Musical expression is an individual‘s act of presenting internal thought and feeling in an aural format at a given moment. This musical voice and art of expression is one that must be found on an individual basis, but must be fostered and guided during its development and manifestation. The most neglected aspect of trumpet performance in young adults and students is the development of one’s own individual voice. This voice comes from the internalization of an individual sound that reflects both a strong resonant tone, and provides the player with the uninhibited facilitation to perform on their instrument. This development of an internal voice and facilitation is learned in the constant exposure to numerous performers’ sounds and modeling, as well as the fundamental development of key technical and lyrical aspects in performance through established methods and self-diagnosis.
As a teacher, I feel it is best to expose students to as many individual trumpet voices and performance techniques at the earliest stages of their development. This exposure will allow the students to begin to develop an internalization of certain aspects of performance. This internalization of an individual voice will allow the student to develop at a graduated rate in that his or her own production of sound will be constantly compared and refined to meet that of their internal conception of sound. This process of learning is similar to that of learning a foreign language in that the student is learning to engrain a sound through listening and the reproduction of that sound. Along with the internalization and refinement in one’s individual trumpet voice, certain technical and fundamental elements of performance must be addressed in each performer’s skill set. In my teaching I utilize various methods that focus on building a strong foundation in a clear and centered tone as well as fostering a refined balance of air and lip cooperation. This balance and focus on tone is the first step in each student’s journey to discovering their own production of sound. Learning a strong connection of air flow, and mouthpiece centered work will aid in the ease of performance throughout the entire range of the trumpet as well as allow for an open and rich tone from the performer.
The final aspect of practical trumpet performance that is absent in many young trumpeters’ studies is a strong focus on teaching and analysis. Not only should the role of a teacher be to present ideas and methods to develop a student’s abilities, but to also foster a sense of self-diagnosis and problem solving. Asking questions that relate to how
the student perceived their musical product checks to see if they were cognitive of what they wanted, and if that musical idea was being produced. This strategy allows students to gain more from their instruction and improve as a player in an accelerated manner. This engagement of self-diagnosis helps turn students not only into better, more informed performers, but also stronger teachers for when they enter into the musical world as colleagues.
It is with these three elements of pedagogy and instruction that I plan to develop the musical interpretation and individual voices of trumpet players of all levels. Each element should be focused and guided throughout a player’s development so that a strong foundation in each methodology could be fostered. These elements help to create a player
that exhibits a natural and expressive tone with a strong sense of lyricism in their own unique voice, but can also provide quality instruction and diagnosis to future trumpeters.
*Jean-Baptist Arban's "Complete Conservatory Method for Trumpet" - Free PDF Download
*Herbert L. Clarke's "Technical Studies for the Cornet" - Free PDF Download
Edwin F. Goldman's "Practical Studies for the Trumpet"
*Marco Bordogni (Arr. Mark Tezak) "Melodious Etudes Vol. 1:Trumpet Part"
*Max Schlossberg "Daily Drills and Technical Studies for Trumpet"
*Bai Lin "Lip Flexibilities for All Brass Instruments"
Anthony Plog "Method for Trumpet" (Book 1-7)
*Theo Charlier "36 Transcendental Etudes for Trumpet, Cornet, or Bugle in Bb" - Free PDF Download
Allen Vizzutti "Trumpet Method" (Book 1-3)
Vassily Brandt "34 Orchestral Etudes for Trumpet"
*James Stamp "Warm-Ups and Studies"
Earl D. Irons "27 Groups of Exercises"
*Giuseppe Concone "Lyrical Studies for Trumpet"
These are just a sampling of method and etude books that are available. Please know that each book and exercise can be used to address multiple issues on the trumpet - so be open to trying different books and approaches to fix issues in your own playing. Every person is different in the way they learn and grow. We as teachers must be aware of that and be able to adjust and adapt to a style that works with any individual.
* -Indicates books that are typically required for purchase at the collegiate level. Each studio is different, and please be sure to check your schools requirements and syllabi.
