 The Clarinet BBoard
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Author: ThatPerfectReed
Date: 2014-02-02 20:08
This has been discussed on the board before, but not quite from this angle, and otherwise, it appears from searching, a considerable number of years ago:
Name a clarinet teacher who you so respect, with some degree of name recognition, from days gone by, and one alive today that you feel deserves to be singled out for distinction.
You need not have studied with them.
And as amazing as you my have found some of your no name teachers (and as much credit as they deserve--mine included), ideally, your selections should be people with enough reach to have or will influence play of the instrument.
I'll get this rolling. You can repeat names already listed previously by others--it will give us an idea of the degree to which we hold a teacher in regard. A brief explanation to your feelings would be great.
Maybe 2 people like a teacher for different reasons. Maybe 2 people cite the same reason for loving or hating a pedagogue.
It's the Clarinet Bboard: 3 people can have 5 opinions. That's okay. Just politely state your rationale.
These need not be great players. Whether great players make great teachers deserves its own thread!
There are SO many gone I'd love to mention, but let me play by my own rules.
D: deceased; A: alive
D: Kal Opperman
A: Ricardo Morales
Kal's knowledge of his craft, and devotion to his students leaves a legacy and shoes quite hard to fill.
[url[http://www.nytimes.com/2010/06/23/arts/music/23opperman.html?_r=0
I love the stories that virtuoso Richard Stolzman tells of first playing for Opperman and Kal's casually remarking, "well, you seem to kind of know where to put your fingers."
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Ricardo Morales knowledge of all things clarinet seems only trumped by his passion for not only his instrument, but life. He is kind, humble, and talks about the importance of being a good person as prerequisite for being a good clarinet player. My bucket list would include studying with him.
(P.S. if someone doesn't quickly cite Leon Russianoff I will scream) ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
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Author: Maruja
Date: 2014-02-02 23:54
I had a surprise Christmas present from my friend - a one-off lesson with Paul Harris here in Buckingham. It was wonderful - the most inspiring lesson I have ever had - and it lasted way beyond the hour, which was a bonus. He is a marvellous educationalist and teacher. Do buy his books if you are still at the learning stage (like me). He has a new book coming out this month about practice. I shall buy two copies, one for me and one for the friend who gave me the lesson. Plus he is the nicest, most charming man - I never once felt ill at ease or that I couldn't cope.
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Author: Bruno
Date: 2014-02-03 01:09
I didn't read your whole post - too long, but I nominate Leon Russianoff, who has helped more players than anyone I could name.
bruno>
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Author: Funfly
Date: 2014-02-03 19:42
I assume that there are basically two types of tutor and that they must be totally different animals.
Firstly the patient ones who take novices like me and nurture them, support them and offer a shoulder to cry on as we continue to make horrible noises and generally musically maltreat our lovely instruments.
Secondly those who coach experienced players to become better and who may have more musical expertise than TLC.
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Author: clarinetguy ★2017
Date: 2014-02-04 10:55
D: Keith Stein An amazing player, very kind person, and excellent teacher. I have very fond memories of my lessons with him, and never heard anyone say a bad word about him. For Stein, it was always about creating beautiful music. It's a terrible shame that arthritis limited his playing in his later years.
D (Honorable mention): Joe Allard I never knew him and never knew anyone who studied with him, but I've seen video clips. It appears that he had some original ideas and was held in very high regard by his saxophone and clarinet students.
In the "alive" category, there's a tie.
A: Douglas Cornelsen I studied with him as a grad student, and also have very fond memories of my lessons with him. He knew I wasn't headed for a career in a symphony orchestra (I was a band teacher at the time), but he was always very kind, patient, and helpful. A Cornelsen lesson would often feature great stories (and sometimes jokes), but we did cover a lot of clarinet literature. Cornelsen always had great suggestions regarding interpretation and fingerings.
I always looked forward to my lessons with him.
A: Michelle Gingras I never studied with her and don't know her well, but she has done so much to take complicated concepts (reed adjustment, embouchure, etc.) and make them understandable. I like her videos (based on her Clarinet Secrets books), and recommend them to students all the time.
A (Honorable mention): Harvey Pittel Pittel, a student of Allard, is associated with the saxophone. Unlike Allard, I'm not sure if he has ever taught the clarinet. Still, I'm including him on this list for a couple of reasons. Many of us play and teach the saxophone, and Pittel has some wonderful videos (with many great ideas) on YouTube. Some of his ideas can be applied to the clarinet. For those who really want to understand classical sax vibrato, the Pittel approach (influenced by Allard and Mule) is the best I've seen.
Post Edited (2014-02-04 11:21)
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Author: William
Date: 2014-02-05 00:01
The teacher that did the most for me was my first, Benny Ehr, at Ward Brodt Music. Studied with him for three years before college and never had to "unlearn" anything, but only improve the skills he taught me.
College: William Dominic, legato finger technique and embouchure control.
Glenn Bowen, introduced French etudes and reed preparation.
Russell Dagon, stressed musical phrasings, just a nice guy......
Since college, no formal study but just listened and tried to emulate the many great musicians I've heard and liked, not just clarinetists.
Post Edited (2014-02-05 00:02)
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