Klarinet Archive - Posting 000205.txt from 2004/04

From: "Benjamin Maas" <benmaas@-----.com>
Subj: RE: [kl] Cincinnati Clarinet Professor
Date: Wed, 14 Apr 2004 15:27:24 -0400


Benjamin Maas
Fifth Circle Audio
Los Angeles, CA
http://www.fifthcircle.com

> -----Original Message-----
> From: Patricia A. Smith [mailto:arlyss1@-----.net]=20
>=20
> Dear Ms. Boyles,
>=20
> If I may intrude here, a bit:
>=20
> Though it sounds as if he has applied to three fine schools, I would=20
> suggest he go with the school where he is MOST comfortable with the=20
> teacher. If he likes Mr. Hawkins, and enjoys studying with=20
> and learning=20
> from him, and they are compatible as student and teacher, I humbly=20
> suggest he go to wherever Mr. Hawkins (Dr. Hawkins? not sure of his=20
> title) is teaching, and study with him! I am speaking from personal=20
> experience - it is of utmost importance to go with the=20
> teacher who suits=20
> one best, regardless of what school they are at. In the end,=20
> it is that=20
> relationship which, IMHO, will serve your nephew's interests best.
>=20
> Best wishes,
> Patricia Smith
>=20

Just to add my $0.02... =20

It isn't necessarily only about a teacher when choosing a college. Of
course the teacher is important and you need one that you feel like you =
will
get enough out of. That being said, there is SO much more to the =
college
experience than just a private teacher. I've taken lessons from both
Richard Hawkins and Richie Hawley and have nothing but the best things =
to
say about both of them. When I was at USC and Yehuda Gilad took a =
semester
sabbatical, they both came in as his replacements for a period of time. =

I also spent 4 years at Eastman and while we had a lot of turmoil while =
I
was there regarding teachers, it was one of the best experiences I could
have had. The school itself is so incredibly open to trying different
things related to the music industry. Actually, not just open, but they
encourage students there to expand their horizons as much as possible. =20

I now earn my living, not as a clarinetist, but as a recording engineer- =
a
job that I totally love (and can make a better living at than as a
performer). This most likely would not have happened had I not spent my
undergraduate time at a school that encouraged me to try these things. =
From
my experiences at other schools (hanging around friends that went to =
them or
going to them), this is far from the case. Many schools have very rigid
separations between departments...

Also, things to look at include "what does the school do to encourage =
the
students in their performance?" Once again using Eastman as an example,
accompanists were provided and recital halls didn't have a rental fee
associated with them. This meant that most students did 3 or 4 recitals
over the course of their 4 years. The rotation policy with the groups =
also
meant that we got the opportunity to play principal in the orchestra at
least once per semester. Because of the lack of pay gigs in Rochester,
students also put orchestras together all the time for concerto
performances. My first junior recital, I did 2 concertos with orchestra =
and
it didn't cost me a cent (besides pizza and beer for the performers
afterwards).

Ok... Enough of a ramble... Just a few thoughts that you may or may =
not
have considered in your search.

--Ben

Benjamin Maas
Freelance Clarinetist and Recording Engineer
Los Angeles, CA
http://www.fifthcircle.com

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