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Featured Clarinet Teachers Near NYC, New York

4339   5 STAR Musika Reviews

Here are just a few of the many teachers offering Clarinet lessons in NYC, New York . Whether you are looking for beginner guitar lessons for your kids, or are an adult wanting to improve your skills, the instructors in our network are ready to help you now!

Marjorie L

Instruments: Piano Voice Saxophone Clarinet Recorder

Ideally, I prefer to work with younger children because it is at this stage in life that they are most musically receptive; I believe it is important for a budding musician to love their craft and - regardless of age, technical skill can only take one so far in the arts. I have seen far too many musicians abandon their gift for the mundane, due to distorted visions of incompetence and unwarranted deceptions of grandeur. Read More

Erik L

Instruments: Piano Saxophone Flute Clarinet Keyboard

I am a passionate jazz saxophonist, composer, and educator originally from Los Angeles area. In 2018, I graduated with B.A. in Saxophone Performance with an emphasis in Jazz Studies at California State University, Long Beach. I am currently attending Manhattan School of Music for a Masters degree in Jazz Composition. I am grateful to have had the opportunity to perform with CSULB's Concert Jazz Orchestra at the 2017 Elmhurst Jazz festival in Chicago, the 2016-2018 LA Jazz Institute, and even have one of my compositions performed at the 2018 JEN Conference in Dallas Texas. Read More

Gleb V

Instruments: Saxophone Flute Clarinet Synthesizer Recorder Music

I am professional musician trained in Jazz and Classical music, specializing in Saxophone, Clarinet, Flute. • Actively performing and composing music rooted in jazz, rock, and free improvisation genres. • Studied piano at five; by age twelve, played clarinet in a semi-professional children's pop ensemble, and toured internationally with a jazz and improvisational band led by the legendary Vladimir Tchekassin.   • Fluent in English, German, Lithuanian, and Russian languages. I seamlessly connect with students of different cultural backgrounds, quickly find common points of interest, and encourage individual uniqueness. Read More

Corinne K

Instruments: Saxophone Flute Clarinet Recorder Bassoon

My goal in teaching woodwinds is to inspire young artists to find the joy in their own development. As a teaching musician for the past nine years, I have found my own joy in teaching on-on-one and watching my students progress over time. I like to teach active lessons full of movement, creation, and student-driven ideas. I teach the instrument - the notes, rhythms, techniques, but my students shine in their ability to use that knowledge to create something new and to feel confident about it. Read More

Michael C

Instruments: Piano Saxophone Flute Clarinet

Lessons are positive and laid back.  An atmosphere is created to be able to ask any question. Lessons are comprehensive, meaning that they both play to the student's strengths while addressing any weaknesses or information that is typically skipped over in public school simply due to lack of time and having the students on an individual basis.  Lessons are not just theory oriented, but more performing oriented.  There is always a solo to play or duet to sight read. Read More

Laura D

Instruments: Piano Saxophone Flute Clarinet Recorder

I taught piano and recorder for over 10 years at Church Street School for Music and Art in Tribeca, and have worked as a teaching artist with The New York POPS since 1992. Currently Im coaching a jazz ensemble at an NYC public middle school and am working with kids that might not have the resources to study privately. Over the summer, I worked at a summer program with some special needs kids where I created and implemented a music appreciation program. Read More

Tessa O

Instruments: Saxophone Flute Clarinet

I began teaching lessons privately in high school, about 6 years ago, and throughout college consistently. I have taught brand new musicians, who have never opened their instrument case, all the way through high school levels. I believe in starting the young musicians right with a good sound. Together we will work on basic technique on each instrument, which will then assist them in learning music for band, their school ensembles or just personal knowledge and growth. Read More

Teacher In Spotlight

Angelica D

Instruments: Piano Voice Trumpet Trombone Clarinet Euphonium Tuba

What advice do you have about practicing effectively?
1. NEVER GIVE UP. Yes, practicing can be frustrating, I completely understand because I too have been so frustrated during practice sessions to the point where I wanted to give up. 2. Start slow. You are obviously practicing for a reason - to learn and perfect a given assignment or task. Take a chunk of the music, even if it is only a measure at a time and work slowly through it, first establish correct pitches and rhythms. If you are not able to play correct pitches and rhythms at a slow tempo, why would you attempt at a faster tempo? Once you have these two factors down, increase the tempo moderately until you reach desired tempo with correct pitches, rhythms, articulation and dynamics. SLOW AND STEADY WINS THE RACE. 3. The 3x Rule - When you are having problems with a measure/section/rhythm/establishing pitches, DO NOT move on to the next measure/section until you are able to play the problem spot 3x without messing up! 4. Warm Up - Warm-ups are super important and are needed before practicing your music. It is essential to getting your muscles moving. Warm-ups do not have to be 15-20 minutes of scales - work on long tones, slip slurs, scales, arpeggios, technical studies or even sight reading. Make warming up fun!! 5. Listening - Listen to your piece! Youtube or google the piece performed by different musicians and even different instrumentation of the piece. Trust me it will do wonders.

If you have a Music Degree, what is it in (Performance, Education, Musicology, Theory, Composition, etc) and why did you choose that degree?
I have a Bachelors of Music in Music Education from LIU Post. I chose this particular degree over any other music degree because although I love trombone, I love the idea of music education a little bit more.

If you play more than one instrument, how did you decide to start playing the second? (Or 3rd, 4th, 5th, etc)!
As you may have gathered from previous questions, my primary instrument is Trombone. My secondary instrument is Euphonium/Baritone Horn. I chose to start learning this instrument mainly because I loved the timbre, or the musical sound of it. The Euphonium possess this mellow yet beautiful sound that is just so wonderful to ear. It also has the same embouchure as trombone so it was a very easy transition for me, I just had to dominate fingerings. I play very minimal tuba, fingers are similar to baritone and euphonium. I also play a little bit of trumpet and clarinet and took 4 years of piano in college.

Does music run in your family? Tell us a little about your musical family members.
No, surprisingly, music does not run in my family. I mean, my mom took piano lessons as a child and can play the instrument very well, but she was definitely forced into doing it by her mother. Although my family is not what one would define as "musical," they have stood by me throughout my musical journey and have not only supported me, but also encouraged me endlessly. To this date, they have attended every audition, every NYSSMA, every recital, and every concert, including, but not limited to, Wind Symphony, Wind Ensemble, Brass Ensemble, Chorus, Symphonic Orchestra, Brass Ensemble, Marching Band, Trombone Choir, and Wind Quartet.

What does a normal practice session look like for you?
If I am playing for the first time that day I ALWAYS start with a warmup. Long tones first, followed by lip slurs and then I run through all major scales in thirds, followed by arpeggios. Next comes minor scales- natural, harmonic and melodic. After all of this, I pick a technical exercise from the Arbans book. I work on that for a little while until my muscles feel good and I am happy with the work I have accomplished, making sure that I played through the exercise correctly using appropriate articulation and dynamic. Next I choose to work on either an etude, orchestral excerpt or a solo piece. I spend the majority of my practice on one or two of these options.

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