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For membership or other information, please contact: Bryan Goff, Treasurer International Trumpet Guild School of Music Florida State University Tallahassee, FL 32306-2098 USA Jean Moorehead Libs Hit The Books! Methodology Recommendations for University Curricula: An Interview with Richard Burkart, Keith Johnson, and Gordon Mathie (Dec95) 42 ITG Journal / December, 1995 1995 International Trumpet Guild Hit The Books! Methodology Recommendations for University Curricula An Interview with Richard Burkart, Keith Johnson, and Gordon Mathie JEAN MOOREHEAD LIBS, PEDAGOGY EDITOR This article focuses on the implementation of method books and etude material in both the under- graduate and graduate curriculum. The subject is ap- proached by problem rather than title, similar to the rationale behind Gordon Mathies book, The Trumpet Teachers Guide: A Problem-Based Bibliography of Selected & Graded Etudes & Duets (PP Music: Port- land, ME, 1993). Naturally, the level of talent you are dealing with depends on the age of the students and the type of musical institution at which you teach. However, basic pedagogical problems are often the same regardless of the above situation. It is with this thought that I have posed ten questions to three master teachers: Richard Burkart, Professor Emeri- tus, Ohio State University; Keith Johnson, Regents Professor and Coordinator of Brass Instruction, Uni- versity of North Texas; and Gordon Mathie, Profes- sor Emeritus, Crane School of Music. JML: Do you have a group of books that you use regularly with graduate and undergradu- ate students? KJ: Yes, I do for three reasons. First, there is a certain pedagogical repertory that any trumpeter should know and be able to play in order to be generally well prepared. Second, I do not always know what my stu- dents may or may not have covered with previous teachers, so I like to be sure they are familiar with those materials I consider essential. Third, I have cer- tain very basic ideas about good trumpet playing, and I believe I can convey these ideas more efficiently by using materials with which I am well acquainted. I have developed a rather extensive curriculum (which I would be happy to send to interested ITG members) for my students at North Texas that goes far beyond these basic methods, but the essential methods are all well known and include Stamp, Clarke Techni- cal Studies, Getchell, Arban, Irons, Williams Tech- nique Preservation, Sachse, Bordogni, and Charlier. In addition, of course, I insist my students know at the very least the basic solo and orchestral repertory. GM: These are the method or etude books I always have on my music stand, for long range work and browsing (for me) and to approach on a play through basis or as a source of individual problem solving (for students): the Arban Complete Method and the Schlossberg Daily Drills and Techniques. My use of the Arban book is mostly for basic techniques (tongu- ing, slurring, scales, etc.), the songs in The Art of Phras- ing and, of course, the Characteristic Studies. I use the songs for musicianship and transposition study. The Schlossberg book, although one of our most basic re- sources, is a logistical nightmare. I give students a reordering and relabeling sheet, which they transfer to their own book. The publishers of the Schlossberg were magnificently uninterested in my suggestions, so if any teacher is interested I would be glad to send them a copy. The other book on my music stand is the Allan Vizzutti Method. I use this book constantly. I think every young student should have a solid background in various styles, with a chance to con- sider basic chord progressions in nontechnical etudes. Many good books serve this purpose, but my favor- ites are the Robert Getchell Second Book of Practical Studies and Everett Gatess Odd Meter Etudes. Al- though the Getchell book is organized by rhythmic patterns, I prefer going through the book in numeri- cal order (one of the very few books I use in this manner), discussing the phrasing problems encoun- tered, with emphasis upon the harmonic progres- sions. I also use the Getchell books as an introduction to transposition. I use the Gates book as an introduc- tion to contemporary idioms, and I find it a great reference book for easier contemporary rhythms and tonalities. The Lacour 100 Dechiffrages Manuscripts (two books) contain very