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PHILOSOPHY Experience Preparation Materials FEES Lesson Policy Contact
This page is primarily intended to answer questions for prospective bassoon students and parents, as well as to provide information for my current students. My pedagogy focuses on establishing a traditional Western classical foundation; well-rounded musicianship, however, requires open ears, an open mind, and a breadth of experience. I endeavor to use the creativity and flexibility I have gained in the course of my own work as a performer and teacher to fine-tune lessons to each individual student's needs and interests, and above all to make the process rewarding and fun.
I aspire to challenge students to truly engage with the subject matter being taught, and to give them firsthand experience with the glorious intricacies of music. I aspire to reach each student or group of students in the way that best suits them, and allows them to best grasp the subject matter. This is achieved through regular use of combined teaching methods: aural, written, verbal, visual and student involvement, both in and out of the classroom. Most importantly, I strive to show each student how the specific subject matter can serve a practical purpose for them, as well as enrich their lives. Finally, I strive to connect with each and every one of my students, both as a teacher and as a fellow human being.
As a bassoonist I feel myself strongly tied to the ‘Philadelphia school’ of playing. My teachers and their backgrounds are mainly in keeping with this tradition. This connection continues through my association with the Luzerne Music Center, and its close ties with the Philadelphia Orchestra. I always endeavor to make lessons fun and interesting to the student, while also helping each student work to improve in a way that best suits them.
My active performing schedule is complementary to my teaching career. While performing, I frequently realize new ideas and solutions for my students and myself. I am constantly seeking new and better ways to learn and teach.
Goals & Objectives
To grow, musically and technically, on a consistent basis through the use of etude studies, scale studies, as well as solo and ensemble repertoire. Regular use of small ‘stepping’ goals to aid in obtaining a large goal. To make lessons not only useful, but fun and interesting. To make the student enjoy and love music, and to appreciate listening to music. To use active listening and teach the use of critical listening skills in practice. To teach proper, and useful, practice techniques.
Typical Lesson Structure
Times and specific lesson activities adjusted per student’s ability level and needs
Warm-ups 5-10 minutes Scales 5-10 minutes Etudes 10-20 minutes Music [solo or ensemble pieces] 10-20 minutes Techniques 5-10 minutes New Materials 5-10 minutes Reeds ? 5-10 minutes
I have been a professional bassoonist for more than ten years, and have been playing bassoon for more than twenty. I hold a B.M. in music from California State University, Sacramento and a Masters degree from Northwestern University. Since that time I have worked extensively as a freelancer and teacher. I have taught privately as well as through numerous institutions - currently at the University of St. Francis, Joliet Junior College, Music Institute of Chicago, Neuqua Valley High School, Schaumburg High School, and Lake Forest High School. I love teaching, and I have extensive experience - I have been teaching for more than ten years, and have worked with students of all ages and abilities. Every student is a unique case and requires me to come up with new ideas and material; I truly enjoy coming up with new ideas for teaching each student in their way. I often learn from my students, just as they learn from me.
I fully realize that the bassoon isn't (nor should it be) the first priority in everyone's life. However, for lessons to be even remotely worth the time and money, YOU HAVE TO PRACTICE. Like any sport, there is simply a minimum of daily physical conditioning required to be able to function at all, much less improve. Beginning students should aim for at least 20-30 minutes a day; for those more advanced, 30 minutes to an hour isn't so much to ask. Sorry, but the time you spend in band doesn't count - you may be working your chops, but you can hardly hear yourself, and you certainly can't stop and examine trouble spots. Look closely at your schedule, and be creative. A few short bursts of practicing are just as good as the single long session you can't seem to fit in, and they can provide great study breaks between subjects of homework. I find that guilt doesn't work particularly well for ensuring dedication, and I have no grades nor punishment to hold over anyone's head - nothing I can do will make up for a student's lack of internal motivation. But I'm happy to appropriately tailor my approach to structure and reinforce whatever level of commitment is there, working from the premise that a student is taking lessons because s/he actually wants to. I have a number of students who have gone on to college and have ended up with (sometimes substantial) scholarships - both those who have majored in music, as well as those who have not.
