CLARINET STUDIO
SC H O O L O F M U SI C , T H E AT R E , A N D DA N C E
CLARINET ESSENTIALS DR. WESLEY FERREIRA
CLARINET ESSENTIALS DR. WESLEY FERREIRA
TABLE OF CONTENTS 10 Steps to Better Clarinet Performance...............pg. 1–5 Clarinet Pop Orchestra..........................................pg. 3 Colorado All-Star Clarinet Choir.............................pg. 5 Jr. Lift Clarinet Academy.......................................pg. 6 Clarinet Equipment Recommendations..................pg. 7–13 Clarinet Studio at CSU...........................................pg. 14–15 Clarinet Events this year at CSU............................pg. 15 Dr. Wesley Ferreira - Profile & Contact...................pg. 16–17 Colorado Clarinet Day 2017..................................Back
10 STEPS TO BETTER CLARINET PERFORMANCE EMBOUCHURE A good embouchure allows a clarinetist to produce a good tone, with correct intonation, using any articulation and in any register. • • • • • • • • • • •
Lower lip over lower teeth. Mouthpiece in mouth at “paper point” and at approximately 30 degrees with the body. Keep head up! Upper teeth on mouthpiece. Breathe while keeping teeth on mouthpiece. Drawstring in lips around the mouthpiece. Corners firm, but no smiling. Chin stays pointed as if blowing into a pop bottle. Upper lip stays firm. Cheeks will not puff out if corners are firm. Upward pressure into top teeth (see hand position). No moveable embouchure! Keep head up and clarinet at 30 degree angle to the body. Mouthpiece-barrel combination should produce a concert F#.
Common problems associated with embouchure • Amount of Mouthpiece. Too much or too little. • Amount of Lip. Dependent on the size and thickness of lips of the individual student. • Chin Muscles. A very common problem with beginners is failure to keep the chin muscles firm. • Biting. Too much pressure against the reed restricts the amplitude of vibration, producing a thin stuffy tone with little body. Reducing this pressure by dropping the lower jaw back into the open position immediately frees the tone. • Puffing cheeks. Puffing cheeks are most often a problem with beginners. Indicates a lack of support by the cheek muscles. Frequently, students do not realize that their cheeks are puffed. The use of a mirror to check is invaluable. When they can see that the cheeks are not puffed, they can then feel the muscular support which is necessary to keep them in place and make the required connection. • Escaping air. Air escaping from one corner of the mouth while playing is another clear indication that something is wrong with embouchure formation. The correction is to push the corners of the mouth toward the mouthpiece.
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HAND POSITION 1. Instrument must be played with pads of fingers, not tips. • • •
Drop hand to side, bring fingers up to instrument. Keep fingers relaxed. Collapsed “C” position. No squeezing! Left hand index finger should roll back to play A key. This finger should not be lifted to contact the A key and should be very close to or actually touching the G# key. Right hand index finger should not support the instrument. This finger should rest next to or slightly above the Eb/Bb key so the side trill keys can be reached.
2. Thumbs • •
Left thumb should aim at the 2:00 position. Register key should be played with the side of the thumb, next to the nail. Thumb rest should contact the right thumb between the nail and first joint. Pressure should be up into upper teeth. Neck strap can be used!
3. Finger motion • Fingers should always remain close to the keys. This will help technique and aid in “over the break” passages. • Mirror practice must be encouraged.
REED PLACEMENT AND REEDS • Tip of reed should always line up with the tip of the mouthpiece. • Reed must line up on the table of the mouthpiece (watch butt as well as tip). • Pick right reed strength. a. Reed too thick-sound is airy, hard to blow. Can cause severe embouchure problems, especially the bunched chin. b. Reed too thin-sounds buzzy, high notes flat or difficult if not impossible to produce. c. Pick good nationally-known brand. Cheaper reeds are just that!
