I’m a flute teacher in Paddington, Sydney.

Please read below to find out more about me and how I teach.

The Flute Studio

My studio is situated in leafy Paddington, Sydney. It’s easily accessible from anywhere in the Eastern Suburbs, being astride several bus routes and a train line.

To complement my teaching, I use modern tools such as video and digital cameras to illustrate points of technique and posture. I also have setup my studio as a permanent recording space, using AKG microphones and stands and Cubase software and Apple hardware for student recordings. It’s a reasonably mobile solution, so I can record them in concert too. I often make CD recordings of lessons and performances for them and for myself. It’s great to be able to track progress—which is so incremental on a day–to–day level over longer periods.

I have a piano in the studio for rehearsals and a fair library of recordings handy to lend to students—listening to great performances is at the heart of one’s own playing.

My Flute Method

I base my teaching methods primarily on the principles established by Marcel Moyse, but also on the techniques of my later teachers—Trevor Wye, Raymond Guiot and Peter–Lukas Graf.

I find that developing great tone is also tied in significantly with one’s physical self-awareness, flexibility and lung–function. I give my students exercises to increase these areas—something which I find leads to more progress more easily on the flute.

I have also found that much of what is best in terms of technique can be taught through pieces—that a lot of real technique is purely about accuracy, not speed. I tie the technical exigencies of a piece to its character—and try to illustrate how the technical serves the musical needs.

I believe I have a greater appreciation of what’s of critical importance in flute playing because of my own experience of rebuilding my own playing after injury. I think it also makes me more patient and compassionate as a teacher because I know how hard it can be to persist at something as challenging as a musical instrument.


  • 1982-1986  –> Prue Page (Sydney)
  • 1986-1988  –> Margaret Crawford (Victorian College of the Arts, Melbourne)
  • 1986-1990  –> Howard Oberg (Baroque Flute, Sydney Conservatorium of Music)
  • 1988-1990  –> Geoffrey Collins
  • 1990-1991  –> Trevor Wye (Professor Emeritus, Royal Northern College of Music, Manchester, UK, flute school, winter session)
  • 1991-1993  –> Raymond Guiot, (Conservatoire Hector Berlioz, Paris) Solo Flute, Paris Opera
  • 1993-1995  –> Peter-Lukas Graf (Musik- Akademie der Stadt Basel, Switzerland)
  • 1995-1996  –> Robert Winn and Stewart McIlwham (Principal Flute and Piccoloist of the Royal Philharmonic)


  • 1987  –> Associate of Music, Australia (A.Mus.A)
  • 1989  –> Licentiate of Music, Australia (L.Mus.A)
  • 1990  –> Licentiate of Trinity College of Music, London (L.T.C.L)
  • 1997  –> Bachelor of Music of the University of London (B.Mus.Hons)



I feel very lucky to have learnt from all my teachers: it was sometimes a real trip spanning the divide between their playing and teaching styles but I’m the better player and teacher for it.

The players who have been most influential in my playing are James Galway and Emmanuel Pahud. Emmanuel Pahud is an amazing player who always brings great musical intelligence to what he does and yet also sounds instinctive in his playing—a rare combination. James Galway has really been the most influential flute–player of the twentieth century and set the standard for everyone else from the late 1960’s on.

I play a Brannen-Cooper flute which is a masterful instrument (beautifully made with a very fine acoustic). I also have a Powell flute which I love but which is rather long in the tooth and fragile. I bring it out occasionally and it has a lovely, vibrant warm tone which is wonderful to hear and feel.