As a teacher, I feel it is best to expose students to as many individual trumpet voices and performance techniques at the earliest stages of their development. This exposure will allow the students to begin to develop an internalization of certain aspects of performance. This internalization of an individual voice will allow the student to develop at a graduated rate in that his or her own production of sound will be constantly compared and refined to meet that of their internal conception of sound. This process of learning is similar to that of learning a foreign language in that the student is learning to engrain a sound through listening and the reproduction of that sound. Along with the internalization and refinement in one’s individual trumpet voice, certain technical and fundamental elements of performance must be addressed in each performer’s skill set. In my teaching I utilize various methods that focus on building a strong foundation in a clear and centered tone as well as fostering a refined balance of air and lip cooperation. This balance and focus on tone is the first step in each student’s journey to discovering their own production of sound. Learning a strong connection of air flow, and mouthpiece centered work will aid in the ease of performance throughout the entire range of the trumpet as well as allow for an open and rich tone from the performer.
The final aspect of practical trumpet performance that is absent in many young trumpeters’ studies is a strong focus on teaching and analysis. Not only should the role of a teacher be to present ideas and methods to develop a student’s abilities, but to also foster a sense of self-diagnosis and problem solving. Asking questions that relate to how
the student perceived their musical product checks to see if they were cognitive of what they wanted, and if that musical idea was being produced. This strategy allows students to gain more from their instruction and improve as a player in an accelerated manner. This engagement of self-diagnosis helps turn students not only into better, more informed performers, but also stronger teachers for when they enter into the musical world as colleagues.
It is with these three elements of pedagogy and instruction that I plan to develop the musical interpretation and individual voices of trumpet players of all levels. Each element should be focused and guided throughout a player’s development so that a strong foundation in each methodology could be fostered. These elements help to create a player
that exhibits a natural and expressive tone with a strong sense of lyricism in their own unique voice, but can also provide quality instruction and diagnosis to future trumpeters.
*Jean-Baptist Arban's "Complete Conservatory Method for Trumpet" - Free PDF Download
*Herbert L. Clarke's "Technical Studies for the Cornet" - Free PDF Download
Edwin F. Goldman's "Practical Studies for the Trumpet"
*Marco Bordogni (Arr. Mark Tezak) "Melodious Etudes Vol. 1:Trumpet Part"
*Max Schlossberg "Daily Drills and Technical Studies for Trumpet"
*Bai Lin "Lip Flexibilities for All Brass Instruments"
Anthony Plog "Method for Trumpet" (Book 1-7)
*Theo Charlier "36 Transcendental Etudes for Trumpet, Cornet, or Bugle in Bb" - Free PDF Download
Allen Vizzutti "Trumpet Method" (Book 1-3)
Vassily Brandt "34 Orchestral Etudes for Trumpet"
*James Stamp "Warm-Ups and Studies"
Earl D. Irons "27 Groups of Exercises"
*Giuseppe Concone "Lyrical Studies for Trumpet"
These are just a sampling of method and etude books that are available. Please know that each book and exercise can be used to address multiple issues on the trumpet - so be open to trying different books and approaches to fix issues in your own playing. Every person is different in the way they learn and grow. We as teachers must be aware of that and be able to adjust and adapt to a style that works with any individual.
* -Indicates books that are typically required for purchase at the collegiate level. Each studio is different, and please be sure to check your schools requirements and syllabi.
Podcast Interview:
Check out an interview I did for the podcast, Trumpet Teacher Talk, where I explain more about my pedagogical approach, what I look for in students, what I think many students struggle with, and many of my upcoming projects and performances. The show was recorded on November 13th, 2016.
Handouts and Clinic Packets:
Feel free to download my most recent handout created for the 2016 Virginia Tech Trumpet Festival. This packet is a compilation of methods and techniques gathered from my teachers that I have altered to best suit my personal performance and teaching style.
*I am not claiming direct creative rights to these methods. These altered exercises are presented only as an educational aid.*
*I am not claiming direct creative rights to these methods. These altered exercises are presented only as an educational aid.*
| 2016 Virginia Tech Trumpet Festival Warmup Hantout |