TUNING • • •
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Tune open G by adjusting between the barrel and upper finger joint. C’s should be tuned between the upper and lower joints. Basic tuning should be done between the barrel and upper finger joint. Right hand pitches can be further adjusted between upper and lower joints. Use tuning rings to close gap and maintain constant setting. Venting, dampening, and mouth-throat motion should be used to fine tune pitch.
TECHNIQUE
• Slow practice!
PLAYING HIGH NOTES • • • • •
More mouthpiece can be taken in the mouth to help produce the notes in the initial stages. Keep tongue in “ee” position. No biting! Practice Bugle calls Articulation in the high register requires much less tongue motion and tongue contact than those in the lower register.
EQUIPMENT CARE
• • • • • • • •
Keep hands and mouth clean. Clean instrument with swab, Kleenex, and handkerchief daily. Keep small paintbrush in case for weekly cleaning. Use Q-tip for weekly tone hole cleaning. Clean corks: wipe off old cork grease weekly. Clean pads: cigarette paper. Oil and clean keys: use key oil. Oil bore on inside of the wood at least once every four months.
7:30 P.M. | MARCH 8, 2018 ORGAN RECITAL HALL
www.csuartstickets.com 3
WARM-UP • Importance of daily warm-up and practice routine cannot be overemphasized. • Measure the quality of warm-up by its effort at improvement. 1. long tones 2. tonguing 3. scale studies
AIR (THE BASIS OF GOOD TONE)
• Keep tongue in “ee” position. • Use Laser beam air. • Soft sound is only slower air, not less intense forward-moving air.
TONGUING Tip of tongue only stops the reed from vibrating.
• Tip of tongue touches tip of reed. • Tongue pressure should be no more than that necessary to stop the reed from vibrating.
• “Finding” the tip of the tongue a. scratch tip of tongue with fingernail or rub against bottom of front teeth to locate the exact tip. b. place tip of tongue on top of reed outside mouth. c. bring mouthpiece into mouth keeping tongue in place on reed. d. form embouchure. e. build pressure behind tongue-release reed. f. touch tip of tongue to tip of reed many times, denting the sound. g. repeat above process but stop reed with tip of tongue. h. remove mouthpiece from mouth to check tongue placement. • •
Back of tongue should remain in “ee” position at all times. This will bring the tongue up and back such that the tip of the tongue can touch the tip of the reed. It is also fundamental to achieving characteristic tone quality and upper (altissimo) register. Do not allow embouchure to move while tonguing.
How to recognize correct tongue and correct problem tongue. • • •
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No “TT” sound is present in articulation. Tongue releases the reed, it does not attack the reed. There should be no visible throat motion during articulation. There should be no pitch change during articulation.
• • •
During rapid articulation the tongue starts and stops the sound. Air pressure should not change. How to correct a. Student must be made aware of “correct” method of articulation. The tongue consists of a group of muscles that must be “exercised” to respond correctly. An exercise should be used daily to strengthen tongue and good habits.
If you have any questions about anything written on these pages, please do not hesitate to contact me. I would be happy to explain and clarify any of the concepts and techniques. — Dr. Wesley Ferreira
A weekend clarinet workshop and performance ensemble experience for the most talented high school clarinetists
MARCH 8–10, 2018 ■■ Clinics on clarinet topics ■■ Each student receives a private lesson ■■ Tons of clarinet swag for everyone!
(Swag includes reeds, clarinet swab, clarinet music, recordings, etc.)
■■ Includes tickets to the Clarinet Pop Orchestra concert (03/08/18) and Wesley Ferreira clarinet recital (03/09/18)
Audition deadline: December 1st, 2017 Audition material: Colorado All-State clarinet excerpts and scales 5
JUNE 18–22, 2018 The Junior Lift Clarinet Academy is an action-packed five day journey, designed for high school students and advanced middle school clarinetists ages 13-18 who are seeking to expand and improve their clarinet playing within a supportive and engaging musical environment.
