 The Clarinet BBoard
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Author: Tinselworm
Date: 2009-03-27 08:51
Hi, everyone.
I know there are a few teachers on this board so I'd like to ask your advice, if I may.
First, a little background. When I was about 14 years old, seven years or so after I started learning, my clarinet teacher passed away. He was a wonderful man who sparked a lifelong passion for the instrument in me. I will never forget what he taught me, or the gift he gave to me. Ever. Not long after he passed, I decided that I wanted to teach; I wanted to pass on this incredible knowledge that he'd given me.
But, whaddya know: life got in the way.
Now, thinking long and hard about this, I've decided that it's the right time. It's more than 20 years later and I've waited long enough - I owe it to myself to take up this route that I wanted to take up after leaving school, but didn't. My playing is at the highest and most consistent level it's ever been, and the passion for the instrument is burning, if you know what I mean.
However.
I'm painfully aware that playing well and teaching are two very different things and that a good player does not necessarily a teacher make. I've never taught before, except for advising younger players in junior bands on technique and this was many years ago. I expect teaching methods have changed somewhat since I turned up for my first lesson armed with the recommended 'A Tune A Day' book.
I'd like to teach the beginning grades to start off with. Perhaps 1-5 practical and theory. I'm probably playing at somewhere around grade 8 standard (although it's difficult to tell after so many years away from the AB grading system; I'm judging this on my playing 1st in a symphonic wind band) and working towards a music diploma myself with the Open University, so until that's completed, I think that's as far as I could reasonably take pupils, but I'm interested in providing those building blocks.
I guess I'm looking for advice on how to get started, in so far as preparation and methods go. How is it done these days? Is there a standard way to get someone started who's never picked up a clarinet? Do teachers still employ the standard 'duet with instructor' methods? Demnitz was the big study book when I was learning 30 years ago - has this changed? Where can I find out this information? It's real basic stuff I need to know.
I'm doing some research myself, but any advice from folks who have been through this would be absolutely invaluable.
I'm in the UK, if that matters as far as programmes go.
Thanks in advance,
Lisa
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Author: Nessie1
Date: 2009-03-27 09:03
I've not done that much teaching myself but, first, I'm glad to hear that you are thinking hard about the materials to use rather than just letting yourself be guided purely by things such as exam syllabi. One thing you could do is sit yourself down in a corner of a friendly music shop and see what you think of the beginners' tutors they have in. Also, bear in mind that an intelligent and responsible teacher (which you clearly want to be) does not railroad every pupil through exactly the same programme of lessons etc. It is wise to vary your approach depending on the pupil's interests and to give more time to things which he or she may find especially difficult.
Another idea for you is, once you have a few pupils, you could consider taking the teacher's certificate offered by the Associated Board. I haven't done it my self but as far as I know it involves study over a period of time including writing case studies of your pupils, attendance at weekend courses and working with a mentor who is a specialist in your instrument etc. so it would provide a good background.
Hope this helps.
Vanessa.
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Author: Tinselworm
Date: 2009-03-27 09:15
Hi Vanessa,
That helps very much, thank you.
You're right. While exam syllabi obviously will come into it, I think being guided by it is probably fraught with danger, in as much as the risk you take is teaching pupils only what they need to know to pass the exam, leading to problems further on down the line. It's the building blocks I'm interested in teaching; good solid fundamentals. That way, when they come do work on exam syllabi, they'll already have those fundamentals securely in place. Does that sound right?
And of course, there's the fact that not everyone who chooses to learn an instrument wants to take the AB route; I'm anticipating some would want to learn just for pleasure. So I'd hope to be able to tailor a programme to a particular student's goals.
I sort of have a plan and an ethos in my head, but it's knowing where to start that's proving the problem!
Lisa
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Author: Morrigan
Date: 2009-03-27 09:26
I teach a little bit around London and it can take some time to get students. It takes a bit of luck too. A music qualification would be the first thing to have.
Double-check your Open University Diploma - I work at a school and we're about to move away from one of our courses being accredited by them since their qualification wasn't well recognised (it didn't attract UCAS tariff points so our graduates were finding it difficult to move on to further study). Your course may be different, don't panic, just a warning.
Above all of this, get your name out there, and the students will come. You've got the right idea and great intentions and students should be able to see that and I feel this is what will attract them.
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Author: Tinselworm
Date: 2009-03-27 09:34
Thanks, Morrigan.
