1- How did the MPAP faculty contribute to your growth as a musician?

The MPAP faculty at NYU are incredibly diverse in their expertise, and it was so valuable to have access to world-class performers and teachers in their respective art-forms. 

My primary teacher, Eriko Daimo, was (and is) my inspiration for performance and making music, and helped me fuel and achieve my passion projects.

Meanwhile, I also had a dream to work in musical theatre. I have Sean Statser, percussion faculty and assistant head of the percussion department, to thank for giving me the opportunity to sub for him for his chair Off-Broadway at The Players Theatre. Since then, I have continued to play there for many shows leading up to my current tour. Jonathan Haas, head of the percussion department, was another great supporter of my career at NYU, giving me the opportunity to play a concerto with the NYU Orchestra and offering his advice and guidance post-graduation. All of these experiences have shaped me into the musician I am today.

2- Share three key skills you learned in your program that help you today?

The first major skill I learned in my program was fluency in electronic/MIDI instruments and software. Particularly my first year of NYU, which was the first semester entirely conducted in the pandemic, the percussion studio worked around the difficulties of making music together over the internet by doing ensemble pieces in an online Digital Audio Workstation. This required us to either record acoustic instruments into the DAW or record using a MIDI instrument. I happened to own a MIDI controller mallet instrument that I hadn’t quite learned how to use yet. This skill came in handy when I got my first major call to sub for The Rockettes Christmas Spectacular at Radio City Music Hall, in which the mallet percussion book is 95% on a MIDI-controller mallet instrument. I felt prepared because of the experience I had gained at NYU.

Another skill I learned was how to “lead” an ensemble when colleagues are listening to you for time. Because of the concerto opportunity I had at NYU, in which the conductor and ensemble would be listening me for the time, I gained a skill that I’m using today on tour with The Sound of Music. My role here as the percussionist comes with the responsibility in some particular moments of being a unit the conductor and a resource for the other musicians in the orchestra to rely on me for maintain a steady tempo, especially during our party scene where there are many dancers on stage who are also relying on a consistent tempo night to night.

Another very important skill I learned was to be a good “follower”, which I believe is the prerequisite skill to gain before being able to lead an ensemble. In Percussion Chamber Music Ensemble with Professor Josh Quillen, we would play very rhythmically driven pieces. However, most percussion instruments aren’t particularly forgiving when it comes to playing perfectly together. We would take turns giving cues for certain moments in the piece such has rehearsal numbers or entrances. We would learn how to follow each other in all sorts of chamber ensemble scenarios, and thus eventually understanding what is required to follow someone else would inform you when it’s your turn to lead.

3- Were/Are there any specific projects or performances you participated in that you are particularly proud of?

The performance/project I was very proud of is my 1st Masters recital. In our program, it is only required to do one recital, however it was recommended by my primary teacher to give an extra non-required recital in my first year - and I knew right away that I really wanted to do it. It was a particularly tough year for a recital because at the time in-person recitals were not possible. I have never done a self-recording to this extent before with multiple camera angles entirely self-edited, and with professional microphones all thanks to the percussion faculty that helped me book the Dolan Recording Studio at NYU Steinhardt. 

4-What have you been working on since graduating?

Since graduating I’ve been working on some solo passion projects, which include publishing my own arrangements and adaptations of my favorite piano pieces for solo marimba on my website. I’m most excited about a potential opportunity to present a solo marimba/percussion recital at an Off-Broadway venue, which has been delayed since going on tour but it is still one of the things I’m most excited for when I return to the U.S.

6- What advice would you give to incoming students?

The best advice can give to incoming students is to pursue what you truly love, and take advantage of every playing opportunity and ensemble that you are given at NYU (and trust me, they give you plenty!). Even in the times where you get very busy, find time to spend with the music you really love - the payoff is worth it.