyable for me, and my students seem to benefit from it, too.
I have worked with students ranging in skill level from beginning to advanced, ranging in age from children to middle-aged adults, and ranging from in-person lessons to lessons online with domestic and international students.
A few evenings ago, I was rehearsing with my brain-funk band, Emergency Stopping Only. As is common for us in our rehearsals, we recorded an extended, improvised jam session. We were locked in super well! Things were meshing in really interesting and fun ways, and all five of us had a great time. The following morning, I reviewed the recording, transcribed some of the licks and rhythms, and composed a new piece for us based on the jam session we had played less than 24 hours prior. It needs some revision, of course, but it sounds pretty dope!
Hear us at www.emergencystoppingonly.org.
I would highly recommend listening to recordings of the teacher's compositions and/or playing. While the quality of the teacher's music doesn't always translate into him/her being a good teacher, I think it is extremely important for a student to know what kinds of things the teacher is doing. Often, it leads to increased inspiration and motivation within the student.
Before talking to teachers about their needs, students should consider what their own idiosyncracies are and what they want to accomplish. In other words, if a student is especially prone toward anxiety, talking frankly with the teacher about what triggers that anxiety can help the teacher be more mindful and effective in guiding the student's learning process. Additionally, students should think through what their short-term and long-term goals are within music. If the teacher knows what the student wants to learn or how they want to improve, he/she is more adequately empowered to tailor the lessons to the student's interests.