That's interesting about the OU course. I'll check into that. TBH, I don't really know too much about higher education and UCAS points, etc - I never went to university. I'm really doing it just for my own satisfaction (plus the fact that working full time when I started it, it was one of the only options open to me for higher education) but that's definitely a point to note. Thanks for the heads up.
I'm in London, too. I figured what with the various music colleges here, the market here may well be fairly saturated with people of a far higher standard, and that this is probably also a quiet time of year for new pupils. But hey, that may be fortunate as an avenue to break me in gradually
I would definitely like to have all my ducks in a row before getting my name out, though. My biggest fear at the moment is getting that first pupil before I'm properly prepared, drawing a complete blank and making a hash of it.
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Author: Morrigan
Date: 2009-03-27 10:21
Tinselworm, don't sell yourself short either - you could pick up an adult beginner or two to teach until you're fully qualified and can approach schools. That way you're earning some money and more importantly gaining teaching experience.
It's not as tough as it might seem. I LOVE teaching and it only really gets hard when you have a very frustrated pupil but even that is easily remedied.
You're very unlikely to get teaching work at a major university or institution unless you've had a performance career though. If it's just a teaching or music qualification, you're probably only going to get high school work until you make a name for yourself as a performer. Why not aim to be a teacher AND performer?
(As you know, however, good player does not always mean good teacher. However, it often does!)
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Author: Tinselworm
Date: 2009-03-27 10:29
I do have a terrible habit of selling myself short, you're right.
I hadn't even thought about a high-level post such as you mention, to be honest, so I'm not overly worried about that. You're right, of course. What I'm interested in is a bit of a mix of private tuition (exclusively private tuition to begin with, as you suggest) and peripatetic work in schools. That's exactly how I was taught (by a peripatetic, so I have the utmost respect for this kind of work), and so I think just from my own experience, that's the avenue I'd like to explore. That said, I also like the idea of the flexibility of private teaching purely for the reason that I play in 3 ensembles, and while they're all completely voluntary, I would be very loathe to have to give any of them up.
As far as a performance career, it'd be lovely, but I fear I've probably left it too late. I'm just about to turn 37. My performance nerves aren't exactly conducive to that, either :-D
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Author: Sarah Elbaz
Date: 2009-03-27 13:07
Lisa,
I am a clarinet teacher in Israel and part of my duty is a Teaching Methods course at Tel Aviv University.
Several years ago I found a book that helped me make an order in my priorities as a teacher. The book is in Hebrew (and unfortunatley was not translated to English yet- but I will ask the author if there is a similar book in English).
The name of the book is (very free translation) Key experiences (or opening experiences )and turning points. The author is Gad Yair.
Gad thinks that in education and especially in arts, the importance of very strong experiences (Key experience) is more than the linear education (the regular lessons). It is not instead of it, of course, but if
you create special chances for the students once in a while- and expose them to very high level in the instrument or to a very special personality it may be a turning point for them.
Even very young students should be exposed to the highest level , or in other words- you should show them the Everest and let them find the way to get there.
My impression from your post is that working with you will be a key experience to your students as your late teacher was to you.
About your question how to start and which method to use- go to a music shop and look at the books and trust your knowledge and instincts.
Good luck ,
Sarah
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Author: Sarah Elbaz
Date: 2009-03-27 13:08
OK- I found it-
http://www.sciencedirect.com/science?_ob=ArticleURL&_udi=B6VD8-4NVSWW2-1&_user=10&_rdoc=1&_fmt=&_orig=search&_sort=d&view=c&_acct=C000050221&_version=1&_urlVersion=0&_userid=10&md5=18fabb85ca59acc73888c7064b834205
Sarah
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Author: Morrigan
Date: 2009-03-27 14:17
Oh and another point - if you're friendly with the people at Howarth they can direct people to you who call up looking for teachers. Perhaps a quick phone call or a visit would do!
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Author: Tinselworm
Date: 2009-03-27 14:38
Sarah - thank you so much for your great advice, and your lovely compliment. I'm looking into books, so anything similar in English would be a great help. That's a really interesting concept, too. I know my best results, playing-wise, have come when someone else - a teacher, a band director - showed unexpected faith in me by giving me something I didn't think I was capable of and I rose to that challenge, so that's definitely something to give some thought to.
Morrigan - I know Howarth. Not well, unfortunately, but I had been planning to go in there and ask around. They seem very knowledgeable and helpful, so it's definitely a port of call. Michael White's in Ealing is also very close to me (I'm based in W12/W6 area) and I've always found them very obliging. I bought my latest instrument from them, actually.
