TEACHERS, PART 2:

The 2 teachers whom I DID like, and thought really helped me, were:

Phil Kaplan (former, BSO) and Joan Bennett (former, CSO).

Mr Kaplan was a gentleman and very good teacher. He never minded my “bobbing and weaving” all over the place, because the Principal flutist, Doriot Dwyer, was more acrobatic (if possible) than I.

He also never harped about the (ridiculous) posture in which I played (if you were to see me play from a distance, you’d almost think I were playing the clarinet or oboe). There is a reason for that, in which I will post later, for those interested, entitled “Correct Posture”.

When I finally ended up in Chicago, I was fortunate enough to have studied under a remarkably gifted flutist, Joan Bennett, who was the Assistant Principal flutist of the CSO. A rather accomplished position, if you agree.

As an aside, she never referred to Don Peck, the Principal flutist of the CSO by name --- she always called him: “her boss”. I found that somewhat amusing.

She, also, never took issue with my “weaving and bobbing” --- and ridiculous posture. She simply said: “If that works for you, then play that way”. Sadly (Jean Martinon was the Musical Director and Conductor of the CSO, at that time) --- she ran off to Europe. And I was left, “stranded and pregnant at the altar” --- looking for another teacher. Don Peck never gave private lessons, but was on the faculty at DePaul University. Despite 3 requests, he declined to tutor me. He simply didn’t “take on” private teachings.

To end the story, I “did it on my own” using the Marcel Moyse and Tauffenel/Gaubert studies.

In closing, I always hated “exercises, studies, scales” and the like, which every flutist must suffer through. I just wanted to play Bach sonatas, French music, other Baroque music, etc. I even transcribed Vivaldi’s Concerto (popularly known as the “Winter Concerto” from the Four Seasons), for flute, replacing violin.

Anyway, thanks for reading this post ---- it is my sincere hope that the many talented flutists out there glean something from my background.

Regards, Jim Millen

"I even transcribed Vivaldi’s Concerto (popularly known as the “Winter Concerto” from the Four Seasons), for flute, replacing violin."

This statement confuses me. Could you explain how you "transcribed" it?

i completely agree on your whole statement about teachers forcing you to play in their style

i am going through that right now and it's killing me
i realized that im actually being turned off from the flute because of it.

Flauta, it sounds like it may be time to go in search of a teacher who better suits your needs. Under no circumstances should you allow h/im/er to destroy your love of music.

This brings up an interesting subject to me. I have seen a few posts by a few of the players here about how they are dissatisfied with this teacher or that one. I say, why stay with them? But on the other hand, exactly how do you as a student take and assess the quality of your teacher? Do you feel qualified to judge this teacher? I consider a teacher to be a guide and a coach. I consider the student to be their own best teacher and from that stand point the student needs to understand a few things for the relationship to work.

1)The student doesn't know what they don't know. The private teacher has been there and may have an overall plan that should be in the student's best interest. One particular study or solo is only part of the big picture. Same goes for a technique-a means to an end. This plan can only materialize if the student follows the correct steps in development.

2)The student can't pick and choose what they need to learn. This would leave gross holes in their development. I have had a few students who bounce between teachers. They assess the teacher and generaly they take the easy route out after a short time because they don't like the teacher or the work or whatever. They leave after the teacher formulates a plan for their development and begins to implement this plan. It's more often just an excuse for not conforming to the accepted techniques and doing the work. On the other hand, if the student is truely talented and gifted, no teacher is going to hold them back. They will rise to the top in spite of any teacher. This is where the student makes the teacher famous rather than vice versa.

