[Roundmidnite]

Ideally (I think), the person could teach different genres. Specifically- sound, technique- who are the best saxophone teachers on the planet? Sometimes the best players aren't the best teachers, and vice-versa...If you could study with anyone, anywhere, who would it be??

 

[kreacher]

I would study with myself 20 years from now. That guy will know a lot, have a bunch of experience, knows me like no other and will pin point exactly what I have to do to get better and what obstacles I'll face to achieve the goals.

I wish

 

[Roundmidnite]

I would study with myself 20 years from now. That guy will know a lot, have a bunch of experience, knows me like no other and will pin point exactly what I have to do to get better and what obstacles I'll face to achieve the goals.

I wish

Very interesting response!

 

[Saxaholic]

I would study with live musicians in a jam session setting from day 1. You learn infinitely more from playing with other musicians (preferably better musicians) and listening vs a book.

If I had to choose an individual, that would be difficult. I've only studied with a dozen or so teachers and that feels like a small sample size.

Totally agree with kreachers response also.

- Saxaholic

 

[twowheels]

If I could study with anyone....

I've had the opportunity to learn the fundamentals of the instrument a couple of decades ago from 2 local musicians who were stand-outs in some of the U.S. military jazz bands. Good instrumentalists who helped me establish the basics back in the 90's. But in the past decade plus a few years, I've been studying with another local player with outstanding musician credentials (North Texas University/1 o'clock band), who is a natural educator as well as player. He is a true master of pedagogy and puts all of us, in his masterclasses, in situations where we learn from each other as well as him. He has an excellent ability to explain/demonstrate musical principles and ideas and meet his students at their level of ability- and take anyone (who puts in the work) to the next level. Then beyond the principles of applied musical theory, he fine-tunes nuances of application (rhythm, timing, articulation....) on our instruments.

He has almost as much passion for educating players as he does performing- and that interest in his students is key to his effectiveness.

 

[StanVI]

The best teacher would be the best communicator....and that would vary depending on who they were teaching....

 

[Dave Pollack]

The best teacher would be the best communicator

100%

The most important and biggest aspect of being an effective educator is being able to convey concepts to the student. I've see teachers know a whole lot but not be able to communicate that to the student.

 

[Sigmund451]

The best teacher is the one that helps you realize that its more important to be the best student.

 

[twowheels]

I would study with live musicians in a jam session setting from day 1. You learn infinitely more from playing with other musicians (preferably better musicians) and listening vs a book.

- Saxaholic

Agree, growth comes from playing beyond the 'shed, and playing with others and/or in an ensemble. My current teacher, takes more of a mentor approach, puts us into a number of gigging masterclasses. He is a natural educator, but we really learn from each other as well, as we prepare our charts for performance.

 

[Nefertiti]

Agree, growth comes from playing beyond the 'shed, and playing with others and/or in an ensemble. My current teacher, takes more of a mentor approach, puts us into a number of gigging masterclasses. He is a natural educator, but we really learn from each other as well, as we prepare our charts for performance.

Since 9th grade I have always had the goal of being my own best teacher. No matter what teacher I have had, I always had my own goals and stuff I was working on also...My reasoning was that these guys were with me 1/2 hour a week where as I was with myself 168 hours a week. I would take my high school job money every week, drive down to Onondaga Music in Syracuse and buy whatever records or music books I could. I would come home and play through the different exercises of solos or whatever. I would play along with the records also and then usually I would get a piece of paper and decided what I needed to work on and write out a plan. I would work on this stuff outside of my work for my teacher. I have done this my whole life. Part of the reason I loved doing this is that I didn't always see or understand the end goal of what my teacher was making me work on and found it incredibly boring. Ex, In high school, it would help to work on my teacher's stuff for an hour and then say work on 10 Dave Sanborn licks in 12 keys that I had figured out from the record. That way I am doing something I am really passionate about still and it feels exciting to me. I am not saying I know or knew better than the teacher BUT I do know what I am most passionate about and working on what you're passionate about is key in my mind. I do think it is a mistake to only do that though. I have met many adult students that only want to work on what they are excited about or passionate about but sooner or later the work turns to toil and the passion fades and the student wants to move on to something else before mastery. That's why it is good to do both in my mind. Have a teacher and work on that material but also have your own practice plan of your own material.

In fact, I have a habit with students I start in 4th grade. When they get into say 9th grade and are really doing well, I start asking them every week what they are working on that I haven't assigned them. This is really great to ask students. They start transcribing solos, playing along with solos they like, taking a lick off a recording and learning it in 12 keys, etc........ The important part is that they are doing this themselves. They are learning how to learn. They are learning how to teach themselves. The best players I have known have been people that are their own best teachers. It's important to teach young students this habit also in my mind.

