I base my teaching on the belief that even a beginning student must learn (along with basic music notation and theory) to execute precise physical movements that will allow him to create a truly musical performance. With this as a background, I have developed a method to teach the recognition of micro-dynamic relationships among notes; the expression of inner energy; and the concept of timing (spacing). By emphasizing the physical movements of fingers, hands, and arms, I provide my students with the tools to develop healthy piano technique. I am convinced that by utilizing movements that do not defy human neuromuscular anatomy and physiology, the pianist not only avoids physical injuries, he may also alleviate any preexisting ones. A sense of physical comfort, although of course not the sole aim of the pianist, nonetheless does establish a sound foundation for the enhancement of musicality. I have given each concept of movement and musicality a specific name – often humorous and whimsical – and depict each one with a specifically designed symbol. Furthermore, I present serious topics in a captivating manner, in part by using an assortment of toys and other intriguing tangible objects. In all, this combination of graphic symbols and toys, along with many amusing stories, infuses my lessons with excitement. Also beginning at early stages of instruction I devote considerable attention to the art of music interpretation.

My lectures, seminars, and master classes cover a variety of topics. One of my most popular seminars, Piano Technique and Musicality in Pictures, Toys, and Stories, may be adapted to run from 1 to 4 days. Another favorite class targets technical and musical trouble shooting. In these sessions I analyze specific technical and musical problems in the excerpts from the compositions requested by seminar participants. My recent presentations include: Steinway Hall, NY; UCLA, CA; three World Piano Pedagogy Conferences; European Piano Conference, Serbia; piano teachers workshop, St.Petersburg,Russia; two Texas State conventions, Arizona State convention; National Conference on Piano Pedagogy; CA state convention; OH state convention (featured presenter); workshops: Hartt University; Berin, Germany; Paris, France; National Piano conference Halifax, Canada.

In my newly released book, The Anatomy of Musicality, I analyze musical performance through the lenses of dynamics and micro-dynamics, inner energy, and timing (spacing), and through the physical movements that allow their expression. Just as a physician examines his patient system by system, so should a musician fully explore the intricacies and subtleties of his music and musical instrument. To assist the musician in these pursuits, I expose the anatomy of musical performance and offer unique strategies to enable the pianist to direct his fingers, hands, and arms with precise and anxiety-free movements. I also devote one chapter to critical aspects of music interpretation.