short etudes with a helpful index to the devices used, and is a very painless way to get very young students into the twentieth century. RB: I regularly use the Arban, Schlossberg, Colin Lip Flexibilities; various Concone and Bordogni vocalise transcriptions, J. Ed. Arnold books, 99 Se- lected Studies Bks. 1 and 2, and Masterworks for the Trumpet, Davidson Trumpet Techniques, Besancon 15 Etudes Eclectiques, Brandt/Vacchiano 34 Studies and 24 Last Studies, Harbison Technical Studies, Laurent Etudes Practiques Bk. 1, Plog 16 Contempo- rary Etudes, Pietzsch 22 Virtuosity Studies, E.F. Goldman Practical Studies, Clarke Characteristic December, 1995 / ITG Journal 43 1995 International Trumpet Guild Studies, Bousquet 36 Studies, Vannetelbosch 20 Me- lodic and Technical Etudes, plus various orchestral excerpt literature and orchestral trumpet parts with my undergraduate students. With my graduate students I use much of the above literature and add to that particularly the Charlier, Bitsch, Chaynes, Reynolds, Petit, Sachse, Longinotti Studies in Classical and Modern Style, Sabarich Dix Etudes, Bodet 16 Etudes de Virtuosite After Bach, Arban/Maire Methode, Vol. 3; Broiles Transposition for Orchestral Trumpet and Trumpet Baroque, Books 1 and 2; and Dubois 12 Etudes, along with more orchestral trumpet excerpts. JML: What about warm-up and scale books? RB: In addition to the warm-up and scale books listed above, I supply my students with a copy of a condensed routine of exercises in manuscript that I have culled from various sources. KJ: For warm-ups I usually use the Stamp and those warm-ups that Vincent Cichowicz developed. I prefer these to extended, solitary long tones because they are quite musical and implicitly suggest the importance of phrasing and connection rather than isolated pitches. For scale work I find the Arban and Ernest Williamss Secret of Technique Preservation to be useful. It is vital to stress to the student the importance of playing scales in the most musical ways possible! Good sound, smooth, flowing connections, appropriate and consistent articu- lation rather than mindless, unmusical technical drills. The reason many players find playing scales to be boring is because those players practice scales in a boring fashion. Scales are simply prescribed musical lines in various keys. To practice them successfully is to practice them musically. GM: Most of what I do with students and the warm-up is out of the Schlossberg, in some form or other. Warm-up is such an individual thing that I simply give students an outline of what I do and encourage them to adapt it for their own needs. If there is a problem, I have the student warm up as I listen and make suggestions. Although I require my students to play scales, arpeggios, etc., from memory, everyone needs a reference book of scales and I rec- ommend that they own the Ernest Williams Method of Scales as a reference and the James Stamp Warm Ups + Studies as a source of approaching scales in a different fashion. The Vizzutti books also are useful for scale and arpeggio work. JML: It seems that many students have trouble in their formative years with flexibil- ity. What methods have you had success with for flexibility development? RB: Its not so much the methods as it is the manner in which one produces the sound that affects flexibility development. Numerous excellent flexibil- ity exercise materials exist by Charles Colin, Schlossberg, Walter Smith, Earl Irons, just to name a few, not to mention the many editions of vocalises and other legato studies available. Flexibility im- plies the ability to play lip slurs efficiently, as well as the ability to play around the full range of the instrument with facility whether slurring or tongu- ing. This ability involves control of embouchure move- ment and air velocity. It involves developing minimal embouchure movement controlled by firm corner muscles of the lips and preferably a flat, pointed chin, and it involves a controlled intensity of continu- ous lip vibration generated by constant air speed. KJ: I define flexibility as the ability to move effi- ciently from one note to another, either slurred or tongued. Perhaps flexibility is more commonly thought of as just lip slurs. In any event, certain fundamental skills are the same. They are primarily two: first to produce a full, beautiful sound and second, to connect smoothly from note to note. I believe this is