Etude No. 1 “The 6/8 One” Preparation Tips: ClarinetMike’s 2017-2018 Texas TMEA All-State Soprano Clarinet Clinic

ClarinetMike Performing at the Orfeo Music Festival 2017 in Vipiteno, Italy.

Below are my complete clinic notes on Etude No. 1, “The 6/8 One,” from this year’s Texas TMEA All-State Soprano Clarinet Etudes. My notes on Etude No. 2, “The Slow Etude,” are available HERE. Watch for my notes on Etude 3 coming soon! Check out my previous posts on the all-state etudes: CLICK HERE.

ClarinetMike’s Texas TMEA All-State Clarinet Clinic 2017-2018
Soprano Clarinet Preparation Tips
Dr. Michael Dean “ClarinetMike”
“Building Great Clarinetists”
Clarinet Performing, Teaching and Consulting
Hurst, Texas, USA * 682-888-7639
clarinetmike.com * clarinetmiketexas@yahoo.com

Etude Book: David Hite editor, Artistic Studies, Book 1 – From the French School, Published by Southern Music [Rose Etudes] (For official TMEA listing, click HERE.)

Note: Cyrille Rose (1830-1902) was a very important clarinet teacher at the Paris Conservatory and 1st clarinetist with the Paris Opera orchestra for 34 years. Rose did not compose these etudes, but he adapted and enhanced etudes written for other instruments. He “clarinetized” them.

Practice Tip: Load accurate information by using Rhy-No Practice Technique with BOLD Dynamics: Click HERE and HERE.

Etude 1, “The 6/8 One,” Page: 63, Key: Bb Major (and G minor), Etude Title: 32 Studies, No. 18, Play from beginning to end. Tempo: Dotted Quarter Note = 72-84 [NO FASTER!], Errata: NONE

Composer and Style: This Rose etude is based on an etude by court oboist Franz Wilhelm Ferling (1796-1874) – to view the original etude, click HERE and go to Etude #18. Ferling wrote this etude in the style of a waltz (cite).

Overview: There are 3 main issues in this lively etude: Tone, 6/8 Time and Rhythm, and Dynamics.

Sections and Phrases: Etude breaks down into 6 phrases: P1 = m1-m8, P2 = m8-m16, P3 = m17-m24, P4 = m24-m35, P5 = m36-m52 with 3 subphrases: P5a = m36-m41, P5b = m42-m45, P5c = m46-m52, P6 = m52-end.

Tempo: Learn (work on) this lively Rose etude in 6 with eighth note as the beat (one eighth note = one beat). Perform in 2 with dotted quarter note as the beat (one dotted quarter note = one beat). However, if you are unable to perform it accurately in 2, then perform it in fast eight notes, i.e. in 6. NOTE: the transition from playing it in 6 beats a measure to 2 beats in a measure is tricky and requires a lot of careful and thoughtful practice. Lots of metronome? Yes! (But don’t get metronome addiction….)

Musical Issues:  The original Ferling etude is only marked “Vivace” – Rose added “Allegro” to it. The word “Vivace” comes from “Vivacious,” meaning full of life, attractively lively and animated, spirited, sparkling. I think the best way to think of Vivace in this etude (and generally) is “Full of Life.”  The editor of our edition, David Hite, (who tended to overedit) added the word “delirante” at m1. I suggest thinking of this as “fun.” So, play this etude “Full of Life and With Fun.” Note carefully the dynamics and tempo changes indicated on the music.  Make big contrasts in tempo, dynamic, style, etc. at m17 “Meno mosso.”

Problem Passages: Measures 5-6 and 13-14 are VERY difficult to perform accurately up to tempo. Also work carefully on m40-m49.

