Klarinet Archive - Posting 000138.txt from 1995/07

From: Robert Moody <Musix4me@-----.COM>
Subj: Re: Pedagogy
Date: Tue, 18 Jul 1995 23:54:19 -0400

Mr. Bourque,

It is a pleasure to meet you. I am pursuing a career in performance but not
at your level. I hope to play at a slightly lower level, but still in a
competent group (Kansas City Symphony for example).

I have found that students tend to get the "cough" you spoke of from the lack
of qualities you mentioned also. But I feel that too heavy, or uncontrolled,
of a tongue can also affect that sound. So along with visualization
exercises for proper breathing I include exercises that promote the soft
quality of tonguing. I have them focus on that constant, solid, moving air
stream and then to ever so lightly touch the reed with the tongue so that it
just stops the sound but not the air. I might have them do their scales with
4 quarter notes per pitch. (Move up to eigths and sixteenths etc.) They
should pay particular attention to getting only a pure note when the sound
returns. If their reed is soft this may be easier than expected. If it is
hard...just the opposite. But even on a hard reed this exercise can help
develop the embouchure and breath support.

The key thing in all of my teaching has been that, though there may be/is a
time for explication of certain aspects, visualization and exercises that
find a way to convince the player to fine tune without their knowing can work
wonders. Hence, in the above exercise the only thing that "may" need to be
explained is the importance of good fundamentals. The exercise itself will
develop these which in turn help to alleviate the "cough."

As far as repertoire for freshmen and sophomores...it really depends on their
individual levels. I would recommend though that you stay with good solid
core pieces like Mozart, Weber and Brahms first. If they already know them,
take them to a new level and make them expect this new level of guidance from
you and of preparation from themselves. After they have convinced you that
they are familiar enough with these styles (are we ever completely familiar
with Brahms? ; ) begin to add individual pieces from contemporary
(Stravinsky's Three Pieces [one piece at a time depending on their
competency]), and French repertoire (any Solo de Concours/ Premiere Rhapsody
if competent). Whatever piece you do decide on, be sure to convince the
student that they must prepare to a higher level than they had before, no
matter what level it was. You must convince them that they are NOW going to
become better than they had ever been. Give them confidence that they can do
it and continue to do this throughout the first year. The next year will be
much easier if you promote this the first year. The students will be much
more motivated and you can become more of a manager than a teacher suffering
from stress.

I hope these suggestions helped.

Sincerely,

Robert Moody

(It's late...so I hope everyone can forgive my misspellings and bad grammar
tonight. ; )