3)If a student becomes critical of the teacher, they should get outa there. They are probably not listening as much as criticizing every comment and being resentful. They are wasting each other's time. Playing and learning a musical instrument at the highest degree of quality on the pro level involves a great deal of discipline. As a developing student, you don't have time to pick and choose teachers. Time and energy must be spent on developing technique, repertoire, style, tone and the likes. This development is a full time job and the player should want to play at the top of their abilities because achieving the goal of playing in a major symphony orchestra isn't going to be easy. Even if you work very hard, the odds are against you getting in.

continued:

4)One must understand that at the level of skill that we are discussing here, the teacher has a very well honed skill at music. They look at a piece of music or a student as an equation. Problem?>Solution. If a piece of music is being learned and a problem is encountered, what is the best quality solution. If a student displays a problem, what is the solution.
So as an example, if a student emotes a great deal in a lesson. This is most often perceived as a problem by the teacher unless that teacher also emotes a great deal. Generallly, bobbing and weaving is undesireable in symphony level performance. It is perceived as distracting to the performance or it is considered a ploy at grabbing some self-attention from the overall performance of the symphony. Almost as if that one player comes out on stage wearing a pink tuxedo. So, from a teacher's standpoint, if a student is resistant to solving a problem, a teacher may pay attention to that problem until it is resolved. If it doesn't get resolved, the teacher may very easily loose interest or even discontinue lessons with that student. They have to draw a line at how and why they use their time.

5) Very few musicians do it on their own. Ian Anderson may be considered as one because he didn't have formal training but even using a Moyse or Taffannel book involved first understanding that these books exist, second practicing them in a certain way that improves the techniques and then it involves having a great past master assemble these books for subsequent players.

6)I have a long time ago stopped suffering through etudes and the like. I have at some point learned that they help to hone my technique and reading ability, that many of these etudes have beautiful melodies and phrases that must be played to make them into music amd I practice them daily. I have long ago learned that scales are good for my technique, they need to be played musically and if I'm just rambling through them without paying attention to my sound, I am wasting my time so I practice them daily.

7)Finally, I have to agree that if the teacher is ruining your appreciation of music then don't just leave that teacher, run away with all dispatch.

one thing great about the good ole USA is the variety of teachers, when I worked in Germany, where there are terrific teachers, so many of the young flutists played exactly the same, same rep, same movements, same interpretation, etc.

aha those Stepford flutes! Musical Zombies!
I don't see the value in cranking out clones. I don't even try to teach the same solos again and again. It bores me to distraction.

For me it looks like there is a gap between the lower student levels and the advanced levels up to pro levels. If it is truly a gap or some kind of diffuse border it is no yet clear for me.

On the one side of this possible gap, the teacher normally has all the knowledge and the student most of the ignorance and problems.

Except when there is the very rare, but sometimes evident problem of incompatibility (or incompetence), IMO the student should take the remarks and corrections from his/her teacher as given.

That is the only way (IMHO), to develop a correct playing technique. Not necessarily the best one possible, but a correct technique after all.

I cannot see another way, except for the rare natural born genius that can do it based solely on books and listening to recordings and live performances.

Based on my own (and slow, I know) personal experience, I suppose this first part takes some 5 to 8 years of regular lessons. I am not at the end of it, so for the other side of the "gap" I would not risk an opinion.

I wanted to state this, and I agree that it is not a great discovery or a very original thought, because when reading the opinions of very accomplished and experienced flutists in this Forum, younger students and beginners could (eventually) conclude wrongly that it is OK to challenge -and consequently- not pay attention to what the teacher is asking to correct or to practice.

In my life I have learned to be humble in the things I do not master (such as flute playing, but also so many others) and follow the indications given until I feel I can advance on my own or look for higher levels and teachings.

Right now, in my fifth year of lessons, if I am told to not dance, stop my (uncontrolled) vibrato, sustain the air column correctly or anything else, I try to obey and take this as part of the training.

Technique comes first and art will do later, if ever. Or so I hope.

".....because when reading the opinions of very accomplished and experienced flutists in this Forum, younger students and beginners could (eventually) conclude wrongly that it is OK to challenge -and consequently- not pay attention to what the teacher is asking to correct or to practice."


On the other hand, it is a fine idea to ask a few questions at the right time. Not only do they get answered, but it shows to the teacher a heightened interest. One thing that I would not like though as an answer is, Do it this way because that is that way blah blah does it." I would automatically challenge them with the question, "But why?"

I agree, asking the right questions is the right way to understand why something should be done this way or the other.