best accomplished by an emphasis on full, free-flowing air and musical lines. Much too much is made of speed. Speed should be the last factor added to the mix. I encourage my students to repeatedly play the line or exercise with as beautiful a sound as possible, always listening for the quality of the sound and the quality of the connections. If done well coordination inevita- bly develops and greater speed can be achieved. I am a rather aggressive advocate of playing the mouthpiece, and certainly no aspect of trumpet play- ing can benefit more from mouthpiece playing than flexibility since the mouthpiece played alone reveals so much about sound (air) and connections. JML: How do you work to increase a students flexibility? RB: As a student I came upon a booklet entitled Lip Science by DeLamarter. The booklet espoused the de- velopment of controlled vibration of the lips by placing the index finger above the upper lip and the thumb below the lower lip while buzzing the lips in the formed position of the embouchure. Though he uses the mouth- piece instead of the fingers to practice buzzing, the concepts of James Stamps teaching are much the same. I think of the lips as the generator, the mouthpiece as the alternator, and the instrument as the machine all set in motion by the air, which is the current. The principal of lip flexibility is simple. The lips must vibrate continually from one pitch to another whether in lip slurs or in legato slurs involving chang- ing fingerings. In other words, blow through the note changes. Lip slurring is nothing more than glissing quickly from one pitch to another on the mouthpiece. A favorite demonstration of mine is to loosen the mouthpiece in the leadpipe slightly so that the in- strument can be moved away from it while playing. Hold the mouthpiece to the lips with the right hand 44 ITG Journal / December, 1995 1995 International Trumpet Guild while playing lip slurs. Gradually move the trumpet away while revealing more of the buzz of the mouth- piece, and still click from one harmonic to the other. As the trumpet is further slowly removed, the click between harmonics converts to a glissando on the mouthpiece. Reversing the procedure while continu- ing to gliss on the mouthpiece begins to affect the click of the lip slur again. KJ: Specifically, in the case of lip slurs, I have students play in a comfortable middle range at first. A book of exercises I like for this is Embouchure Builder by Lowell Little. The studies are mostly simple and excellent, although the instructional text that accom- panies the studies is absolutely dreadful. As students progress we move on to the Irons and Colin books on slurring. I also consider such works as the third, sev- enth and eighth groups in Clarkes Technical Studies to be very helpful. I cannot overemphasize, however, the importance of slow, beautiful playing in all stages of development, allowing speed to come gradually and without causing any compromise in other qualities. GM: For flexibility and range I encourage stu- dents to not only learn the basic patterns but also to experiment with their own patterns. As a source of reference I recommend they use Charles Colins Ad- vanced Lip Flexibilities. The Vizzutti books offer some new and refreshing approaches to flexibility. In teach- ing flexibility I work with students on maintaining a steady stream of air, with lots of emphasis on syl- lables. I also encourage students to anticipate the surge of air for ascending intervals, so that the inter- val changes are preceded by air and embouchure movement. I try to get students to remember that if they try to move everything (air, tongue, embou- chure) at the exact point of an interval change, they will always be late. (I hope this makes some sense; it is difficult to verbalize this anticipating of slurs without actual demonstration.) JML: What methods do you use to develop articulation skills? RB: Many young players have marching band and stage band tonguing techniques short notes, tongue-cut-offs, and essentially a closed glottis. To reverse this I have students work a great deal on sostenuto and legato articulation using d strokes and t strokes with no space between notes, that is, attached rather than detached, with a sustained air flow. Beginning Arban scale and arpeggio exercises are excellent to start with, as well as simple re- peated note exercises. Emphasis is placed upon con- tinued