Classical Clarinet Training
About
I have 14 years of experience with clarinet, ranging from orchestra, competitive performance, jazz, and pit (i.e. musicals). I also have experience working with and teaching young children and beginning clarinetists through Marching Band, Concert Band, and Jazz Band. My primary mode of expertise is tone development and expression. Of course, developing a solid technique is extremely important for enhancing musicality and will be heavily studied and examined as well. It is up to the student to decide how the lessons will be shaped and in which direction they are headed; whether the student wishes to study in a relaxed environment and learn repertoire, or if they are planning to study music seriously or compete. Thank you, and I sincerely cannot wait to work with you!
I had incredible teachers that shaped my musicality (including members of the Philadelphia Orchestra), and I can not wait to share those lessons with you. Not only has clarinet broadened my horizions, but it is also a centering, relaxing experience, especially during such a turbulent time. I love the holistic nature of music, and how as musicians, we can share that joy with others.
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Frequently asked questions
What is your typical process for working with a new student?
I'd like to talk to both student and parent to settle expectations regarding lessons, and make sure all parties are on the same page. Please prepare a piece you feel comfortable playing that shows your technical and/or musical abilities.
What types of students have you worked with?
I've worked with students between the ages of 13 and 18 who were fairly early in their studies.
What advice would you give a student looking to hire a teacher in your area of expertise?
Don't hire a teacher until you've heard them play. Ultimately, they'll model your playing ability towards theirs. What you hear is ultimately what you'll be working towards in your lessons. You'll often find geographic differences as well in playing style. Listening to recordings of major musicians for your instrument per city (e.g. listen to Ricardo Morales in Philadelphia), might give you a better impression of the stylistic differences you might find in teachers who trained there.