Teaching
The New School
Private teaching
Home studio
Ridgewood, Queens
Online
Worldwide, by arrangement
The approach
Aaron’s teaching combines the innovative pedagogical concepts associated with the great 20th century woodwind teachers such as Henry Lindeman, Joe Allard, Harry Keller, Leon Russianoff, Kalmen Opperman, William Kinkade, Thomas Nyfenger and Harold Bennett (whose teachings constituted an “American School” of Saxophone/Clarinet/Flute playing) in the same way all of these pioneering teachers and thinkers delineated the pedagogy of the masters who preceded them (such as Simeon Bellison, Georges Barrère, Daniel Bonade, Gaston Hamelin) and adapted and codified these principles to suit the technical and artistic demands of their era. Through the lifelong study of all of these “schools” of the Old World — which eventually meet in New York City in the first half of the 20th century — it becomes apparent that these historical woodwind perspectives are all based upon the same fundamental ideals of an economical and fluent technical facility combined with an overtone-rich, singing tonal concept: a sound with a lot of “ring” in it. Aaron’s aesthetic approach to teaching — a codification and delineation of these historically informed principles — is realized in his own method and system of woodwind playing which he has dubbed “transference”.
The method
Transference
A codification of those historically informed principles into one system: an economical, fluent technical facility joined to an overtone-rich, singing tonal concept — a sound with a lot of ring in it, carried from one instrument to the next.
Lessons
$120
One hour
In person or online. Best for one-offs or as supplemental study.
$60
Half hour, weekly
Best for beginners, or for regular weekly study.
Lessons are available in person or online. Write with your instrument, your experience so far, and what you are hoping to work on.
Ask about lessonsAaron’s own teachers
Aaron began his formal woodwind studies as a clarinetist at the age of 11 with Matt Utal, a retired Hollywood studio musician who was in the NBC staff orchestra throughout the 1960’s as well as the lead altoist with Les Brown and his Band of Renown for 33 years beginning in 1955. Matt introduced Aaron to the idea that he could become a “woodwind doubler” if he practiced seriously and learned the saxophone and the flute, which he did under Matt’s careful and considerate teaching. Aaron also studied clarinet as a young teenager for two summers at Interlochen with Sidney Forrest (principal clarinet of the National Symphony Orchestra beginning in 1946) followed by clarinet lessons in New York with Kalmen Opperman (renowned pedagogue), Charles Russo (fmr. principal, NYC Opera) and William Blount (freelancer, principal — Orchestra of St. Luke’s). Aaron was also acknowledged by the late, great Ken Peplowski as a protégé and considered Ken his mentor as a jazz clarinetist. As a flutist, Aaron studied the instrument with Harold Jones (prominent NYC classical freelancer) as well as took important lessons over the years with respected New York woodwind doublers such as Les Scott, Andrew Sterman and Ed Joffe, and regards, in particular, retired studio woodwind players Roger Rosenberg and Lawrence Feldman as important friends and mentors.
First teacher
Matt Utal
From age 11. NBC staff orchestra through the 1960’s; lead alto with Les Brown and his Band of Renown for 33 years.
Clarinet
Sidney Forrest
Two summers at Interlochen. Principal clarinet, National Symphony, from 1946.
Kalmen Opperman
Renowned pedagogue.
Charles Russo
Former principal, New York City Opera.
William Blount
Freelancer; principal, Orchestra of St. Luke’s.
Jazz clarinet
Ken Peplowski
Mentor, who acknowledged Aaron as a protégé.
Flute
Harold Jones
Prominent New York classical freelancer.
Doubling
Les Scott
Andrew Sterman
Ed Joffe
Roger Rosenberg
Friend and mentor.
Lawrence Feldman
Friend and mentor.