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Article: Pedagogy of Master Clarinet and Saxophone Teacher, Joe Allard: a Panel Discussion John M Western Kentucky University TopSCHOLAR® Music Faculty Publications & Performances Music June 2009 Article: Pedagogy of Master Clarinet and Saxophone Teacher, Joe Allard: A Panel Discussion John M. Cipolla Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/mus_fac_pub Part of the Music Practice Commons, and the Other Music Commons Recommended Citation John M. Cipolla. "Pedagogy of Master Clarinet and Saxophone Teacher, Joe Allard: A Panel Discussion" The lC arinet. 36.3 (2009): 50-52. Available at: http://works.bepress.com/john_cipolla/7 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Music Faculty Publications & Performances by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. EDAGOGY OF ASTER a meal because many were “starving” col- his concept of line and phrasing at the top P M lege students. of the list because Joe had a solution for CLARINET AND SAXOPHONE One of the unique things about Joe, any problem, or so it seemed, when talk- was that he brought his professional per- ing to his students. When you ask a former TEACHER, JOE ALLARD: A forming experience into his teaching, and Allard student what Joe’s legacy is, they PANEL DISCUSSION he influenced an extensive number of will mention the concepts and pedagogy, clarinetists and saxophonists who, them- but it always comes down to this—they I.C.A. ClarinetFest® 2008, selves, because prominent performers as will talk about the fact that he was an em- Kansas City well as teachers. Although his performing path—that he felt what they felt and that experiences were not unique to the work- he taught them how to teach themselves ing musician of the 1930s and 1940s, Al- as well as others. That he inspired them to Transcribed and edited by lard took the common–place experiences be lifelong learners. John Cipolla and he found a way to make them intrigu- ing, enlightening and give them purpose. Cipolla: Joe played both clarinet and ichael Dean (Associate Pro- And he used all of his own experiences as saxophone. This stems from his profes- fessor of Music at Southeast pedagogical material as well. sional/practical experience, which neces- Missouri State University) or- Allard’s first serious study of the clari- sitated knowing more than one instrument. Mganized a panel discussion about the Ped- net began at age 16, when he studied with His career was in a different era—not so agogy of Master Clarinet and Saxophone Gaston Hamlin, the principal clarinetist of specialized as things are today. There was Teacher, Joe Allard. The panel consisted the Boston Symphony Orchestra. Allard a variety of musical playing work available of Deborah McKim, Associate Professor recalls that Hamlin conducted those les- in many styles and ensembles. Musicians of Music at Hastings College, who wrote a sons in French, so there was just as much honed their skills on-the-job, adjusting dissertation on Joe Allard, (McKim, Debra language instruction as there was clarinet to the needs of a particular musical situ- Jean. “Joseph Allard: His Contributions to instruction. Allard studied very little, for- ation. Joe played in symphonies but also Saxophone Pedagogy and Performance,” mally, after Hamlin returned to France in in dance bands. I think the focus was dif- Published Doctor of Arts Dissertation, the early 1930s. His learning from that time ferent then than it is today. He was simply University of Colorado, 2000); John Ci- on came from experimenting and what he a musician. With Joe, it was more of an polla, Associate Professor of Music at called, investigation. His teacher was any emphasis on the actual process of learning Western Kentucky University, who stud- resource that he could glean from. He was to play your instrument and music well. ied with Allard at The Juilliard School; a veracious reader—science, especially That process lasted over the course of and James Meyer, bass clarinetist, clari- anatomy, physiology, acoustics, as well one’s lifetime. In Joe’s playing career the netist, and saxophonist with the St. Louis as philosophy and religion—anything was emphasis didn’t seem to be so much on Orchestra, who also studied with Allard at fair game for him to make connections getting the “big” job, but rather to simply Juilliard for five years, then another three to the art of music. He also observed and learn to be as good a musician as possible. years, while stationed in the Army Band at questioned other musicians, though rarely There was also a very practical side to him West Point. This article presents an edited were they clarinetists or saxophonists. He as well. He had to work to provide for his transcript of the panel discussion at Clari- preferred to glean ideas from vocalists and family. Therefore, he did what he had to netFest® 2008 in Kansas City on July 3, especially from double reed players. He do to work as a musician. 2008. thought that they had a better understand- His associations with historically out- ing of the breath, sound projection, and of standing musicians, such as violinist Ja- McKim: Allard was very much a recog- resonance, which became very important sha Heifetz and saxophonist John Coltran, nized performer in the New York musical concepts in Allard’s arsenal. He would an- helped him form his concepts of sound scene in the 1930s, 1940s and 1950s. His alyze their physical and musical approach production and general musicianship. musical activities during the first 35 years to playing, and then try it out for himself. These experiences were the basis for his of his career were essentially as both a His descriptions of these concepts were teaching. His rapport with his students was freelance performer and teacher. He didn’t based on this investigation, experimenta- very relaxed, positive and encouraging. perform as a soloist or solo recording art- tion, along with the interpretations and His lessons were not vocation preparation. ist. Then from the mid-1960s, he curtailed writings that he would come across. They were musicianship preparation. They his performing to focus the last 25 years of Some of his concepts were tongue po- were more like apprenticeship/mentoring his career on teaching. Joe taught at Juil- sition, throat position, laryngeal flexibility sessions. There were no books assigned liard, Manhattan School of Music, New through the use of overtones and voicing, and no syllabus. We just sat and talked for England Conservatory, and privately, first lip and teeth pressure in the formation an hour and experimented. I never played across from Radio City Music Hall, then of the embouchure, and reed working. more than a few lines without him stopping from the Carnegie studios, and then out of Though he was known as a reed wizard, to comment with a story about someone his home in Tenefly, New Jersey. He had he basically fixed reeds for the immediacy he worked with in his professional play- an apartment in New York, but many of of the moment. ing career, and seamlessly tied the story his students would come to his home in Some considered him a reed expert, into what I was doing and how to make it New Jersey, and usually were invited for some an embouchure expert, others put better. I remember many of those stories all these years later and it is no exaggera- draws together like a bag with a draw– sition are that the tongue is high, wide and tion that those lessons impacted my own string. He believed in keeping a flat lower stationary. playing and teaching career more than any lip like a shelf that the reed can rest on so There are two basic ways to breath. other teacher I had. there is a maximum portion of the lip for You can breath with your ribs, that is chest On his actual teaching concepts, I can the reed to vibrate and have even pressure breathing, and you can breath abdominally summarize them into categories of reeds, all across the reed. To keep the lower lip or diaphragmatically. The chest shouldn’t overtones, the embouchure, our inner flat, he put toothpicks in the sides of the move when we breathe. Also, we don’t hearing, breathing, the throat and larynx, mouth to keep the corners down and not want to get the throat involved in control- and phrasing and musicianship. These curled up. He emphasized playing with ling the air stream because it has to change were the things that we worked on in our very little top teeth and top lip pressure when we play. The throat opens every lessons. It took a lot of on–the–job trial on the mouthpiece. This is because he had time you put a finger down and when you and error to put his concepts into practice. dentures due to a childhood accident. And lift your fingers, the throat narrows. The Things like playing with only enough em- thus, he learned to play with very little em- throat can’t be involved in controlling air bouchure pressure to not let the air leak bouchure pressure and superb air control. speed. A simple exercise to learn this is to and to allow the reed maximum vibration; tie a piece of string around your ribs just using lots of air and using it efficiently to Jim Meyer: I am going to offer ideas about the middle of shirt pocket level. produce a big vibrant and flexible sound; that are intended for players to take home Make it snug, not tight.
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