A NEW APPROACH TO TEACHING BRASS METHODS: A CURRICULUM PROJECT

by

Robert Waugh

Submitted to the faculty of the Jacobs School of Music in partial fulfillment

of the requirements for the degree, Doctor of Music

Indiana University December 2021

Accepted by the faculty of Indiana University Jacobs School of Music

in Partial fulfillment of the requirements for the degree Doctor of Music

Doctoral Committee

____________________________________

Peter Miksza, Research Director

____________________________________ John Rommel, Chair

____________________________________ Daniel Perantoni

____________________________________ Richard Seraphinoff

Defense date: November 15, 2021

ii

Abstract Brass method courses designed for undergraduate music education majors are varied in their

design, methodologies, and applications. Common discrepancies include the qualifications of the

course instructor, course objectives, and inclusion of unique pedagogical insights or lack thereof.

This course curriculum is written as a guide for teaching such a class that draws upon important

expertise from a variety of backgrounds and incorporates it into a course curriculum that delivers

essential teaching elements that future music teachers require. These elements include the

application of best practice teaching theory, important pedagogical knowledge from the

perspectives of master teachers, and practical, often overlooked, information essential to being a

successful band director. The project does not seek to provide a comprehensive study of brass

methodologies and pedagogy. Rather, its aim is to deliver content that is both invaluable and

accessible to music education majors.

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Table of Contents

List of Figures .................................................................................................................................. v

Chapter 1: Introduction and Rationale ............................................................................................. 1

Chapter 2: Aims ............................................................................................................................. 17

Chapter 3: Evaluation ..................................................................................................................... 22

Chapter 4: Course Calendar ........................................................................................................... 30

Chapter 5: Sample Lecture Materials ............................................................................................. 38

Bibliography ................................................................................................................................... 61

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List of Figures

Figure 3.1 Assigned Reading Comprehension Rubric ................................................................... 26

Figure 3.2 Performance Submission Rubric .................................................................................. 27

Figure 3.3 Peer Teaching Rubric ................................................................................................... 28

Figure 3.4 Resource Notebook Rubric ........................................................................................... 29

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Chapter 1: Introduction & Rationale

Students pursuing undergraduate degrees in instrumental music education are required to

take classes that prepare them for teaching most if not all instruments in the band and orchestra.

Program accreditation by the National Association of Schools of Music (NASM) require that

schools should provide their music education students with “Knowledge of and performance

ability on wind, string, and percussion instruments sufficient to teach beginning students

effectively in groups,” as well as offering a “Laboratory experience in teaching beginning

instrumental students individually, in small groups, and in larger classes.”1

To meet this instructional need, many music education programs include a series of one-

semester courses addressing pedagogical and performance skills in woodwind, string, percussion,

and brass instrumental families. While this curricular model is almost universally accepted among

institutions of higher education, the staffing, goals, objectives, and implementation of these

classes can exhibit a wide degree of variation. These variations often call into question the

effectiveness of brass, woodwind, percussion, and string techniques courses and how they might

be improved to better prepare new teachers entering the profession.

The teaching staff for these courses most often come from the music education program,

the band department, or the performance applied area. Additionally, the teaching experience level

of instructors can range from the tenure/tenure-track faculty, adjunct faculty, or graduate teaching

assistants. These factors can have a dramatic effect on the implementation, educational values and

goals for the course, as well as the application of pedagogical concepts in such courses.

Graduate students may be among the least prepared to sufficiently teach a methods

course that needs to cover both the technical skills needed to play instruments as well as the

pedagogical and classroom skills necessary to effectively work with young students. However,

1 National Association of Schools of Music Handbook, 121.

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use of graduate students as instructors for methods courses is common since full-time faculty are

often dedicated to other demanding teaching responsibilities that they are singularly qualified to

teach. However, graduate student instructors are enrolled in performance-based degrees and are

not necessarily familiar with topics in music education. When graduate students are assigned to

teaching a methods class, it is essential that they are provided with a detailed syllabus and

comprehensive course materials that adequately covers the material future music educators will

need.

Alternatively, at many universities, brass method courses are often taught by studio

professors that are also untrained in music education classroom pedagogy. While their ability to

communicate advanced principles of instrumental pedagogy may be strong, their understanding

of instruction appropriate for beginner and novice students as well as other topics, such as

classroom management, can be minimal. There is often a large gap between the information that

applied instructors bring to class content and the information that is vital and relevant for school

band and orchestra directors.

Professors from the Music Education department who teach techniques courses are well

qualified to address concepts of pedagogy and classroom management. They will undoubtedly

also have extensive content knowledge on their primary instrument. However, many if not most,

are not active in the performance idiom and are not as familiar or informed in pedagogical best

practices for a given instrument group. They lack the daily working knowledge that applied

performance faculty members incorporate every day as part of their scholarly and creative

activities.

As someone who has a background in both areas of study, I aim to provide a resource for

brass pedagogical instruction from a professional musician’s perspective, while still

understanding the needs and nuances of what band and orchestra directors should know to be

effective in the classroom. The course curriculum presented in this document will provide the

necessary information that future instrumental music educators require to successfully teach

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beginning brass students; but will do so in a way that is sensitive to both the nuances of the

specific pedagogical tools that have been developed through a history of proven successful brass

instrument teaching practices.

There is also a lack of consistency concerning written materials used in brass method

classes. Only a handful of textbooks are dedicated to helping music educators teach and work

with brass players. Unfortunately, these materials are generally insufficient for use in brass

methods classes. I have preferred to not use them in the past for several issues ranging from

poorly presented pedagogy to an over-abundance of information that goes beyond the scope of

what instrumental music educators need to know to be effective. I believe my work developing

the course curriculum described in this document will provide a model that other instructors can

use in order to better prepare collegiate music students for the classroom.

The goal of this curriculum project is not to present a definitive course for teaching brass

methods, but rather, to design an exemplar course that includes materials and activities that will

help music education students acquire the pedagogical tools they need to be successful as band

and orchestra teachers. The content can serve as a relevant and comprehensive template for brass

methods instructors of all backgrounds. The curriculum presented in this document features

content and activities that favor pedagogy over performance. The pedagogical influences

incorporated in this project are primarily influenced by the teaching traditions of William Adam

(Prof. Emeritus Indiana Univ.) and Vincent Cichowicz (Chicago Symphony

Orchestra/Northwestern Univ.). The central aim of the course is for students to be able to

confidently model, articulate, and problem solve common concepts when working with beginner

brass students.

Rationale

Course Structure:

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There are several ways in which this curricular project intends to be unique and set apart

from other existing curricula. Decisions about course content and scope vary widely from one

teacher to the next. In my own university, discussions occasionally turn to instrumental methods

courses and how they are designed. There is often a desire to see them taught in the same fashion

using similar course design. The resulting discussions amongst colleagues can often reveal a wide

range of opinions about desired learning outcomes and activities. For example, some feel there

should be an emphasis given to performance-based skills while others are more adamant that

pedagogical understanding should drive course content. While the obvious answer is that the

course should emphasize both performance and pedagogy, the best overall balance between them

can be difficult to identify.

Before beginning this project, I searched across scholarly work published in music

education journals to investigate whether any studies or articles had been written addressing

course design for brass, woodwind, string, or percussion methods. My search yielded few results,

but researchers who conducted a study at the University of Michigan identified and investigated

many of the questions and concerns teachers and students have regarding how what can be

referred to as methods or techniques classes should be designed. 2 Their study was aimed at

gathering information about course effectiveness and strategies for developing content that are

best suited to meeting the needs of future teachers. The researchers interviewed both instructors

for brass/woodwind techniques courses at the University of Michigan as well as students who

completed the course and were in their first few years of teaching band. The perspectives of both

teachers and recently graduated students were invaluable in identifying the strengths and

weaknesses of how instrumental techniques can be best designed to successfully prepare future

teachers. What follows is a description of four critical considerations when designing a methods

course gleaned from Conway et al,.’s study.

2 Conway, Eros, Hourigan, and Stanley, “Perceptions of Beginning Teachers,” 43-44.

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1.) Quantity of Content Exceeds Reasonable Expectations

Methods courses are often assigned relatively few credit hours (e.g., one credit hour), and

as such, should require less work and content mastery than the more standard three credit hour

class. It is challenging to identify key concepts and information that are most valuable for training

classroom music teachers without creating too much content that exceeds the workload for a one

credit course. The process of identifying relevant course content might look very different

depending on the instructor for the course. For instance, in the aforementioned study, Conway et

al. determined that graduate students who taught techniques courses often emphasized advanced

performance materials beyond the scope of beginner students. In contrast, a professor of music

education might select different material based on their unique training of classroom management

and secondary music curricular goals and sequencing.3

Music education students are often required to take techniques courses in four areas

including brass, woodwind, percussion, and strings. Moreover, these courses are often taken early

on in their degree. Unfortunately, there are inherent limits on the number of specific details that

can be remembered one to three years after courses are completed, i.e., when the students’

professional work begins. Conway et al. recommended developing course content that was more

limited in scope to the beginning band classroom, emphasizing basic pedagogical concepts for

teaching new students and strategies for troubleshooting problems students are likely to encounter

when learning each instrument.

