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MM, Northwestern University, Trombone Performance
BM, Eastman School of Music, Trombone Performance
2018, Northwestern University Merit Scholarship
2013, Eastman School of Music Merit Scholarship
Hi! My name is Matthew, and I have been playing trombone for 15 years and teaching for 3 years. I graduated from the Eastman School of Music with my Bachelor’s degree in trombone performance in 2017 under the tutelage of Mark Kellogg of the Rochester Philharmonic Orchestra, and I am currently pursuing my Master’s degree at Northwestern University under the tutelage of Michael Mulcahy of the Chicago Symphony Orchestra. I began my college career with a seat in an orchestra being my end game, now that I have had the privilege to teach a full studio of students, I want to pursue any opportunities in music education that I can. Having the opportunity to guide students in the direction of success is the most rewarding experience I could ask for. While I am confident in my abilities to educate, I am always striving to better my education in order to be a better teacher for you or your children!
My experience dates back to my high school days, in which I had the opportunity to help the beginners prepare for ensemble playing. Throughout my undergraduate days, I was able to work with colleagues in master class, lesson and rehearsal settings that have now won positions in the Los Angeles Philharmonic, Charleston Symphony Orchestra, United States Naval Academy Band, Richmond Symphony Orchestra and the Pershing’s Own United States Army Band. Once I graduated with my Bachelor’s degree, I used a year in between that and my Master’s degree to teach on faculty at a middle school near my home. My responsibilities were to teach private lessons to trombonists in grades 5-8; my studio varied in size from 8 to 12 students.
One of the pillars of my teaching criteria is that I treat each student uniquely, I generally do not believe in a “one size fits all” approach. That being said, a second pillar of my criteria is that my students always strive to create their sound in the most efficient and tension free manner. For beginners, I pull information and exercises from the Remington and Bordogni books. In addition to that, especially for totally new beginners, I like to use a back and forth technique. For example, if I have a student that is struggling with sound production, I would sit facing the student and produce the most beautiful note I could, and the student would to their best to emulate it. This gives the student the opportunity to hear what they should be producing, and immediately trying to emulate it—in my experiences this helps the student learn in their own way, rather than me conveying my ideas in my own words. For intermediate and advanced players, I use exercises from the Edwards, Tyrell, Arbans and Bitsch books in order to build and/or create a strong fundamental base for the student, from there the student can work on their desired repertoire.
Nothing is more rewarding than seeing a student have an “ah-ha!” moment, and it is my passion to help students reach and exceed their goals in the most enjoyable way for them. I realize all students learn differently, so I have experience with starting beginners on a strict fundamental basis, starting them on figuring out a favorite song on their instrument for fun, and generally helping them in a unique way that suits them best. I always do my best to find out what the student is interested in, inspired and motivated by, that way I can structure my teaching around what helps them the most.
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