www.JrLiftClarinetAcademy.com
CLARINET EQUIPMENT RECOMMENDATIONS DR. WESLEY FERREIRA (UPDATED 09/01/17)
Bb CLARINETS Beginner Bb Clarinets made at the opening price range are typically made of plastic or a comparable synthetic material. Most clarinet manufacturers make affordable and durable instruments for beginners. The following instruments are recommended (alphabetical order):
• • • •
Bundy - Standard BCL-300 - $449 Backun - Alpha Clarinet - $899 Buffet Crampon - Prodige Student Bb Clarinet- $599 Yamaha - YCL-255 Student Bb Clarinet - $987
NOTE: If possible, students should keep their beginner plastic instrument after stepping up to a wooden instrument in case their wooden clarinet needs to go in for repair or whenever they need to use a clarinet outdoors (such as in marching band). Intermediate Intermediate level Bb clarinets better allow a clarinetist to produce a good tone and improved technique. These instruments are all made of wood and are a great option for students who want a wooden instrument without the price tag associated with advanced (professional) models. The following instruments are recommended (alphabetical order):
• • • • •
Backun - Protege Grenadilla wood clarinet- $1,799 Buffet Crampon - E11 Model - $1,195 Buffet Crampon - E12 Model - $1,921 Selmer Paris - Prologue Bb Clarinet- $1,999 Yamaha - YCL 450 - $1,303
NOTE: At these price points, it is also a good idea to look into well cared for USED advanced (professional) models, which can be found at comparable prices.
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Advanced Advanced clarinetists and professionals choose to play the best clarinets. These clarinets have been designed in consultation with professional clarinetists and do not “get in the way” of the player’s playing due to superior acoustical and ergonomic design (something that occurs in Intermediate and Beginner model clarinets). They are made of wood and are made of the best materials and acoustical designs by the premiere instrument music companies. The following instruments are recommended (alphabetical order): • • • • • •
Backun - Model F Clarinet - $4,820 Backun - Moba Clarinet - $7,995 Buffet Crampon - R13 Nickel Keys (most popular professional model) - $3,599 Buffett Crampon - Other models include R13 Prestige, Festival, Divine, Tosca, Vintage, RC, RC Prestige, Conservatoire, and Tradition - prices $3,999 to $8,200 Selmer Paris - models include Signature, Privilege, and Recital - prices $5,700 - $7,000 Yamaha - model YCL-CSVR - $3,089
BASS CLARINETS Beginner / Intermediate Bass Clarinets at the beginner - intermediate level play down to an E-natural or Eb (although some models play down to C natural). Most are constructed of a composite plastic material but some are in fact made of wood. The following instruments are recommended (alphabetical order):
• • • • •
Allora - model AABC-304 - $1,399 Jupiter - model JBC1000N - $2,220 Selmer - model 1430LP - $2,010 Vito - model 7168 - $1,869 Yamaha - model YCL-221 - $2,215
Advanced Advanced bass clarinets are typically played by college music students, professional clarinetists, and those who choose to play the best instruments. These instruments play down to an Eb or low C natural depending on the model and have been designed in consultation with professional players. They are made of wood and are made of the best materials and acoustical designs by the premiere instrument music companies. The following instruments are recommended (alphabetical order):
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• • • • •
Buffet Crampon - 1183 Prestige Low Eb Bass Clarinet - $10,400 Buffet Crampon - 1193 Prestige Low C Bass Clarinet - $11,410 Selmer Paris - model 65 Low Eb Bass Clarinet - $10,850 Selmer Paris - model 67 Low C Bass Clarinet - $12,660 Yamaha - YCL-622II Low C Bass Clarinet - $8,980