2.) Student participants in the research study favored using a self-generated resource

notebook over a written textbook.

Students interviewed showed a strong preference for developing a personalized portfolio

system comprised of materials used to teach the course. Textbooks are often written from

3 Conway, Eros, Hourigan, and Stanley, “Perceptions of Beginning Teachers,” 43-44.

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different perspectives and with varying audiences in mind. Students in the research study

identified personalized portfolios as being the best option for crafting a more relevant and

customized resource tool for their work in the classroom.

While not an exhaustive list, the following materials were suggested for inclusion in the

resource notebook:

1.) Suggested solo and ensemble literature

2.) Mouthpiece information

3.) Equipment suggestions for middle/high school students

4.) Relevant playing materials by skill level

5.) Troubleshooting and resource materials for helping students play better4

3.) Classes should favor pedagogical information over performance-based skills

A common variation amongst teachers of methods courses is what degree of performance

level is expected of students. Some teachers tend to focus more heavily on pedagogical concepts

and strategies while others, emphasize demonstratable performance skills. These skills often

include scales (major, minor, chromatic) and performed song selections. There is a sentiment

among some teachers that the performance skills, mainly slide positions and fingerings, are the

first to be forgotten once the course is complete. Pedagogical conversations and concepts may

have a higher level of retention in the professional years following completion of the techniques

course.

Subjects in the research study indicated a strong preference for more depth and

understanding related to pedagogy in lieu of skills assessments of performance techniques. When

interviewing first and second year teachers, everyone acknowledged forgetting the fingerings and

slide positions from class within weeks to months of completing techniques classes but reported

4 Conway, Eros, Hourigan, and Stanley, “Perceptions of Beginning Teachers,” 46.

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retaining more broad pedagogical concepts. To quote one participant in the study the “goal of the

course should be helping teachers learn to think as creative independent problem solvers who are

adept at finding and using resources.”5

4.) The ability to handle instructional scenarios in the classroom was favored over the

ability to model on each instrument.

The ability to model music on an instrument is undoubtably important for a music

educator, but what is less clear is whether that modeling is more or less effective if it occurs on

every instrument of the band or orchestra. Concepts of characteristic tone, pitch, rhythm, and

musicianship are not reliant on the timbre of the instrument in order to be effective. While the

nuances of instrument timbre are certainly best modeled on a like instrument, in the beginning

band classroom, students are most dependent upon the aforementioned basic elements being

successfully demonstrated.

Subjects interviewed in the research study supported this conjecture by articulating a

great desire to gain knowledge related to specific teaching scenarios that occur in the beginning

brass/woodwind class. They did not see as much value or importance in being able to successfully

model on each instrument. As mentioned above, a strong preference was shown for developing

techniques classes that “give pedagogy precedence over performance.”6

Conway, Eros, Hourigan, and Stanley’s research survey provides a strong model for how

instrumental techniques classes can be designed to best prepare future music teachers.

Unique Pedagogical Approach:

The second way in which this curricular project intends to express original content is

through the applied pedagogical methods and approaches.

5 Conway, Eros, Hourigan, and Stanley, “Perceptions of Beginning Teachers,” 44. 6 Conway, Eros, Hourigan, and Stanley, “Perceptions of Beginning Teachers,” 50.

8

My pedagogical background is exclusively derived from the teachings of William Adam

and Vincent Cichowicz. These are two of the most influential trumpet/brass pedagogues from the

United States in the last 70 years, however their broad influence on the public-school beginning

band classroom is uncertain. I believe that, for the most part, teaching techniques are often a

result of historical traditions and precedence passed down through rote learning and parroted

rhetoric. However, traditional models of teaching are often slow to evolve and non-brass playing

educators are especially disadvantaged when it comes to developing brass players with healthy

habits.

In frequent interactions with band directors, I have found commonly used instructions

and ideas that the members of the professional brass community might find outdated and, at

times, even detrimental. In an effort to better define my goals for the project, the following

principles will be applied to guide the selection of materials and their application. I will try to

provide some examples of common misinformation by band directors along with my own

commentary.

Revising and updating the band director lexicon for brass

Unlike the private lesson situation, it is understandable the band directors are more

dependent upon verbal instructions given factors such as large class sizes, variations in student

skill levels, and mixed instrumentation. However, there are certainly better and worse ways of

articulating musical commands as it relates to brass pedagogy.

As a private instructor, I carefully curate the lexicon used to communicate a performance

command. I am always asking myself, “what is it am I asking the student to DO?” Another way

of thinking about it is “What is the verb, and what action do I intend from the result.” Carefully

chosen verbs and instructions can often lead to more precise meaning, interpretation, and

desirable actions by the student.

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Young players especially lack the maturity to contextualize instructions as they are new

to their instrument. Proficient players and teachers will often make the mistake of articulating

instructions in ways that leave students to determine their own interpretation based on their own

contextual understanding. In my trumpet studio, I often must figure out what troubled students are

doing that is getting in the way of their improvement. Frequently, I find the instructions they were

given by their band directors, while well intentioned, led to improper playing habits. The

following are some common phrases used in the band room followed by how students have

articulated their interpreted meaning.

“You need to play with more breath support.”

This is a commonly used phrase by band directors. How does one DO breath support and

what action are we asking the student to execute? In the absence of a clear verb, students are left

to guess the action and infer what it is they are being asked to do. The band director is probably

trying to communicate to their students that they should take a full breath, energize/blow their

wind with the result being a more full and sustained tone. Unfortunately, on more than one

occasion, students I have worked with interpreted the verb support to mean muscular contraction,

most notably in the abdominal region. While not certain, I believe students associate support with

the action of suspending weight with strength, rigidity, or power.

An abundance of musical tension is one the brass musician’s greatest adversaries. Some

tension is naturally generated through any muscular contraction. Blowing the wind necessary to

activate sound in a brass instrument will naturally produce some physical exertion that leads to

some tension. Successful brass playing occurs when the player uses only the muscular exertion

necessary to move wind in a way that meets the musical requirements of a given phrase with a

characteristic tone. Changes in the music’s dynamic and pitch require different fluctuations in

both the speed and quantity of wind. Tension should only be present in the amount necessary to

perform such musical requirements.

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The concept of supporting the breath leads many young brass players to think they must

provide additional energy beyond what is needed. This energy is usually expressed as flexing or

activating muscles in the abdomen beyond what is needed. The excess tension from this muscle

activation has a way of traveling up into the player’s chest, neck, and tongue.

“Relax your _________.” (throat, tongue, lips, etc)

Another verb that often used in the classroom is the instruction to relax. As mentioned

above, tension is one of the most common detrimental factors inhibiting improvement on a brass

instrument. Teachers are usually correct in identifying the problem, but the remedy of instructing

students to relax their lips, throat, tongue, etc. is more of a wishful sentiment than something a

student can actually execute.

Everyone has found themselves in a state of emotional or physical tension. Nervous

energy before a big test is a good example. Friends tell us we should relax, but the reality is the

action of relaxing is only achieved through some other thought, distraction, or action. A friend

nervous before a big test provides a good example. Instead of telling them to relax, a more useful

suggestion might be to invite them to take some slow deep breaths or perhaps visualize successful

outcomes. The mental stimulation generated by a relaxing thought or physical action is often all

that is needed to trigger the body’s sympathetic responses. This logic is played out in the way I

help students work through tension in their bodies.

Two of the most common sources of tension in young players stem from an inability to

hear the music correctly in the imagination and improper, or insufficient, breathing. Hearing the

music in the imagination is of paramount importance for brass players because the mind is tasked

with regulating all of the kinesthetic responses involved with playing the instrument. A detailed

mental image of the music provides the essential information needed for the mind’s subconscious

to execute the complex physical actions that take place while playing. When the mental image is

incorrect, incomplete, or absent entirely, a player is left to navigate all of the nuanced physical

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gestures of playing the instrument without the assistance of the brain’s subconscious. Physical

tension is the most prevalent and abundant outward symptom and is the leading cause of missed

notes, poor tone, and premature fatigue.