air flow, stressing that for most tonguing the air flow is identical to slurring except that the tongue is articulating d or t on the flow. I stress that very legato and staccato styles are on opposite ends of the d and t middle ground articulation and there are important considerations to be dealt with in developing both efficiently. Without going into great detail about staccato tonguing I refer the reader to the chapter in Fay Hansons book Brass Playing dealing with the larynx. The same attached (connected) style of articulation should be applied to multiple tonguing, that is using d and g for smooth- ness and t and k for more staccato-like effect. An- other suggestion proven successful in many cases is lowering the stroke of the tongue so that the tip is actually brushing the back of the bottom teeth simi- lar to pronouncing the word the but instead articulat- ing t or d in that position. KJ: Allow me to say at the outset that I believe those qualities which are most fundamental to devel- oping good articulation are a good concept of sound (which includes articulation) and good air. Remem- ber that the tongue articulates the sound (air) and the quality of the articulation will not be any better than the quality of the sound (air) itself. As a muscle, the tongue reacts sympathetically to other muscles, and if the air is relaxed and free flowing the tongue will operate in a more relaxed and responsive way. Most problems that people might call poor articula- tion are, in my experience, really an inevitable re- sponse to tight, shallow air. As to specific method books, I use Arban, Shuebruk, Brandt, and a few others. For multiple tonguing I particularly like the last three pages in Bodets La Semaine du Virtuose. I must say, however, that the particular method book is of slight importance com- pared to the players concept of sound/articulation and the quality of production. I tell my students to remem- ber that articulation is for us what diction is for the singer. It is the consonant that defines and gives char- acter to the vowel. I strongly urge my students to listen to lots of fine singers. I have learned far more about articulation/diction from listening to the recordings of such great artists as Dietrich Fischer-Dieskau and Jussi Bjoerling than from any trumpet player. GM: Good articulation should be an important consideration in all the students playing, but for particular emphasis on styles of articulation I use the Arban Characteristic Studies and page 125 of the Arban. The students daily workbook in this area could be the Shuebruk Graded Tongue Trainers (three books). In all their routines I encourage students to alternate slur and tongue, so that their sound is uniform, despite articulation. JML: What about transposition etudes or studies? RB: I use Cafferelli 100 Melodious Studies, Sache 100 Etudes, vocalises, orchestral trumpet excerpts and complete parts, along with anything else the student can get through. KJ: Everything I use is very standard: Bordogni, Brandt, Williams, etc. For beginners I use the won- December, 1995 / ITG Journal 45 1995 International Trumpet Guild derful First Book of Practical Studies by Robert Getchell, and I also like to use the Rochut trombone etudes (three volumes of vocalises by Bordogni), which require reading bass clef. (I use these more because they are wonderful melodic etudes than because I attach any great importance to reading bass clef.) They also make wonderful studies for solfege and mouthpiece practice. GM: My approach to transposition is to teach it as early as possible (playing well known tunes by ear in lots of keys is a form of transposition) and emphasize it constantly (refer to my earlier statements about Arban and Getchell). If I am teaching a student who will become an orchestral player or a high school band/orchestra director then a systematic approach to transposition is vital. (You may wonder about the grouping of an orchestral trumpet player and a high school band/orchestra director, but think about it.) In these cases I use the Ernest Williams Method of Trans- position as a reference book, followed by the Bordogni Vocalises and the Caffarelli 100 Melodious Studies. I dont use orchestra excerpts books unless the student is preparing for an orchestral audition; I prefer to use actual orchestral parts, asking the student to first hear a recording of the piece, with part in hand, then prac- tice the