please see my Materials page for a detailed list and information (as well as suppliers) While some of this advice may seem obvious to you, experience has taught me that certain issues are well worth pointing out, especially to those entirely new to the instrument. You may have noticed by now that one of the most nightmarish aspects of bassoon playing is the reeds. Showing up at a lesson without at least one functioning reed is like showing up in class without a pencil, except you can't borrow one from anyone else. Showing up for a concert without at least two good reeds is asking for trouble - don't wait for a flute player to knock your only reed off your stand to learn this lesson. The reed is a major determinant of your quality of tone and ease of playing; it is not, therefore, the place to cut costs. In general, you get what you pay for. There are many different kinds of reeds commercially available, but unfortunately none are incredibly reliable or consistent. I can always try to help adjust them for you, so don't give up on a reed unless it's cracked. Be prepared to try a few brands so we can see what works for you. Beginners should be OK with medium soft strength; otherwise, I recommend at least medium. I make my own reeds (all professionals do - if you envision playing seriously in the long run, we will work on basic reed-making skills in our lessons) and can gladly supply some to students. The reeds I sell to students are not identical to my personal reeds (which is quite a different reed style), and the cost for them is $10, and I generally require a week's notice. Please remember that your reeds must be soaked prior to playing (ideally a small 'shot-glass' sized tupperware container or such, but a run under water is also acceptable. As reeds are so important, and expensive, another basic necessity is a reed case. The individual reed 'cases' that come with either store reeds, or from me, are not acceptable as permanent cases (they do not allow the reed to dry, and do not protect the reed very well. There are numerous styles of reed cases available. Another option (cheapest, acceptable, though still not great) is to retrofit a mint tin (such as Altoids). You MUST swab your bassoon out. Every time you play. Really. I can't believe I have to convince some students of this, and I can't count the number of times I've had to dredge mold and fuzzy gunk out of somebody's instrument. If you're playing on a school instrument that doesn't have a swab in the case, go get one. Pull-through swabs (cloth or silk attached to a string with a weight on the end) are generally the best, but be careful when using them - if they get kinked or knotted, they can get hopelessly stuck in the instrument. In order to support the instrument while playing you must obtain a seat strap. While it is possible to use a neck-strap, it is not recommended, as it puts undo strain on the student's neck and left hand/arm. For all students, the method books I recommend is the Weissenborn. There is a lot of wonderful solo literature out there as well that we will choose based on each student's ability. Further items will become necessary as the student advances. All of these basics can usually be found at your local band shop; but if you have trouble finding things, there are many mail-order alternatives. We are blessed in the Chicagoland with a shop well-known to double reed players throughout the country, Edmund Nielsen's. Again, please see my Materials page for a detailed list of suppliers.
My fee structure for lessons is dependent upon the location of the lessons, as fees for in-school lessons are in accordance with each school's lesson fee policy. As such, my fee structure follows:
Please remember that tuition for each month's lessons is due at the first lesson of each month! (late fees will be assessed for late payments)
Reeds: $10 for each reed
Though confident that referrals would come about independently of whether or not I offer an incentive, I offer all of my students a free lesson for each referral as a genuine sign of appreciation. More specifically, I will offer a free lesson for each referral that leads to an introductory lesson. (this applies to each referral) Such referrals are enormously useful and appreciated. Furthermore, they help me to expand my studio, while allowing me to spend more time thinking about teaching!
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Feel free to email me with any questions and concerns. Email typically works best, because I can respond at any hour, no matter how late I get back from playing a concert or teaching.
Thanks for taking the time to read through this; it will help things run more smoothly for all of us. I'm looking forward to our work together!
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