Improper and insufficient breathing is another common cause for unnecessary tension. It

is very common for young brass players, and sometimes those even more seasoned, to attempt

playing their instrument with an insufficient breath. A full breath is important because it

encourages several physiological benefits.

Respiration encourages muscles in the body to operate in a cycle alternating between

relaxation and action. The continuous motion of muscles while breathing naturally helps stave off

static/isometric tension. Inhalation encourages muscles in the breathing system to relax in order to

draw the breath. Yawning is a perfect example of the body’s ability to encourage relaxation

through a full breath. When young brass players take a short or small breath, the muscles are

sometimes still locked with tension as they attempt to play the instrument. Loud dynamics and

high register playing exacerbate the problem by placing increased strain on the body. A full

breath can go a long way in helping players to stay relaxed, but energized, when playing their

instrument.

“Use more air.”

It is perfectly logical that when teaching students to play wind instruments, that

encouraging them to “use more wind” is a logical instruction. While this is true in many cases,

it’s also not the solution to every problem facing a brass player. I have observed many band

directors that attempt to improve tone, range, etc., by instructing their brass players to use more

air/wind. A lot of teachers treat use this phrase as if it were the golden key for all issues brass

players encounter.

High brass players are particularly ill-served by teacher continually asking their students

to use more wind/air to improve tone and range. The reality is that the quantity of air is only one

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element of the wind that contributes to successful playing. Wind speed and quality are two other

important factors of wind instrument playing that are equally important. If playing in the upper

register of the trumpet were only reliant on how much air a player used, more students would

have figured it out much sooner on in their development. The opposite is most often the case and

young players often find themselves at odds with their instrument as it concerns developing

higher range.

I have observed many trumpet students grow red in the face and are visibly strained in the

neck and face when playing. They exert an amazing amount of energy, but achieve very little as

tone quality, volume, and range are evaluated. Using more air usually entails a student

continually trying to blow harder into the horn without any consideration for wind quality and

speed. The result is an abundance of muscular tension in the face, tongue, neck, and chest.

While it’s true playing a brass instrument requires a full breath, the application of that

breath into a musical phrase is very nuanced in its application. The wind’s attributes of quantity,

quality, and speed are always in a delicate balance with one another and are in constant

fluctuation as the musical phrase’s dynamics and range change. Players are best served when they

avoid trying to control specific aspects of the way wind is generated to make music. Again, the

brain’s ability to accurately imagine the musical phrase is all that is needed for the subconscious

mind to correctly apply the wind’s characteristics needed to play with beautiful tone and with the

correct dynamics and negotiation of range. This process is incredible complicated on the

neurological/physical level, but incredibly simple at the cognitive level. Band directors would

serve their students best by encouraging a full inhalation and model their music making by

singing before attempting to play the horn.

Are textbooks necessary for a Brass Methods Course?

The question of whether textbooks are necessary in a methods course is common.

Conway, Eros, Hourigan, and Stanley identified in their research study that participants favored

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self-created resource notebooks over textbooks.7 Taking an informal survey using several of my

own students yielded a consensus that the textbook they were required to purchase for brass

methods was seldom referenced by the teacher, and students placed much more faith in their own

collection of notes and articles. It was common for students to indicate that they never even used

the book during the course. In my own experiences as a music education student in college, I also

found very little use for a textbook in my brass and percussion methods courses. My woodwind

and string courses did not even require purchasing a book and relied entirely on handouts to

compile a resource notebook.

At the time of this project, there are only two books currently in publication for teachers

to consider adopting. Scott Whitener’s A Complete Guide to Brass is currently in its third edition

and is probably the most often selected textbook for teachers that choose to require one. It also

happens to be the most expensive at $180. Another popular book is a hybrid print/online textbook

by David Vining titled Teaching Brass: A Guide for Students and Teachers. This book retails for

$50 and includes a small written textbook of musical exercises, whereas the teaching content is

presented through password protected online materials.

Whitener’s book is an impressive collection of materials that goes into considerable

depth. With 395 pages of content covering all aspects of playing from acoustics, to breathing, to

instrument history, A Complete Guide to Brass is a truly comprehensive text. There are two area

of concern that make it difficult to endorse as a textbook for teaching brass methods. First, the

book is not written for non-brass playing music educators teaching trying to navigate the first few

years of teaching young brass players. While the density and quantity of information is valid and

impressive, it may be difficult for non-brass playing teachers to use the book as a resource guide

for instructing and troubleshooting young students. The tone of the book is also written using

language common to brass pedagogues but might be quite foreign to students of other

7 Conway, Eros, Hourigan, and Stanley, “Perceptions of Beginning Teachers,” 50.

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instruments. Whitener’s book also only minimally addresses some of the more basic classroom

management aspects of teaching beginning band. While knowledge and information are in

abundance in the book, pedagogical applications and strategies are at times lacking. Students will

find all the knowledge they would ever need in this book about brass instruments, but that

knowledge is rendered irrelevant if it’s not accompanied by proven pedagogical strategies.

The other hurdle to recommending Whitener’s book is the $180 expense to students.

There is a significant push to help students afford college, and textbook selection is one way to

help reduce student’s fees. Brass Methods class is usually only a one-credit course. It is hard to

rationalize the purchase of a textbook that may be, in many cases, half the price of the course

itself.

David Vining’s Teaching Brass is the newest resource, and it was designed to accompany

a brass methods course. The table of contents reveals a progression of learning that logically

follows the kinds of pedagogical topics covered in brass methods. Since the materials are all

found online, written explanations are often accompanied by both video and audio content.

Materials are divided into sections for information that is common to all brass instruments and

sections dedicated to each individual instrument. Brass faculty members from Northern Arizona

University provide the modeling of concepts on their respective instruments.

The layout and structure of the materials is well thought out and user friendly, but at

times the materials are pedagogically at odds with many in the brass community. At the core of

my disagreements are Vining’s consistent attempts to teach through the many physical attributes

of playing a brass instrument. My lineage of teaching places an emphasis on modeling and

abstract/creative instruction. The intention is to activate as many physical processes as possible

through the subconscious mind. The conscious mind should only be tasked with executing the

simplest of concepts. Vining frequently asks students to follow multi-step processes to

accomplish a certain task. For the beginning student, this will tend to overwhelm the conscious

mind and make successful execution very difficult.

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A good example is of this complexity can be observed in the explanation for how to form

a trumpet embouchure. Vining’s textbook asks the student to perform six individual steps to

properly form embouchure. These steps include:

1.) Pronounce “mmm” and hum

2.) Place the mouthpiece on the upper lip

3.) Place the index and thumb fingers on the corners of the mouth

4.) Flatten the chin

5.) Use the tip of the tongue to separate the teeth

6.) Roll the mouthpiece down onto the lower lip

The relationship between some of these actions and the forming of embouchure is not the primary

issue. Asking a student to perform and compartmentalize six different steps to set up the

mouthpiece placement is asking too much of a new student’s conscious mind. A student should

not be asked to think about more than two actions when instructing a concept. Requiring students

to execute multiple instructions either simultaneously or in rapid succession is not possible. In my

experience, students in this approach will focus on one or two of the concepts with an unbalanced

degree of cognitive focus and could be left unable to attain the desired balanced between all

actions. While the actions of playing are complex and intricate, the challenge for teachers is to

present the information with strategies, illustrations, and directions that keep it simple. This is

where Vining’s materials are flawed.

Another example of my disagreement with Teaching Brass, is related to how Vining

describes how brass instruments work in the introductory chapter. There is a lot of discussion

about how the sound of a brass instrument is produced by buzzing the lips. The relationship

between lip buzzing and the production of sound on a brass instrument is common fodder for

disagreements in the brass teaching community. However, one relatively uniform assertion

amongst brass players is that the blowing of wind is the impetus for activating the sound. Vining

neglects to make one reference to wind or blowing in his entire explanation for how a brass

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instrument works. He asserts that free buzzing is how sound is generated on a horn and that the

instrument is an amplifier for the lips’ vibration. The assertion that the instrument is an amplifier

for the buzzing lips is a commonly shared trope, but one that is misguided and uninformed given

the science of acoustics. While the organization of information is excellent in Teaching Brass, the

many disagreements in pedagogy and fundamental concepts for playing brass instrument would

prevent me from endorsing it as a textbook for teaching brass methods.

