 The Clarinet BBoard
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Author: jerry
Date: 2001-04-18 17:46
We,ve covered a lot of subjects but have we covered this one.
I had one teacher who, during a 30 min. lesson, had me playing the entire time while correcting any mistakes along the way. He did very little "for example" playing. More of a hands-on teacher. Placing my fingers here and there, lifting the instrument to take pressure off the reed, etc. I guess you might say he was very proactive. And, I liked this style.
Another, had me playing the same lesson (homework) over and over as if trying to get me to get that page perfect before moving on to the next page - we never got off of page 2. I love success.
The third and current teacher is more "assignment" oriented. With discussion about the music, notes, rhythm, technique, etc. and with lots of demonstration. Of course, I have no music background so this is very beneficial.
What other teaching techniques have people experienced.
~ jerry
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Author: joseph o'kelly
Date: 2001-04-18 17:53
All I know is that for some reason when my teacher is in the room I am very cautious about my playing. The problem is I am sometimes too cautious and feel more nervous. When she leaves the room I play alot more relaxed. I don't know if this is good or bad.
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Author: connie
Date: 2001-04-18 20:30
My current (sax) teacher listens to me, then plays with me. . I've found his playing along with me very helpful with intonation problems. He also does a lot of demonstrating techniques like tonguing and vibrato, where he'll play it, I'll play it back to him, he'll play it again, etc. This is the first time I've had a teacher play that much, and I like it.
My previous teachers (30 years ago?) did more talking to try to refine my technique, with exercises, scales, and etudes. If it hadn't been for band, I wouldn't be able to play along with anyone else.
I work with several elementary-age kids at a local parochial school, and it's amazing to me that they play pretty well alone, but have no concept of playing together.
As far as the nervousness thing goes, I used to have that problem, too. Even with a teacher that I had known for years, I would freeze up during the lesson. I think it makes it harder for the teacher to see where you need help, but I don't have a good solution for anyone else. I just sort of "outgrew" it. I guess you have to swallow a certain amount of pride when you start a new instrument at age 47.
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Author: Megan
Date: 2001-04-19 00:04
I'm a student and I think my favorite strategy is the one my teacher uses with me. We laugh through my entire lesson. She makes me tell these(sometimes ridiculous) stories about whatever piece we're working on, and she has really made me enjoy it more. Don't get me wrong, we still work on scales and etudes and concertos, but the fact that it seems like she enjoys it too makes it go by faster and makes it more productive. She usually has me play, plays with me, we talk about music and other things too, and it works for me.
Meg
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Author: Sara
Date: 2001-04-19 04:01
I'm a student and a just recently started teaching. I used to be a very timid player for my teacher, and it tooka good year for me to really open up and not be nervouse during my lessons. Now we joke and have fun and we really talk about things, and why they are the way they are. Currently for some of my pieces htat I play I have to do the Fantasia thing, and have to make up senarios about whats supposed He used to do a lot of playing with me, but now he only plays a little but he keeps his clarinet out to finger along during runs and stuff. I've discovered that I teach the same ways that my teacher does, like I've sorta adopted his teaching style as my own, and it seems to be working well. But whatever he's doing it seems to be succesful both with me and my students
Sara
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Author: Meri
Date: 2001-04-19 21:55
My teacher likes having his students prepare the questions to ask before coming to a lesson. So I would come to my lesson with questions in two distinct categories, which are technique and pieces. If he knows he's taught me how to solve a particular problem with technique, then he'll ask me to attempt to recall it (which I think I usually do), and then have me demonstrate how to do it. If he hasn't taught the idea, or there is faulty recall, then he'll explain how to do it, demonstrate how to do it, and have me do it several times correctly until it's clear I know how to it. Sometimes he suggests certain exercises or books to establish good habits, but he leaves me free to choose what to use (or develop my own exercises on solving problems), which an example is that to work on tonguing, he suggested the Kell Staccato studies, but not specific ones, which I ended up choosing no. 3, plus any other material I deemed suitable for focussing on problems like that.
He likes to use his student's learning styles to his advantage; he knows that I am strongly a visual person, so if he can teach an idea using a mirror, it works very well with me. Other students do better with analogies, which don't work too well with me; I prefer directness.
Although I work very well with such an open, flexible teacher, I understand, may not work for everyone. I've used some of his approaches in teaching 10-12 year olds, which work very well, so that's a sign he's clearly doing a good job of teaching. I've noticed the major changes in my playing too, but that mostly comes from a strong work ethic.
Meri
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Author: Danielle
Date: 2001-04-20 01:00
My teacher isn't the best in the world, but she's an okay teacher. During my lessons, I usually just play through the pieces, with her stopping to correct me if i do something extremely wrong, or she'll comment on a small mistake i made after I'm done with a piece, or when I finish a movement. she'll usually only play with me only if i get the rhythm terribly wrong, and totally lose any sense of the piece. which doesn't happen much....^__~
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