New directions for wind players – bringing together philosophy and music practice, a philosophy of music teaching. A new approach to the ancient art of music practice and performance, formulated as a modern-day pedagogy for woodwinds.
The way ahead – the age where digital replaces analogue, where thinking replaces rote, where ticks and crosses are replaced by understanding rather than knowing. Where, finally, the brain is positioned at the front of the train and not at the rear looking backwards. The incredibly exciting notion of accessing the brain’s potential to send messages through the body at one hundred meters per second. The facilitative powers of familiarity, tutor to the brain. Familiarity is the pathway to the breathtaking speed of brain driven messages to the fingers.
Wind players are introduced to music making and practice by explanations of the three pillars of music – technique, sound production, and rhythm and rhythm patterns – and the synthesis of philosophy with teaching.
My philosophy of teaching engages the time honoured difficulties associated with
- Sound production
- Practice methods
These problems are well known to practising woodwind and brass players and are dissected at their origin. The explanations are original in the field of woodwind pedagogy and are derived from personal research and experimentation. Many of these teaching methods were formulated in response to the extravagant demands of Jean Francaix’s Clarinet Concerto. A different approach to teaching methods became a necessity and not a choice.
Also included on this site – philosophy essays on numeracy & literacy methodology, language and the mind.