Closing Thoughts

Music education students often have complaints about the quality of their methods

courses and how adequately they prepare them for teaching. Using the Conway, Eros, Hourigan,

and Stanley research study as a guide, my aim is to design a course that meets the needs of future

teachers using proven pedagogy from my own background of study with protégés of William

Adam and Vincent Cichowicz. Course materials will be generated from a combination of

handouts along with articles from journals written by revered performers and pedagogues that

meet important topical concepts for each instrument in the brass family. Brass Performance and

Pedagogy by Keith Johnson will serve as the only required text for the course. Keith Johnson was

a Professor of Trumpet at the University of North Texas, and his book provides an excellent

review and discussion on the finer points of brass pedagogy in an easy to read and understand

way. While not as complete as a textbook, Brass Performance and Pedagogy is an excellent

supplemental text that is easy to read and rich with applicable knowledge.

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Chapter 2: Aims

Given the unusually large number of classes required for the music education degree, it is

typical for instrumental methods courses to be offered for little academic credit. Different

institutions will vary on how many sessions and minutes per week are devoted to instrumental

techniques courses. In the Department of Music at Austin Peay State University, the institution in

which I teach, our methods courses meet three times a week, for 55 minutes, across one 15-week

semester. Rather than choosing an arbitrary length of time, I will model the course curriculum in

this document to conform with this schedule. It is also worth mentioning that in contrast to other

courses that deal with more disparate groups of instruments (e.g., woodwinds); there are many

commonalities between the five main instruments in the brass family (trumpet, horn, trombone,

tuba, euphonium). Therefore, it is a reasonable expectation that the information can be covered in

only one semester.

A manageable class size for teaching brass methods effectively is between 10–20

students. The number of students serviceable is also limited by the number of instruments

available for students to borrow. In this course curriculum, the playing portion of the course is

heterogeneous with students rotating to a new instrument every 3–4 weeks for a total of three

rotations. The rotations are grouped into high brass (trumpet/horn), trombone, and

tuba/euphonium. While it would be ideal for each student in the course to play each of the five

instruments, there is not enough time in a semester-long course to gain any meaningful

experience. The instrument rotations are grouped to offer the best variety of brass playing

experiences. Trumpet and horn, although obviously different in many ways, are still members of

the high brass, and have similarly sized mouthpieces. Every student should experience playing

trombone since the slide mechanism makes it unique amongst the brasses. Tuba and euphonium

are the most similar in the brass family and students will be assigned to one or the another.

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There are also a few other considerations given to the instrument assignments aside from

divisions of time and idiosyncrasies of instrument features. Based on my prior experiences

teaching the course, the most obvious of these is students’ prior experience as brass players.

Students whose primary instrument is a brass instrument will be assigned a rotation of

instruments that avoids their primary horn. For example, a trumpet player would be assigned

horn, trombone, and tuba.

Another less apparent consideration is what instruments are most beneficial to learn for

students whose primary instrument is woodwind, string, or percussion. Percussion and string

students can be assigned to any of the brass instruments without special considerations. However,

I prefer to assign woodwind students to instruments that are least like the flow rate of wind they

would typically use to play their primary instruments. Flute is a high-flow wind instrument and I

prefer to assign these students to trumpet, horn, and trombone. These students usually need more

practice with high brass since the wind flow rate is so dissimilar to the flute. In contrast, low-flow

wind instrumentalists that play oboe and clarinet could benefit more by being assigned to

assigned to tuba/euphonium, trombone, and horn. The goal is to match each student to a rotation

of brass instruments that best meets their anticipated weaknesses.

The course objectives can be grouped into several different categories. Practical

knowledge, pedagogical knowledge, and performance demonstration.

Practical knowledge can be described as all information not directly related to teaching or

performing the instrument. Vocabulary is one example of information covered in this category.

Properly naming parts of the instrument is important for clear communication in the classroom.

How parts of the instruments and various brass accessories function and affect playing is another

example. Transposition is another topic that is important for successfully navigating the band

classroom. There is a significant amount of practical knowledge that teachers will find helpful

that are not necessarily related to teaching and modeling instruments.

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Pedagogical knowledge is the focus of this course. Course objectives in this category

relate to teaching students how to play. Knowing how to best set up beginning brass students for

long-term success is a big challenge even for even seasoned teachers. Teaching in a group

classroom setting also presents unique challenges compared to one-on-one instruction. Teachers

also need to know how to troubleshoot common errors that students will present in their

execution and technique. Learning to use ideal verbiage for explaining performance techniques to

students is also an integral aspect of the courses’ learning objectives. The way instruction is

articulated can make a significant impact on teaching effectiveness.

The final category of course objectives deal with students needing to experience learning

brass instruments for themselves. As mentioned in chapter one, demonstrated performance skills

are not the highest priority for this course curriculum. That position is reserved for pedagogical

knowledge. However, it is expected that students should come away from the course being able to

model basic elements of tone production, pitch negotiation, and pronunciation (articulation). It

also serves to provide future teachers with an appreciation for the challenges their students will

face when learning a brass instrument.

The following is a more specific list of the course objectives:

Practical Knowledge

1.) Will develop an understanding of the history of the various brass instruments

2.) Will be able to identify all assembly parts of the brass instruments by correct name

3.) Will be able to label the parts of the brass mouthpiece and describe their basic

functions

4.) Will demonstrate basic cleaning and care instructions for each instrument

5.) Will be able to identify and explain the variety of brass mutes and their uses along

with other common brass accessories

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6.) Will be able to identify the playing ranges for the trumpet, horn, trombone,

euphonium, and tuba, and how the harmonic series is expressed on each instrument

7.) Will be able to transpose music as needed for C, Bb, Eb and F transposing instruments

and describe how the skill is necessary for playing the brass family of instruments

8.) Will assemble a resource notebook with valuable articles and information sheets to

assist with concepts commonly encountered in the band class

9.) Will be able to identify other brass instruments uncommon to the concert band such as

piccolo trumpet, flugelhorn, cornet, alto trombone, and tubas of different keys

Pedagogical Knowledge

10.) Will demonstrate a basic working knowledge for how brass instruments produce

sound and troubleshoot and articulate solutions for common errors and challenges

students encounter

11.) Will be able to identify and demonstrate playing techniques unique to individual

instruments of the brass family

• Developing the upper-register of the trumpet

• Correct right-hand position for the horn

• Articulate the single, double, and triple horn systems

• Correct execution of the trombone slide

• Articulate the F attachment system for the tenor trombone

• Articulate and understand the compensating and non-compensating systems

on the euphonium and tuba

Demonstrative Performance Objectives

12.) Will demonstrate techniques used to teach beginning band students

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• Tone production

• Pitch navigation

• Pronunciation of music and style with the tongue

• Correct mechanical manipulation

13.) Will apply and demonstrate their knowledge by performing songs and exercises from

the Essential Elements Book 1 band method book on three different brass instruments

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Chapter 3: Evaluation

The methods for evaluating student learning objectives in the brass methods course can

take many forms since the aims are large in number and variety. A combination of both informal

and formal assessments will be administered to check students’ understanding of materials and

concepts throughout the term. In this chapter, I will describe the typical kinds of assessment

methods that will be used to evaluate the students. The course objectives each assessment

addresses will be noted as well and referenced by its number.

Grading System

The following grade distributions will be used to determine the final grade. These

categories reflect the values identified in Chapter 1 which promote an emphasis on pedagogical

knowledge and the development of a well-organized resource notebook. Pedagogical knowledge

will be delivered and evaluated through class lectures, reading/video assignments, participation in

class activities, and peer teaching.

Attendance/Participation 15% Reading/Video Assignment Quizzes 15% Playing Tests (Totaling 3) 15%

Peer Teaching Videos (Totaling 3) 20% Written Tests (Totaling 3) 15% Resource Notebook 20%

Evaluation Types and Descriptions

Informal Assessment: Attendance & Participation – All Objectives

Attendance and class participation are the essential elements that will determine a

student’s successful completion of the course objectives. The course relies heavily on students

participating in classroom discussions and being present for group performance activities. The

participation element is included to specifically encourage students to engage in dialogue and

volunteer for activities like peer-teaching.

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Informal Assessment: Q & A and Classroom Discussion – All Objectives

The most common form of assessment involves classroom discussion. Since the class

sizes for brass methods tend to be less than twenty students, it is possible to informally evaluate

students in the class through a process of question and answer along with group discussion. This

format is ideal for discussing classroom management topics that cover the many “What-ifs” and

“How to’s” that teachers often encounter. Classroom discussion allows for the free exchange of

ideas, promotes questioning and generates a shared learning experience. All of the course

objectives in Chapter 2 can function as a topic for classroom discussion.