MOUTHPIECES (Bb CLARINET) Beginner Unfortunately, the “stock” mouthpiece that comes in the cases with clarinets are not good options for beginners to develop on. Many established mouthpiece makers make a “student” model mouthpiece for an extremely affordable price. When compared to “stock” mouthpieces, these mouthpieces will transform a student’s playing, helping them to improve at a faster rate and allow for a much more focused sound. The following mouthpieces are recommended (alphabetical order):
• • • •
Clark W. Fobes - Debut model Bb Clarinet mouthpiece - $28 David Hite - Premiere model Bb Clarinet mouthpiece - $21 David McClune - Plato model Bb Clarinet mouthpiece - $39 Ridenour - Encore model Bb Clarinet mouthpiece - $45
Intermediate At the intermediate level, it’s important that clarinetists play on one of the following intermediate clarinet mouthpieces. A mouthpiece can make a bigger difference at the intermediate level in some cases than a clarinet. At this level, clarinetists should try a variety of mouthpieces before choosing the right fit for them. This can be accomplished at your local music stores (which should carry the following models) or by contacting music stores online about shipping mouthpieces for trial. Each model will feel and play differently. At the intermediate level, the following mouthpieces are recommended (alphabetical order): • •
D’Addario Reserve Bb clarinet mouthpieces - Recommended models include: X0, X5, X10, X10E, X15E, X25 - prices $85-$100 Vandoren (13 Series American pitch) Bb clarinet mouthpieces - Recommended models include: M13, M15, 5RV, M30, B40, BD5 - prices $85-$140
NOTE: These intermediate models are also considered advanced (professional) models since many professionals play on these D’Addario and Vandoren mouthpieces. Advanced In addition to the D’Addario and Vandoren models listed above, advanced and professional clarinetists often play on mouthpieces made by established mouthpiece makers. Here is a list (alphabetical order) of recommended models:
• • • • • •
Behn Clarinet Mouthpieces - $290-$780 Clark Fobes Pro Clarinet Mouthpieces - $225 D’Addario Reserve Bb clarinet Mouthpieces - $85-$100 David McClune Mouthpieces- $150-$245 Hawkins Bb Clarinet Mouthpiece Pro model - $185-$325 Lomax Classic Mouthpieces - $150-$300
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• Vandoren (13 series-American pitch) mouthpieces - $85-$140 • Walter Grabner Bb Clarinet mouthpieces - $240-$310
NOTE: At the advanced level, students should be trying out many different brands and kinds of mouthpieces to see what feels best to the individual player. Though many choose a custom mouthpiece such as those listed above, a cheaper Vandoren or D’Addario is always a good option. Consult your teacher about the best mouthpiece for you.
MOUTHPIECES (BASS CLARINET) Beginner / Intermediate Moving to a bass clarinet mouthpiece designed by a mouthpiece maker can make a big difference for beginner, intermediate, and bass clarinetists. The mouthpiece maker Clark W. Fobes has created a bass clarinet mouthpiece at an affordable price that will make playing the bass clarinet easier for all students at this level.
• Clark W. Fobes - Debut model bass clarinet mouthpiece - $46.99
Intermediate/Advanced Depending on what kind of bass clarinet the intermediate and advanced level player uses, adding one of the following mouthpieces can take a player to the next level. Here is a list (alphabetical order) of recommended models:
• • • • •
Backun - Moba bass clarinet mouthpiece - $356 Clark W. Fobes - professional model bass clarinet mouthpieces - $179-$440 Richard Hawkins - bass clarinet mouthpiece - $315 Selmer Paris - bass clarinet models include: Concept, Focus - $325 Vandoren - bass clarinet models include: B30, B40, B44, B45, B46, B60 - $136
NOTE: At the advanced level, students should be trying out many different brands and kinds of mouthpieces to see what feels best to the individual player. Consult your teacher about the best mouthpiece for you.