I've not been back in London long - 2 years - so I'm still finding my way around the music community.
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Author: Morrigan
Date: 2009-03-27 15:51
I moved here 18 months ago so I'm the same! I'm still working out how it all 'works' and it would seem that you need to have a degree from somewhere with 'Royal' in it to be taken seriously... Anyway, that's off-topic so something to be discussed elsewhere not to mention everyone's who's gonna jump on what I just said...
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Author: stevensfo
Date: 2009-03-27 18:25
-- "and it would seem that you need to have a degree from somewhere with 'Royal' in it to be taken seriously..." --
Well, I've never heard that before!
The internationally known exam board is the ABRSM:
http://www.abrsm.org/
This has great forums and loads of advice for teachers and students.
The other examining board is:
http://www.trinitycollege.co.uk/
They have equal status in the music world.
But a degree has to be gained from a university. There is a 'Royal School of Music' but its reputation is certainly no better than many other universities.
Steve
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Author: Bob Phillips
Date: 2009-03-27 19:31
Just a couple weeks ago, I met Prof Michele Gingras at the Clarinet Celebration (CLARINexus) at Eastern Washington University in Cheney, WA, USA. She plays beautifully.
She teaches at the Maimi University in Ohio, USA. She has written a terrific book, "Clarinet Secrets," that has me quite excited. In the introduction to her book, she thanks her students because teaching them has forced her to learn to play better.
For a video introduction to her book, see:
http://www.youtube.com/watch?v=cI8GVaIPOj8
It can be purchased at:
http://www.scarecrowpress.com/Catalog/SingleBook.shtml?command=Search&db=^DB/CATALOG.db&eqSKUdata=0810849712
Rico has also sponsored short video clips in which discusses her "secrets." Here's a start at finding thse:
http://www.youtube.com/results?search_type=&search_query=michele+gingras&aq=f
I think that these tips are GOLDEN. I keep forgetting the basics --like the fact that one must blow the clarinet in order to get it to play.
Of course, I'm mere fan of this book, not a profiteer in its sales.
Bob Phillips
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Author: D
Date: 2009-03-28 20:36
Steve, I think there is a certain truth the that 'royal' comment. After all, ABRSM stands for Associated Board of the ROYAL Schools of Music!
But back to the OP, as others have said, you do need to teach to the individual pupil so a lot of teaching will be flying by the seat of your pants. This is easier with older teenagers and adult pupils as you can have sensible discussions with them about what they want to get from their playing and develop short and long term goals with them. Harder with small children as this discussion really needs to include their parent/finance department ;-)
If you are able to teach grade 5 theory I would suggest there is a good market in most areas for this and a card in a few supermarkets, music shops and post office windows will probably get you some interest. Make sure you have a business card printed up with what you are prepared to teach, i.e. clarinet/music theory/jazz clarinet beginner to grade 6, all ages welcome, carry cards with you at all times, play everywhere you possible can and tell everyone that you are looking for pupils.
Do, however, decide what you are charging and also if you are teaching at home or going to peoples houses before you start talking to pupils. As Steve mentioned there are some excellent forums about. The ABRSM one for teachers is a brilliant forum and you will certainly get lots of advice there. Particularly about setting terms and conditions and insurance which you must do.
If you are looking at preparing pupils for exams I would personally advise taking a couple yourself. I took grade oboe the other week after having previously done it on another instrument in the early 90s. I did notice quite a few things had changed and my memory was certainly not a good indicator of how things would go. You could do grade 8 ABRSM and Trinity so you've a good understanding of both. grade 5 jazz and practical musicianship might be good to do as well.
And a final depressing but necessary thought. Make sure someone knows where you are, when you are coming back etc, or if someone comes to your house if possible make sure you have someone else there until you are satisfied each pupil is not a secret axe murderer. I know it is a nasty thing to take into consideration, but you do need to take care of yourself.
Enjoy teaching!
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Author: gwie
Date: 2009-03-29 03:33
I think one of the best things you can do is to observe some lessons of a well-established teacher.
Some of the best things that I've learned have been from watching really good instructors work with students of all ages. I even spent a few weeks one summer at Aspen watching a particularly popular violin teacher work with his kids (from middle school age up to college graduates) and it was an eye-opening and superbly informative experience.
For me, it is an ongoing thing that doesn't stop...I'm always looking for new ways to communicate ideas to my students, and there's nothing better than seeing how it works for other people!