Technical Issues: Watch for phrases and measures that repeat. Rhythm. Many tricky rhythms in 6/8 etc. Also, see as mentioned above under Tempo. Slurring/Tonguing. m46-m49 have small slurs under a long slur. I suggest slurring all of m46-m47 together, no tonguing. In m48 tongue in “threes,” i.e. tongue only the first, fourth, seventh, and tenth notes in the measure. In the following measure, m49, slur the whole measure. Fingerings. Consider left C# in measure 2 and some other spots. Use right C#’s in m31. Use forked fingering for high Eb’s in m47 and m51. Use left C’s before and after fourth space Eb’s, of course. In m46 I suggest using a right C on the first note and then using a left C on the fourth note. Unlike some teachers, I do not recommend using the 1 and 1 fingering for high Bb – for example, m29, m43, etc. The mechanical adjustment on this is very fussy and I don’t trust it on 99.9% of such spots. (The one exception I can think of is in the opening of the “Bird” section of Messiaen’s “Abyss of the Birds.”)

Hypermeter: Advanced students may want to consider playing this etude in a two measure hypermeter (12/8 in 4). The entire etude works perfectly in hypermeter with the only exception being m35. (Click HERE for a discussion of hypermeter or give me a call.)

Scale and Arpeggio Cheat Sheet: Important Scales: Bb major, F Major, G minor and F Chromatic scales. Important Arpeggios: Bb major (Bb D F), F major (F A C), G minor (G Bb D), D7 (D F# A C), Eb Major (Eb G Bb), E Fully Diminished 7th (E G Bb, C#).

Breathing: As marked. Here’s a few suggestions. Take a quick breath after m20 with a small break in tempo. This will take the pressure off the one marked at end of m22 and allow you to mostly stay in time there. At the written breath marks at the end of m41 and m45 I suggest stopping and breathing. You could also do a small ritardando before each if you prefer (I do).  FYI, above both of these breath marks I wrote the word “STOP.” Take a breath on beat 2 of m52.

Suggested Listening: Do not listen to the oboe or saxophone version on the Internet, there are differences that will mess you up. AND DO NOT LISTEN TO ANY OF THE “CLARINET ALL-STATE” RECORDINGS OF THIS ON THIS INTERNET. People generally don’t play it with 100% rhythmic accuracy. Do not let them mess YOU up!

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ClarinetMike’s 5 Powerful Little Secrets!

ClarinetMike Preparing for a Recent CD Recording Session

Below are 5 valuable small items that I always carry in my clarinet case. ClarinetMike says, “Remember the words of John Wooden, ‘Little Things Make Big Things Happen.'”

ClarinetMike’s 5 Powerful Little Secrets! by Dr. Michael Dean “ClarinetMike”

  1. Darker Lead Pencil. I always try to mark my music with a darker leaded pencil. This really helps me to see my markings. I have found that often “custom” pencils, such as  university logo pencils have a darker lead for some reason.
  2. Ear Plugs. I always carry a set of simple ear plugs in my case. You never know when you’ll go on a gig and you’ll be sitting in an orchestra with a trumpet in your ear! Some of my worst memories involve the slapstick in “Sleigh Ride!” If you are involved in an ongoing gig that is tough on your ears, do some research on getting high-end musician earplugs. Protect Your Ears!
  3. Synthetic Reeds. Many single reed players play exclusively on plastic reeds and they sound GREAT! Unfortunately, I can’t get them to work as well for me, so I still use wood reeds. However, I always carry a couple of plastic reeds with me for special occasions when regular reeds tend to fail: outside performances, “quick instrument switch” doubling gigs, etc. FYI, I like the Legere European Cut Signature Clarinet Reeds – Click HERE.
  4. Pad Dryer. During a long practice session or gig, especially in a cold room, water can get under your pads. I carried cigarette paper for years in my case to dab the water off the pads. I now carry the BG Pad Dryer. It works great! Check it out HERE. The last thing you need is to try to explain to a junior high school official about how cigarette papers are part of your “standard equipment” in teaching clarinet lessons…. FYI, Muncy makes a product called “Muncy Pad Papers.” They are cigarette papers without the word “cigarette.” Click HERE.
  5. ReedGeek. A couple years ago I started using this amazing product. The truth is I hate working on reeds and am scared of knives. But I love my little ReedGeek “Universal” Reed Tool – IT WORKS! The ReedGeek has REALLY helped me do simple reed adjustments that have very much improved the quality of the cane reeds I play on. Check it out HERE (watch the videos).
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Etude No. 2 “The Slow Etude” Preparation Tips: ClarinetMike’s 2017-2018 Texas TMEA All-State Soprano Clarinet Clinic

ClarinetMike says, “Opera, Opera, Opera! Wear Your Heart on Your Sleeve!!”

