My goal as an artist and an educator is to cultivate in people a passion for music and piano. My teaching philosophy centers on self-fulfillment, discipline, effective practice, adaptability, diversity, and empathy. Every student can play the piano if they have these foundations in place. There is no impediment in music-making when we learn to cultivate these skills. I want my students to find personal fulfillment in music. My responsibility is to equip them with the musical tools for self-expression and prepare them for whatever professional career they choose, from solo and/or collaborative performance to pedagogy. Repertoire is an important centerpiece. Any piece of repertoire provides some musical and technical challenges for a student and there is always something to learn. The appropriate choice of repertoire can also motivate and stimulate the student. Much of Western classical music is centered around the canon, which shapes the concerts we attend and the music that students learn. However, there is a wealth of music outside of the standard canon. This includes musical contributions from Latinx, Black, Indigenous, and women composers. Students should be exposed to this variety of music for many reasons. First, all music contains pedagogical potential for the student and there is no reason to believe that music from underrepresented groups has no value for teaching and performing. Second, there exist musical challenges that are not always found in the standard repertoire. I have experience performing and teaching art music from Latin America, and I incorporate this music into my students’ repertoire based on their personal preferences and musical/technical needs. This not only enhances their musical education but also fosters a sense of inclusivity and cultural sensitivity. However, I don't force my students to play specific pieces for the sake of diversity; instead, I empower them to choose music that resonates with their interests and our educational goals, moving beyond tokenization to create a genuine connection with their experiences. When it comes to the role faculty plays in student success, I believe in the importance of empathy as an indispensable tool. Every student faces their own unique challenges at different stages of development. I approach each student with care and meet them where they are in their musical journey. Music isn't just about technical skills with fingers, wrists, arms, and the body; it's a way of expressing emotions. In my teaching, I stress the significance of building strong relationships with my students. By actively listening to their concerns, understanding their backgrounds, and valuing their perspectives, I create a safe and welcoming space where they can freely express themselves. I believe that I can make a significant impact by showing that I genuinely care. Some students, particularly those who may often feel excluded, might struggle with feelings of isolation or inadequacy. As a teacher who provides one-on-one lessons, it's vital for me to keep a close watch on my students' overall well-being. I ask about their home life and how they are balancing their workloads, for example. This attentiveness helps me notice even subtle changes that could affect a student's learning. When the most vulnerable among us thrive, it benefits everyone. Being born into a mixed-race family in Brazil, and then immigrating alone to the US in 2017 at 24 years old, I understand the needs and the responsibilities required to ensure that I am prepared to work with people from cultures and backgrounds that are different from mine. This firsthand experience has shaped my teaching philosophy and reinforced my commitment to creating an inclusive and equitable learning environment. I have worked at different institutions where the faculty, staff, and students came from various cultural, educational, and socioeconomic backgrounds, sexual orientations, and age groups. I believe the two strongest skills I possess are empathy and flexibility. Empathy allows us to understand the people around us and respond effectively to ensure a healthy work environment. Flexibility allows us to be adaptable to the needs of our colleagues and students whose needs will always vary. Informed and deliberate practice is one of the most important aspects of the pianist’s education. Therefore, students should be taught how to practice. It is not enough that the teacher only points out technical issues or musical problems that need to be fixed, but also how to address them. I believe the students can only find their musical voice through self-exploration when practicing, and that means understanding what practice is and how it should function. I do not merely want students to imitate my playing, but to discover the art in themselves. Students must understand how to organize themselves and determine what is important at that moment, so they avoid wasting time, often in mindless repetition. One emphasis of my teaching philosophy is on preparing students to teach in and administrate their own piano studios I believe that the mentoring process begins within the applied lessons, as this is where students refine their musical, technical, and listening skills. During these lessons, I actively engage students in discussing their technical and musical challenges and encourage them to propose their own solutions, fostering their development as future studio teachers. If a student already has a private studio, I offer the opportunity to have one or two of their lessons observed by me so I can provide some insights. I also encourage my students to apply for the MTNA certification process while continuing their studies. The process guides students through five professional standards in preparing a studio, teaching practices, business management, professional partnerships, and growth evaluation. Another benefit is the creation of a teacher profile, which is searchable, making it easier to find potential students. By joining local and national MTNA chapters, students can find teachers in their area, learn how to manage their own studios effectively, and get recommendations. I also suggest that my students take on some type of accompanying role. This could be serving as an accompanist for a studio or a church position, depending on their preference. Sight reading is an important skill that teachers will use often in lessons, especially when students bring music unknown to the teacher. Because these jobs require learning music in a short time and under pressure, it helps develop skills in making quick musical decisions and finding the best methods of practicing. I strongly recommend that my piano performance majors also take piano pedagogy classes. Learning to build a studio is a great way for them to develop a sustainable income on the way to developing their performance careers. Furthermore, teaching music enhances one’s ability to learn their own music, which should provide more incentive for performance majors to create a studio. My role is to always be a guide for my students and help enkindle their innate potential. Quoting Stanislavski, I like to teach my students to “love the art in themselves, and not themselves in art.” Each lesson should and will always be thoughtful, engaging, and encouraging. No matter how my students develop, I will support them and provide them with the path toward success. In the end, we are here to serve the music, and through dedication, respect for the process, and practice this is achievable.