 

[twowheels]

Since 9th grade I have always had the goal of being my own best teacher. No matter what teacher I have had, I always had my own goals and stuff I was working on also...My reasoning was that these guys were with me 1/2 hour a week where as I was with myself 168 hours a week. I would take my high school job money every week, drive down to Onondaga Music in Syracuse and buy whatever records or music books I could. I would come home and play through the different exercises of solos or whatever. I would play along with the records also and then usually I would get a piece of paper and decided what I needed to work on and write out a plan. I would work on this stuff outside of my work for my teacher. <snip>

Steve, you and others on this forum have incredible chops and make it seem almost effortless. You ABSOLUTELY have a "1-percenter talent" for music but what I'm interpreting is that there has been (and is) a lot...A LOT...of working at it behind the scenes. I forget who stated it but it's something like "true mastery takes about 10,000 hours" or something like that. You've taken that talent, made a decision that it is your direction in your life, and have put in the countless hours of APPLYING it in practice by your self and with others. We see the end result and you've worked it so much it seems almost easy, but the truth is that there are countless nuances you are applying from the hard work. From that personal, driven practice plan.

Studying with someone is fine, and I recommend hiring a mentor, but but if you're not working/applying it yourself (as stated in previous threads), then you won't grow. Right now I'm forcing myself to learn changes in the standards by trying my hand at detailed solo transcription...it's hard and tedious (but I enjoy it). Then trying to apply it in my solos in my masterclass with the other musicians. That's part of my personal practice plan right now.

I really like that you and Dave Pollack (and others in SOTW) are mentoring young people. We need to keep the music art forms alive by inspiring the kids from early on. My youngest son plays cello and his teacher makes a huge impact, her inspiration has guided him to playing in the top student ensembles and he loves it.

 

[Roundmidnite]

I've been studying flute for the past couple of years at the university here and am changing my focus to saxophone next semester, so I'm reaaly trying to pinpoint what I'm trying to accomplish. My flute teacher was outstanding- helped me a lot with my sound, she's kind of a gem in a school not known for it's music program. She focused on lips, tongue and breathing and taught that everything really hinges on that. Sounds simple, but I had many lessons just focusing on lips and how they shape notes, and how they significantly change at a certain point on the staff. Also, she talked about how to physically approach the instrument in terms of how you hold the flute,etc. This is the kind of stuff I want to learn for saxophone. Some of the information does carry over, but some is completely different for saxophone of course. I watched the Joe Allard videos- some stuff he talks about rings true, some not so much. I wanting to learn about shaping notes and finding the place for each note, to sound consistent up and down the horn. Flute has always been the easier horn for me (I started on flute), but this teacher makes it feel so much more effortless, and that's how I want to feel on saxophone- just kind of free. I am communicating with the saxophone teacher teacher there about what I'm trying to do- just hard to articulate it. Yes, I want to memorize tunes, work on technique, play different genres and the major works of different styles, I'd like to learn altissimo (been trying for years, still finding it a challenge)- but the major thing is what I said earlier- my sound.

 

[Nefertiti]

I've been studying flute for the past couple of years at the university here and am changing my focus to saxophone next semester, so I'm reaaly trying to pinpoint what I'm trying to accomplish. My flute teacher was outstanding- helped me a lot with my sound, she's kind of a gem in a school not known for it's music program. She focused on lips, tongue and breathing and taught that everything really hinges on that. Sounds simple, but I had many lessons just focusing on lips and how they shape notes, and how they significantly change at a certain point on the staff. Also, she talked about how to physically approach the instrument in terms of how you hold the flute,etc. This is the kind of stuff I want to learn for saxophone. Some of the information does carry over, but some is completely different for saxophone of course. I watched the Joe Allard videos- some stuff he talks about rings true, some not so much. I wanting to learn about shaping notes and finding the place for each note, to sound consistent up and down the horn. Flute has always been the easier horn for me (I started on flute), but this teacher makes it feel so much more effortless, and that's how I want to feel on saxophone- just kind of free. I am communicating with the saxophone teacher teacher there about what I'm trying to do- just hard to articulate it. Yes, I want to memorize tunes, work on technique, play different genres and the major works of different styles, I'd like to learn altissimo (been trying for years, still finding it a challenge)- but the major thing is what I said earlier- my sound.

It sounds like you would do well to study with a great classical player. For all the stuff you mention I learned a lifetime worth of material from Dr. Steven Mauk at Ithaca College and from Joe Viola at Berklee. They were huge for me as far as just playing the saxophone. Tone, intonation, breathing, embouchure. All the fundamentals......

 

[Constadinr]

Sonny stitt!