Below are my complete clinic notes on Etude No. 2, “The Slow Etude,” from this year’s Texas TMEA All-State Soprano Clarinet Etudes. Watch for my notes on Etudes 1 and 3 coming soon! Check out my previous posts on the all-state etudes: CLICK HERE.

ClarinetMike’s Texas TMEA All-State Clarinet Clinic 2017-2018
Soprano Clarinet Preparation Tips
Dr. Michael Dean “ClarinetMike”
“Building Great Clarinetists”
Clarinet Performing, Teaching and Consulting
Hurst, Texas, USA * 682-888-7639
clarinetmike.com * clarinetmiketexas@yahoo.com

Etude Book: David Hite editor, Artistic Studies, Book 1 – From the French School, Published by Southern Music [Rose Etudes] (For official TMEA listing, click HERE.)

Note: Cyrille Rose (1830-1902) was a very important clarinet teacher at the Paris Conservatory and 1st clarinetist with the Paris Opera orchestra for 34 years. Rose did not compose these etudes, but he adapted and enhanced etudes written for other instruments. He “clarinetized” them.

Practice Tip: Load accurate information by using Rhy-No Practice Technique with BOLD Dynamics: Click HERE and HERE.

Etude 2, “The Slow Etude,” Andante cantabile, Page: 66, Key: A Major, Etude Title: 32 Etudes, No. 21, Play from beginning to end.  Tempo: Quarter Note = 58-66, Errata: NONE

Composer and Style:  This Rose etude is based on an etude by court oboist Franz Wilhelm Ferling (1796-1874) – to view the original etude, click HERE and go to Etude #33. Ferling’s “intimate knowledge of French opera” inspired him to produce this etude in the style of a Romance (cite). This excellent etude is LOADED with opportunities for emotional musical expression and creativity. THINK OPERA! Further, recall that that Rose himself was 1st clarinetist with the Paris Opera orchestra for 34 years. So, Opera, Opera, Opera! “Wear Your Heart on Your Sleeve” and make the judges cry!!

Overview: Moderately slow etude in the style of Romantic Era opera with 4 major issues: Tone, “Over-The-Top” Romantic Phrasing, Rhythm, and a long Cadenza.

Sections and Phrases: Etude breaks down into 4 clear phrases: P1 = m1-m8, P2 = m9-m17, P3 = m18-m27, and P4 = m28-end.

Tempo: Unlike many of the slow Rose Etudes, I suggest performing this etude in 4 with quarter note as the beat (one quarter note = one beat). The original Ferling Etude upon which this was based (Ferling #33 – see above) was marked “Adagio” (slow), but Rose changed it to an “Andante” (a more moderate tempo). In m34 at “piu lento” perform in 8 with eighth note as the beat (one eighth note = one beat) for remainder of etude.

Musical Issues: The tempo indication, “Andante,” should be understood here as a somewhat “moderate” tempo. “Cantabile” means “singing.” (In Italian and Spanish “Cantar” translates “to sing.”) So, sing at a moderately slow tempo on your clarinet. The word, “dolce” is written at the start of the work at m1 and again at the beginning of P4 (m28). “Dolce” means “sweetly.” However, I generally think of dolce meaning “tenderly.” Dolce can have some muscle to it and is not always played at a soft dynamic – see Brahms, for example. The editor of our edition, David Hite, (who tended to overedit) added the word “placido” to dolce at m1. I suggest thinking of this as “smooth.” It is critical you understand all the terms and indications that are on the music. They clearly indicate an over-the-top operatic style of phrasing. Always play with the most beautiful tone possible. In an audition, tone quality should be considered one of the most important factors.

