My private lesson instructor, (School of Music Brass Division Chair) Christopher Hayes, has taught me since my junior year of high school. I've been his student for six years. He always pushes me, never lets me stop. He is always looking for ways for me to grow. He never gives up on me, is always finding ways to make me better at what I'm doing.

But I must also acknowledge my dad. He is the director of bands at OU, and my mom was high school band director but recently took a new job as assistant principal at Meigs. I couldn't have gone into music without ... seeing what they have accomplished. My dad is an incredible conductor and musician. He inspires you to be better at what you're doing. It inspired me to be in music education and maybe one day do what he is doing. My mom has dealt in public schools to keep arts running in schools, making sure these programs don't die out. It's important. But one person can't do it all. One program will at least help. It's the little things I can do to change people's lives; wherever I end up I will work at getting the community involved. Without community support, it runs dry.

 
Growing up in a musical family, explain how you came to play the trombone.

In fifth grade, I was bound and determined not to play trombone. I really wanted to play brass. I went to the fitting for band students, and the trombone just fit. "Oh, no," I thought, but I decided to go with it because I sound the best on it. My dad played trombone, but it was a personal drive for me. My parents really didn't push me. I didn't get serious until my junior year of high school and decided on it for college.

I love it because there are no valves -- you use slides to play it -- and it is different from anyone else's choice of instrument. For the music ed degree you have to learn to play every instrument. So I learned what I would have been good at: saxophone, flute and bassoon. My favorite to learn was viola. My sister plays French horn, but for me, the mouthpiece is so small. But every other instrument was hard to learn because you have to use two hands at the same time.

How does it feel to perform?

There is a freedom when you perform by yourself. You can slow it down, take your time and improvise if you don’t know your part. When I play with others, we have to match one another. Some people you play well with, but (with) others, you just can't agree. I have to be spot on. I really enjoy ensembles the most, because we are all working together to perform a piece as a unit.

 
I try not to think about who is in the audience, but think about what I'm doing. If my mind floats, then my performance lacks. I want to focus on what I want the audience to get from my interpretation, focus on what I'm trying to communicate. Music is a form of communication and expression. 

What type of music do you like to play best?

Right now, I'm in a trombone quartet and a brass quartet. I've been in jazz bands. If I could do that for rest of my life, I would. I love playing slow lyrical pieces because it is where I can be the most expressive. I played one piece really well, (and it was) the one thing everyone remembered at one of my performances. It's called "Sonatine" by Casterede. My dad played it when he was in college, and I listened to it, comparing the two. His technical playing far exceeds mine (laughs).

What was it like to play at Carnegie Hall?

I played in May of 2006. It was phenomenal. H. Robert Reynolds, a distinguished band conductor who retired (from the University of Michigan), conducted the ensemble. I played with college students from around the country. We rehearsed in New York City and got to see the Philharmonic. When I walked into Carnegie Hall, I thought, "Oh my gosh, look at where I am!"

I won't forget it, just sitting there playing music. It was incredible. Carnegie was an individual experience because everyone was from other places. We only played together three days to learn the music. I had never met the other trombonists in my section. We had to learn to adjust to one another as quickly as possible, and while we did a good job, each of us was used to being the principal player at our universities, so each of us had a strong opinion about intonation, style, balance, etc.

And the Kennedy Center (in Washington, D.C.)?

The wind ensemble worked on the music for the Kennedy Center concert for many weeks, including numerous sectional rehearsals. ... It is a completely different experience playing with those whom you have played with for several quarters. You are able to adjust to one another's intonation, style, balance, etc. This in turn makes you much more comfortable with your individual playing. ... The performance at Kennedy Center was more special because I have known the students in the group for much longer and we are able to connect on a very deep musical level.

Also, with my dad being the ensemble conductor, I felt even more connected to the music. The Kennedy Center performance was much more of a group opportunity rather than an individual one. Since we were representing Ohio University, I wanted to make music with my colleagues that would best represent our school and how talented our music school is.

When the wind ensemble played the first five notes of our opening selection during dress rehearsal, the sound rang amazingly, leaving us with a feeling of exuberance. Kennedy Center's hall is acoustically amazing, and that difference alone made playing there a wonderful musical experience.

How do you see yourself?

I see myself as someone who would do anything to help others. I work with the Student Advisory Council at the School of Music. I'll always be there for the students I teach.