REEDS (STANDARD BOX OF 10) Beginner For players who are just starting out on the clarinet and for the first few reeds, the following are recommended (alphabetical order):
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• Juno - $45 • Rico (Orange Box) - $20
Intermediate The following reeds have a different file and cut, allowing for better tone from a more experienced player. Here is a list (alphabetical order) of recommended reeds:
• • • •
Legere (Plastic Reeds) - $32.50 Mitchell Lurie - $18.95 Rico Royal (Blue Box) - $18.99 Vandoren (Blue Box) - $21.95
Advanced
• • • • • • • •
D’Addario - Reserve - $21.95 D’Addario Reserve Classic - $27.99 Peter Leuthner - French Cut - $31 Pilgerstorfer - French Cut - $26.95 Selmer Paris - $26 (box of 6, includes reed case) Silverstein - Alta - $45 (box of 10), $25 (box of 5) Vandoren - V12 - $24.99 Vandoren - V21 - $27.99
LIGATURES Beginner The basic metal ligatures that come with clarinets do not provide the optimal even pressure on the reed to allow for a uniform sound on the clarinet. In general, metal ligatures provide a brighter or more prominent tone, while leather or synthetic cloth ligatures provide a warmer less prominent tone. *Make sure to always have a cap to protect the reed and mouthpiece. The following are inexpensive options that will make a big impact on a developing clarinetist (alphabetical order):
• Bonade - Ligature (inverted or regular) - $20.99 • Luyben - Bb clarinet ligature and cap - $12 • Rovner - Dark Ligature and Cap - $21.99
Intermediate At the intermediate level, students can continue to use the Bonade or Rovner ligature (above) to great affect. They may also move to the advanced level ligature options based on budget. The following are a few more ligature options in addition to the ones listed under the beginner heading (alphabetical order):
• D’Addario - H ligature and cap - $32 (Gold), $32 (Silver) • Vandoren - M/O series ligature - $40
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Advanced There are so many ligature options available to clarinetists. As with mouthpieces, at the advanced level, students should be trying out many different brands and kinds of ligatures to see what combination of their mouthpiece/reed works with which ligature. It is advisable to consult your teacher about the best ligature option for you. Here is a list of recommended ligatures (alphabetical order):
• • • • • • • • •
BG - Super Revelation - $48 BG - Tradition - $90 Bonade - inverted (Gold plated) - $60 Rovner - Versa - $55 Ishimori - Woodstone - $100-$260 Scott - 4 Spot ligature - $60 Silverstein Ligatures - $80-$200 Vandoren - M/O series ligature - $40 Vandoren - Optimum - $90
OTHER ACCESSORIES Swabs Cleaning the inside of your clarinet after playing is important to protect the integrity of the instrument. It is advisable to use a silk swab or other comparable (smooth) material. Due to greater friction of their materials, chamois and cotton swabs have a higher probability of getting stuck in the instrument. Also, make sure that the swab has a coated or cloth covered weight to reduce the wear and tear in the bore of your instrument. The following is a list of recommended swabs (alphabetical order):
• GEM Silk Clarinet Swabs - $8.99 • Vandoren Microfiber Clarinet Swabs - $15.75
Stand/Peg A clarinet stand or “peg” is an important accessory to own. It allows the player a proper place to put the clarinet when not being played. Some pegs are sturdy and heavier than others. Some fold up for storage inside the clarinet bell when the clarinet is in its case. The following is a list of pegs that are recommended (alphabetical order):
• K&M - model 15222 - $16.99 • Hercules - model DS440B TravLite In-Bell - $29.99 • Blayman Clarinet Peg - $38.99
Neck Strap Playing the clarinet does not allow the right hand to be ergonomic. This can cause some players to feel pain in their right wrists and arms. It has become very acceptable and in
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some cases encouraged for players to play with a clarinet neck strap. In some cases, playing with a neck strap allows developing clarinetists to improve at a faster rate because it allows the clarinet to stay stable in the embouchure and allow for more freedom of finger movement in the right hand. The following neck straps are recommended (alphabetical order):
• Claricord - Clarinet Neck Strap - $21.80 • BG - Clarinet Neck Strap (elastic version) - $26.99
Bore Oil Wooden clarinets are made of an African wood called Grenadilla and the bore (inside of the clarinet) gets dried out after time. Pulling an old swab with bore oil on through the clarinet hydrates the wood. This should be done every four months. The following bore oil is recommended (alphabetical order):