Rubato: Teaching and performing with Rubato is always a precarious business; however, at least some rubato is certainly called for in a number of spots in this etude. I especially suggest the use of rubato and some stringendo in m12-m14 leading up to the cadenza that starts in m15. A tip on using rubato: learn the passage straight with and without a metronome, and then add rubato. Once rubato has been added, always go back and practice it straight at times. [NOTE: ALWAYS LEARN A WORK WITH DYNAMICS, DO NOT TRY TO ADD DYNAMICS LATER!]

Problem Passages: 3 spots: m12-m14 leading up to the cadenza, the cadenza in m15–m17, and m22–m25. In m16, consider playing the chromatic passage in the cadenza as an F chromatic scale in sixteenth notes – but speed up, of course.

Technical Issues: Rhythm: There are some tricky spots: especially m2 and m29 plus m21-m25. Trills: In m22, I suggest one-note trills. This will make the make the trill/grace note figure like a turn and that is a good thing. The trills in m24 are tricky – on the first one, I suggest moving pinky and ring finger together. This will take practice, stay at it. Turns: Play the turn in m30 the way it is written out in m3.  In m19, play the turn with 5 equal notes on the upbeat OR perform it the same as the trill/grace note figure of m22 (I prefer this one). Articulation: All staccatos whether with slur (m12) or not (m22) should be light and detached, not too short – use a light tongue stroke. Use your ears to adjust the lengths of the notes. Fingerings: Use fork fingering for high D# in m25. Use right C# in m33. Consider resonance fingerings in exposed throat tone spots; however, remember that good voicing is the best resonance fingering!

Scale and Arpeggio Cheat Sheet: Scales: A major, F Chromatic. Arpeggios: A major (A C# E), E major (E G# B), B7 (B D# F# A)

Breathing: As marked. Follow the phrasing as much as possible. A couple breathing spots to consider – m14 before the high D; m15 in the cadenza between the first line E and D#.

Suggested Listening: Listen to great opera like singers Natalie Dessay and Maria Callas. (I’m especially crazy about Natalie Dessay.) Here’s a few videos (click on the name): Dessay 1Dessay 2Dessay 3, and Callas.

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12 Texas All-State Clarinet Resources: Rose 32 Etudes, 40 Studies and More!

Cyrille Rose in 1880

As previously posted, this year’s Texas TMEA all-state etudes for soprano and low clarinets (and ATSSB soprano clarinets) are from Artistic Studies, Book 1 – From the French School, edited by David Hite. This is the same etude book that was used for last year’s all-state clarinet music. The etudes in this collection are by the famous 19th century French clarinetist and clarinet professor, Cyrille Rose. [Rose looks a lot like the late Stanley Hasty, renowned Eastman clarinet professor.]

I have found that some of the best places to look for ideas on how to play an etude, solo or any work of music are other editions of the same music. Therefore, below is an annotated list of various editions of Rose etudes. I have also included a few versions of the Ferling studies plus links to some violin studies. These studies are the basis for the Rose etudes selected for this year’s all-state auditions. I am currently using these resources as I teach my students and prepare my ClarinetMike’s Texas All-State Clarinet Clinic.

FYI, for general information on the Rose 32 Etudes, click HERE and for the Ferling Studies click HERE.

