Tutor de piano para todas las edades y niveles en Sydney. 13 años de experiencia docente. Certificado de trabajo con niños. Intérprete profesional. Diversión educativa. En mi estudio o en tu casa

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• When did you first develop a passion for music and your favourite instrument?

  Although no one in my family was a professional musician, music was always very present at home. My dad listens to folk music all day, and my mum writes songs and sings beautifully. I also remember my grandmother singing and whistling while cooking.
  
  There’s a video of me at two years old where all the other kids are sitting in a circle while I’m trying to strum the entertainer’s guitar. My parents realised my early fascination with music and sent me to piano lessons when I was four years old — and I’ve never stopped playing since.

• Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

  The music I listen to usually reflects my mood and emotional state. I always try to connect with what I’m feeling at each moment through music. Throughout the day, I alternate between moments of sound and moments of silence.
  
  However, there are some artists I can listen to endlessly without ever getting tired of them — such as Richard Bona, Avishai Cohen, Michel Petrucciani, Horacio Salgán, Stefano Bollani, Tom Jobim, Bill Evans, Mercedes Sosa, and Juan Luis Guerra.

• Explain to us the most difficult or 'riveting' lesson you could personally give to one of your students.

  One of the most fascinating and challenging lessons I can give is when a student comes from a classical background and we start exploring the world of improvisation and popular harmony.
  
  These students usually have excellent technical skills on their instrument but have mostly relied on written scores to play. In many cases, their ear is not very developed yet, and although they come eager to discover a new musical language, they often carry frustration from previous failed attempts.
  
  Sometimes teachers let their ego get in the way and overload students with too much theory — scales, harmony, complex concepts — which makes them feel that improvisation is something far beyond their reach.
  
  That’s where I come in with simple, progressive exercises that quickly show them that they can improvise and connect with music in a completely different way.
  
  That moment when they realise they’re doing something they thought was impossible is priceless. You can see it in their eyes — that spark of discovery and joy when they feel “I can do this.”
  
  Of course, it’s a long journey, but the key is to give information gradually, in a way that keeps the student motivated and helps them experience tangible progress while enjoying every step.

• What do you think is the most complicated instrument to master and why?

  In my opinion, the bandoneon is one of the most difficult instruments to play. Like the accordion, it has a bellows system that produces sound when opening and closing.
  
  But unlike the piano, where notes are arranged logically, the bandoneon’s buttons are distributed without any visible pattern. To make things even harder, each button sounds differently depending on whether you’re opening or closing the instrument.
  
  Disordered notes on both hands, that also change depending on the movement, make the bandoneon an incredibly challenging instrument to master.

• What are your keys to success?

  Enjoying the process of teaching and learning — without constantly measuring results — keeps me motivated every day. I believe this mindset applies not only to music but to every aspect of life.

• Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

  One of the musicians I’d love to meet is Jacob Collier, because I see him as a young prodigy who is revolutionising modern music. At only 25, he already has five Grammy Awards and an incredibly rich and diverse musical world. I’d love to meet the person behind the genius — to know how he thinks, feels, what his fears and curiosities are.
  
  Another musician I’d love to meet is Richard Bona, one of my favourite artists. He transmits such joy and energy through his art. I’d love to improvise with him — to have a conversation, part in words and part in music.
  
  The third one would be Martha Argerich, undoubtedly the greatest classical pianist in my country’s history. A woman who reached the top and is known for her strong temperament and fascinating story. I’ve heard so many anecdotes about her and would love to meet her in person.

• Provide a valuable anecdote related to your musical journey, or your days at 'music school'.

  I can’t think of one specific anecdote, but I clearly remember my first two years studying Tango and Folk Music at the Conservatory. Almost all our classes were in groups — ensembles, instrument, harmony, transcription, and many others. We had around twelve subjects each year and spent countless hours together with our classmates.
  
  We learned a lot from our teachers, but even more from each other. A strong sense of community formed among us — we would all go to watch our friends’ concerts, cheer them on, and share every experience together.
  
  We spent the whole day making music, and afterwards we’d go to a nearby bar, have a drink, and keep playing and singing late into the night. The music and the connection between us never stopped.

• What are the little touches that make you a Superprof in music?

  I believe one of the most important aspects of teaching is listening to the student — not only to their words but also with empathy. Being able to perceive when they’re motivated, frustrated, bored, or going through something personal allows me to adapt my teaching.
  
  That means explaining things differently, offering alternatives, being patient, and making learning fun — so that the student feels free to learn without pressure or rush.
  
  When a teacher can create this kind of environment, students are much more likely to truly express themselves through music and enjoy every sound. That’s what makes the difference between simply playing an instrument and becoming an artist.
  
  My personal touch as a piano and music teacher is to help every student find their own tools to express themselves and make art, even at the very beginning, before they have full technical control of the instrument.