 The Clarinet BBoard
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Author: alpeterson
Date: 2005-12-26 15:33
I have enjoyed my association (very amateur) with the clarinet since 1951.
In trying to think of some ways that the clarinet might be introduced to youngsters, I am thinking especially of-but not limiting to- youngsters that might not have the means to have private lessons, youngsters who are not in the local jr HS or HS Band, youngsters who would just like to see what it is like, etc.
I am not a music teacher nor a clarinet teacher and make no claims to be. I am not looking at this as something the youngsters would have to pay for.
My thoughts,at present, are focused on the idea of a " Clarinet Club ". I am envisioning something like a once a week "Club Meeting" for any and all who are interested in the clarinet. There would be an informal, relaxed Club atmosphere where learning might be fostered in exchanges among members and individual exploration with guidance. I think that guest visits could be arranged by the local band director, music educators, repair techs, members of the high school band clarinet section etc.
Do any of you have experience with an organization along these lines and would you share your experiences with me?
I would appreciate any comments, advise, direction, that any of the readers would care to give.
Thanks
ap
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Author: tictactux ★2017
Date: 2005-12-26 16:11
A friend of mine pointed me there: http://www.sherwoodband.ca/
Unfortunately it's not quite within happy hour travel distance. ![[frown]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie2.gif)
--
Ben
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Author: Brenda
Date: 2005-12-26 16:26
A clarinet club is an interesting option. What I've done for many years is to conduct weekly clarinet sectionals with the students in the middle school band, usually conducted at lunch time. I have a day job, otherwise I'd try to be in 5 different schools each week.
During clarinet sectionals we work on either the band music or the music assigned for their test in music class. They find 6/8 timing confusing, they need to know alternate fingerings, some didn't know about the rule for accidentals, watch for the key signature, know their order of sharps and flats, they didn't know how to play the scales by ear, and so forth.
I find that at this level there are lots of gaps in their knowledge, and the band instructor just doesn't have the time to provide individual help given the volume of students and the reduced class/band time given him each week. The director's been grateful for the help since he's seen a big difference in the clarinet section's confidence in band. I try to approach coaching from the basis that I've been exactly where they are, and that no question is a stupid one. Often the students will help each other with fingerings, etc, which I encourage.
This has grown into group lessons now, and hopefully in the future I'll be able to work with more students. It's been a very satisfying experience, a lot of fun, and the students seem to be grateful to have someone on their side who doesn't growl at them. To see the sparkle in their eyes when they accomplish something new or pass a test with a 99% is just great.
I'm planning a small group recital for those who are just beginners, to allow them a first chance to play in public and get experience in playing in front of strangers. Those taking examinations later in the year will benefit from this as well since they can try out their accompanied pieces and see what areas they can improve in. It's more for the fun of it, so that there'll be as little pressure as possible - unlike the examination itself.
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Author: Bob Phillips
Date: 2005-12-26 16:32
Brenda:
That's very, very cool.
I have a couple of questions:
Do the students give up their lunch hour to meet with you?
What sort of arrangements did you have to make with the school?
thanks to you and to ap for a great idea!
Bob Phillips
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Author: ghuba
Date: 2005-12-26 17:08
If you want to work with youth, I think that it is important that you approach a school or established youth-serving organization and work through them. Such organizations will have established procedures for "screening" adults who work with minors and have standards for conducting club meetings or instruction in publicly observable settings that do not isolate a single adult with minors. Working with such an organization will help you establish activities that are seen by youth service professionals as educational and socially rewarding while at the same time protecting vulnerable children and youth from a potential predator and protecting an ethical volunteer against incorrect accusations of inappropriate behavior. I am not suggesting that there is anything other than altruistic intentions in your plans to work with youth. However, the interests of all parties (children, parents, an ethical and dedicated volunteer) are best served when an adult working with minors is supervised by a responsible agency such as a school or national service organization which will screen adult volunteers, set standards for the supervision of activities, and maintain insurance for volunteers against incorrect allegations. Please note that in most jurisdictions in the USA, schools and volunteer organizations offering youth services do so under local and state laws designed to protect minors. Also, many parents including me carefully monitor the organizations our children interact with to make sure that the adults volunteering services have been appropriately screened and are adequately supervised so that no damage can occur for any child or youth from an unscrupulous adult.
I know that this all sounds legalistic, overly pessimistic and cautious about human nature, and way too bureaucratic. However, when an adult works with children and youth, caution is a VERY good thing for all parties.
Safeguards like this are necessary because we have to have a zero tolerance for any instances of an adult acting inappropriately toward a minor or an innocent adult volunteer being sued by an unscrupulous parent.
George
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Author: Brenda
Date: 2005-12-26 18:17
Exactly. The schools here are very careful of which adults work with the kids.
In my case the teacher I'm currently working with had taught my kids years ago so knows me from back then. He actually recommended that I sit with the kids during band practice (which I love to do anyway just to be in the band atmosphere, plus the kids can hear how the music is to be played and I can see where they have troubles - counting, remembering accidentals, reaching alt fingerings, etc.). He got permission from the school's principal and he was the one who set up the group lessons, asking the kids to pay only a few dollars each time so that it's worth it for me to go each time. It's great because the kids don't have to travel any special place, and the cost is kept very modest. This teacher said he'd gladly be a reference for other teachers or parents. It was worth his time to arrange things because of the improvement he's seeing.
About the time of the group lesson, I sure the kids eat before they come. One girl gives up her gym class that day to attend the lesson.
