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MM California State University, Long Beach BFA music performance Carnegie-Mellon University BFA music education Carnegie-Mellon University
Outstanding Graduate California State University Long Beach
I have been playing and teaching woodwinds for over 45 years. I have served on the music faculties of Carnegie-Mellon and Duquesne Universities, and Orange Coast and Saddleback Colleges. I have performed with the Pittsburgh Symphony Orchestra, the Buddy Rich, Woody Herman, Glenn Miller, Artie Shaw and Les Brown big bands, and too many Broadway pit orchestras to count. I appear on recordings with Buddy Rich, Phil Woods, Bud Shank, Mike Barone and Cecilia Coleman. My compositions and arrangements are published by the UNC jazz press.
I have been teaching for over 45 years, including serving on the music faculties of two major universities, Duquesne and Carnegie-Mellon in Pittsburgh, and Orange Coast and Saddleback Colleges here in California. My students have been accepted at major music schools all over the United States, and my students routinely are selected for State and Local honors bands and orchestras, including the Pacific Youth Symphony. In past years the management of the Pacific Youth Symphony has solicited me to send them my bassoon and oboe students.
For absolute beginners I usually use the Rubank books, since I find they move along at a quick enough pace to keep the students engaged and challenged by the material. I will help students with their band method books from beginning band but really find it necessary to supplement these books with the Rubank series as the band methods move at a glacial pace to make it possible for the harried band director to get unlike instruments started. For saxophone I like to get students playing the Lennie Niehaus jazz conception series, flutists the Southern collected technical studies and Moyse etudes, and Taffanel and Gaubert. Clarinetists do the Rose and Klose studies, oboists the Barret book and Bassoonists the Weissenborn method. All students learn scale and chord exercises of my own devising, as well as technical exercises I've adapted from Taffanel and Gaubert for the other woodwinds.
My biggest goal in teaching is to try to get students to listen to themselves in a critical fashion. By this I mean it is vital to "prehear" what you are playing. Having a clear mental picture of the sound, pitch and time you are striving to produce is a clear prerequisite to producing that sound. If you can't hear in your head the interval, rhythm or articulation you are trying to produce on your instrument, it is much harder to actually produce it. This includes learning to match pitch with other players, training to play with a focused and controlled pitch so that one can blend and tune with others.
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