12 Texas All-State Clarinet Resources by Dr. Michael Dean “ClarinetMike”

  1. Daniel Bonade, editor. Sixteen Phrasing Studies for Clarinet.  Conn-Selmer, Inc., 1952. Legendary clarinet player and teacher who taught Mitchell Lurie, Robert Marcellus, and other leading clarinetists of his day: he also taught David Hite, the editor of the all-state etudes. These offers  phrasing and other help on the slow etudes from the Rose 32 Etudes. Please note that Bonade renumbered the etudes. Available for free HERE.
  2. Franz Wilhelm Ferling. 48 Studies for Oboe, Op. 31. Braunschweig: J.P. Spehr, n.d.(1837) Reprinted New York: Edwin F Kalmus, n.d. (after 1933). Catalog K.04121 (Citation from IMSLP.org) Early edition of Ferling studies. (These studies are the basis for the Rose 32 Etudes.) Available for free HERE.
  3. Franz Wilhelm Ferling. 48 Famous Studies for Oboe or Saxophone, Revised by Albert J. Andraud. San Antonio, TX Southern Music Co., 1958. This is also the book used for the Saxophone and Oboe/English Horn all-state audition music.  Available at local music stores.
  4. Franz Wilhelm Ferling. 48 Etudes pour tous les SAXOPHONES, Nouvelle edition par Marcel Mule [editor]. Paris: Leduc, 1946. Available HERE.
  5. Pierre Gavinies. 24 Matinees [Etudes for Violin]. Available in Studien-Werke für Violine, Vol. 5, Edited by Edmund Singer. Bremen: Schweers & Haake, n.d. (after 1800).  (Citation from IMSLP.org). Available for free HERE.
  6. David Hite, editor. ARTISTIC STUDIES, Book 1 – From the French School for Clarinet. San Antonio, TX: Southern Music Co., 1986. This is the book used for this year’s Soprano and Low Clarinet all-state music. Students and teachers should purchase the book and not use ONLY copies. Also, in the back of the book is an important Glossary – a list of terms briefly explaining Hite’s numerous performance suggestions.  Available at local music stores.
  7. Jean & David Hite, revisors and editors. Cyrille Rose FORTY STUDIES for ClarinetSan Antonio, TX: Southern Music Co., 2000. From Gary Van Cott’s web site: “In preparing this edition the editors have found many opportunities to enhance the studies by adhering to the original violin notation. This book also includes information on the composers of the original etudes for violin that Rose transcribed and chronology of etudes published between 1793 and 1884.” Available HERE.
  8. Henry Larsen. The 32 Rose Studies: An Analysis and Study Guide. Avon, CT: Larsen Audiographics, 1998. Each of the 32 etudes is accompanied by extensive notes and suggestions. Available HERE.
  9. Jacques Fereol Mazas.  75 Melodious and Progressive Studies for the Violin, Opus 36, Book 2. New York: G. Schirmer, 1898. Available for free HERE.
  10. Cyrille Rose. Thirty-Two Etudes for Clarinet. New York: Carl Fischer, 1913. The venerable edition many of us in the USA learned from. It is notorious for mistakes, so be careful. Available for free HERE.
  11. The Complete Clarinet: C. Rose Revisited – 118 Etudes for Clarinet. Fort Worth, TX: Complete Works Music Publisher, 2014. Features every etude that Rose wrote for the clarinet, including the lesser-known “26 Etudes.” Available HERE or HERE.
  12. Melvin Warner, editor. The New Rose Studies for Clarinet. New York: Carl Fischer, 2002./2009, with CD. From Gary Van Cott’s web site: “In this new edition of the 32 Rose Etudes, the editor has drawn on various editions of the 32 Etudes and the Ferling 48 Etudes on which they are based.  He has corrected errors in time signatures, notes, articulations, etc. He has not added any breathing, tempo, or other markings not found in the originals. What is new in this edition is that it includes a CD with recordings of the piano accompaniments composed and performed by John Walker (as .mp3 files) and for the first time .pdf files of all of these piano parts. The recorded accompaniments are still available as a regular CD here. The old Carl Fischer edition (most recently with a white cover) has been discontinued.”  Available HERE.

NOTE: the above picture is in Public Domain and can be found HERE.

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ClarinetMike’s 7 Clarinet Tricks For New Clarinet Teachers!

Dr. Michael Dean “ClarinetMike” Teaching A Private Lesson

Are you a new clarinet teacher? Well, ClarinetMike is lookin’ out for ya! Below are some tips that well help you produce excellent clarinet students. Be sure to study the information at the suggested links.

