support Tutorials CDs PPT mouthpieces

Saxophone teachers who don't teach saxophone.

so what is more important the ability to play or read..? does it have to be both...maybe the markers of progression need to be up dated...you have to read music to pass a grade which seems to be the only clear indicator of where on the pathway you are...why?....also what constitutes theory i said above that I learnt today that theory is different than playing from a score...is that right or do the skills involved fall under theory...i.e notes, rhythm, cleffs, breaks, accidentals, or is this just the language of the theory...
Being able to play gives the joy. Progress gives ongoing or maybe more joy.
If you join a reading band often you will learn as you go, in a practical doing way - not a theoretical head in a book without an instrument in your hands way. The conductor will often give help as will those around you. Many learn in this way and enjoy the experience.
You may decide to back up the band practice with a bit of reading, but then you can follow specific points which you had trouble with at band night and dip in and out in a focussed way.
Theory just explains how or why something works.
Most bands are more than happy to have extra players. Just go along and blow. Sort it out as needs must - that is what rehearsal is.
 
Being able to play gives the joy. Progress gives ongoing or maybe more joy.
If you join a reading band often you will learn as you go, in a practical doing way - not a theoretical head in a book without an instrument in your hands way. The conductor will often give help as will those around you. Many learn in this way and enjoy the experience.
You may decide to back up the band practice with a bit of reading, but then you can follow specific points which you had trouble with at band night and dip in and out in a focussed way.
Theory just explains how or why something works.
Most bands are more than happy to have extra players. Just go along and blow. Sort it out as needs must - that is what rehearsal is.
The only band I found local that plays the music I want saidi have to read. I tried to explain I can slowly but he seemed to think I played by ear...I wish...
 
Getting close to a new topic ;)
Lol...I was going down the theory route teaching it has to be within the parameters surely... it was a gateway question from those that teach re markers and indicators of ability. Surely there could be another way of grading erm aside from the grades... if the goals are the same i.e. playing songs..there must be specific markers i.e with me i struggle to play fast if reading a score so I am going to only mark the phrases that I have difficulty with..usually quavers tbf...Within the topic? Just saying for want of a better term theres more than one way to skin a cat (sorry cat lovers...)...
 
Lots of valid point here of course.

Speaking as a pupil, the most important things a teacher should do (IMHO) are these:
  • See where the pupil is in his/her development and work from there
  • Choose exercises that are feasible for the pupil in that stage of development. Not too difficult so one would get demotivated and not too easy to keep the pupil moving along.
    The teacher has to keep the pupil in the tip of his/her toes. The pupil has to be challenged, given challenges that are feasible but require some work.
  • Keep the personal objectives of the pupil in mind and keep the focus on the skills and knowledge that are needed to achieve this. Of course, there will be moments that the teacher will cover some subjects that the pupil doesn't want to work on. These subjects may be needed in order to get the foundation for something the pupil wants to achieve or perhaps the institution where the teacher is working demands that certain subjects must be given.
I take lessons in our local music academy, it is also very institutionalised. We have to start with theory lessons (reading music and other basic stuff) for 3 years. The last few years one can start with the instrument classes alongside these theory lessons (before you had to wait one year before starting with the instrument). The first 3 years it's just these 2 lessons. After that we have another 3 years where the theory becomes more interesting (Jazz harmony and history of jazz-pop-rock music). And in this period we also start with combo, playing in a group with other musicians. And that is the fun part of course :)

The combo practice is guided by a music teacher, but often one that plays another instrument. Last year I had a guitar teacher for combo practice.

After that we just have instrument lessons and combo for another 3 years.

For me it is very good, I like the way they approach things. And it suits my needs.
Blimey! I’m 71 and will be dead before I’ve achieved all that academic stuff.
- Just show me how to play this thing, and give me a group of muso mates to jam/gig with.
 
Thats the bug bare @Pete Effamy, beginner right through different parts for different standards, and they send the score out beforehand...I was just trying to be honest and shot myself in the foot I think...
I think most of us that have run a band for any length of time would agree that turning away players is a potentially bad idea unless they are running a county ensemble with a historical influx of players from many schools and colleges. In those situations auditions and minimum standards come into play and life as an ensemble director is rosy.

Community bands can see numbers dip at an alarming rate and the resulting trough can be quite an extended period. All sorts of things can put people off from the vibe at rehearsals to the style of music, let alone practical aspects like where and when rehearsals are.

It’s not a contract you’re signing up to - you can go along and check it out, and then run for the hills if it’s not your thing.
 

Support Cafesaxophone

Tutorials CDs PPT mouthpieces
Back
Top Bottom