• Claricord - Clarinet Neck Strap - $21.80
NOTE: Do not use your current clarinet swab to oil your bore. Designate a separate swab as your oil swab. Place a drop of bore oil on the oil swab and then run it through your clarinet 2-3 times. If you have any questions about anything written on these pages, please do not hesitate to contact me. I would be happy to explain and clarify any of the equipment, best places to purchase them, etc. — Dr. Wesley Ferreira
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THE CLARINET STUDIO AT COLORADO STATE UNIVERSITY The Clarinet Studio at Colorado State University is a dynamic and engaging program brimming with opportunities. Value is placed on achieving career goals as well as striving for personal growth. The discipline needed to develop advanced skills on the clarinet is used in a broader context. A great amount of emphasis is placed on problem-solving, attention to detail, personal accountability, and fundamentals of clarinet technique, as well as developing leadership qualities, individual expression, and becoming self-aware. These are the values that students will take away with them long after graduation, into wherever their life and career path takes them. In the context of a supportive environment, students learn from one another by striving to succeed. Group discussion on pertinent topics, weekly performance masterclasses, and participation in chamber music groups and large ensembles allow students to become active performers and apply their knowledge in context. Guest artists are continually brought in to stimulate learning, and outside opportunities throughout the academic year and into the summer months are encouraged and sought out. Dr. Wesley Ferreira provides a large amount of individual attention to each student, discerning their strengths and weaknesses and developing an individualized clarinet curriculum to meet their needs and career goals. He encourages thinking outside of the box and developing ones marketability in the ever-evolving place of music within society. Technology is used to analyze physical and aural issues impeding growth and Ferreira uses several non-musical devises to spark awareness and give confidence to students performing on the clarinet. His personal mantra of "Press On" has become the clarinet studio mantra. Through persistence and determination, students can achieve success as musicians and as people. Students joining the Colorado State University Clarinet Studio are entering into a culture with an established reputation for success. Members support one another and bring out the best in each other.
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The following are ideals and descriptions of what makes the clarinet studio unique: • • • • • • • • • • • • • • •
We have a burning desire to excel. We believe in and trust the mantra “Press On” Hard work and doing your best is appreciated in our studio. We take pride in doing the right thing. We bring energy and attentiveness to what we do. We take ownership of our own education. We strive to continually become better musicians, artists, and people. We aim to always have a growth mindset. We work to inspire each other and those around us. We maintain a reputation for being reliable and accountable to others. We believe that developing the fundamentals gives you the foundation from which to grow. We are a support system for each other and always want the best for our fellow studio members. Striving to reach greater heights through innovation and thinking outside of the box is appreciated in our studio. We strive to develop a passion for our artistry and the confidence needed to communicate our musicianship. The music world expands outside of CSU and Colorado. In our studio we value being well-connected and engaged with others in our field. This leads to future collaborations and success.
Clarinet Events this Year held at Colorado State University (everyone is invited and free tickets are available upon request)
Dr. Wesley Ferreira performing a Clarinet Concerto with CSU Symphony Orchestra September 28 & 29, 2017 Colorado Clarinet Day: October 7, 2017 Colorado All-Star Clarinet Choir Weekend: March 8-10, 2018 Clarinet Pop Orchestra concert: March 8 Dr. Wesley Ferreira Clarinet Recital: March 9 Colorado All-Star Clarinet Choir concert: March 10 Jr. Lift Clarinet Academy: June 18-22, 2018 Check-in with Dr. Ferreira for more events upcoming including clarinet guest artist concerts, masterclasses, and student recitals.
