Steve B
Instruments: Flute
Styles: Classical, Jazz, Blues, Latin, Spirituals, Latin Jazz, Swing, Samba, Bossa Nova, Avant-garde
Steve B
Instruments: Flute
Styles:
Classical, Jazz, Blues, Latin, Spirituals, Latin Jazz, Swing, Samba, Bossa Nova, Avant-garde
Where I Teach:
In Your Home
Ages Taught: 5-80
ABOUT
Degrees / Training / Special Info:
BM, Wayne State University, Music Therapy
Awards:
1979-Performed with Wayne State University Men's Glee Club (with the Detroit Symphony Orchestra Brahm's Festival) Ford Auditorium, Detroit
1980-Performed with Wayne State University Concert Chorus (with the Detroit Symphony Orchestra Brahm's Festival) Ford Auditorium, Detroit (also Carnegie Hall, Kennedy Center, Washington DC)
1987-1999-Performed/Recorded with 8 voice acapella group Musickes Pleasure
Overview:
Music for me has been the one constant in my long trip called life. Since the age of 10 I have played trumpet, then baritone horn. I took my brother's flute and began learning flute solos off of the radio. Shortly after starting flute, I met a small group of players (music theory class in high school) who helped to "transform" my scope of music to heights I never would have dreamed before (I still play with some of them). I studied flute for about a year while playing valve trombone in local Detroit area bands. Mostly I have studied flute through personal study and affiliations with musicians with similar interests (improvisatory music). My formal studies were mainly low brass, then voice (two years private instruction at Wayne State University). I feel that my qualifications pale when compared to learning from "jam session" and playing jobs locally I feel "blessed" being able to share my music and views concerning the arts with friends and students.
EXPERIENCE
I began teaching for a local studio in 1974. I taught trumpet and flute (13 students to begin). Since that time I have taught music to referrals from friends and family. In the last 25 years I have had the opportunity to learn in small group settings (from duo to 15 "voice" big band). In teaching others I draw from my experience playing/singing with various groups in the Detroit area (and short tours). I believe that students need a strong foundation (I like to share about these experiences with students whenever possible).
METHODS USED
For beginning students (adult and children) I like to be sure that their knowledge about fundamentals is solid. I believe ear training is paramount. Not everyone can sing, but secure pitch discrimination can help all musicians (even percussionists). I encourage all students to participate in ensembles (band, choral also). Knowledge of phrasing is also important to aspiring musicians. Students need support from listening to others play (live performances, radio,and recordings). Parents (friends) should be included whenever possible. Particular piece work and method books, and "play-a-longs" provide additional support.
LESSON STYLE
I like to teach the way I practice. In a "perfect" practice day I would pick a "mode" or specific scale (1/2 step, whole step) and play around this "idea" with a metronome. I practice in as many tonal centers as possible (out of 12). I try to find motives and rhthyms to repeat or change (must hear what's to be played before if possible). The above scenario will work only if the student is already committed to learning the cycle of 5ths. After a sufficient "warm up" period is achieved, ensemble is next. At the more basic level I try to focus on duets. If group work is indicated trio, quartet (or more) is possible. Doubling parts may be needed (depending on task). I like to use a battery operated keyboard as drum machine (metronome) for teaching too. For students looking to learn other genres (like jazz, blues, generic latin/bossa, etc.) the "drum machine" gives added accompaniment. The absolute best way for any student to learn to play any genre is ensemble. For years I spent much of my "song" learning with others with same intent. If possible I will use any or all of these techniques. I have had a few students who stayed with me for many years (not all of these students possessed "natural" ability). Playing not talking provides students with tools to take to their own "studio". In Jim Hall's "Live at Town Hall" Jim, some of his longtime peers, and many his successful former students performed together in concert. It's a perfect example of how any good "recital" should be. I would like to develop a system like the one described above to offer regular recital opportunies. Failure playing should be minimal if any student has a "it's fun" attitude. Parents should involve children in music activities as soon as possible (not waiting for the child be able to say: "why didn't you give me the opportunity to..."..
PHOTOS & VIDEOS
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