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Author: Bob Phillips
Date: 2005-12-26 19:41
George,
Thank you for the words of wisdom and guidance.
I did, in fact, run up against the possibility of impropriety when I gave a book of duets to an advanced high school girl (she is one of a few younger folks who have played in our community orchestra) and suggested that we work on them together over the summer.
Because I did NOT do any of the things George suggested, I aroused her parents' protective insticts; and the initiative was stopped --bummer for all concerned.
Bob Phillips
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Author: sfalexi
Date: 2005-12-26 20:10
Another option, which may/may not be easier, is not to limit it to clarinet. While I (and I'm sure a few others on this board) may believe clarinet to be an excellent instrument and MAYBE be a little biased towards it, I would almost feel guilty not exposing children to other instruments as well. As though I were limiting their options. Granted, you can't include EVERYTHING, but if you were to find people from various areas (local HS bands might be good, community orchestras, etc) who would be willing to participate in conjunction with a local boys and girls club or similar type place, results could be better.
The children could get exposure to many different aspects and ways to make music, could be exposed to classical music (or other types if you feel like playing something else), would be able to see how the instruments interact and compliment each other. You can also show little lessons (once belonged to a community orchestra where this was done) on how different parts of the music interacted. Example: Explain that the a certain instrument will have the melody for a certain part, and tell the children how the melody can shift from instrument to instrument and explain that it will shift to another one. Maybe even make a game out of it, and ask the kids to try to pick out which instrument has the melody and to which instrument it went to, and whomever guesses correctly can be awarded something (awards can be worked out later).
For HS players involved in this, if working with kids is NOT enough incentive (which it may not be as sometimes HS kids can be crunched for time - I know. I used to be one!), point out that it would be considered community service (if working with a boys and girls club or other place that is recognized as a volunteer organization) and is certainly applicable to a resume for college. As well as the opportunity for a nice recommendation letter should the want one and do a good job there, and that these sessions would also benefit as some experience working with kids, should they ever want to think about education on some level in the future.
Another thing that the local community orchestra does, is put on a "kids concert" once a year. Explaining simple musical concepts and introducing such terms as "crescendo" (getting louder), and "decrescendo" (getting softer), showing them how low the tuba can go, how high the piccolo can go, how the clarinet has a VERY extensive range, and simple things like that. And usually, during one song per concert, they'll make room in the orchestra and invite the children to stand next to their favorite instrument so they can listen and watch how the person plays an entire song.
Alexi
US Army Japan Band
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Author: Brenda
Date: 2005-12-27 02:25
The idea of playing for the kids and giving them exposure to the sounds of various instruments definitely has its place. Many orchestras and groups are doing that, and it's a great start.
However I believe that this topic goes a couple steps beyond that, putting the instruments in the kids' hands, giving them opportunities to actually play. But they need an environment where they feel supported and where they feel they're achieving goals as a result of that support. I've coached small groups of students to prepare for small ensemble performances, and it's been a fabulous experience all around.
If parents and educators are approached first and permission is sought for this help to be given in an appropriate location (a classroom during the school day, a group of friends meeting in the dining room of one of the students' home, with the parent there) and the proper precautions are taken, then it's a great opportunity for the kids.
Are there so few people doing this that we have so few comments? Somehow I thought that it would be more common.
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Author: ron b
Date: 2005-12-27 04:00
Somewhat along this line and in the [almost] planning stage, four clarinetists from our local church are considering forming a clarinet quartet (for a start). The general idea is to play for various in-house functions (weddings, picnics, special events) and progress, as the group becomes more at ease, to outside activities: convalescent facilities, hospital, children's receiving home, homeless outreach... I'm sure the possibilities are endless. Performing and visiting and letting people know, withing guidelines of each particular facility, that "someone cares about your well being".
String ensembles often perform at museums, art galleries, malls and other public places for the 'experience' and exposure, why not woodwinds? Two young players paired with two experienced ones is the makeup as it stands now. Parental involvement/observation is understood. We're looking at our first get acquainted rehearsal around mid January/early February. Summer is not all that far off.
We had a string quartet in the past that was very popular -- but players go off to college, move from the area, transfer or find new jobs, etc. Circumstances change. Now that we have enough clarinets to form a core woodwind group we've talked about "go with the flow" and see where it leads.
- r![[cool]](http://test.woodwind.org/clarinet/BBoard/smileys/cool.gif) n b -
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Author: Bob Phillips
Date: 2005-12-27 17:19
Alexi,
My first response to your suggestion of including other instruments in THE program was: "Let the trumpets look out for themselves."
Letting that thought cook for a while brought me to the refinement: "Let?invite the trumpet players to come along!" Also, the trombones, saxs, ...
I used to work at a music studio in Sacramento. The owner had a youth band; and all kids from the community were welcome. He was expert on single reeds. The band was no-cost, but required good attendance. It was so much fun that everyone who got involved got enthused and participated whoe-heartedly. The director also had a quiver of instruments --like bass alto and effer clarinets to fill in the harmonies.
AND, he managed to bring most of the kids to his studio for private lessons. The band was a great recruitment tool --sure, he made money from the band; but he was even handed and not too mercenary --not enough to spoil the band.
One great thing (that I enjoyed) he did was to bring small groups of students to his studio on the week ends. Mine was five clarinetists-in-training. One at a time would go into the woodshed for a private lesson, while the other four worked on clarinet quartets. Handy use for the harmony instruments.
The band was popular, heavily booked and a great community resource. The members did well in the competitions, majored in music, ...
One branch of where this sort of thinking and effort could lead.
Bob Phillips
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