Thelonious monk, Joe Pass, Peter Bernstein, Bruce Forman

If you study guitar with me, what I offer is a synthesis of deep traditions and personal experience that few others can replicate. I began my musical journey as a fingerstyle guitarist, winning multiple international awards as a teenager, which gave me not only technical control but also a deep understanding of how to make the guitar sound like a full ensemble—melody, harmony, bass, and rhythm intertwined. Later, I immersed myself in jazz and now, as a DMA student at USC Thornton, I’ve been researching the motivic development of Jim Hall and the solo artistry of Joe Pass. This means I don’t just teach improvisation from licks or scales—I teach you how to think like a composer in real time, how to build narratives in your solos, and how to make each phrase feel inevitable. I’ve also performed extensively in vocal-guitar duos, such as "On Green Dolphin Street" in the style of Joe and Ella, and I can guide students who want to accompany singers or themselves with a harmonic richness that never overshadows the voice. Beyond jazz, my career spans classical stages, musical theatre pit orchestras, and international tours with my Irish band, so I’m also able to help students become versatile, adaptable musicians—whether your dream is to perform, arrange, or write for large ensembles. What makes me different is that I teach from lived experience across genres, always with an ear for detail and a heart for expression.

I started playing guitar when I was very young, and from the beginning, I was captivated by the expressive possibilities of the instrument. My earliest training was in fingerstyle guitar, where I spent years refining my technique and developing independence between the fingers. That foundation taught me how to think orchestrally on the instrument—how to shape a melody, imply inner voices, and create full arrangements with just six strings. As a teenager, I began competing and performing internationally, and those experiences deepened my musical discipline and passion. Later, I discovered jazz, and it completely reshaped my relationship with the guitar. The freedom, the harmonic depth, the dialogue between improvisation and form—it felt like a new language. I studied players like Joe Pass and Jim Hall obsessively, learning their phrasing, voicings, and motivic ideas. That led me to pursue formal studies at USC Thornton, where I completed both my Master's and now my Doctorate in Studio Guitar as the sole DMA admit in my cohort. Along the way, I also explored other genres—from Irish traditional music to musical theatre—and each one taught me something new about the guitar as a voice for storytelling. So in a way, I didn’t just learn to play the instrument—I’ve been growing with it my whole life, and I’m still learning every day.

Gibson 175

Passion, concentration, carefulness

I approach teaching children with a lot of patience, creativity, and respect for who they are as individuals. I believe that every child is naturally curious and musical—it’s just about finding the right way to connect with their interests and attention span. I make lessons playful but structured, using stories, games, or imagery to explain musical concepts in ways that feel fun and relatable. If we’re learning rhythm, we might tap along to a favorite cartoon theme; if it’s a new chord, I might describe it like forming a "magic shape" on the guitar. I’m also attentive to how each child learns—some are visual, some need to move, some love to talk through what they're doing—so I adapt my approach to keep them engaged and feeling successful. And above all, I never underestimate them. Kids often surprise you with how musical and expressive they can be when they’re given the space to grow at their own pace. My goal is always to build not just skills, but confidence and a lifelong love for music.

One of my greatest experiences as a musician so far was performing Tick, Tick…Boom! as the guitarist in a 6-week run of 18 shows. Being part of that production brought together so many things I love—live theater, collaboration, and the intense emotional arc of a musical score. I wasn’t just playing notes; I was shaping atmosphere, supporting the drama, and feeling the story unfold every night in real time. It was also a moment where my background in jazz and fingerstyle, and even my sensitivity as a composer, all came into play to serve something bigger than myself. Another experience that meant a lot was performing at Queens College in New York when I was still in my teens. It was one of my first invitations as a solo guitarist, and it gave me a glimpse into the kind of international musical life I wanted to build—one where I could share my voice on a global stage. But honestly, every time I make music that moves people, whether it’s in a concert hall, a tiny club, a musical pit, or even a classroom, it feels like the greatest experience. I don’t think I could ever choose just one.

Saban Theatre

Solo Monk

Family and friends

Jazz, pop, rock, fusion, Irish, Fingerstyle

If you study guitar with me, what I offer is a synthesis of deep traditions and personal experience that few others can replicate. I began my musical journey as a fingerstyle guitarist, winning multiple international awards as a teenager, which gave me not only technical control but also a deep understanding of how to make the guitar sound like a full ensemble—melody, harmony, bass, and rhythm intertwined. Later, I immersed myself in jazz and now, as a DMA student at USC Thornton, I’ve been researching the motivic development of Jim Hall and the solo artistry of Joe Pass. This means I don’t just teach improvisation from licks or scales—I teach you how to think like a composer in real time, how to build narratives in your solos, and how to make each phrase feel inevitable. I’ve also performed extensively in vocal-guitar duos, such as "On Green Dolphin Street" in the style of Joe and Ella, and I can guide students who want to accompany singers or themselves with a harmonic richness that never overshadows the voice. Beyond jazz, my career spans classical stages, musical theatre pit orchestras, and international tours with my Irish band, so I’m also able to help students become versatile, adaptable musicians—whether your dream is to perform, arrange, or write for large ensembles. What makes me different is that I teach from lived experience across genres, always with an ear for detail and a heart for expression.