Highly experienced Flautist, music theory and woodwind teacher for over 20 years, 100% of my students have passed their performance and theory exams with me.

Find out more about Fiona

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

  As a child, I remember my father playing a record of James Galway. I was really taken by his playing. I used to beg to go to concerts with my father initially, just so I could stay up late and have some time alone with my father, but that quickly changed to become my passion. A few months later, after begging to learn the flute, my father hired me one (thinking it was just a fad). On receiving it, I immediately tried to play it, and quickly taught myself Annie's Song within days of receiving the flute. Mimicking what I had heard James Galway play on the recording.

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

  There are certain pieces and composers I seem never to tire of when I hear them. I'm very much fascinated by neoclassical composers such as Max Richter, Olafur Arnalds, and film composers, though I feel it's a pity none of them particularly write for the flute.

• Explain to us the most difficult or riveting course you could personally give to a student of music.

  I am always intrigued by a student who is particularly struggling in an area of their playing and enjoys the challenge to show them how it's fixed. Everyone learns better in different ways, and it's the teacher's responsibility to work out what methods work best and how they can best demonstrate and explain those issues. Of course, encouragement goes a long way. I have discovered over the years that my own experiences as a student, both positive and negative, have very much shaped how I have ended up in teaching. Often believing I wasn't a very good student for many years, I later discovered that with the right attitude, encouragement, patience and understanding of how a student best learns alongside what are theyre weaknesses are goes a long way.

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

  I think this isn't the easiest question to answer, as I haven't tried to learn all the instruments. I do, however, believe there is the right instrument for everyone; it's just unfortunate that not everyone gets to find out what that is. I was lucky I found the flute resonated with me at a young age. I don't find the same infinity with the Clarinet, for example. I wish I could play the piano better, and despite a number of years of lessons, and that I found it cathartic to play, it didn't speak to me in the same way as the flute.

• What are your keys to success?

  Learn as much as you can about how your student best learns. Don't avoid weaker areas, of course, balance them with praise of good areas, but ensure you break down the weaker areas into bite-sized chunks so it's less scary, and keep coming to the issue from different angles, to find your road in.
  Play for your student, and find out what styles of music really switch them on. They're much more likely to practice if they enjoy the piece. Encourage Encourage Encourage

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

  Well, first of all, early in the morning is not my ideal time of day! However, who I would like to meet for a drink and discussion are people very much alive and active in writing music today. I'd like to meet and discuss with them in the hope that perhaps I could persuade them to write for the flute in their music. These people would be Philip Glass, Max Richter and Olafur Arnalds.

• Provide a valuable anecdote related to music or your days at music school.

  I had a very mixed experience as a music school student. And these experiences have very much shaped how and why I became a music teacher. I studied in Holland for a year and had a very negative experience, so much so that I almost gave up the idea of a career in music. The following year, I went to study in Sweden and couldn't have had a more positive experience. I learnt more in that year than I did in the entirety of my flute studies. I was encouraged, and I was made to feel valued. I was encouraged to see what others had seen as negatives now as positives. My uniqueness was good, not bad. Looking back, I see now I needed both of those experiences to truly appreciate the positive one fully.

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

  I spend the first lesson with the student trying to find out as much as I can about them, what they feel they are struggling with. What do they enjoy in their flute playing? What are their goals? Listen to them play and point out what their strengths are first. Then suggest which areas you feel we should work on to help them improve. Always ensure they enjoy the music they're playing. If they don't know, present as many possibilities to them to help them discover.