part. In the case of the student who will be- come an orchestral player, I think the Rob Roy McGregor books, A Preparation for Trumpet Orches- tral Literature, are terrific. In studying orchestral play- ing, Herings 23 Orchestra Etudes is very valuable, though it does not contain transposition as such. JML: Do you use any methods that focus strictly on rhythmic development? RB: My favorites are Pasquale Bona Rhythmical Articulation and Dufresne-Voisin Develope Sight Reading. KJ: Generally no, with the occasional exceptions of the Odd Meter Etudes by Gates and Develope Sight Reading by Roger Voisin. Rhythmic development should be a part of every piece being played. GM: Not usually. I teach rhythmic concepts through duets, which are a part of every lesson I give. If I find a rhythmic problem, we apply that rhythm to scales and I look for duets that deal with that par- ticular rhythm. For students with rhythm and/or sight-reading problems, I tape one part of duet collec- tions for the student to play with at home. JML: What do you recommend for range ex- tension development? RB: I use James Stamp drills, Colin Lip Flexibilities, long tone drills, air flow studies, and scales. KJ: I would be less than truthful if I did not tell you that I recommend a volume I wrote called Devel- oping the Upper Register. I also like to use Clarkes Technical Studies, simply extending the exercises to ranges higher than what are printed. It is important to emphasize, however, that no method book will truly help a player develop range unless the players approach is good. Playing well in the upper register depends upon developing a beauti- ful, efficient, and musical approach to the middle register and gradually, I repeat, gradually extending it. No method book, mouthpiece, or gimmick can com- pensate for poor production. The important thing is to impose the same musical standards on ones play- ing in all registers. (Poor playing requires hard physi- cal effort. Good, beautiful playing is much easier.) GM: Range is a part of every scale and every arpeggio. We do not acquire good upper register by playing high notes, just as a runner does not learn to run the mile by starting out at the distance. If a G above the staff is not played with ease and a good sound there is no point in trying to get to G-sharp, much less high C. I recommend that students prac- tice chromatic scales (two octaves if possible) every day, going only as high as can be played with a good sound. The student is encouraged not to think about how high he or she can play but how high he or she can play well. As students play notes in the upper register (whatever that might be for the individual student) I try to get them to match the sound and feeling they have playing the pitch an octave lower. In other words, to paraphrase Stamp, as you go up think and stay down. As a player of chromatic scales every day of my life I feel that when I add a half-step to my upper register correctly through chromatic scales that is a note that has been added to my permanent upper range, not just for that day. JML: Do you use any particular method of piccolo trumpet technique? RB: The Mel Broiles books are nice, Trumpet Ba- roque, Books 1 and 2. I also use Clarke Technical Studies, baroque sonatas, concertos, trumpet tunes and melodies, baroque orchestral literature, and lim- ited-range vocalises. KJ: Not really, although I am working on an intro- ductory method for piccolo trumpet playing, which I hope will be published within the next year or so. At present I simply have my students play basic mate- rial (Clarke, Getchell) to become familiar with the vicissitudes of the instrument, and then we begin playing easy solos and progress from there. GM: At an ITG master class given by Roger Voisin, I was struck by the strong message he gave to a student playing the piccolo much too early in her career: you must pay your dues on the B-flat trumpet before playing the piccolo. I am very concerned about the number of young students being seduced by the glamour and excitement of the piccolo and interrupt- ing (not forever, I hope) their normal stages of devel- opment on the B-flat. Students starting to learn the piccolo should go through a very careful and gradual 46 ITG Journal / December, 1995 1995 International Trumpet Guild process of learning to control an entirely new ap- proach to air on the piccolo. I recommend a lot of slurred scales, chromatic