Klarinet Archive - Posting 001019.txt from 2000/12

From: rgarrett@-----.edu
Subj: Re: [kl] Performance
Date: Tue, 19 Dec 2000 16:48:19 -0500

At 11:46 AM 12/19/2000 -0800, you wrote:
>When all you have is a hammer, all problems begin to resemble a nail. No
>two people learn in identical
>fashion, and it's the mark of apoor teacher who fails to recognize that
>being able to come at their subject from a varied number of angles and
>perspectives is to their students' broadest possible benefit.

Neil,

I'm not so sure it is the mark of a poor teacher but one who is very
limited in what he can do. There are many, many fine clarinet players out
there - but most of them do not teach well - at least they are not able to
teach anyone but an already developed player. That isn't a crime - but you
are right when you say that they will be unable to help their students in
the broadest possible way. A very good example: David Shifrin taught
students at Michigan - and some of us absolutely thrived under his
guidance. Still, I needed a model rather than a pedagog at that point in
my career, so his teaching worked. On the other hand, there were students
who became wonderful phrasers of music - fantastic interpreters of Mozart
and Stravinsky, yet they couldn't really play the clarinet all that
well. This was a limitation in the teaching - and we are talking one of
the best players in the world who has also held jobs at some of the best
universities in the world!

>Addressing technique by first discussing its musical relevance is but one
>of dozens of useful and valid de-
>vices that even the most junior of instructors packs in his
>toolbox. Depending on the student, all of these tools (not necessarily in
>combination) are capable of effectively guiding that student to
>competently and expressively address the music which motivates them to
>play clarinet in the first place. And for some, starting with the music
>becomes a source of confusion and frustration. It happens often enough to
>justify doing things differently to suit the context.

Absolutely correct! For those who understand the young musician (and it
can be a cultural thing as well), most will recognize that the average
young student doesn't hear everything the seasoned player/teacher
does. Pointing out complex musical issues will get in the way of basic
things like being able to play in the chalumeau register with a beautiful
sound, or going over the break smoothly. Conceptual ideas having to do
with tongue (back and middle) as well as front of tongue for articulation
can be approached in a musical way (and I would assert that they usually
are - because it is for musical reasons that we differentiate between
legato, staccato, and all the shades of grey in between). However, to
approach it in merely a musical way without the technical information is a
mistake in most cases. The truly advanced teacher - the one who has not
only learned to become a great player but a master teacher as well
understands these issues. It doesn't mean he uses technique as a means -
but he can if necessary - to achieve the muscial end.

>This is not to imply a linear relationship between technique and musical
>expression, rather to illustrate that a relationship indisputably
>exists. I don't believe it is quantifiable, but believe that it exists to
>a matter
>of degree for each individual player.

Actually, it is somewhat quantifiable. It is the same issue that we face
when we judge our own students. When a clarinetist, flutist, or any other
instrumentalist or vocalist stands in front of a group of listeners, we
want to hear wonderful tone, intonation, flawless realization of the notes
and articulations and, above all else, sensitivity to the actual
music. Unfortunately, in most cases, the realization of the final goal is
dependent upon the first attributes. In other words, there is no real
music happening without a wonderful sound and in-tune playing. If the
clarinetist cannot play in the altissimo, play even scales and arpeggios or
tonuge correctly than the Rossini Variations will not sound musical. If
the student cannot play with a legato technique and at soft dynamics in all
registers, play effortlessly in the key of B and Gb, than the Debussy
Rhapsody becomes an absurdity for that student.

I can't think of one successful clarinetist - a professional musician - who
did not develop fine and superb technique at a young age. The best
musicians seem to be those who develop physical ability early on. This was
the premise Suzuki based his book and subsequent teaching on, and it is the
premise that most piano and string teachers use when teaching their
students. Occasionally one finds an unusually gifted student who starts
later - or that focuses differently using strictly musical techniques, but
this is not true for the vast majority.

Sincerely,
Roger Garrett

Roger Garrett
Assistant Professor of Clarinet
Director, Symphonic Winds
Advisor, IWU Recording Services
Illinois Wesleyan University
School of Music
Bloomington, IL 61702-2900
Phone: (309) 556-3268
Fax: (309) 556-3121

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