 The Clarinet BBoard
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Author: steph
Date: 2002-05-07 04:47
Any clarinet private teachers out there? I'm going to be teaching privately pretty soon and need some advice about getting started. Please help....What method books do you recommend for beginners, 7th/8th and high school students? By the way, I will be working in Texas. Thanks for any advice that you can give me. It would be greatly appreciated.
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Author: Corinne
Date: 2002-05-07 10:47
Steph: I live in Canada and I follow the syllabus for the Royal Conservatory of Music, which incidentally, has branches in the U.S. It lists the requirements for all grades from grade 1 through to ARCT. Each grade lists the technical, study and solo requirements. The Galper Books "Beginner", "Book 1 and Book 2" are very good, and the Hite Book 1 and 2 for grades 4, 6, the James Rae "Odd Rhythms", and onward, etc. Pupils in grades 7 and 8 enjoy the books on jazz, blues with CDs, like the Hal Leonard, Schott educational publication, etc. There is a good article by Roger Garrett entitled "A Common Sense, Practical Timeline for Teaching First Year Clarinetists" to be found in orc.sneezy.org//articles/garrett4.htm.
Good luck, and if you love the clarinet as I do, you will enjoy teaching.
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Author: Paul
Date: 2002-05-07 15:39
I gave up the clarinet many years ago because I never felt I was playing music because of my horrible Jr. High tone from my plastic clarinet. I'm 41 years old now and returned to playing. But what got me so hooked on playing now is that my teacher on my first lesson heard me play and then went into a room and came out with a few boxes full of m/p, barrels, and ligs. We mixed and matched and then he helped me with my breathing. After about one hour I was sounding like a semi-pro player. I almost had tears in my eyes. The big surprise was not only finding the right m/p, but was discovering a wood Buffet barrel that we put on my new plastic clarinet. That barrel changed the whole sound of that cheap plastic clarinet. Next, he sent me down to his repair guy who made minor adjustments on the clarinet. This also improved my tone and cut down on my practising time because I was not struggling with the instrument. All this may be common knowledge to you. But I post this because I had a few different teachers and only the one took the time to work on my hardware and not just send me to the local music store to buy a Vandoroun m/p. Good luck on your teaching and I hope this helps! Paul Croshaw
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Author: Wes
Date: 2002-05-07 17:32
Good advice, Paul!
In today's world of eager lawyers, I would not be teaching in a room alone with a minor student. Although I don't teach now, I would either require that the parent be present or that the lesson be in some kind of studio with monitoring of activities. Perhaps a slow speed video camera with a recorder could be used to record and document the lesson activities. Good luck!!
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Author: catina
Date: 2002-05-08 00:46
I have about 16 private students, and I teach most of them in their homes. If I'm not in a "public room" like the living room, I ALWAYS leave the door open. The parents are always home. I have never had any problems such as Wes was implying.
Bill your students in advance. This will discourage them from "last minute" cancellations like family vacations or dance recitals. It's incredible how many parents assume that you know their child's entire schedule by telepathy.
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Author: diz
Date: 2002-05-08 01:06
Interestingly when I was a student - I had to pay for my lessons up front - 10 per term (or whatever).
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Author: Jim E.
Date: 2002-05-08 03:22
My son's teacher will only give lessons (at his home) when his wife can be there, and the studio door is always open.
I teach Sunday School, we try to schedule 2 adults per class, and leave doors open when we can't. The video idea seems like a possible alternative.
I hate this atmosphere, but those who work with children do need to protect themselves.
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Author: Allen Cole
Date: 2002-05-08 04:29
I don't think that you can avoid being alone in a room with a private student. I think it helps to let it be known that parents are welcome, but sometimes the students themselves don't want them present. Open doors are not an option in most circumstances, and to limit yourself to those circumstances would make it very difficult to teach full time.
I think that music stores would do themselves a tremendous service by installing studio doors with windows.
General items of advice:
1 - Don't lowball your price too much. Radical increases are very difficult unless you are part of an institution, and could cause you a lot of turnover as you rise to target price. This can break you if you're full-time. When calculating your price be aware that even the most active students rarely take more than 40 lessons in the course of one year.
2 - Charge up front by the semester if you possibly can. This provides a very good filter of customer seriousness, and allows you to spend the rest of the school year playing the good guy. There's nothing nastier for customer relations than trying to collect delinquent money. I find that it also helps to designate an extra 'makeup/bonus day' for students, and to designate several 'snow days' so that performances, inclement weather and family emergencies don't bankrupt you with tuition refunds.
