My journey into music began in childhood with Augusta Dall'Arche, who introduced me to the piano and soon noticed my interest in writing music. Throughout my musical studies, I continued to make time for composition, setting aside moments between classes and other commitments to write short pieces for solo instruments. Although composition remained a constant interest, it was during my undergraduate studies at Berklee College of Music that I decided to dedicate myself to it more seriously.

 

At Berklee, I pursued composition alongside my studies in Electronic Production and Design, with the privilege of working with professors including Richard Carrick, Gabriele Vanoni, Alla Elana Cohen, Arnold Friedman, Derek Hurst, Panagiotis Liaropoulos, Tamar Diesendruck, Andrew List, Francine Trester, and Marti Epstein. These experiences helped shape my approach to contemporary and electroacoustic composition, including my interest in graphic notation, unconventional instrumental techniques, electronic sound, and the use of technology to expand the possibilities of composition and performance.

 

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My Approach to Teaching

I believe there is a composer in everyone, and I like to think of myself as an enabler, helping students discover and develop their own musical ideas. Rather than imposing a particular style or method, I prefer to begin with what each student brings to our lessons, whether it is an initial musical sketch, a broader concept, an experimental idea, or a piece already in progress.

 

These lessons work best when you come with ideas you would like to explore. You do not need to have everything figured out or know exactly where a piece is going. My role is to help you identify possible directions, discuss different approaches, and develop practical strategies to move your work forward.

 

I want students to gain not only a deeper understanding of composition, but also the ability to bring their ideas to completion. This means finding approaches that work for each individual, setting realistic goals, and learning how to navigate the creative process from the first idea to a finished piece.

 

I am also interested in helping students develop as composer/performers. Composition does not have to remain separate from performance. It can become a way to rethink an instrument, explore new playing techniques, and develop a personal musical language that carries over into live performance.

 

 

What We Can Work On

Lessons are shaped around your interests, experience, and goals. Depending on your projects, we can explore topics such as:

• Developing an initial musical idea into a complete composition.

• Writing for solo instruments and ensembles.

• Contemporary compositional techniques and extended instrumental techniques.

• Traditional notation, graphic scores, and alternative approaches to musical notation.

• Electroacoustic composition and electronic sound.

• Using software such as Max/MSP to develop custom tools for sound exploration, composition, and live performance.

• Connecting composition with instrumental performance and developing a personal language as a composer-performer.

• Planning, structuring, and completing an ongoing composition project.

 

Whether you are starting to write your first piece, developing an existing project, or looking for ways to connect composition with your performance practice, our work will be shaped around your interests and goals. We will work from your ideas, finding practical ways to bring them to completion while helping you develop your own musical voice and, above all, turn your ideas into music.

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If you're interested or just want to ask a few questions, feel free to reach out.