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Philosophy
A
technical and performance command of the clarinet is achieved by a mastery of scales
and finger patterns, register and intervals exercises, and articulation studies.
These areas are addressed in individual lessons based on specific requirements
for each academic level. These exercises can be found in two required texts: (1)
Mark Gallagher’s, Supplemental Studies for the Clarinet and (2) David
Hite's (Southern Music Co. edition), Foundation Studies, from Carl Baermann's
Method for Clarinet, Book III. These are required texts for all clarinet
students in addition to a ring bound notebook. An interpretative/stylistic command of the clarinet is acquired by the study of etudes, method books, and repertoire, which are appropriate for each academic/performance level. The selection of specific etudes and solo works for each respective level is made in consultation with the instructor.
Hadcock:
The Working Clarinetist
(ISBN 0-939103-05-2) Ridenour:
Clarinet Fingerings Stein:
The Art of Clarinet Playing Gelb:
Body Learning:
An Introduction to the Alexander Technique
(ISBN 0-805042-06-7) De Alcantara: Indirect Procedures: A Musician’s Guide to the Alexander Technique
(ISBN
0-198165-69-2)
Past and present students are a invited and encouraged to join my studio web group. Simply go to the Yahoo groups website, go to "join a group", type in Gallagher Studio, and follow the simple instructions from there. Acceptance to the group is upon approval. My group page contains my complete studio syllabus, information about music schools and conservatories, summer music festival lists, job postings in performance and teaching, as well as files and articles I find helpful in teaching. The integration of the Alexander Technique into clarinet study and performance is a major element in my applied teaching! Excess tension and pain while playing the clarinet is neither desired nor required in order to play the instrument. It can definitely be a serious hindrance in technical development and professional success. Unfortunately, more times than not, I observe patterns of misuse in the bodies of players, thus creating a variety of problems such as bad hand position, posture issues, hand, arm, and neck pain, poor breathing, and excess embouchure tension. My study of the Alexander Technique is extensive in both the United States and Europe and has been a revelation in both my playing and teaching. My basic premise of "playing with pain" is not an option, and with the proper course of study it can be eliminated. I strongly recommend Michael Gelb's, Body Learning: An Introduction to the Alexander Technique. This is a must read in order to gain a better understanding of the Alexander Technique. It is short, concise, and well illustrated. Happily, I've been able to help many clarinetists, as well as other musicians, achieve my premise, and in some cases, have saved their musical careers; which has been extremely rewarding and satisfying.
About my teachers......
Highly distinguished in his career, Lawrence McDonald had a tremendous influence upon me during my Oberlin career and beyond. He was a truly incredible teacher! Technical precision, curiosity, highly skilled diagnostician, and solid musicianship best describe my memories of Mr. McDonald. Mr. McDonald possesses unbelievable ability to pin point a particular problem in clarinet playing especially in the areas of breath support, air column, and articulation. I affectionately refer to him as the "tongue doctor". Although he has since retired from Oberlin, he is still very active as a teacher and I would strongly recommend contacting him for a lesson or a series of lessons.
I first began my bass clarinet study with Mr. Zetzer as a winter term project while I was at Oberlin. My original month long project quickly became a series of bass clarinet lessons that continued through a good portion of my undergraduate career. Mr. Zetzer was the "grandfather" of bass clarinet playing in the United States. A remarkable performer, his distinguished tenure in the Cleveland Orchestra lasted for more than 30 years. To him the bass clarinet was the "superior" instrument in the clarinet family which translated into his intense passion for teaching the bass clarinet; always referring to the Bb clarinet as the "little clarinet". My fondest memory is him standing in front of me, baton in hand, saying, "now pay attention, this is the way George Szell would have you do it".
My study with Mr. Marcellus was between undergraduate and graduate school; A.K.A. my "year off". Studying with Mr. Marcellus was truly a remarkable and long lasting experience. I regret that I was too young to have ever heard him live with Cleveland Orchestra; I understand that it was an amazing experience. As a teacher, I found him extremely dogmatic and unyielding in his commitment to how the clarinet should be played, especially when it cane to sound quality and air column use. His most profound influence on me was confidence building, and I will always be grateful for that.
My two years of study with Mr. Hasty and my experience at Eastman were simply not long enough. Mr. Hasty's knowledge of the clarinet, intense passion, musicianship, and expertise is unrivaled with anybody else I have experienced. His remarkable career spanned several decades; having performed with such distinguished orchestras as the National Symphony Orchestra, Baltimore Symphony Orchestra, Indianapolis Symphony Orchestra, Cleveland Orchestra, Pittsburgh Symphony Orchestra, and the Rochester Philharmonic. His 30 year teaching career at the Eastman School of Music produced many accomplished and renowned clarinetists. I feel extremely fortunate and blessed to have experienced his teaching and become part of his esteemed legacy. My doctoral studies began sometime after I started performing professionally and teaching. Dr. Bartley, an accomplished performer and teacher herself, was acutely sensitive to my needs and helped me tailor my doctoral program to best suit my professional growth. She has a vast knowledge of clarinet literature and greatly expanded my performance and teaching repertoire. I firmly believe good feedback is vital to all stages of professional development. I thank Dr. Bartley for bringing me back to my clarinet roots, reinforcing the solid fundamental principals of good clarinet playing, and for reeling me in from "professional drift". I highly recommend contacting Dr. Bartley and the fine program she has developed at the University of Wisconsin.
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The
development of a good clarinetist and musician should be addressed in two
ways. First, a good
technical mastery of the instrument should be achieved and second, an appropriate understanding of musical
styles in order to convey the composer’s intentions in fluid and artistic
manner.