and diatonic, in the middle and low registers before playing in the upper regis- ter. I am very frightened by students starting to learn the piccolo by learning the Torelli Concerto. In the words of one of my first teachers, we must crawl before we walk and walk before we run. JML: What do you use for advanced etude material? RB: I use the following books for advanced etude studies: Charlier, Chavanne 25 Virtuosity Studies, Petit Grande Etudes, Bitsch, Chaynes, Verne Reynolds 48 Etudes, Walter Smith Top Tones, Aaron Harris Advanced Studies, Dubois 12 Etudes, Longinotti Stud- ies in Classical and Modern Style, Sabarich Dix Etudes, Bodet 16 Etudes de Virtuosite after Bach, Arban/Maire Method, Vol. 3, Broiles Transposition for Orchestral Trumpet. KJ: I am not entirely certain how you would de- fine advanced material, but I look for etudes that are both demanding and musically interesting and re- warding. I find people practice more and better if the material is musically satisfying. My favorite books are the studies based on the music of J.S. Bach by Bodet and Gisondi, Charlier, Sabarichs Dix Etudes, the etudes of Bitsch, and the Top Tones of Walter Smith. I am amazed at how much I still enjoy these books after more than three decades of playing and teaching them. GM: I use the following books among many others: Longinotti Studies in Classical and Modern Style for twelve-tone and cadenza-style etudes, Decker Inter- mediate Serial Studies for obvious reasons, Hering Etudes in All Keys for keeping in touch with all to- nalities, Nagel Studies in Contemporary Music for playable contemporary etudes and a helpful index of devices and notation, Reynolds 48 Etudes for endur- ance and contemporary forms. My French Progres- sion consists of the Etudes for Modern Style in part III of the Arban-Maire, Charlier 36 Etudes Transcen- dantes (have the student buy the David Baldwin recordings), and the Bitsch 20 Etudes. Bibliography Arban, Complete Conservatory Method (Fischer) Arban/Maire, Method Vol. 1,2,3 (Leduc) Arnold, 99 Selected Studies, 2 Bks (Ashley Publications) Besancon, 15 Etudes Eclectiques (Editions Billaudot) Bitsch, 20 Etudes (Leduc) Bodet, 16 Etudes de Virtuosite dApres J.S. Bach (Leduc) Bodet, La Semaine du Virtuose (Leduc) Bona, Rhythmical Articulation (Fischer) Bordogni, 24 Vocalises (Leduc) Bousquet, 36 Celebrated Studies (Fischer) Brandt, 34 Orchestral Studies (International) Brandt/Vacchiano, 24 Last Studies (Hal Leonard) Brandt/Vacchiano, 34 Studies (Hal Leonard) Broiles, Transposition for Orchestral Trumpet (McGinnis & Marks) Broiles, Trumpet Baroque Bk 1 & 2 (Queen) Caffarelli, 100 Melodious Studies (Ricordi) Charlier, 36 Etudes Transcendantes (Leduc) Chavanne, 25 Characteristic Etudes (Leduc) Chaynes, 15 Etudes (Leduc) Clarke, Characteristic Studies (Fischer) Clarke, Technical Studies (Fischer) Colin, Advanced Lip Flexibilities (Colin) Davidson, Trumpet Techniques (Dav) Decker, Intermediate Serial Studies (Kendor) DeLamarter, Lip Science (publisher unknown) Dubois, 12 Etudes (Leduc) Dufresne/Voisin, Develop Sight Reading (Colin) Gates, Odd Meter Etudes (Fox) Getchell, First & Second Book of Practical Studies (Belwin) Goldman, Practical Studies (Fischer) Harris, Advanced Studies (Colin) Hering, 23 Orchestral Etudes (Fischer) Hering, Etudes in All Keys (Fischer) Harbison, Technical Studies (Aebersold) Irons, 27 Groups of Exercises (Southern) Johnson, Developing the Upper Register (Gore) Lacour, 100 Dechiffrages Manuscript (2 bks.) (Bill) Laurent, Etudes Practiques Vol. 1 & 2 (Leduc) Little, Embouchure Builder (Pro Art Publications) Longinotti, Studies in Classical and Modern Style (International) McGregor, Audition and Performance Preparation for Trumpet Orchestra Literature (Balquhidder) Nagel, Trumpet Studies in Contemporary Music (Marks) Petit, 15 Etudes (Leduc) Petit, Grande Etudes (Leduc) Pietzsch, 22 Virtuosity Studies (Southern) Plog, 16 Contemporary Studies (Tromba) Reynolds, 48 Etudes (Schirmer) Rochut, Vocalises for Trombone (Fetter) Sabarich, Dix Etudes (Selmer) Sachse, 100 Etudes (International) Schlossberg, Daily Drills and Technical Studies (Baron) Shuebruk, Graded Tongue Trainers (3 Bks.) (Fischer) Smith, Top Tones (Fischer) Stamp, Warmup Plus Studies (BIM) Vannetelbosch, 20 Melodic & Technical Etudes (Leduc) Williams, Method for Transposition (Colin) Williams, Method of Scales (Colin) Williams, Secret of Technique Preservation (Colin)