I tend, anyway, to trust the teacher and not ask too many questions, just the strictly necessary. Not only because classes at very time limited and expensive to talk much in the short hour allowed, but basically because it is my personal approach.

I have been teaching (not flute, of course) in recent years and still keep the fear or unexpectedly difficult questions or questions that do no have a simple rational answer.

In this sense I try to empathize with the teacher and simply trust and accept what I am told to do. But if I believe it might be wrong for some reason I will certainly make the comment.

Also, if I do not understand the "why" of it and feel it is important, (such as harmony issues in which I have a too poor knowledge), I would ask all the questions necessary.

But IMO it is not necessary to always know the "why", specially in matters not related to science or technology (which was my area of professional activity).

One example would be the style to play a baroque sonata (I am beginning working on this issue now).

I could say "Sharon Bezaly did it this way at the BBC3 concert last Friday", but then what?

I do not have Sharon as my teacher, (though I wish I had...) and I must respect the way my actual teacher feels and does it.

I could go home and play Bezaly's way (yes, I'm just kidding, it is just a thought experiment) but the next class there could be an unnecessary conflict with my teacher. I reserve those initiatives for the other side of the "gap" that I introduced in my previous post.

I may be giving the impression of a kind of submission or blind obedience; it is not the idea, but I am finding it difficult to explain it more clearly, sorry...

my second ever flute teacher only had me play boroque music and in the order in which they were written (ex: handel sonatas in the order in which they were written, telemann in the order in which they were written, etc.). but, living in a rural area, flute teachers were hard to come by without driving an hour and a half or more.

i only studied with her for a year.

i also think that its important for beginners not to study with the same teacher for too long because you have to develop your own style, not be a carbon-copy of them.

I would like to thank all of you for responding to my
post(s) regarding flute teachers.

I think, once again, I "know" what I want to say, but am apparently not able to articulate it in writing.

What I was trying to point out is that there is a differentia between teachers, in what they expect a student to accomplish. And it was MY finding, that each teacher (in MY experience)differed in his or her opinion of just HOW the flute "should be played" ----in part, because (the teacher) often wants to "clone" (their) students, so that they play "just like they do". We're going beyond scales, excercises and etudes,here. Yes, they're important.

The difficulty with (the above)scenario is that "one flute teacher tells you to do 'this' --- the next teacher says that 'that's wrong', do it this way". THAT'S what I ran into. And I studied with "name" flutists.

I find that(that)dichotomy, between teachers, removes the personal artistry from the student.

I've long been a believer that, just as the flute, itself, is a VERY personal choice --- flutists, also, bring different styles of playing to the arena. Compare Robison's playing to Baxtresser's. Compare James Pellerite's playing to Murray Panitz's. And on, and on.

We all have to suffer through excercises. It's necessary, espcially at the beginning level(and even beyond) ---But when you bring your playing to the next level, and play,for example, Nocturne and Allegro Scherzando, Voliere, Romance(Widor), etc., it's your INDIVIDUALITY that is supposed to come forth. And a teacher should not stifle your individuality, just because he or she doesn't like your "bobbing and weaving", or poor posture. Who cares, as long as your interpreation shines.?

I would hate to live in a "flute world" where we ALL sound like Galway. I appreciate the differences brought to our ears by other flutists.

And who cares, if you "weave and bob", or have (in THEIR opinion) poor posture, as long as you can: accomplish your LESSONS, as given --- and as long as "your style" allows you to perfom more ambitious music from flute literature.

In closing, if you'll permit a poor analogy, it's kind of like going to 4 different doctors --- and getting four different opinions. (Not unheard of, by the way).

I appreciate the differences of opinion in this Forum, but on this issue I stand on what I say. And it's this: "if you have a teacher of "lofty" status, who has accomplished just about everything that can be done and who imparts their teachings to you in a manner that is both, at once, didactic and friendly (as in trying to help you be the BEST YOU CAN BE) -- then stay with that teacher, through the end --- or to the point where you can "wing it" on your own". And that statement is ONLY MY opinion.

Best Regards, Jim Millen