Saxophonist.
Educator.
Clinician.
My work lives at the intersection of performance psychology, pedagogy, and career development. I turn research and real-world experience into tools musicians can actually use.
I didn’t set out to become a clinician.
I became one because I kept seeing the same gaps: talented musicians struggling to perform consistently, dedicated educators expected to teach instruments they were never fully trained to teach, and young professionals trying to build careers without a clear picture of what a sustainable life in music could actually look like.
Whether the challenge was performance anxiety, inefficient practice, unclear pedagogy, or figuring out how to turn a collection of skills into a viable career, the problem usually wasn’t a lack of effort.
People were working hard. They just didn't always have the tools to turn that effort into the results they wanted.
What makes my work different
I teach from experience.
My work is shaped by decades
in practice rooms, classrooms, rehearsals, and performances. The strategies I share are the same ones I use with my own students and in my own playing.
My work is grounded in psychology.
My background in psychology informs how I approach learning, motivation, performance anxiety, and behavior change, translating research into practical strategies for musicians.
I understand the whole pipeline.
I work with middle and high school students, collegiate musicians, private teachers, band directors, and university faculty. That range gives me a clear view of where skills develop, where gaps appear, and what musicians and educators need at each stage.
I've built the career I talk about.
My own work spans performing, teaching, speaking, program development, nonprofit leadership, and artist and clinician partnerships with music businesses. I bring that range to career conversations without assuming anyone else’s path should look like mine.
Excellence should be sustainable.