How many instruments? Options

[Maizie]

Something that sometimes gets forgotten - and to be honest, which I'd never have thought about before my current teacher - is that 'accompanying' doesn't have to mean 'piano'. I am regularly accompanied on the guitar in lessons, teacher playing the bass/piano part. Occasionally I'm accompanied by another recorder playing the bass part.
I tend to get only a couple of piano-based rehearsals before the exam, but I am usully familiar with the accompaniment anyway by then, because of the non-piano accompanying I've had - especially around rests and entries and so on (erm, probably the bits I mess up most).
And we do only get to playing accompanied after plenty of time working on it as just me first - very rarely do we jump in as accompanied playing (which I think is good, because then you know the attention is pupil-based rather than playing-based).

[notmusimum]

Something that sometimes gets forgotten - and to be honest, which I'd never have thought about before my current teacher - is that 'accompanying' doesn't have to mean 'piano'. I am regularly accompanied on the guitar in lessons, teacher playing the bass/piano part. Occasionally I'm accompanied by another recorder playing the bass part.
I tend to get only a couple of piano-based rehearsals before the exam, but I am usully familiar with the accompaniment anyway by then, because of the non-piano accompanying I've had - especially around rests and entries and so on (erm, probably the bits I mess up most).
And we do only get to playing accompanied after plenty of time working on it as just me first - very rarely do we jump in as accompanied playing (which I think is good, because then you know the attention is pupil-based rather than playing-based).

I thought about this too as one of teachers often accompanies by playing the bass line and another uses guitar.

[Chris H]

Every junior conservatoire and specialist school we have approached have all strongly encouraged keyboard skills. My son is currently composing every spare minute he has and he is held back by his limited level on piano - i need to look into if Sibelius lets one hum down a microphone to solve this. (IMG:style_emoticons/default/unsure.gif) I would also avoid a teacher now who couldn't bash out a half decent accompaniment - unless the teacher was amazing - as we have come up against problems preparing for exams and competitions. Hiring an accompanist for one day is not enough for my son as he needs at least 2-3 sessions with the accompaniment.

My son composes successfully for jazz band and classical sax quartet without going near a piano. The thing that has helped him most with classical composition has been having to learn chords off by heart for jazz.

[GMc]

In 1901 Carlos Salzedo at 16 years of age managed two Premier Prix from Paris Conservatoire at the same time in piano and harp (never done before or since) and he was awarded a Steinway Grand in recognition of this. Then became famous for harp and composition/arrangment. I think you have to be truly exceptional to have a joint first study and keep both going to that standard.

But diversity is very useful for a lot of musicians as not everyone who studies performance can make their living from their first instrument alone as a professional player.

[Chris H]

In 1901 Carlos Salzedo at 16 years of age managed two Premier Prix from Paris Conservatoire at the same time in piano and harp (never done before or since) and he was awarded a Steinway Grand in recognition of this. Then became famous for harp and composition/arrangment. I think you have to be truly exceptional to have a joint first study and keep both going to that standard.

But diversity is very useful for a lot of musicians as not everyone who studies performance can make their living from their first instrument alone as a professional player.

The dilemma is, do you concentrate on your main instrument to really try to make a career with that one if that's the instrument you love, or do you run the risk of diluting your skills by diversifying? Apparently in France saxophonists do not learn doubling instruments such as clarinet and flute, which is common here, I am told, but all of them have to study both alto and tenor saxophone.

[FullofWind]

In 1901 Carlos Salzedo at 16 years of age managed two Premier Prix from Paris Conservatoire at the same time in piano and harp (never done before or since) and he was awarded a Steinway Grand in recognition of this. Then became famous for harp and composition/arrangment. I think you have to be truly exceptional to have a joint first study and keep both going to that standard.

But diversity is very useful for a lot of musicians as not everyone who studies performance can make their living from their first instrument alone as a professional player.

The dilemma is, do you concentrate on your main instrument to really try to make a career with that one if that's the instrument you love, or do you run the risk of diluting your skills by diversifying? Apparently in France saxophonists do not learn doubling instruments such as clarinet and flute, which is common here, I am told, but all of them have to study both alto and tenor saxophone.

I would have thought it would be much more sensible to do this. Better to learn oboe and for anglais than oboe and clarinet, and bassoon and contra than bassoon and flute in my opinion. I wouldn't be surprised if a conservatoire was more interested in the oboist who could also play cor anglais rather than the oboist who could play clarinet.

[Roseau]

Apparently in France saxophonists do not learn doubling instruments such as clarinet and flute, which is common here, I am told, but all of them have to study both alto and tenor saxophone.

The French people I have spoken to are appalled at the idea that a woodwind teacher could be expected to double on another instrument (and this includes clarinet/saxophone). They claim that it would ruin the technique on the main instrument.

In fact very few people in France play two instruments and it is considered unusual if an orchestral instrumental teacher has any piano skills at all.

[Chris H]

Apparently in France saxophonists do not learn doubling instruments such as clarinet and flute, which is common here, I am told, but all of them have to study both alto and tenor saxophone.

The French people I have spoken to are appalled at the idea that a woodwind teacher could be expected to double on another instrument (and this includes clarinet/saxophone). They claim that it would ruin the technique on the main instrument.

In fact very few people in France play two instruments and it is considered unusual if an orchestral instrumental teacher has any piano skills at all.

Son's saxophone teacher says French saxophone students are way in advance of British ones. It is the home of classical saxophone, though.

[Roseau]

Apparently in France saxophonists do not learn doubling instruments such as clarinet and flute, which is common here, I am told, but all of them have to study both alto and tenor saxophone.