ClarinetMike’s 7 Clarinet Tricks For New Clarinet Teachers

  1. Embouchure is Everything.  Your understanding of and ability to teach good embouchure is the most critical part of producing good clarinet students. LINKS: 5-C Clarinet Embouchure,  5 E-Tips For E-Lips
  2. Relaxation and Posture. “If you ain’t relaxed, you ain’t nothin’.” LINKS: Unkink Your HoseHead PositionDon’t Lean OverDon’t Look Down
  3. Tonguing, Tonguing, Tonguing! Spend quality time with your new best friend, “Betty.” LINK: Basic Tonguing Exercise a.k.a. “Betty”
  4. COUNT! Teach your students how to count and learn music for themselves. Rote-only clarinet teachers are bad clarinet teachers.  Also, discourage students from just copying a recording or YouTube video on region or solo music. These and other such “short cuts” are boorish pedagogically and musically. LINKS:  Rhy-No Practice,  Feed The Rhy-NoThe Fast Way
  5. Ligature and Reed Placement. Coach Wooden said, “Little Things Make Big Things Happen.” LINK: Ligature and Reed Placement
  6. PROJECT! Teach Clarinet Sound Projection. It’s easy to teach and do. LINK: Sound Projection
  7. Maximize Your Maxims. Repeatedly use short, memorable comments that concisely and quickly communicate your concepts and ideas . LINK: Maxims
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ClarinetMike’s All-State Preparation Outline!

ClarinetMike says, “Prepare Carefully, Perform Carefree!”

Below is an outline I use in preparing my annual ClarinetMike Texas All-State Clarinet Clinic. Be sure to check out my recent post, 10 All-State Practice Tips! Look for more All-State help from ClarinetMike in coming weeks!

ClarinetMike’s All-State Preparation Outline
Dr. Michael Dean “ClarinetMike”
Clarinet Performing, Teaching and Consulting
Hurst, Texas * 682-888-7639
clarinetmiketexas@yahoo.com * clarinetmike.com

Preliminary Concerns

  1. Get quality equipment. My soprano clarinet set up: Buffet R13 clarinet, Vandoren M13 Lyre or D’Addario Reserve XO mouthpiece, Vandoren V12 3.5 or D’Addario Reserve Classic 3.5 reeds, BG Super Revelation or Revelation ligature, metronome/tuner, silk swab, BG Pad Dryer, etc.
  2. Find a good private teacher who teaches solid basics and musical style. Stay away from Rote-Only Teachers and Bad YouTube Videos. [Don’t copy a recording. Learn to count!]

Core Concepts

  1. It’s Always about the MUSIC. So, work on ARTC Basics & ARTSY Musical Style (Phrasing, especially Romantic Style)
  2. Loading & Unloading (See Frank R. Wilson) Slow Careful Practice = Speedy, Confident Performing. The Tortoise and the Hare – Be a Turtle!
  3. Focus on what you control: Preparation & Effort. Success, John Wooden, etc.
  4. Genuine Excellence = Talent × Practice Time × Practice Quality.
  5. Power of Habit. Work on Basics (ARTC) & Scales, along with the All-State Music in a Practice Routine.

General Preparation Tips

  1. Practice and perform only on good reeds.
  2. Use a metronome and tuner.
  3. Record yourself – check out phone apps!
  4. BOLD Dynamics.
  5. Sound Projection
  6. Plan and mark breathing carefully.
  7. Understand music terms, notation, ornaments, etc.
  8. Create a cheat sheet. Write each etude’s scales and arpeggios at top of music.
  9. Clap and sing the music.
  10. Check out additional Practice Tips.

Etude Preparation Tips (Template)

  1. Overview
  2. Composer and Musical Style
  3. Tempo and Key
  4. Sections and Phrases
  5. Special Issues (repeated figure, etc.)
  6. Musical Issues
  7. Technical Issues (articulation, rhythms, fingerings, etc.)
  8. Problem Passages
  9. Scale and Arpeggio Cheat Sheet
  10. Breath Marks
  11. Other
  12. Suggested Listening

Further Study

  1. See Internet links above.
  2. Listen to style on youtube.com.
  3. Check out documents, videos, etc. on www.clarinetmike.com and www.clarinetmike.wordpress.com.
  4. See TMEA Performance Guides.

