Musicianship IV: Communication

Writing my artist statement was a really personal and eye-opening experience. For the first time, I had to step back and think about not just what I do as a musician, but why I do it. What drives me, what I value, and how I want to connect with others through music. It wasn’t just about listing accomplishments or roles; it was about finding my voice and putting it into words.

This process helped me realize how important it is to lead with purpose and clarity. As musicians, we spend so much time practicing and performing, but we don’t always take the time to reflect on the deeper meaning behind it all. Writing the statement reminded me that my mission is to use music to uplift others, to lead by example, and to show up with both excellence and compassion. It’s something I’ll carry with me into every performance, every collaboration, and every step of my professional journey.

Creating the concert program Soul and Swing United was one of the most meaningful and educational experiences I’ve had in my development as both a performer and a musical thinker. For the first time, I wasn’t just preparing to play the music—I was curating it. I had to think about how pieces related to each other, what emotional or historical journey the audience would go on, and how the title and theme could tie everything together in a way that made people feel something beyond the notes. It pushed me to ask: What do I want people to remember from this concert? What story am I telling?

The title Soul and Swing United came from my desire to explore the overlap between emotional depth and rhythmic drive in jazz and beyond. It became clear to me how concert programming isn’t just about picking good music—it’s about creating an intentional, unified experience. I learned how pieces could communicate with one another when put in the right order, how contrasting tempos or moods could shape the room’s energy, and how artists use structure to send a message. This project gave me real insight into the motives behind programming choices, whether that’s highlighting underrepresented voices, paying tribute to a genre, or simply creating a flow that resonates.

As someone who wants to lead in both artistic and organizational settings, learning to craft a program like this has made me a stronger communicator, I feel. It taught me that every detail matters when you're shaping how others experience your art—and that’s something I’ll carry forward in every concert, collaboration, and professional setting.

A rehearsal plan for Helios by Steven Schmidt was a powerful step in my development as a leader and musical thinker. It allowed me to move beyond just being a performer and instead take on the perspective of a conductor or ensemble leader. I had to think strategically about how to structure rehearsals in a way that respected the time of the ensemble, honored the complexity of the piece, and allowed for musical growth and cohesion. Planning each exercise, from warm-ups to sectionals to full ensemble run-throughs helped me understand how thoughtful preparation can make a huge difference in the success of a performance.

This process also taught me to focus on musical intention, not just logistics. Helios is a piece full of energy and lots of different colors, and I had to figure out how to help bring that out in other players through both structure and motivation. Creating this plan helped me grow as a communicator and collaborator, thinking about how I’d give direction, encourage feedback, and adapt based on the group’s progress. 

By going through this exercise, I realized that leading rehearsals isn’t just about being in charge it’s about creating an environment where everyone can succeed. I now feel better prepared to take on leadership roles in ensemble settings and will carry this structured and empathetic approach with me in daily ensembles.