The French people I have spoken to are appalled at the idea that a woodwind teacher could be expected to double on another instrument (and this includes clarinet/saxophone). They claim that it would ruin the technique on the main instrument.

In fact very few people in France play two instruments and it is considered unusual if an orchestral instrumental teacher has any piano skills at all.

Son's saxophone teacher says French saxophone students are way in advance of British ones. It is the home of classical saxophone, though.

I think the French system does form excellent musicians - unfortunately in doing so, it leaves by the wayside all those who might have turned into enthousiastic amateurs.

[notmusimum]

I would have thought it would be much more sensible to do this. Better to learn oboe and for anglais than oboe and clarinet, and bassoon and contra than bassoon and flute in my opinion. I wouldn't be surprised if a conservatoire was more interested in the oboist who could also play cor anglais rather than the oboist who could play clarinet.

How old is your son and what instruments does he play?

When someone starts at 10, it's not your life plan for them and you don't come from a musicla backgound then you just go with what they want to do. In our case it was part boredom and part enthusiasm that produced the multi-instrumentalist. I didn't realise that at the time though.

There won't be that many young oboists who own both oboe and cor anglais and many will turn up at conservatoire without a cor. They are very similar technically cor requires a bit more air. The cost of these instruments will prevent a lot of families from investing in both. I cringe a tthe thought of daughter walking round witj a case containing over ?10,000 worth of instruments and that's without reeds, stands and the case itself. Yes I am aware that string instruments may cost many 1,000's more but most families don't have the money to go expensive and probably wouldn't until at conservatoire if at all.

I don't really have any regrets over allowing daughter to play more than one instrument most of the time (IMG:style_emoticons/default/laugh.gif) I'm not really sure it's diluted her skills on her first instrument either as she has learnt so much from all her other experiences to take her forward.

[FullofWind]

When someone starts at 10, it's not your life plan for them and you don't come from a musicla backgound then you just go with what they want to do. In our case it was part boredom and part enthusiasm that produced the multi-instrumentalist.

Many keen children will try their hands at many instruments at a young age but by the time they hit 16 and know they want to be a musician on a certain instrument then I thinks it's better for them to specialise. But from experience, musical children are headstrong and stubborn and will follow the path they choose! (IMG:style_emoticons/default/rolleyes.gif)

[notmusimum]

When someone starts at 10, it's not your life plan for them and you don't come from a musicla backgound then you just go with what they want to do. In our case it was part boredom and part enthusiasm that produced the multi-instrumentalist.

Many keen children will try their hands at many instruments at a young age but by the time they hit 16 and know they want to be a musician on a certain instrument then I thinks it's better for them to specialise. But from experience, musical children are headstrong and stubborn and will follow the path they choose! (IMG:style_emoticons/default/rolleyes.gif)

Playing several instruments actually opens up lots of opportunities and definately aids musicality. It will also make them more flexible in ensembles on thier mian instrument.

[FullofWind]

When someone starts at 10, it's not your life plan for them and you don't come from a musicla backgound then you just go with what they want to do. In our case it was part boredom and part enthusiasm that produced the multi-instrumentalist.

Many keen children will try their hands at many instruments at a young age but by the time they hit 16 and know they want to be a musician on a certain instrument then I thinks it's better for them to specialise. But from experience, musical children are headstrong and stubborn and will follow the path they choose! (IMG:style_emoticons/default/rolleyes.gif)

Playing several instruments actually opens up lots of opportunities and definately aids musicality. It will also make them more flexible in ensembles on thier mian instrument.

I agree with this point pre age 16 but I still think specialisation is better. Just my humble opinion though... (IMG:style_emoticons/default/wink.gif)

[Beclarinet]

I was a multi-instrument playing child and teenager, and am now a professional, freelance performer and teacher on the clarinet.

I had g8 piano by the time I left school and then also did g8 clarinet and g8 double bass in sixth form. I also doubled on sax and these days I teach flute as well!

I loved the opportunities that playing double bass gave me in a music service where there were loads of brilliantly talented clarinetists and I learnt a great deal by sitting at the opposite end of the orchestra! My piano skills have come in handy as a teacher - I am able to accompany all my pupils for exams etc. and I am able to coach orchestras with a more detailed knowledge of the problems facing most of the players there!

I am definitely a more well-rounded musician because of all the opportunities I had from playing different instruments (and having a variety of teachers with wide-ranging interests) and it didn't hold me back from gaining places at music college to specialise in clarinet.

I suppose I was very lucky to have parents who supported me in doing all of these things, and made sure I practiced all the right instruments at the right times!

[notmusimum]

When someone starts at 10, it's not your life plan for them and you don't come from a musicla backgound then you just go with what they want to do. In our case it was part boredom and part enthusiasm that produced the multi-instrumentalist.

Many keen children will try their hands at many instruments at a young age but by the time they hit 16 and know they want to be a musician on a certain instrument then I thinks it's better for them to specialise. But from experience, musical children are headstrong and stubborn and will follow the path they choose! (IMG:style_emoticons/default/rolleyes.gif)

Playing several instruments actually opens up lots of opportunities and definately aids musicality. It will also make them more flexible in ensembles on thier mian instrument.

I agree with this point pre age 16 but I still think specialisation is better. Just my humble opinion though... (IMG:style_emoticons/default/wink.gif)

Everyone is entitled to their opinion but we are where we are now and I can't change that. I suppose only time will tell..... Everyone is different though and what is right for one person won't be right for another. BTW it's the post 16 opportunities that are really being enjoyed.