I started playing the cello in 2003 when my parents told me I needed to play an instrument for one year. I liked stringed instruments, so I met with the school orchestra teacher and he brought me a violin, a viola, and a cello. I tried them all. When I was done, he gave me a slip of paper with the word “cello” on it and told me to take it to the local music store.

I’ve been playing ever since.

All of my lessons have been valuable, but a master class with Andreas Diaz is one of my most memorable. He helped me with things I’m still processing: bowing techniques, sitting, and how to play with less tension. It might not sound so important if you’re playing a sonata or other short pieces, but when you start playing concertos and other long compositions, it all makes sense!

As a serious musician, I really don’t fit into any one group in school. Everyone likes me, so I guess I’m in my own group. However, my friends don’t understand why I get up everyday at 6:30 am to practice scales, etudes, arpeggios, and bowing exercises.

Some of my peers respect me, and are amazed that I’ve only been playing two and a half years. I’m the youngest cellist in the Youth Symphony Orchestra (YSO) made up of high-school students from all over South Dakota. And the others? Well, they don’t matter to me!

In school orchestra, I sit first chair. As the principal cellist, I help with tuning, bowing, and fingerings, and I feel appreciated. I occasionally play for our church orchestra. Our director has to be very creative because it consists of seven cellos, two violins, one clarinet, and a piano, as well as a variety of other instruments on a random basis! My favorite is playing in a quartet, Quattro Musicisti, formed by the Dakota Academy of Performing Arts.

I think it would help developing players if teachers and programs seated all musicians by ability, not seniority (nurture, not neuter). I believe school conductors should expect more out of their musicians and encourage them to learn their music, scales, etudes, and arpeggios. They should also make up practice logs for each section and make a contest out of it. Whoever does the most work each month wins a movie pass or something!

My most memorable playing experience was playing solos at the South Dakota Symphony Orchestra’s “Subscriber Extravaganza,” held at the Washington Pavilion’s Great Hall. It’s where our symphony and other great musicians, like Yo-Yo Ma, the St. Lawrence String Quartet, Mark O’Connor, Jan Vogler, and now, me, perform. I have a long way to go before I’m as good as they are, though.

The most important thing I’ve learned from my experience as a musician is that playing is not easy, and when it gets hard you need to stay in the game if you sincerely want to be good. Scales, arpeggios, etudes, and bowing exercises are important parts of a daily practice schedule.

If your teacher has not instructed you to do these studies, you should take responsibility and do them on your own.

Anything is obtainable if you’re willing to make the sacrifices!

I feel a sense of accomplishment when I learn new pieces and have the opportunity to play before an audience, gain respect, and as a musician hear the applause that, for a moment, connects us all together.

When I play a suite by Bach, a sonata, or music by other composers with our quartet, I become emotionally connected; I feel the music inside of me. I love when the performance is done and the audience applause comes with a thank you, not out of pity.

My career goal is to become a professional cellist, playing both as a soloist and in a small string ensemble (and also maybe becoming a writer?).

My teachers, Dr. Karren Melik-Stepanov and Maxim Kozlov, principal cellist of the South Dakota Symphony, have instilled in me that discipline, although tiring, paves the narrow road to success.

Overall, it has brought my family closer together and inspired my uncle, who is an excellent violinist, to resume playing again after a hiatus of 18 years. He’s even considering starting lessons again!