July Spotlight: Teaching Artist Ford Fourqurean

“I encourage my students to incorporate as much technology as possible into their performance… It is amazing to see my younger students use technology from the beginning, and see it as a tool to get better rather than something scary.”

For the month of July, we sat down with Circle Circle Arts clarinet teaching artist Ford Fourqurean to hear about his advice for young beginners, practice tips for students, and his interests and passions outside of clarinet playing.

Is it difficult for young children to start learning clarinet, as compared to other instruments? What do you think is the appropriate age to begin playing?

The B-flat clarinet’s size normally makes it difficult for students younger than 10 or 11 years old to start learning. There are teachers who might start a younger student on a smaller E-flat clarinet, but this can be very expensive. It is easier and just as rewarding to start younger students on the recorder.

What are some difficulties that students usually experience in their first year of learning?

Much of the traditional beginner repertoire is limited, because of a younger student’s smaller range. I have been asking my students about their musical interests, and bringing them arrangements to make the learning process fun and engaging. I’ve had younger students learn Animal Crossing music, while older students learn jazz and blues duets. Familiar pieces are rewarding for students to learn, and furthermore allow for technical growth when in an appropriate range and difficulty level.

What sort of progress/development should parents expect from young clarinet beginners? What kind of practice routine allows for optimal results?

Clarinet is a rewarding instrument, but it takes patience in the first few years. Students are building tiny embouchure (lip and mouth) muscles that require daily practice to strengthen. There is a great deal of playing long tones and daily exercises that support air and embouchure strength; these can often be tedious, unless made into a game - long tones with a backing track, trading improvisations from scales, and so on. It is imperative to give students technical information in a way that allows them to still make music - this will give them lasting motivation to practice.

Have you had students who showed no interest in playing the clarinet but ended up loving it and made huge progress during their studies?

Some of my best students originally had no interest in learning, or had a prior teacher who focused too much on drilling and exercises at the expense of a musically rewarding experience. There are many ways to work with a student - each has their own different tastes and interests. I personally did not enjoy playing the clarinet from the time that I started, all the way until high school. I had only heard orchestral and classical music up until that point; once I found a teacher who played new music and worked with the clarinet in crazy ways that I couldn’t imagine, it all clicked for me and I couldn’t stop practicing.

Ford serves as artistic director of Unheard-of//Ensemble, along with many other projects connecting contemporary music with diverse audiences.

Do you do anything else aside from playing?

I also compose and work with electronics. I began writing my own music during my undergraduate work, however I did not really consider myself a composer until I began working with electronics and audio equipment. It is not just about exploring new sounds; I get to dive into new gear, think of new ways to combine audio and visuals into performance, and bring together a performance that I want to create through my own composing.

How do these interests impact your teaching? Do you encourage your students to pursue composing or other musical activities?

I encourage my students to incorporate as much technology as possible into their performance. While I was teaching lessons virtually, I spent time working with students to not only improve their playing, but to also think about improvising and writing down their own improvisations. For example, I would have a student practice and work on D Major scales and arpeggios, but instead of just repetition, I would have them explore their own melodies within that key as well. Some of my students also made videos performing duets with themselves, using their own recording equipment from phone recordings to USB microphones. It is amazing to see my younger students use technology from the beginning, and see it as a tool to get better rather than something scary.

Ford performs Neon as part of Spark Duo, with fellow Circle Circle Arts teaching artist Kate Amrine.

Learn more about Ford and sign up for his in-person and online lessons in clarinet today!