The Art Of Clarinet Playing

Keith Stein was already a phenomenal clarinetist when he attended the very first session of the National Music Camp at Interlochen, Michigan. Stein was then accepted into the Chicago Symphony, and became one of its youngest members. He earned a master of music degree at the University of Michigan, and his teaching career began at Michigan State University and Interlochen, where he remained for the next 41 years until he retired. Within this book, the author makes the player aware of all the many faulty habits he may have acquired, then offers constructive suggestions for remedying each one.

Shpil offers an expansive history of klezmer, from its medieval origins through the present era. Individual chapters concentrate on the most common instruments found in a typical klezmer ensemble: violin, clarinet, accordion, bass, percussion, and even voice. Contributors incl...

Written for students, performers, and music lovers.

According to Larry Teal, the best method of learning to play the saxophone is to study with a competent teacher. Teal's studies were mostly of instruments other than the saxophone, but as a student at a Chautauqua summer session, he came under the influence of Georges Barrère, the eminent French flutist. He played bass clarinet with the Detroit Symphony, but he continued to be absorbed by the saxophone. As a result of his acquired expertise and growing reputation, he was appointed to a full-time faculty position as a saxophone teacher by the University of Michigan -- the first ever to receive such an appointment from a major university. During his 21-year tenure, he attracted students from all over, thus exerting an ever widening influence on saxophone teaching and performing.

No blurb required by author.

Edwin Putnik, like most other contributors to the The Art of series, has been a member of many prestigious symphony orchestras and university faculties. The Art of Flute Playing can aid students of all degrees of advancement. Part I is devoted to Basic Principles and Pedagogy, Part II to Artist Performance. Part I is particularly helpful not only to beginning flute students, but also to non-flutists teaching in school music programs.

Carefully graded methods written by instrumental specialists that emphasize good tone production, build a strong rhythmic sense and develop well-rounded musicianship.