Dear Forum Members:

I realize that this has probably been posted in other posts --- and I apologize for being redundant, but I felt that it’s worth reading, from my point of view.

Regarding teachers: in the formative (beginning) years (usually in high school), it’s not a question of flute playing as much as it is a question of musicianship. Band instructors (mine didn’t play the flute) are perfectly capable of imparting what you need to know, regarding “long tones”, proper breathing techniques, reading notes, exercises, etc.

This is well and good, as well as learning “scales, exercises, etudes” and the like.

But, when one progresses to intermediate or advanced playing (whether in college or private studies), one must engage the services of that teacher who has the “right” chemistry, or, if you will, “establish a bond” between his or her teaching and the student.

There are two positions to take: In the first instance, it can be considered advantageous to have studied under more than one teacher, in that you get different perspectives on how to advance in your studies.

The “flip” side of that coin is that different teachers often impose, upon their students, “their” individual style of playing and teaching, and are often “unforgiving” of that which you have learned from “previous” teachers.

I had four different instructors (all symphony men and women) ---and had two that I “liked” and two that I “didn’t like”. WHY didn’t I like some 2 of my previous teachers? It’s because I am sensitive, in nature, and don’t like being “hollered at” (every measure or two) because of “this or that”.

It’s one thing to be didactic and helpful --- and quite another as being treated like a “doggie who made a mistake”.

It was my finding, with the two teachers that I liked, that they were patient, answered my questions, and appreciated the “different voice” I brought to my playing. AS LONG AS I could accomplish my lessons.

As a final note, if I were to study under Jeane Baxtresser, it is she who could take me to the “top” of my playing. So I would need no other teacher than she.

In conclusion, when you are in the intermediate to advanced level, find that teacher who can take you to be the best you can be. IF it takes you EIGHT teachers to GET THERE, who cares? Just find the best teacher you can, who respects your individual artistry and WORKS with you.

Best Regards, Jim Millen

i completely agree. ive studied under approximately 6 different people over the past 6 or 7 years and each one taught their style of playing. which isnt a bad thing, but if that style isnt for you, then why stick with it? we dont want a bunch of carbon-copies running around here

Since in most cases multiple teachers in your primary instrument are pretty much unavoidable, I don't see any reason to debate this point--and if you really have "individual artistry" it should withstand any reasonably competent teacher; there shouldn't be any fear on that account either.

I've had four piano teachers, three cello teachers, ten music theory teachers, five arranging teachers...and so on.

because i have just started, i only have 1 teacher who is realy good and helpful (in fact when i play i am more critcal when it comes to wrong notes then she is) but i enjoy my lessons with her. I don't see the problem with getting though lots of teachers to find one you like who can take you up to the standard you wish to achieve.

Great. Your posts are increasingly easy to read now. It is against my peace maker ideas but the improvement is welcome.

I do not have a long experience and so far had just one teacher for my first four years of study.

But now I have a new teacher (albeit temporarily) and the experience is being quite fruitful. We are working on aspects of my playing that I had not given enough consideration before.

Apart from the fact that I tried to play with the G hole open...... and I failed once more, it is being a very positive experience.


<Added>

I mean, "I tried to play with the G hole unplugged"