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Featured Clarinet Teachers Near NYC, New York

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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!

Elise B

Instruments: Clarinet

I have always enjoyed teaching others and watching the lightbulb snap on with inspiration. I started teaching my fellow high school students and middle school students my junior and senior years of high school while guided by a Music Buddies program through my youth orchestra. I have tried to continue teaching privately ever since where ever I am. I have also taught some wonderful adult beginners, but I have mostly taught middle and high school students and understand the challenges of balancing school, possible work, with fitting in the time to work on and benefit from all that music programs have to offer at those ages. Read More

Ian K

Instruments: Piano Guitar Voice Clarinet Bass Guitar Electric Guitar Classical Guitar Acoustic Guitar

For my teaching goals I like to help my students learn the instrument from the basic fundamentals. I believe music is like building a house and it is important to start with fundamentals in order to construct a strong foundation for musical knowledge. I like to teach proper technique and playing standards so my students will learn correctly and not have to go back and relearn things and relearn their technique. Read More

David N

Instruments: Piano Trumpet Saxophone Flute Clarinet Drums

My teaching includes all aspects of music; Musical theory, sight singing, as well as Music History. My teaching style allows the child to have fun while they learn their instrument, but I emphasize a strong practice regiment. Your child will understand that while learning music and an instrument can be fun, there will be some work involved if they want to become great. I usually use either the Alfred or Rubank method books to supplement a curriculum that I tailor make for each individual student. Read More

Jackie G

Instruments: Clarinet

My favorite books to use for students are the Rubank and Klose methods along with the Albert Scale book. My curriculum is created personally for each student based on their needs, progress rate, and level. No matter what the age, I begin with long tones, which really help to build endurance and control of air. Proper usage of air is top priority with wind instruments. I also love to work on slow to finger exercises to ensure that the fingers being used efficiently and properly. Read More

Steven F

Instruments: Saxophone Clarinet

As a Saxophonist and Clarinetist I prescribe to the Joe Allard method of embouchure and technique that has been codified and popularized by saxophone master and pedagog, Dave Liebman, from whom I have taken countless classes. For my classical students, I like to use the Rubank method books. For more advanced students, I am a huge fan of the Rose Studies for Clarinet and the Ferling studies for Saxophone. Both of these books not only provide great etudes for technique but also are great studies in musicality, theory and interpretation. Read More

Jimmy H

Instruments: Piano Voice Trumpet Trombone Saxophone Flute Clarinet Organ Piccolo Oboe Bassoon Keyboard

I basically teach as I've been taught by the masters. There are musical essentials that must be mastered for every musician, with no exceptions. By completing one level of proficiency one moves on to the next level, and so on. Eventually students are able to grow to become masters themselves. This has always been the case throughout history, and in all fields for that matter. Never allow yourself to get bogged down by futility; there is always another way. Read More

Jessica D

Instruments: Clarinet

Every student develops at their own pace, and I am dedicated to creating a curriculum for every one. I like to break down lessons into three sections. The methods used vary based on the current level of the student. 1. Scales/Fundamentals/Long Tones: Scales are the focal point of Western Music. We will gain the skills of learning and memorizing scales to establish the proper fundamentals.I will teach the student several ways of practicing Long Tones in order to develop their clarinet tone. 2. 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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