[NOTE: The above is a slightly revised version of a previous blog post.]

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Skype Clarinet Lessons with ClarinetMike!

Dr. Michael Dean “ClarinetMike”

Skype. I am currently accepting new students in my studio for live lessons over Skype. In addition to clarinet students, I am also currently accepting a limited number of saxophone students. Let me help you strive for genuine excellence as you prepare for all-region auditions, solo contests, university scholarship auditions, concerto competitions, orchestra auditions, jury and recital hearings, concerts, job interviews and more! Band Directors: I’m also available for professional development. Contact me HERE.

Dr. Michael Dean “ClarinetMike” is a former university clarinet and saxophone professor with more than 30 years of successful private lesson teaching experience at all levels, from university graduate students to 4th grade beginners. His students consistently win awards and distinctions at competitions and festivals including solo & ensemble, all-region, all-state, and various concerto and other competitions. His students perform professionally in military bands, orchestras, big bands, traveling broadway shows and more. His students are consistently accepted into prestigious university music schools and hold faculty appointments as successful music educators and administrators. Additional biographical information is available below and HERE. A brochure is available HERE.

Equipment. Skype lesson students need a computer with a good internet connection, webcam with microphone, and free Skype app. (I can help you figure it out – it’s easy!)

Information. For information on Skype Lessons with ClarinetMike, just send me an email or give me a call – CLICK HERE.

Dr. Michael Dean “ClarinetMike” Bio. American clarinetist MICHAEL DEAN performs and teaches internationally and across the USA to consistent praise such as “world-class clarinetist and pedagogue,” “consummate performer,” “inspirational,” “outstanding teacher,” “super,” “brilliant performer,” and “one of the best clinicians I have ever seen.” His career is headlined by appearances at Carnegie Hall, ClarinetFest, NACWPI, Eastman School of Music, and Royal Northern College of Music with recent recitals and master classes in Italy, Spain, Kansas, Iowa, Missouri, Louisiana, and Texas. In July, he returned to Vipiteno, Italy as Clarinet Artist Faculty in Residence at Orfeo Music Festival 2017. He is featured on 5 commercial CD’s and on New Media, such as YouTube. He is currently preparing another new CD, Postcards from Silver Lake.

He’s performed with the Southwest Symphony, Nevada Symphony, Abilene Philharmonic, Southeast Chamber Players, Red Mesa Trio, and Duo 35. He performed for 11 years with the Paducah Symphony. His articles appear in journals such as Southwestern Musician, WINDPLAYER, NACWPI Journal and The Bandmasters’​ Review. As “ClarinetMike,”​ he writes for his widely-read ClarinetMike Blog, clarinetmike.wordpress.com-viewed in 150 countries on 6 continents. He is a past president and former National Board officer of the National Association of College Wind and Percussion Instructors (NACWPI).

He was previously Associate Professor of Clarinet and Saxophone (tenured) at Southeast Missouri State University for 11 years. In 2012, due to family concerns, he resigned his secure position at Southeast Missouri State and returned home to Texas as a clarinet performer, teacher and clinician based in the Dallas-Fort Worth area. An active clinician, he has given more than 300 clinics, master classes, and performances at high schools, jr. high schools, colleges, universities, conservatories, conferences, etc.

Dr. Michael Dean studied clarinet performance at Texas Tech University, University of Colorado at Boulder, University of Texas at Austin and University of Texas at Arlington. His major teachers include Robert Walzel, Phil Aaholm, Carol Jessup, Jess Youngblood, Bob Ackerman, and Pam Youngblood. His web page, clarinetmike.com, features video of his teaching and performing as well as information on his CD’s and other publications. He is a BG France Performing Artist.

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