Milan Milošević is Doctor of Musical Arts candidate at the University of British Columbia, recipient of the British Columbia Arts Council Award, the UBC Faculty of Graduate Studies Research Award and UBC Graduate Award for the Academic Excellence.
He is Legere Reeds Endorsed Artist, the Tarogato Stowasser J. Endorsed Artist, Backun Clarinets Featured Artist, and performs on Buffet-Crampon clarinets.
Milan earned his Master’s degree at the University of Arts, Faculty of Music, Belgrade. Milan is a guest lecturer of The British Columbia Music Educators’ Association, provincial specialist association of the B.C. Teachers’ Federation. He is a member of The American Federation of Musicians’ and The International Clarinet Association.
Milan currently serves as Music Director at Vancouver College and International Clarinet Association Canadian-Serbian Ambassador. Milan was a member of the Belgrade Philharmonic Orchestra, Artistic Director of the Belgrade Philharmonic Woodwind Ensemble and the Woodwind Quintet – Synergia 5. As for the Canadian part of his performance career, Milan has been a featured soloist and ensemble performer at the Groundswell – New Music Series in Winnipeg and New Music Festival with Winnipeg Symphony Orchestra.
He has been featured artist in numerous CBC Radio 2, Winnipeg and Vancouver national broadcast and premier performances.  Most recently, Milan performed with Vancouver New Music Society, Vancouver Symphony Orchestra, Redshift Music Society and Virtuosi Concert Series at the Eckhardt-Gramatte Hall, University of Winnipeg.
The International Clarinet Association journal – The Clarinet CD review praised his extended clarinet performance techniques as: “eclectic, ground-breaking and innovative.” As for the Brahms & Beethoven recordings: “Lush and seductive…expressive & well controlled…mellow throughout the instrument’s range. “Milan is the Summit Records, AZ. Featured Artist and currently specializes in the use of historical instrument – the tarogato.
posterdma3, New


R. Lazić - Mali klarinetista desno

Learning a wind instrument certainly cannot begin as early as learning the piano and the violin.

The clarinet requires a minimum physical support (developed lungs, teeth, heart, hands).

On the other hand, there is a steady prejudice that  the learning can begin only after the age of eleven.

After many years of practice I realized that each student must be approached in a special way. Many of them started at 8 or 9, with fewer, but more thoroughly mastered program requirements.

Taken from my book
I Am Studying Clarinet I


I remember my beginning. Everything was strange to me – the teacher, notes, clarinet. I had pain in my right thumb caused by  the weight of the clarinet. My lower lip became weak when I first obtained tone. After playing longer it had become raw and sore. I thought to myself it was hard to blow … Would it always be like this?

I want to assure you that it will not! The above thoughts are just memories of an inexperienced beginner. All clarinetists face similar problems which disappear over time with experience and practice. One gets better physical condition, ie., specific muscle groups strengthen and technique of playing improves.

Taken from my book
I Am Studying Clarinet I


(Transcription from my collection of pieces for clarinet and piano
Great Masters for Clarinet


In order to progress in music, it is necessary to visit a variety of concerts. We should watch, listen to and analyze the other performers. We can learn from each – worse and better than us.

We have visited a concert

Listen to various recordings, read books about music and think much about all of this.

Learning music is a continuous process that can take place anywhere – not just at school!

Taken from my book
I Am Studying Clarinet I



A hook, support for the right hand thumb.

The clarinet is held in a manner that it leans on the thumb of the right hand with a metal hook, which is located on the lower joint,  (one-third from the top of the thumb is the best position). The next three fingers curve gently around the clarinet to cover three holes, while the little finger presses keys 2, 4, 1a and 3a as needed (see the picture on the left). The thumb of the left hand covers the only hole on the back of the upper clarinet joint as well as duodecim or registry key (12). See the same picture – upper left, in the corner.

Next three fingers curve gently around the clarinet to cover three holes, while the little  finger presses keys 1, 3 and 2a (see the picture below left). The clarinet fingering is shown on the site Clarinet Fingering Chart

The fingers should be slightly curved.

Fingers should be raised only to the extent necessary not to disturb
the flow of pure sound.

  The clarinet should be held at an angle of 40 ° relative to the body. Elbows are slightly spread away from the chest in order to allow us free and easy breathing.

When playing, the shoulders should not be raised because the clarinetist might come in spasm. The shoulders should have a natural position. The  picture on the right illustrates the position described.

Taken from my book
I Am Studying Clarinet I