3 - In the first two years of instruction, I would use the students' band book as the method and suppliment this with easy duets and books like Tunes for Clarinet Technic when they are able to use them. Many of these band books have play-along CDs available, and this is a tremendous asset.
4 - It helps tremendously to learn rhythm independent of their instrument. I use the Master Theory Workbook with great success. Once the students master writing and counting rhythms in this book, I can have them mark and count the rhythms in their band books and check themselves against the play-along CD.
5 - Be strict with your curriculum where necessary, but look for fun applications for the skills learned. You need to use those Rubank books at some point, but you don't have to get through every blessed exercise. I find that Tunes for Clarinet Technic makes an excellent etude and sight-reading book, and that Learn to Play Clarinet Duets (Eisenhauer) provides a good quality experience. I wish that there were more duet books with tutti rhythm and good familiar tunes. I have written quite a few simple duets for young student use, and maintain transpositions for several instruments.
6 - Your customers are your lifeblood. Be good to them and be honest with them at all times. You don't have to brown nose them, but don't be unfair to them or take them for granted.
Good luck. Teaching woodwinds is the best thing that ever happened to me. The students get better every year.
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Author: Katfish
Date: 2002-05-08 23:30
I'm not sure there is a good beginning book. I haven't found it yet. I usually use Breeze Easy 1 then go to the middle of Rubank Elementary. I add Kuffner 50 progressive duets about the time I start in the middle of the Rubank.
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Author: Julie
Date: 2002-05-09 03:21
hmm... i skipped the rubank elementary altogether... probably because at that point i was using my "band" book
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Author: Allen Cole
Date: 2002-05-09 04:46
I have taught from Standard of Excellence, Accent on Achievement and Essential Elements 2000. I like Standard of Excellence the most, although Accent's third-year book is terrific.
Rubank Elementary is a book that looks good to an accomplished player, but it is pretty dry and tedious for a kid. I think that the kids do better with briefer, more essential exercises and time spent on counting, playing duets, playing by ear, etc. Rubank Intermediate, on the other hand, I really love.
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Author: Karen
Date: 2002-05-09 23:48
I know how difficult it can be to find good method books for younger students. I have taught beginners in public schools for several years, and try to avoid band methods in private lessons. They are not specific to the needs of young clarinet players.
I came upon "Studies and Melodius Etudes for Clarinet" a few years ago, and love it. It comes in beginner, intermediate, and Advanced intermediate levels. I really like that they teach alternate fingerings, sliding, practicing right hand down, etc. These books are published by Warner Bros. and are inexpensive (5.95). I often use the book primarily for young students, and then as supplimental material to other books later. Also, if you ever end up teaching young saxophone players or have clarinet students who want to double, the sax books are good also.
Good luck!
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Author: Katfish
Date: 2002-05-10 00:12
I think Allen is correct in saying the Rubank is boring and dry for young students. That is why I think it is important to start with a more tuneful and less comprehensive first book. Band method books have at least 3 basic weaknesses. 1. Because they are designed so all instruments can play together certain compromises are made regarding key, range, etc.. 2.Modern method books attempt to conform to a set of arbitrary ( IHO ) national standards. As a result much extraneous glop is included. (e.g. Kum By Ya and a few ersatz Chinese and Native American songs to placate the multi-cultural standard) 3.They tend not to reinforce newly introduced concepts with enough drill. Standard of Excellence and Essential Elements are some of the best of the lot. ( I'm not familiar with Accent on Achievement) I think Allen would agree that if you use them, it would be helpful to supplement with other material. One non Band method not mentioned with much good material is the Student Instrumentalist Series (edited by Fred Weber and Robert Lowrey and published by Belwin, I believe)It comes in 2 volumes plus 2 supplementary books and 2 duet books. It is more tuneful than Rubank, but book 1 is rather long for young players.
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Author: diz
Date: 2002-05-10 02:04
Are you inferring that "ethnic" tunes are not choosen with careful attention to technique - oh my gosh!! LOL - I also chuckled at your use of the (underutilised) "glop". I'll make sure it throw it into my conversation today a couple of times.
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Author: Katfish
Date: 2002-05-10 21:22
Don't worry diz, many of the books have Waltzing Matilda in them. By the way, Why isn't it in 3/4 time?
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Author: GBK
Date: 2002-05-10 21:44
Hey diz (you old swagman) ...
Am I correct that "Waltzing" as in "Waltzing Matilda" has nothing to do with the 3/4 waltz, but rather it come from the German term "auf der walz" which meant to travel while learning a trade? ...GBK
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