Christopher Carden Woodwind And Improvisation Instruction

I always like to understand what a student likes about music and what they want to achieve.  Then I do an equipment check.  Is the instrument in need of adjustment?  Is the mouthpiece the right fit?  Is the reed the right strength and quality?  Then I assess where the student is at with fundamentals ... what scales are memorized, how is the tone, response, dynamics, fluency of finger movements, and timing.  How is the breath support, voicing, embouchure, articulation, and technique?  From there, we'll look at exercises to help.

If a student is already working from a techniques book, we'll keep going with that.  But if the current book doesn't provide enough, I'll recommend an additional book or two.

I've studied with great teachers from our public school system in Traverse City and lessons at Interlochen, my studies at CMU with John Nichol, and lessons from masters like Dr. Teddy Harris, Jr., Rafael Statin, and Lou Marini, Sr.

I've been to clinics and workshops with great artists such as Alan Hovhaness, Jerry Jemmitt, and Joe Lovano.  I've sat in on bass lessons with the great Marion Hayden, Robert Hurst, and John Kennedy, and gleaned many valuable points that help me as a non-bassist.

Performing with Detroit musicians such as RJ Spangler, Phil Hale, Mo Hollis, and Elvin Ferreira has had an invaluable influence on my playing and understanding of music concepts.  We all have many teachers, and I feel blessed to have been influenced and helped by all of mine.

$50 an hour, $40 for 45 minutes, $30 for a half hour.  Half hour lessons seem like a good idea for kids because of short attention spans, but truly there is just too much to talk about and work on that cannot be done in 30 minutes.  I would hope to get younger kids up to a 1-hour lesson as soon as possible, for best progress.

When I was in college I learned to double on flute, and a friend asked me to teach her daughter, who played flute well, but lacked the motivation to practice.  The challenge for me was to help awaken interest, excitement, and passion, when it seemed there were none.  That was very rewarding.

I have worked with elementary, middle school and high school students, as well as older adults.  It's never too early or too late to take your music to a new level.

I performed at the Detroit Jazz Fest jam session one night, a couple years back, playing "Canteloupe Island" and kept the solo focused on simplicity and emotional interest.  Specifically, I was thinking of my impression of Bennie Maupin, who recorded a fantastic version of that song with Herbie Hancock and the Headhunters.  When I finished, a gentleman in the audience turned to me and said, "I hear you, brother."  It was Bennie Maupin.

You need to study with someone who knows how to develop a great sound, how to lock in on fundamentals, how to set achievable goals, how to design and constantly adjust a practice plan, and who can show you how to become a self-directed student.  Give every teacher a chance to work with you, at least three lessons.

Think about what you want.  What do you want to sound like, who do you want to perform with, how do you see yourself musically in life?  Do you want to be a professional, a hobbyist, a teacher?  How are you currently sounding when you perform and when you practice?  What things are hard for you to do, musically?

From that, you probably have a pretty good idea of what you need to learn.  Then, if a teacher isn't giving you what you think you need, be the best possible student by asking lots of how and why questions.  "How do you do this ..." and "Why did you choose to do that?" can help you get closer to the things that you want to own.

If you think you know what you want to work on, ask for that.  Make sure that you listen, though, because the teacher may have some very good reasons why you do not want to work on that point, just yet.