Informal Assessment: Class Performances and Demonstrations – Objectives #10, 11, 12, 13

Performance skills are an integral part of the experiential components of learning to teach

brass players. The class serves as a lab that models the beginning band classroom. During periods

of playing time, the mixed instrumentation mirrors that of the beginning band. The Essential

Elements Book 1 has been selected as the materials for performing since it is one of the most used

method books for 5th and 6th grade band.

Informal performance-based assessments can take several forms. In addition to group

playing, it is common to have smaller groups of students play by instrument type. This allows for

other students in the class to observe challenges, comment on strategies for improvement, and

observe positive models. Other choices for groupings include one on a part and solo playing if

even more individual observation is necessary.

Formal Assessment: Reading/Video Assignment Quizzes– Objectives #3, 10, 11, 12

For most class periods, students will be assigned to respond to excerpts, articles, or

informative videos. The reading selections will be from either Keith Johnson’s Brass

Performance and Pedagogy or selected articles from music publications that address important

topics. Selected videos have been curated on YouTube to cover important topics related to brass

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pedagogy. Approximately four to six questions will be presented to students as a blog-based

discussion board or quiz in class. The resulting feedback from student answers can help the

instructor tailor information in classroom discussions to address confusion or gaps in knowledge.

See figure 3.1 for a rubric that can be used for evaluating students’ reading comprehension.

Formal Assessment: Playing Tests – Objectives #12, 13

In addition to playing instruments during the classroom period, students will also be

asked to submit a performance demonstration video for each of the three instruments studied.

These videos will include two selected melodies from the songs learned in class. The videos can

be recorded and uploaded to YouTube for instructor review and feedback. The videos can be

evaluated for their accuracy in rhythm, time, and pitch. Qualities related to tone quality can also

be evaluated, but with a conservative approach. It is common for some students to do quite well

producing a tone on one brass instrument but have a very difficult time on another. Since the

learning period between performance evaluations is around three weeks, there needs to be

reasonable expectations that ideal tone production may not be achieved by all students on all

instruments. As stated in Chapter 1, there is an emphasis on pedagogical experiences and while

demonstrative performance is important, the goal is for students to understand the challenges of

playing a brass instrument and learn strategies to improve. See figure 3.2 for a rubric that can be

used for evaluating students’ playing tests.

Formal Assessment: Peer Teaching – Objectives #10, 11, 12, 13

Method courses for music education majors provide the opportunity for students to

conduct peer-teaching. As the course progresses, students can begin applying their knowledge of

brass instruments and begin teaching each other with the supervision of the instructor. It is

important that this process can take place in class, so students can observe each other as they

collectively discover the challenges of teaching brass and developing strategies for success. The

25

resulting class discussions are an important facet of the learning process for future teachers.

Student will also be asked to individually submit three videos throughout the semester peer

teaching to a colleague. See figure 3.3 for a rubric that can be used for evaluating students’ peer

teaching.

Formal Assessment: Written Tests– Objectives #1, 2, 4, 5, 6, 7, 9, 10, 11

The course content in these numerous objectives will be evaluated in a series of tests and

quizzes. Questions will reflect various levels of thinking. Lower-level recall-based information

will be assessed through questions pertaining to content such as historical background of brass

instruments, mute identification, cleaning procedures, or labeling diagrams with correct

terminology. Higher level questioning will evaluate more complex topics such as transposition,

problems solving by applying pedagogical knowledge, or justifying teaching procedures. A

variety of testing formats will be used including fill in the blank, labeling graphics, multiple

choice, short answer, and essay.

Formal Assessment: Resource Notebook – Objectives

The resource notebook is also a key component to help ensure students are best prepared

for their careers. The period of time from when students complete a methods course and when

they enter the profession can range from one to as many as four years. It is imperative that

students have assembled quality materials to reference when it comes time to begin teaching. All

course handouts, articles, and playing materials can be saved for recalling important concepts and

skills at a later date. Students will be assessed on the completeness of the notebook’s many

elements such as all handouts, articles, graded materials from the class. They will also be

responsible for the both the organization and neatness of the notebook. See figure 3.4 for a rubric

that can be used for evaluating students’ resource notebooks.

Sample Rubrics

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Figure 3.1

27

Figure 3.2

28

Figure 3.3

29

Figure 3.4

30

Chapter 4: Course Calendar

The following course calendar outlines the sequence of topics presented as well as the

readings and videos assigned for each. It also provides a timeline for when the various formal

assessments might be given and proposed deadlines for class projects. The course is divided into

14 weeks as the schedule considers that there are weeks like Thanksgiving holiday and spring

break when classes do not meet.

The first two weeks are dedicated to the history of brass instruments and other basic

information such as the naming of instrument parts. Most class periods will be divided into

segments that are dedicated to either lecture/discussion or group practice. Playing in class

provides an opportunity for students to emulate the band classroom environment and serves as a

lab experience through which students can both participate in and practice leading playing

activities. Invaluable modeling techniques and skills are also demonstrated for students during the

playing portion of class.

For students to experience learning several brass instruments, three units are indicated on

the calendar for instrument rotation. These rotations occur at intervals every four weeks. This will

allow students to practice and perform on three instruments during the course.

Week 1

• Topics: § History of Brass Instruments

• Handouts: § PDF copies of PowerPoint presentation slides

Week 2

• Topics: § History of Brass Instruments continued § Identifying parts of the instruments and mouthpiece

• Readings: § Johnson- Chapter 1: The Art of Teaching § Johnson- Chapter 2: Music as Metaphor § Johnson- Chapter 3: Teaching Young Brass Players

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• Handouts: § Diagram with instrument/mouthpiece parts § Sample lesson plan for teaching beginner students

• Activities: § Class discussion of readings

• Assessment: § Test #1 over brass history and identifying instrument parts

Blog response over reading assignments Week 3 (Playing Unit 1 Rotation)

• Topics: § Preparing to teach beginning new brass students § Correct hand position and posture for playing instruments § Establishing good breathing/blowing habits for beginning brass players § Introduce strategies for teachers to make first sounds on brass instruments

• Readings § Johnson – Chapter 4: Listening § Johnson – Chapter 5: Developing a Concept of Sound § Johnson – Chapter 6: Posture § Adam – 1975 International Trumpet Guild Clinic Address

• Video § James Morrison “Breathing”

• Handouts § Sample lesson plan for first few classes of beginning brass § Playing packets from beginning band method book

• Activities § Lecture/Discussion § Modeling correct breathing, blowing, and pronunciation of sound and pitch

Week 4

• Topics: § Continued development of topics from Week 3

• Readings § Johnson – Chapter 7: Breathing § Johnson – Chapter 8: Embouchure § Johnson – Chapter 9: Articulation § Cichowicz – Teaching the Concepts of Trumpet Playing

• Video § James Morrison “Sound”

• Handouts § Notes on beginning brass attributed to Allen Vizzutti

• Activities § In-class lecture/discussion over readings and video § In-class peer teaching exercises § Watch YouTube video of Allen Vizzutti lecture on beginning brass

• Assessment § Continued observation of students for correct habits of posture, breathing,

and pronunciation of good sound/pitch Week 5

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• Topics: § Introduction to the harmonic series and the instrument ranges

• Readings § Johnson – Chapter 10: Mouthpiece Playing § Johnson – Chapter 11: The Warm-Up § Vizzutti: Basics for Beginning Brass

• Video § “Allen Vizzutti Trumpet Clinics”

• Handouts § Overtone series and instrument ranges information sheet

• Activities § In-class lecture/discussion over readings and video

Week 6

• Topics: § Trumpet information session

• Readings § Johnson – Chapter 12: Slurring § Johnson – Chapter 13: Intonation § Johnson – Chapter 14: The Upper Register

• Video § “James Morrison Trumpet Tutorial: Range”

• Handouts § Trumpet quick information handout

• Activities § In-class lecture/discussion over readings

• Assessment § Test #2 – Basics of teaching how to hold and assemble instruments,

mouthpiece placement, breathing concepts, harmonic series, and developing first sounds

Week 7 (Playing Unit 2 Rotation)

• Topics: § Second rotation and adjustment to new instruments § Instrument Care/Maintenance

• Readings § Johnson – Chapter 15: Endurance § Johnson – Chapter 16: Vibrato § Johnson – Chapter 17: Braces

• Handouts § Instrument care handouts for each of the brass instruments

• Activities § Peer teaching demonstration in-class § Instrument rotation

• Assessment § Instrument playing test for Unit 1

Week 8

• Topics: § Horn information session

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• Readings § Johnson – Chapter 19: Preparation, Solo Playing, Chamber Music Playing,

Large Ensemble Playing § Johnson – Chapter 21: Playing High Pitched Instruments § Greene: Mellophone Mouthpieces