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Author: Tinselworm
Date: 2009-03-29 21:40
Hello all,
Thanks so much for taking time out of your days to give me such detailed and helpful responses. Great advice, all of which I shall take on board.
D, that's a good point about taking an exam. I haven't done one since I was a teen, so I expect it's changed a bit since then - although looking at the syllabus, it doesn't appear to be much different. The Crusell Menuetto and Trio still appears to be on the Grade 5 syllabus (for LCM examinations, anyway, not sure about ABRSM) nearly 25 years later! Made me smile, that did - fond memories of playing it.
That's also a very good point about observing lessons. Something I'll look into, definitely. I've not had a lesson myself in quite a while (on clarinet at any rate; I have on sax) so it may be worth taking a few and observing how it's done. I've never really looked at lessons from any other angle other than that of the pupil, so that may be interesting.
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Author: Marie from New York
Date: 2009-03-29 23:50
I began with thirty beginners per week at a local music store when I was in college. Quite an education! I started them all in Rubank Elementary Method book which is wonderfully thorough. Not very exciting, though, from a variety standpoint. So I wove in lots of little songs from the current beginning band method books to give them more to do as they slowly progressed. (Some much more slowly than others.) I also enjoyed using simple duets each week to help them get a sense of what their tone should sound like and how to play in ensemble with another. After Rubank Elementary I introduced the second Rubank book and then went on to fairly simple etude books.
The key for me is carefully watch and assess how each student is progressing and tailor the next step to meet the need of the student, both technically and psychologically..my favorite part of teaching! By the time a student is playing the Rose etudes, he or she should probably be doing some demanding scale and arpeggio studies like Carl Baermann, more musically demanding duets such as Voxman Selected Duets book 2, level five or six solo repretoire, and orchestral studies.
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Author: cigleris
Date: 2009-03-30 01:18
I think what Morrigan was refering to was the institutions that make up the Royal Schools of Music. They are:
Royal College of Music (RCM)
Royal Academy of Music (RAM)
Royal Northern College of Music (RNCM)
Royal Scottish Academy of Music (RSAM)
I do a bit of teaching which helps suppliment my playing. One thing I will say that there is competition for teaching positions in schools and elsewhere and just like the playing aspect getting good teaching can be about who you know also. That's how I got the school I teach in in Kensington.
If you have the ability to teach clarinet and saxophone then writing to the music services of the London Boroughs might get you an interview/audition and then being put into a pool of teachers. That is how most London Boroughs work, Harrow is a good example. That way you can be avaliable to cover someone if they are ill.
Peter Cigleris
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Author: clariniano
Date: 2009-03-30 18:03
For me, several things have worked in attracting students to my studio.
One thing that I have noticed that I attracted mostly students from private schools. And it's quite natural they would be more willing to go for private lessons than most public school parents--the parents know a good education is important, so they pay for it.
Run clinics in schools, especially private schools.
Connect with teachers of other instruments, especially piano teachers. Some piano teachers have larg studios, and there is a chance that at least one of them will come forward about private lessons on your instrument.
Have students do really well on the exams, I have gotten at least 3 referrals this way.
Post/distribute flyers (or obtain a mailing list) of homes in well off areas. In the area I recently moved into, which is in a well off area, I have already received four calls for lessons, 3 of them for clarinet students in just under a month.
Connect with the teachers at the conservatory and/or university music faculty. There's one teacher at the university who I'm regularly referring students to (because either they are saxophone students or advanced clarinet students, the first I don't teach and the latter not my specialty), and he often sends me beginning/intermediate clarinet students. At least a couple of whose students who studied with me I have passed on to him.
Don't undercharge. There's a lot of expenses, reeds, instruments (including a good piano), books, recordings, membership fees. Then the costs of putting on concerts. And charge at least 1 month in advance.
Learn to play the piano to at least a solid intermediate level, so you have additional potential students.
Learn to teach ear training, music theory, and sight reading.
Let people see you (and your students)! Be part of the staff of a music camp, I have volunteered at a summer music camp for the last 5 years (it's a one-week day camp), and on average I get one new private student per year. (especially after I started bringing several of my private students to assist in the woodwind ensemble, which I sometimes conduct)
Use the exam boards as a guide for method books. In Canada, the Galper Clarinet method books are quite commonly used here, the frst two clarinet levels use studies from the first one, and the next two use from the second one.
I have some more tips to share, but that's what I can think of for now.
Meri
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