In this project I identify the pedagogical techniques, philosophy and legacy of Raymond Crisara. I examine how his pedagogical philosophy led to Crisara's personal success as a teacher and to his students' success in their performing and teaching careers. In much the same way that Ernest Williams's legacy has been passed on to his students, Crisara's legacy is now being handed down. I have examined Crisara's pedagogical concepts and philosophy through the eyes of four former students: Dr. Todd Hastings (Professor, Pittsburg State University), Billy Hunter (Principal Trumpet, Metropolitan Opera Orchestra), Dr. Gary Mortenson (Dean of the School of Music, Baylor University) and Keith Winking (Professor, Texas State University) as well as from transcripts of interviews Crisara gave. Crisara extended and modified William's pedagogy through the use of a multitude of étude methods. This modification and Crisara's experience as a leading New York freelance musician greatly influenced the teaching and success of the four subjects I interviewed. While these teachers have adopted Crisara's pedagogy and philosophy largely unchanged, I found that they modified his pedagogy slightly through the use of added teaching materials never used in Crisara's career or teaching studio.