• Videos § “Oiling Rotors” § “The Function of the Hand in the French Bell with Bernhard Scully”

• Handouts § Horn information handout

• Assessment § Peer Teaching video #1 Due

Week 9

• Topics: § Brass family transpositions

• Readings § Moore: Where Do the Harmonics Come From? § Rommel: Freedom Through Control or Control Through Freedom

• Videos § “Quiet Eye” Segment from “Scientific American: Frontiers with Alan Alda”

aired on PBS Television • Handouts

§ Transposition guide Week 10

• Topics: § Trombone information session

• Readings § Sievers: The Trap of Pursuing Correctness § Kelly: The Dynamics of Breathing with Arnold Jacobs and David Cugell,

M.D. • Videos

§ “Trombone & Euphonium Ergonomics” § “Pinwheel Pedagogy Introduction”

• Handouts § Trombone information handout

• Assessment § Test #2 – Trumpet and Horn information, transposition § Playing Test Unit 2 Due

Week 11 (Playing Unit 3 Rotation)

• Topics: § Final rotation and adjustment to new instruments

• Readings § Dust: Tuning Horns § Gray: Problem Solving for Low Brass

• Activities

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§ Instrument rotation § Peer teaching in class

Week 12

• Topics: § Tuba/Euphonium Information Session

• Readings § Kassler: Slow Lip Slurs § Everett: Role of the Bass Trombone

• Handouts § Tuba/Euphonium information handout

• Assessment § Peer Teaching Video #2 Due

Week 13

• Readings § Everett: Quick Euphonium Tips § Matzen: The Right Words for Brass Players

• Assessment § Test #3 – Trombone/Euphonium and Tuba information

Week 14

• Topics § Review for Final

• Readings § Matzen: Healthy Buzzing Practice § Stowman: Improving Flexibility § Dust: On the Dilemma of Horns

• Assessment § Playing Test Unit #3 Due

Week 15

• Final

35

Video References Banddirectorcom. “The Function of the Hand in the French Horn Bell with Bernhard Scully

Canadian Brass.” September 23, 2015. Video, 2:26. https://youtu.be/f8AWl5BiO54. Banddirectorcom. “Oiling Rotors – PROBIRT.” February 11, 2016. Video, 2:55.

https://youtu.be/1-iUWJqJlIA. Banddirectorcom. “Brass Production Trombone & Euphonium Ergonomics M. Dee Sttewart.”

February 11, 2016. Video, 7:16. https://youtu.be/jiLwjwG-dkU. Banddirectorcom. “Brass Articulation M. Dee Stewart.” February 11, 2016. Video, 9:14.

https://youtu.be/kEEmVwJdPDw. Banddirectorcom. “Pinwheel Pedagogy Introduction M. Dee Stewart.” February 11, 2016. Video,

14:13. https://youtu.be/_w3QOZ-e39M. Banddirectorcom. “Training Strategies for Loud Brass Playing wmv1.” December 1, 2017.

Video, 5:47. https://youtu.be/eLkoY8V7aa0. Germano Gallicchio. “PBS Quiet Eye.” December 18, 2012. Video, 13:48.

https://youtu.be/knfC978EoWc. MrSilverTrumpet. “Allen Vizzutti Trumpet Clinic 2 of 4.” November 11, 2009. Video, 9:29.

https://youtu.be/DIRWgYWnLOc. MrSilverTrumpet. “Allen Vizzutti Trumpet Clinic 3 of 4.” November 11, 2009. Video, 8:17.

https://youtu.be/lHs7dAnpbnY. MrSilverTrumpet. “Allen Vizzutti Trumpet Clinic 4 of 4.” November 11, 2009. Video, 4:36.

https://youtu.be/Mmj-H5a6akM. Philippe Kinnaer. “James Morrison’s trumpet tutorial: Part 1 Breathing.” December 15, 2013.

Video, 8:29. https://youtu.be/oGm1MAT-ttQ. Pilippe Kinnaer. “James Morrison’s trumpet tutorial: Part 2 Sound.” December 15, 2013. Video,

7:02. https://youtu.be/N8q1wCMeLl8. Philippe Kinnaer. “James Morrison’s trumpet tutorial: Part 3 Range.” December 15, 2013. Video,

13:43. https://youtu.be/ujrTDbnvDpU. Philippe Kinnaer. “James Morrison’s trumpet tutorial: Part 4 Endurance.” December 15, 2013.

Video, 6:13. https://youtu.be/nkbxa8LcZj4. Philippe Kinnaer. “James Morrison’s trumpet tutorial: Part 5 Articulation.” December 15, 2013.

Video, 5:28. https://youtu.be/AeNqYGg1Poo. Readings Adam, William. “1975 ITG Clinic Address.” International Trumpet Guild Conference, June 1975.

https://www.gregwingtrumpet.com/uploads/2/1/4/0/21407028/bill_adam_clinic_address.

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pdf. Cichowicz, Vincent. “Teaching the Concepts of Trumpet Playing.” The Instrumentalist, January

1996. http://theinstrumentalist.com/articles/The-Instrumentalist/June-2019/Teaching-the- Concepts-of-Trumpet-Playing

Dust, Tom. “Tuning Horns.” The Instrumentalist, August 2019.

http://theinstrumentalist.com/articles/The-Instrumentalist/August-2019/Tuning-Horns/. Dust, Tom. “On the Dilema of Horns.” The Instrumentalist, April 2019.

http://theinstrumentalist.com/articles/The-Instrumentalist/April-2019/On-the-Dilemma- of-Horns/.

Everett, Micah. “The Role of the Bass Trombone.” The Instrumentalist, May 2014.

http://theinstrumentalist.com/articles/The-Instrumentalist/May-2014/The-Role-of-the-Bass-Trombone/.

Greene, Russell. “Brass Clinic: Mellophone Mouthpieces.” The Instrumentalist, August 2014.

http://theinstrumentalist.com/articles/The-Instrumentalist/August-2014/Mellophone- Mouthpieces.

Gray, Skip. “Problem Solving for Low Brass Students.” The Instrumentalist, April 1988.

http://theinstrumentalist.com/page-details.php?mn=The-Instrumentalist&pn=April-1988- Gray.

Johnson, Keith. Brass Performance and Pedagogy. Upper Saddle River, Nj: Prentice Hall, 2002. Kassler, David. “Slow Lip Slurs.” The Instrumentalist, January 2014.

http://theinstrumentalist.com/articles/The-Instrumentalist/January-2014/Slow-Lip-Slurs/. Kelly, Kevin. “The Dynamics of Breathing with Arnold Jacobs and David Cugell, M.D.” The

Instrumentalist, December 1983. http://theinstrumentalist.com/page-details.php?mn=The- Instrumentalist&pn=December-1983.

Matzen, Max. “The Right Words for Brass Players.” The Instrumentalist, May 2015.

http://theinstrumentalist.com/articles/The-Instrumentalist/May-2015/The-Right-Words-for-Brass-Players/

Matzen, Max. “Healthy Buzzing Practice.” The Instrumentalist, September 2016.

http://theinstrumentalist.com/articles/The-Instrumentalist/September-2016/Healthy- Buzzing-Practice/.

Moore, Thomas. “Where Do the Harmonics Come From?” ITG Journal, June 3, No. 66 (2003):

66-67. Rommel, John. “Freedom Through Control or Control Through Freedom.” Accessed June 28,

2021. https://banddirector.com/teaching-technology/freedom-through-control-or-control- through-freedom-john-rommel/.

Sievers, Karl. “The Trap of Pursuing Correctness.” Facebook, June 28, 2021. https://www.facebook.com/groups/603106766409745/permalink/1540200496033696.

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Stowman, William. “Improving Flexibility.” The Instrumentalist, December 2017.

http://theinstrumentalist.com/articles/The-Instrumentalist/December-2017/Improving- Flexibility/.

Vining, David. Teaching Brass: A Guide for Students and Teachers. Mountain Peak Music, n.d.

Accessed November 14, 2019. https://mountainpeakmethods.com/admin.php?bookid=4. Whitener, Scott. 2006. A Complete Guide to Brass: Instruments and Techniques, Non-Media

Version. 3rd ed. Belmont, CA: Wadsworth Publishing.

