1. I’d like to study. How can I become your student?
Send me an email and tell me about yourself. If it seems that we might be the right "fit," we can arrange an audition lesson where I will hear you play. Usually, I will ask you what your goals are with the instrument, both short and long-range.
3. What do you charge?
Rates
for 2009: Regular lessons, in my
studio: $110 each.
.
Trial lesson, for someone considering regular lessons $100
Single lesson rate, (consultation, coaching or
exploratory lesson)$160. (Ninety minute lesson.)
3. Can
I take a single lesson?
A single lesson is either a trial lesson or a
consultation, not a substitute for longterm study.
Trial
Lesson- is
usually an hour meeting at which you do some playing, I make a few
comments, and we discuss your plans to study. Don't come to a
trial
lesson expecting that it alone will miraculously fix your technical
problems.
Consultation--
a second opinion about current technical or musical development
and possibly career direction. This is more all-encompassing than a Coaching Session,
in which you receive musical advice--and maybe a
few technical suggestions--on a single work or a recital program.
Either of these is a ninety minute lesson.
Regular
lessons are
based on the idea of gradual change or growth. Each week the
teacher suggests manageable goals that can be realized immediately, or
helps the student set long-range goals that require substantial
committment (such as a change in embouchure.) The student has to be
willing to commit to the long-range goal, and set up a work plan for
himself.It is expected that after an intial trial period the student will commit to studying a minimum of one year.
Many prospective students ask about curricula. It is my belief that establishing a curriculum for all students at a certain level is wrong.
Instead, I treat all students as individuals, choosing assignments to their specific skills and needs. As an indication,here are some materials I am using with a few actual current students:
(Advanced Amateur): Hamelin "Gammes et Exercises"; Sievenard "Scale Studies"; Rose "26 Etudes". Repertoire: Mayer "Raga Music"; Williams "Victor's Tale"; Lutoslawski "Dance Preludes"; Finzi "Bagatelles."
(Advanced intermediate, aged 12): Langenus "Methode, Book I"; Hite "Melodious and Progressive Etudes, Bk I" (Baermann, Nocentini, Demnitz.); Halsey
Stevens "Four Folksongs of Touraine"; Guastavino "Tonada"; Dimler "Concerto for clarinet." Voxman "Duets" book 2.King, ed. "Clarinet Repertoire, vol. 2"
No! All my
students
are individuals and have distinctive needs. While my values about music
and clarinet remain the same, student to student, the materials, the
approach,
the communication style, the interaction between student and teacher,
acknowlegement
of differences in learning style, focus, and interest---vary with each
student according to her talents, and where she is in her development
as
a person and as a musician. You can be confident that your lesson won't
be a carbon-copy of anyone else's!