 

[Keith Ridenhour]

This discussion really needs to have a for what goal attacched to it. I know great teachers who are fantastic at starting kids off in 5th grade with good fundamentals, I know great teachers who are wonderful at college prep/getting scholarships to college. I know great teachers who focus not some much on chops but strictly creativivty so you come to them with developed skill but they show how to utilize it in non traditional ways. I consider myself a good teacher for my particular situation, someone who has only 2 hours or so ability to focus /practice without much hurting the next day. (retired folks )

I would hope that I demostrate ways of using my talent for he benefit of many (10 years weekly convalescent hospital work, etc. ) Frankly on this forum I think there are many many very good teachers.

The issue is exactly like Steve Neff described. If a teacher tells you to do something will you A ignore it. B kind of do it. C overlearn it. D overlearn and add different elements the teacher didn't discribe. I've studied with a great teacher Dann Zinn but his program takes about 3.5 hours a day and I only had 90 minutes and could never do his routine up to his speeds. (that was 6 years ago im faster now for a variety of reasons ) so I could never really take advantage of his expereience /routine. And it had nothing to do with him.

If he were still alive I'd love to have studied with Joe Allard. Just look at his students achievement , amazing. There must be amazing teachers at NTSU and other very high quality institutions who you and I have have never heard of but crank out great players yearly. In this day and age of the internet and too much info I can't tell you who the best player (sax or flute) is 10 miles from house. We are so pocketed out here in nor cal.

Anyway, you can always look at your favorite player and listen to what they use as solo matieral and you absolutely know what they practiced to be able to do that. Most peoples solos I think are created out of the things they practiced yesterday or 5 years ago. You just have to listen and then dig. So long answer, just my 2 cents .

 

[swperry1]

The best teachers often don’t like to teach at all.
I know of lots of teachers that wouldn’t be able to pay their bills if it weren’t for bad students with good money.

 

[Pete Thomas]

The student is (potentially) their own best saxophone teacher.

I did some teaching for a couple of years, my goal was to make myself redundant, ie teach the student how to teach themself so they no longer needed me.

The other teachers at the university didn't like that approach as they preferred to get their pay week on week out.

But it is the reason I don't do lessons any more (only "consultancy"). It might cost more per hour, but saves the student a lot of money in the long run when they find they are no longer addicted to having a teacher and can sort it for themselves with just some occasional guidance.

 

[saxoclese]

In the area of classical playing Eugene Rousseau stands out as not only a virtuoso player as evidenced by his numerous recordings and concert tours, but as a "master teacher" as well. Many of his students have gone on to distinguished careers themselves teaching saxophone in major universities. I had the privilege of attending a masterclass given by Dr. Rousseau at a local university and it was one of my most inspiring and memorable experiences as a saxophonist and music educator. His legacy also includes numerous publications as well as mouthpieces and saxophones he helped design with Yamaha.

 

[Bjroosevelt]

Very interesting response!

.....the best sax teacher in the world? It is funny how we all have our favorite players....but best teachers of music is a different story. I think if you were in the business world, and you asked for the 10 best Finance Teachers in the world, a bunch of MBA students would give similar responses....but in the world of music, I have not seen any research that has ever been able to quantify how to rate a teacher.....or actually rate teachers. I for one believe that a ranking would be very helpful in developing aspiring student musicians. Indeed, it might even be helpful for developing teachers.....it would help give them a better understanding of outstanding teaching technique.

......in fact, RoundMidnite, if you are in graduate school this might be a great subject for a discertation......Developing a scoring system for teachers at varying levels of music education might be a great subject for a Thesis.

As evidence of this void of information related to 'who is the best teacher,' you will see that in all of the many thread responses, only one or two names (other than the most common response 'me'), were actually provided.

I play the tenor sax. I don't know who the best teachers are. They have not crossed my path. My son, who plays the trombone, has been blessed by music lessons from Brit, Mark Frost. He has also taken lessons from other highly experienced musicians, but none of them could develop him and keep him motivated as Frosty does. How do we quantify this? I have no clue.....sometimes it is easier to chalk it up to 'fit' than 'science.'.....but the truth is that whenever I have a great teacher in something, my peers nearly always agree. Great teachers tend to be great teachers for most of their pupils, not just a few of them....there must be something there, that none of us yet understand.

 

[artstove]

This discussion really needs to have a for what goal attacched to it. I know great teachers who are fantastic at starting kids off in 5th grade with good fundamentals, I know great teachers who are wonderful at college prep/getting scholarships to college. I know great teachers who focus not some much on chops but strictly creativivty so you come to them with developed skill but they show how to utilize it in non traditional ways. I consider myself a good teacher for my particular situation, someone who has only 2 hours or so ability to focus /practice without much hurting the next day. (retired folks )

This is a good point. I have gone to Jazz Camp West a number of years, and each year I take the sax technique class from whoever is teaching that year. They are so different, and have different strengths (there was only one that I didn't like as a teacher, and he is both a nice guy and a good player). My favorite one evaluated where I was at and gave me exercises to do specific to my needs, rather than having a set agenda of their own.