38

Chapter 5: Sample Lecture Materials

Introduction The following lecture outlines will help to demonstrate ways that this course curriculum

might be unique apart from more traditional teaching materials for the brass methods course. As

mentioned in Chapter 1, there are several problems associated with commonly held pedagogical

and performance teaching methods that this course curriculum aims to improve. The lesson

materials included in this chapter will provide greater clarity and explanation into how common

topics covered in brass methods will be addressed in this curriculum. These lesson plans will be

divided into two categories. The first two will draw upon primary source materials from the

teachings of William Adam and Vincent Cichowicz. The others will deal with topics specific to

brass performance and pedagogy; teaching a beginner their first sound and using phraseology that

is pedagogically informed. The intention is to help draw important parallels between these two

pedagogues and the course teaching materials.

Lesson One – “Teaching the Concepts of Trumpet Playing” by Vincent Cichowicz

I. Lesson Objectives

A. Identify and discuss Mr. Cichowicz’s teachings on the topics of imagination, breathing,

articulation, embouchure, and practice habits.

B. Synthesize the information and discuss ways it can be incorporated into teaching

instrumental music.

II. Imagination

A. Notes from the reading

1. Playing an instrument is complex and teachers often fall into the mistake of

focusing on “complexities” rather than on simple instructions that guide and lead

the student to best practices.

39

2. A strong “musical image” is the most essential element often missing in young

players. The imagination of the sound/music is what informs all other elements

of playing such as breathing, embouchure, and tonguing.

3. Developing a student’s concept of sound is the most efficient way of setting them

on the correct path of playing while avoiding many of the pitfalls that come with

over-teaching mechanics.

B. Critical Thinking Questions

1. What are some examples of how teachers might over-teach mechanics to

students? What might the alternatives look like?

2. Identify ways a teacher can help shape and inform young musician’s musical

image?

3. Cichowicz presents successful brass teaching in a simplistic and easy method to

understand. What might he have added to help better understand the process?

(Time, persistence, practice)

III. Breathing/Respiration

A. Notes from the reading

1. Breathing is a natural process that is often altered when students pick up an

instrument. Ex. Trumpet players often will become rigid and stiff when

attempting music that is perceived as difficult, high, loud, etc.

2. Breathing should occur on the inhale as a yawn and with the same delivery as a

sigh under ALL musical circumstances.

3. Elements of the music will want to influence this process, but every effort should

be made to keep it the same. Ex. Like a violinist’s bow drawn the same

regardless of the pitch

4. Avoid references to “abdominal support.” Instructions of this type will often lock

the breath in a musical action – Valsalva maneuver

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5. Any perceived or observed abdominal firmness should be a result of attempting

to produce the ideal musical image.

6. Many problems in players tonguing, flexibility, endurance, or range stem from

poor tone generated from incorrect/labored breathing.

7. Wind patterns

a. Using wind patterns away from the instrument can help to isolate the

musical image and deliver the wind free from distortions that often

occur when playing the instrument.

b. The wind should be freely blown across the articulations of the tongue

while the musical image is held in the mind.

c. The absence of an instrument, wrong notes, and other distractions help

simplify the delivery of the breath to the instrument.

B. Critical Thinking

1. How have you observed music educators address breathing to wind players?

2. What instructions are often given to students as it pertains to breathing/blowing?

Do they conflict with Cichowicz’s teachings? Ex. Breath support, blowing

harder, use more air, flex your abdominal muscles.

3. Can you think of some situations or musical activities where breathing could be

challenging for younger players? Ex. Marching band, jazz band, challenging

range in 1st parts

4. What are some examples of how you might incorporate wind patterns in class?

Give an example of a situation where you would have students use this device.

IV. Articulation

A. Notes from the reading

1. Articulation and language are nearly the same in that they take place without any

specific intentional manipulation of the tongue and lips.

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2. The sound of the instrument should imitate the action of pronouncing the syllable

“tu” or “tyu.”

3. It takes time and patience to perfect imitation of the pronunciation on the

instrument.

4. Multiple tonguing follows the same process of imitation by using the syllables

“tu-ku” or something similar.

5. The sound of the consonant may change depending on the desired style of the

music, but these changes are informed by the musical image and can be unlocked

via the linguistic approach.

6. Cichowicz’s only caution is against starting the sound with an attack that is

overly percussive and backs up the natural flow and delivery of the breath. The

wind needs to flow through a releasing of the sound/breath. The aim of

articulation is to separate, or mark, the continuous air-stream and not to stop it.

B. Critical Thinking

1. What were some ways you have heard band directors describe articulation and

how do they compare to Cichowicz’s methods?

2. What are some analogies you can brainstorm to help students understand the

relationship between the tongue and the wind? Ex. Finger through a running

water hose

V. Embouchure

A. Notes from the reading

1. The development of the embouchure is passive, in that training and development

occur through use. It does not require a great deal of specific direction.

2. Crucial to the proper development is the sharpened mental image, a proper

delivery of the breath, and a clear pronunciation of the sound.

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3. When there are problems in the sound, teachers will gravitate to inspecting the

embouchure. However, most of the time it is an issue with of over pressurizing

the breath and “pressing” the horn on the face with excessive force.

B. Critical Thinking

1. Cichowicz does not provide any specifics regarding the formation of the

embouchure in this article, but we know there are some traits that need to be set

up correctly for a beginner. What are the takeaways from his comments that we

can synthesize with what we have already studied regarding the embouchure?

VI. Practicing

A. Notes from the reading

1. Cichowicz goes through an explanation of his “Brandenburg Project.” He

describes how to learn difficult music by breaking it down into smaller more

manageable tasks. Altering range, tempo, and dynamics are a few ways the music

can be simplified to gain familiarity and build the necessary skills need to

perform the final product.

2. “In any range (of the horn), if the musical concept is strong and the wind is free,

it is amazing how the ear guides all of the small adjustments that produce good

intonation.”

3. Brass players should look to singers and other outstanding brass musicians to

emulate sound.

4. Singing your music is also an effective way of studying and developing a

stronger mental image.

B. Critical Thinking

1. How can you adapt these practicing concepts for the entire band or brass section?

2. Can you draw any parallels between his practice suggestions and your knowledge

of learning theory?

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Lesson Two - William Adam’s 1975 International Trumpet Guild Clinic Address

I. Lesson Objectives

A. Identify and discuss the pedagogical concepts presented by William Adam from a written

transcript of his 1975 International Trumpet Guild clinic address.

1. The importance of positive self-image

2. The relationship between sound and breath/wind

3. The mind’s role and functions in music-making

4. Discussion of the embouchure’s formation and function

5. Muscular tension when playing and how to mitigate it

6. How to understand and approach adjustments to the embouchure

B. Synthesize the information and discuss ways it can be incorporated into teaching

instrumental music.

II. Positive Self-Image

A. Notes from the reading

1. The development of positive self-image is perhaps as integral to the music-

making process as learning to play the instrument.

2. Learning to play an instrument can serve as an exercise in finding our “true self-

image”

3. It allows us to find insights into our own life as we pursue musical goals

4. The presence of challenges and seeking truth allows for mental growth and

maturity

A. Critical thinking questions

1. Explain some ways that your experiences in band have helped shape your self-

image. Do any interactions with a teacher stand out as having been important in

your personal development?

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2. What are some ways we can create a classroom that is a safe space for students to

experiment with music?

3. How can the pursuit of learning an instrument lead to the search for truth and our

“true-self?” How can we help guide this process as a band director?

4. What role do challenges play in the search for our “true-self?”

III. The role of the sound and the breath

A. Notes from the reading

1. The movement of wind (“copious amounts of air”) is integral to producing a

good tone and achieving freedom and relaxation in our mind and body.

2. The sound floats on the breath.

3. The flowing wind provides support for the embouchure and helps place the

elements/muscles into the correct position.

4. The movement of the air encourages relaxation in essential muscles like the

tongue, glottis, epiglottis, larynx, and abdomen. Any muscular engagement is

initiated through the act of blowing and conscious attention to these muscle

groups can, and should, be avoided.

B. Critical thinking questions

1. Mr. Adam makes it clear the movement of air is critical to the establishment of

good tone and the physical elements necessary for creating it. What are some

ways we can encourage this kind of breathing and blowing in the classroom?

Metaphors? Visual aids? Activities with or without the instrument?

2. Can you explain how the act of breathing induces relaxation in the body? How is

this concept more efficient than other directions as it relates to tension in the

body?

IV. The mind’s function in making music

A. Notes from the reading

45

1. Our mind is responsible for conceptual thinking that activates and induces

physical activities needed when playing an instrument.

2. Correct musical concepts will lead to correct physical processes. The absence of

a musical mental image can leave the body searching for answers and the

musician will often play incorrectly.

3. Keeping our mind focused on making a beautiful sound and accelerating the

wind through that sound are keys to correctly setting the embouchure and other

physical properties involved when playing.

