I believe that the primary goal of teaching is to create independent and critical minds, able to navigate music and life by themselves.

 

This applies to students of every age and level, from young beginners to advanced pianists. My responsibility as a teacher is to provide each student with the tools they need to grow as musicians, while also helping them develop skills that go beyond music itself.

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For this reason, I see musical training in a holistic way. A solid technical foundation, strong reading skills, stylistic awareness, and musical understanding are fundamental for any pianist. At the same time, studying music also develops life skills that are valuable far beyond the instrument, including discipline, focus, patience, problem-solving, creativity, self-awareness, emotional expression, listening, adaptability, and confidence.

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Guiding students in this process requires attention to their individuality. I believe in transparency while teaching: if students are asked to follow an instruction, they need to understand the reason behind it. I want them to become active participants in the learning process, to ask questions, and to think critically about what we are doing. From my perspective, this approach fosters intrinsic motivation, because students are not simply repeating instructions; they are understanding the process they are part of.

 

Teaching is never a one-way path. We can communicate as clearly as possible and still not obtain results if we are not able, first, to listen to the student in front of us. I believe that an effective learning environment is built through dialogue, mutual respect, and trust. This allows the lesson to become a creative and productive space, while also preventing misunderstandings or unnecessary tension between teacher and student.

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Before being pianists, we are human beings. I believe it is essential for a teacher to remember this constantly. In teaching music, we are not only teaching practical skills, but also attitudes toward discipline, effort, failure, self-respect, and personal growth. It is too common to see musicians push themselves to the extreme limits of their possibilities until they hurt themselves, sometimes in lasting ways. I believe it is a teacher’s responsibility to help prevent this by transmitting a healthy approach to the instrument and to the music world, both physically and psychologically.

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Free improvisation is a fundamental part of my teaching because it allows students to explore sound, creativity, listening, and decision-making without the immediate pressure of playing “correctly.” Through improvisation, students learn to respond to sound in real time, to accept risk, to shape musical ideas, and to develop flexibility. It also helps them understand musical elements such as texture, silence, density, register, rhythm, color, tension, and release from direct experience, not only from theory or repertoire.

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In teaching piano repertoire, I want students to experiment with their inner musicality. I do not believe in imposing a single “right” way of playing. Instead, I begin from the student’s musical ideas, then ask questions and introduce possible alternatives that can help them express those ideas more effectively. One of the main abilities I want them to develop is the ability to listen while they play and to respond to the sounds they create.

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This musical thinking grows through technical work, historical knowledge, improvisation, listening, and exposure to performances. I ask students to listen to music by the composers we are studying, to compare different interpretations, and to experience live performances of many kinds. This helps them develop a broader understanding of music, not only as something connected to the piano, but as a living language that can shape their playing, their imagination, and their relationship with the world.