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CLARINET PROFESSOR AT COLORADO STATE UNIVERSITY DR. WESLEY FERREIRA – PROFILE
Biography One of the prominent clarinetists of his generation, Wesley Ferreira has been praised by critics for his “beautiful tone” and “technical prowess” (The Clarinet Journal) as well as his “remarkable sensitivity” (CAML Review). Fanfare Magazine notes, Ferreira is “clearly a major talent.” As a recital clarinetist, his performances continually engage audiences, provoking the Artistic Director of one recent concert series performance to remark that Ferreira “showcased a potent synthesis of serious musicianship, technical ferocity, and bravery of programming that was effectively tempered by a dynamic flair for showmanship. With this performance Ferreira proved not only is he an artist of some consequence, but also a consummate showman capable for presenting even the most challenging works with the ease and fluency of a world-class player.” Ferreira leads an active and diverse career performing worldwide as soloist, orchestral and chamber musician, and as an engaging adjudicator and clinician. Equally at ease performing the masterworks as well as contemporary pieces. He has been a featured soloist with numerous wind bands and orchestras in North America and Europe, and has been broadcast nationally on both Canadian and Australian Broadcasting Corporations. Recent performances have taken him to Canada, China, Italy, France, Germany, Austria, Hungary, Slovakia, Spain, and Portugal. Upcoming engagements include performances in Poland and Russia. Ferreira’s discography now totals six, including the 2013 East Coast Music Award winner – Classical Recording of the Year, for Beyond the Shore and the Ships with soprano Helen Pridmore (Centrediscs label). His debut solo album entitled Madison Avenue
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(Potenza label), was released in 2014 to critical acclaim and features the premiere recordings of noteworthy North American composers. As a means of artistic growth and furthering scholarship, Ferreira demonstrates avid support for new music by frequently commissioning and premiering works. Of note, upcoming commissions include works by prominent Portuguese composers for a forthcoming album slated for release in 2018. This advances his doctoral research project of curating works that feature the clarinet and which include Portuguese folk elements. Indeed, Ferreira continues to champion Portuguese music in North America. He was awarded winner of the 2015 International Portuguese Music Awards in the Instrumental Category. Born in Canada to parents of Portuguese heritage, he received his musical training at the University of Western Ontario (B.M) and Arizona State University (M.M and D.M.A) studying with Robert Riseling and Robert Spring, respectively. Following four years in the position of single-reeds instructor at Mount Allison University, he joined the music faculty at Colorado State University in 2011 as Assistant Professor where he maintains a thriving clarinet studio. Ferreira is a dedicated music educator and pedagogue. Passionate about teaching, he mentors students towards the achievement of their career goals, with emphasis placed on striving for professional and personal growth. His innovative teaching methods are acclaimed, including the development of the breath support training program for musicians, Air Revelation®. Ferreira is frequently invited to give performances, workshops, and masterclasses at high schools, colleges and universities throughout North America. In addition, he has been invited to perform at national and international academic conferences including the International Clarinet Association’s annual ClarinetFest nine times (2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017). He is the co-founder and artistic director of the Lift Clarinet Academy, a summer music festival and training ground which attracts students from around the world. Ferreira’s industry endorsements include positions on the Performing Artist rosters of Selmer Paris where he performs exclusively on the new Privilege clarinets, and with D’Addario, performing on the Reserve model mouthpiece and reeds.
PERSONAL PAGE: Facebook.com/mrwesleyferreira ARTIST PAGE: Facebook.com/wesleyferreiraclarinetist INSTAGRAM: @requinta SNAPCHAT: requinta
To learn more about Wesley Ferreira, please visit his website wesleyferreira.com 19
COLORADO CLARINET DAY
⊲ WORKSHOPS & CLINICS ⊲ COLORADO ARTISTS RECITAL ⊲ VENDORS & PRODUCT DISPLAYS ⊲ CLARINET CHOIR FOR ALL PARTICIPANTS ⊲ EVENING RECITAL FEATURING WORLD RENOWNED CLARINETIST MARK NUCCIO & PIANIST WENDY CHEN
ALL ACCESS PASS: $25 - payment received by Sept. 25 $35 - payment received Sept. 26 - Oct. 7 For Registration and Schedule visit:
music.colostate.edu/colorado-clarinet-day
GUEST ARTIST
MARK NUCCIO SATURDAY OCTOBER 7, 2017
hosted by Dr. Wesley Ferreira and COLORADO STATE UNIVERSITY
Colorado Clarinet Day 2017 presented by BUFFET CRAMPON and COLORADO STATE UNIVERSITY SCHOOL OF MUSIC, THEATRE, AND DANCE
Festival Partner Level
Festival Contributor Level