Kansas City-based Arts Professional, Conn-Selmer Saxophone Artist and Clinician, ARC Recording Artist and currently an assistant band director. Former career military musicians whose highlights include performing with the Faculty Lab Band and Faculty Wind Ensemble of the Armed Forces School of Music and with the NATO Band in Naples, Italy. Mr. Burnett has taught at the college-level, Missouri Science and Technology, formerly University of Missouri-Rolla (10 years) and Metropolitan Community College in Kansas City (5 years). He has released three recordings as a leader and his latest commercial recording is “Echoes of Europe” with the Dino Massa Kansas City Quintet, a project he co-leads with the Italian jazz piano maestro, Dino Massa. Mr. Burnett's recent performances have included a set at the 28th annual Roots Festival with his quintet and special guest Marcus Hampton (Lionel Hampton, Locksley "Slide" Hampton), a simultaneous live concert and live webcast with his quartet and Steinway Piano Artist, Michael Jefry Stevens at Westport Coffeehouse Theatre in Kansas City, and entering the rotation of stellar reed players performing on Tuesdays with the musically progressive ensemble, the Jim Lower Jazz Orchestra at Californos in Kansas City. In addition to maintaining a local private woodwind teaching studio practice, Mr. Burnett is currently composing and arranging music for his various ensembles: Christopher Burnett Ensemble: a 10-piece group of engaging instrumentation, his jazz combination groups and new works for student-level ensembles. His print music education publications are available at Sheet Music Plus (Hal Leonard) as digital downloads. More information is available at his official website.
I want all of my students to have a firm grasp of the fundamentals and practical factors of music performance, along with a basic set of technical skills that will successfully allow them to perform music on their respective instruments in most any ensemble context.
Having the opportunity to reach private students at any given level of their training, I am primarily trying to teach students to play their instruments well by getting the fundamentals ingrained. I want my students to know their scales, know how to count rhythms and be exposed to representative literature on their instruments.
My job is to primarily help a student find their weakness and assist toward making them strong. I also want those students who do leave my studio and go on to further study at another college or conservatory to be able to start doing those college-level studies from their first semester in any professor’s studio.
And, I don’t want any student leaving my studio whom I didn’t diagnose weaknesses and provide a coherent process for them to be corrected. My position is that this entire private instruction process is actually about what is best for the musical growth and development of each individual student.
PRACTICAL FACTORS OF MUSIC REQUIREMENTS
Each member of the laboratory course will master the following Practical Factors of Music in order to be deemed successful in this course:
12 major scales – ascending and descending (two octaves as applicable)
12 melodic minor scales (two octaves as applicable)
12 major triads – ascending and descending (full range of instrument)
12 minor triads – ascending and descending (full range of instrument)
Whole Tone scales (full range of instrument)
Diminished scales (full range of instrument)
Assigned mechanism studies
A properly functioning instrument in a good state of repair condition, and neck strap
An adequate supply of new and serviceable reeds, so as to allow for a rotation of 4 reeds for each mouthpiece set up
A metronome or metronome app
A tuner or a tuner app
A classical mouthpiece such as Selmer C* for classical literature
A jazz mouthpiece such as Vandoren’s V16 series for jazz studies
Trevor Wye’s Practice Books for the Flute: Omnibus Edition Books 1-5 by Trevor Wye (Spiral-bound)
Celebrated Method for Clarinet by Hyacinthe Klose (paperback)
Universal Method for Saxophone (spiral bound)
The Real Book: Sixth Edition by Hal Leonard Corporation – Eb or Bb versions
How to Play BeBop – Volume 1 by David Baker
How to Play BeBop – Volume 2 by David Baker
How to Play BeBop – Volume 3 by David Baker
Blank Manuscript Paper (spiral bound)
A Sharpened Pencil with an Eraser
Also, I recommend that students have a suitable bag to carry study materials in, rather than inside of the instrument case. As you see by the materials that we will study from, that even pockets on your instrument case will also not provide sufficient room.
The Jazz Theory Book by Mark Levine