TEACHING PHILOSOPHY
After listening to, and teaching, so many oboists I have come to believe that there is a great deal of concern over what is actually the correct way to play the oboe and, as a result, a great deal of inhibition with regards to playing the oboe in an artistically effective manner. I reject the notion that there is one correct way to play the oboe. It is foolish and limiting to think that there is only one way to do something within the vast subjectivity that is music making. Techniques of playing are simply that. An individual technique is appropriate and receives validation only if it produces the desired musical result, and the desired musical result is, of course, a matter of opinion. In different hands a technique may be “the answer” or it may be totally useless.
It is my hope that you will understand there are options in selecting techniques leading to an effective method of playing the instrument. I believe this concept to be liberating in nature. My own training was a merry-go-round of how to do it. In retrospect, I consider the exposure to the variety of concepts to have been an asset in my oboe life as I have tried to come to an understanding of these concepts, why they do or don’t work, so that I could adapt and improve my own performance, as well as help my students. My goal is to enable you to become the best oboist and musician you can be and in doing so, to share with you all the knowledge and experience I have amassed in my own oboe life.
Learning
Oboists often seem to be locked into technical applications that are constricting. In younger players, inflexibility caused by a lack of knowledge can eventually be overcome with experience. However, I have seen advanced players suffer from adherence to procedure in lieu of striving to achieve musical results. During the early stages of learning there should be a definite set of parameters used in defining the techniques of how to play. As the student matures, more techniques are learned in order to become flexible enough to meet the musical challenges that will be faced. Learning more ways of doing something should be liberating and not be construed as some sort of stylistic heresy. The ultimate goal of a performer is to make music, not to adhere to a specific technique.
Sometimes a student can’t learn from a particular teacher, but has great success with a different one. The attitude and demeanor in the studio as well as the way a topic is approached or explained can make or break a learning experience. Teachers should be aware that one size does not fit all. We use a variety of strategies in helping our students. All teachers try to say things in a way that can be easily understood. We are trying to help someone who is learning or has difficulty with some pertinent issues. At the same time a teacher imparts knowledge, the teacher is working to make himself unnecessary. The student ultimately needs to be able to work and improve when no teacher is present. If the student understands from a variety of perspectives, the road to self sustainability can be free of traffic jams. That sounds almost Zen like, but I feel that it is the basic premise from which I try to teach. I want my students to ultimately be able to explore so they can find their own way.
As a student
As a beginner, the student should absolutely follow the instruction of the teacher. After all, the beginner comes with no knowledge. As the student advances, there are choices to be made. When going on to another teacher the student should consider the teacher’s track record, the style of playing, and method of teaching. It is always a good idea to take a lesson from potential teachers so you can make a more informed decision. The question you must ask yourself is - does this teacher have the knowledge, experience and capacity to get you where you want to be? Don’t forget, though, that no matter who your teacher is, you need to put in the required effort to attain your goals.
Follow your inner voice
The greatest artists all have an individual and fresh spark in presenting music. Whether it’s a manner of instrumental approach such as an identifiable vibrato or a concept of phrasing, these performers have something to say that sets them apart. They are not clones of their teacher. While preferences may change with each new generation, the greats retain their status. Think of composers. Bach, Mozart, Beethoven, Brahms, and Debussy, for example, defined their eras. In our oboe world, Marcel Tabuteau is a shining example. He was the product of a tradition laden environment, the oboe studio of the Paris Conservatory. Yet, he is known as the creator of the American school of oboe playing. He took his training and went to his own creative level - new tonal concepts, new reed ideas, new ways of thinking about phrasing, new approaches to instrumental techniques - all innovative and unique. His own students followed these new concepts and the greatest of them developed individual voices with a variety of instrumental and musical approaches. Granted, they were immensely creative and talented, however, the teaching approach used by Tabuteau allowed for the growth of his students’ personalities. It is my thought that Tabuteau taught universally applicable concepts rather than only specific, pedantic techniques and, that even his musical number system was conceptually conceived to be illustrative rather than absolute.
- It is liberating to find new ways of doing things in an effort to reach greater artistic achievement -
It is my hope that you will understand there are options in selecting techniques leading to an effective method of playing the instrument. I believe this concept to be liberating in nature. My own training was a merry-go-round of how to do it. In retrospect, I consider the exposure to the variety of concepts to have been an asset in my oboe life as I have tried to come to an understanding of these concepts, why they do or don’t work, so that I could adapt and improve my own performance, as well as help my students. My goal is to enable you to become the best oboist and musician you can be and in doing so, to share with you all the knowledge and experience I have amassed in my own oboe life.
Learning
Oboists often seem to be locked into technical applications that are constricting. In younger players, inflexibility caused by a lack of knowledge can eventually be overcome with experience. However, I have seen advanced players suffer from adherence to procedure in lieu of striving to achieve musical results. During the early stages of learning there should be a definite set of parameters used in defining the techniques of how to play. As the student matures, more techniques are learned in order to become flexible enough to meet the musical challenges that will be faced. Learning more ways of doing something should be liberating and not be construed as some sort of stylistic heresy. The ultimate goal of a performer is to make music, not to adhere to a specific technique.
Sometimes a student can’t learn from a particular teacher, but has great success with a different one. The attitude and demeanor in the studio as well as the way a topic is approached or explained can make or break a learning experience. Teachers should be aware that one size does not fit all. We use a variety of strategies in helping our students. All teachers try to say things in a way that can be easily understood. We are trying to help someone who is learning or has difficulty with some pertinent issues. At the same time a teacher imparts knowledge, the teacher is working to make himself unnecessary. The student ultimately needs to be able to work and improve when no teacher is present. If the student understands from a variety of perspectives, the road to self sustainability can be free of traffic jams. That sounds almost Zen like, but I feel that it is the basic premise from which I try to teach. I want my students to ultimately be able to explore so they can find their own way.
As a student
As a beginner, the student should absolutely follow the instruction of the teacher. After all, the beginner comes with no knowledge. As the student advances, there are choices to be made. When going on to another teacher the student should consider the teacher’s track record, the style of playing, and method of teaching. It is always a good idea to take a lesson from potential teachers so you can make a more informed decision. The question you must ask yourself is - does this teacher have the knowledge, experience and capacity to get you where you want to be? Don’t forget, though, that no matter who your teacher is, you need to put in the required effort to attain your goals.
Follow your inner voice
The greatest artists all have an individual and fresh spark in presenting music. Whether it’s a manner of instrumental approach such as an identifiable vibrato or a concept of phrasing, these performers have something to say that sets them apart. They are not clones of their teacher. While preferences may change with each new generation, the greats retain their status. Think of composers. Bach, Mozart, Beethoven, Brahms, and Debussy, for example, defined their eras. In our oboe world, Marcel Tabuteau is a shining example. He was the product of a tradition laden environment, the oboe studio of the Paris Conservatory. Yet, he is known as the creator of the American school of oboe playing. He took his training and went to his own creative level - new tonal concepts, new reed ideas, new ways of thinking about phrasing, new approaches to instrumental techniques - all innovative and unique. His own students followed these new concepts and the greatest of them developed individual voices with a variety of instrumental and musical approaches. Granted, they were immensely creative and talented, however, the teaching approach used by Tabuteau allowed for the growth of his students’ personalities. It is my thought that Tabuteau taught universally applicable concepts rather than only specific, pedantic techniques and, that even his musical number system was conceptually conceived to be illustrative rather than absolute.
- It is liberating to find new ways of doing things in an effort to reach greater artistic achievement -