"The student/teacher relationship is paramount in any instrumental education, and my time spent with Pam was the best thing I ever could have hoped for my playing. I started studying with Pam in 1989 when I was in the 7th grade. I was passionate from the get go to Greg Petillocompete and perform, and Pam was able to deliver the wisdom, direction, foundation and love that I needed to be successful. We worked together until my high school graduation in 1995 and it was an incredibly amazing relationship. As a student in her studio I was able to gain the experience needed to compete nationally, and ultimately win a prestigious spot as a student at the Cleveland Institute of Music. Our time together also fostered in me a respect and love for music, hard work, and the joy of performance that still drives me today."
Greg Pattillo, Beatbox Flutist, Project Trio

" I am indebted to Pam Pressley for providing me with an inspired beginning to my flute training. I first heard Pam play the flute when I Laurel Maurerwas very young- around 7 Years old. What I heard as a child was so beautiful and meaningful that I announced soon after that I wanted to play the flute. And how fortunate to have Pam as my first teacher. The inspiration and love of the flute that was nurtured by Pam is a gift that has always stayed with me. Her beautiful sound is still in my ear and her encouragement, patience and fine example helped shape me into the flutist that I am today".
Laurel Ann Maurer, Recording artist, Suzuki Teacher Trainer

"I wholeheartedly recommend Pam Pressley as a music teacher or coach. I studied with her for nearly seven years. She helped me work through poor technique issues from bad earlier flute training. She came alive as a teacher when I had an opportunity to play the Mozart Flute Concerto with the Rain City Symphony. She approached performance in a very dynamic manner, and allowed the experience to be one of pure joy and excitement. She used techniques to get me started focusing before playing, that diverted too much attention on nervousness. And she walked me through issues such as working with the conductor, and how to perform as a soloist, in a way that is different than performing as a member of an ensemble. I have also worked with her as a chamber coach, where she was able to coalesce our sound and ensemble into more than the combination of instruments, but a team that plays together to a joyful single-focused end."
Madeline Beery, Flutist


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