4. Every effort should be made to avoid allowing our mind to drift into analytical

thought. Analysis has a way of sabotaging the body’s ability to release the breath

efficiently.

5. Other thoughts that take away our mental attention to the music and breath

include difficult passages in the music and being emotionally compromised by

feelings such as anxiety or fear.

B. Critical thinking questions

1. What steps can you take to ensure students are able to achieve the kind of mental

clarity and focus needed to best play their instruments?

2. Can you identify and offer solutions to common mental distractions and obstacles

that young brass players encounter?

V. Discussion of the embouchure’s formation and function

A. Notes from the reading

1. The ideal embouchure can be described as firm, but not tight, on the outside of

the corners, and supple/soft/relaxed under the mouthpiece.

2. The buccinator muscles on either side of the mouth are integral to sustaining the

passageway for the air (aperture) to be accelerated through the lips.

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3. The embouchure is a balance between resilience (buccinators/corners) and

relaxation (lips).

4. The tone is best when we can limit the resistance of the air stream as it passes

through the lips.

B. Critical thinking questions

1. In his comments, Mr. Adam does not address the importance of mouthpiece

placement. After reading his description for the embouchure, how is it different

from mouthpiece placement?

2. A key element of the embouchure is to stay supple and relaxed in the lips under

the mouthpiece. Can you identify activities that might encourage this set-up?

VI. Muscular tension when playing and how to mitigate it

A. Notes from the reading

1. Mouthpiece buzzing can make it difficult to achieve the freedom of the breath

through relaxed lips necessary to produce the best tone. This is especially true for

brand new players who do not yet possess any resilience in their corners. The

tension is held in the lips.

2. Mr. Adam had student blow the leadpipe to activate the sound. The result is a

product that better encourages the correct relationship between the relaxation of

the lips and the natural “setting in” of the corners that occurs when blowing air.

3. The goal is to get the air into the horn with the least amount of tension and effort

in the muscles.

4. Buzzing the mouthpiece can also lead to students reaching for high/low notes

with added and un-natural tension that is otherwise not present when playing the

instrument correctly.

B. Critical thinking questions

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1. What are some challenges and drawbacks for beginning a student’s first sounds

by buzzing the mouthpiece? Do you think the same holds true for all brass

instruments? High vs. low brass?

2. Can you think of any alternatives to mouthpiece buzzing or leadpipe playing to

help generate the same results of firm corners and relaxed (not pursed) lips?

3. Over-steering the lips to reach for high and low notes is a common problem for

all brass students. How might you approach a solution given the information we

have read?

VII. How to understand and approach adjustments to the embouchure

A. Notes from the reading

1. Directly addressing changes to the embouchure should be rare. They often lead to

further problems related to tension in the breath and body.

2. Blowing the embouchure into place with wind is the most efficient way of

releasing unnecessary tension and allowing the embouchure’s elements to settle

into the correct position.

3. Student often over adjust the embouchure in an effort to manipulate the pitch up

and down. This often leads to over corrections that lead to excess tension.

Changes in pitch and register are best navigated through the acceleration of the

breath and the singing music in the imagination.

4. Every effort should be made by the player to keep their mind off the embouchure

focused on the sound/music.

B. Critical thinking questions

1. Mr. Adam says most embouchure problems can resolve themselves with a strong

mental image and accelerated, yet un-forced, breath through relaxed lips. Can

you think of some situations where a problem is so dramatic that is might require

some intervention? What would you do to correct the problem?

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2. What are some common instructions that teachers give students that guide their

thoughts to the mechanics of their embouchure? How can we re-direct their

thoughts to the music and away from the mechanics?

Lesson Three – Instructions for teaching a beginning trumpet student’s first sounds

I. Lesson Objectives

A. Apply pedagogical insights to helping a beginner student to make their first sounds.

B. Describe correct mouthpiece placement

C. Describe how to set up a student’s mouth to prepare it for playing a tone

II. Setting the Mouthpiece Placement

A. Central lateral placement

B. An approximate 50/50 top to bottom lip ratio that may vary between different students

C. Keep in mind things will adjust and gravitate to natural positions related to dental

structure and lip shape once the student begins blowing the embouchure into place

III. Preparation for making the first sound

A. Have the student pronounce the sound “emm” and hold the hum as you place the

mouthpiece on the lips with the guidelines listed above.

B. We want students to have a feeling of familiarity with this set-up before we add the

instrument.

1. Ask the students to engage in some conversation while maintaining the

mouthpiece placement. We want the mouthpiece to have a natural feeling that

can be replicated without continued direction and correction.

2. The students will naturally need to learn how to breathe through the corners of

their mouth without taking the mouthpiece off their face. It is a common problem

for student to breathe by taking the mouthpiece off the face. The breath should be

taken with the horn already placed on the lips.

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C. The next step is to model the delivery of the wind through relaxed lips and into the

mouthpiece.

1. Have the students take a natural full breath through the corners of their mouth

and release it through the mouthpiece.

2. The wind should be described as hot, humid, round and liken it to fogging up a

mirror.

3. External tools like a pinwheel, lit candle (imagined is fine), or a hanging piece of

paper can help encourage acceleration of the wind.

4. Ask the students to listen to your model of how the wind sounds as it passes

through the mouthpiece and have them attempt to copy it.

5. Take your time on this step and do not be in a hurry until everyone is getting a

good result. The better the results of this step, the more success you will have

when we try to make the first sound on the horn.

D. The next steps will help the student to discover a sound without physical directions or

asking them to buzz their lips. Remember we want the sound to be activated by

acceleration of the breath and not from the direction of tightening muscles or pursing of

the lips.

E. Two methods for helping students to activate and discover the vibration/sound

1. First method

i. Instruct the student to move hot wind through the mouthpiece as

described above.

ii. While the student is blowing the fast, hot wind, attempt to seat the

mouthpiece into the trumpet’s receiver. Instruct the student to maintain

the acceleration of the breath as you bring the mouthpiece and horn

together.

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1. Some students may need your help with holding the horn and

placing it for them.

2. It is common for students to slow down the air as the trumpet

gets closer to seating. Make sure you encourage them to keep the

air moving fast. The wind must have enough energy/speed to

activate the vibration within the instrument.

iii. The expectation is that some students will find some tones being

produced. The pitches that naturally speak will be different from player

to player.

2. Second method – While the first method is ideal, it is rarely able to catch

everyone in the class. This alternative method should hopefully work for students

who were unsuccessful.

i. As with the first method, we will start with hot wind through the

mouthpiece as already directed.

ii. With the mouthpiece already placed in the trumpet, have the student take

a full breath and accelerate hot wind into the horn.

iii. Evaluate the sound you hear at the bell to make sure the quality of the

wind is what you need. Model it for the student if it is insufficient in any

way.

iv. As the student accelerates the breath into the horn, show the student your

index finger and thumb. Slowly move them closer together as the

students accelerates their breath.

1. We are trying to encourage the lips to narrow without giving

explicit directions.

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2. The lips must focus the airstream in such a way that the

acoustical properties of the instrument activate and a tone is

produced.

3. We are trying to nudge this along with the power of suggestion

via our fingers coming closer together.

v. If a sound is not produced, there are two main culprits.

1. The wind is not moving fast and freely enough to properly

energize the horn.

2. The aperture is not focused enough to help accelerate the air

properly.

F. Any specific direction to the student as it pertains to the shape of their lips should be a

last resort. If you do offer any specific physical cues, a little goes a long way. We are

trying to get the energized air stream to active the acoustical energy within the horn. You

are never that far away from the answer.

G. Be patient and accept failure as part of the learning process. Trial and error will play an

essential role in figuring it out. Many teachers accept failure too quickly. Keep trying.

IV. Special considerations related to reducing tension

A. Why not free buzz?

1. Free buzzing forces unnatural levels of tension of the muscles that is not present

in the embouchure when playing the instrument.

2. The breath has a harder time releasing into the instrument and the sound has a

harder time speaking.

B. Many teachers begin students by mouthpiece buzzing. What are the pitfalls of this

method?

52

1. There are successful brass players who buzz the mouthpiece, but the reality is

that many young players do so improperly. They lack the physical and musical

maturity to deliver the breath properly.

2. There is a lot of nuances to mouthpiece buzzing the correct way. Most teachers

and students identify success by simply the presence of a sound. The reality is

that a student can make a buzzing sound on the mouthpiece but engage in a

variety of un-healthy habits.

a) Overly pursed lips not receptive to vibration

b) Low-flow rate/acceleration of the wind due to an abundance tension in

the face

3. Mouthpiece buzzing is best left to players who already have a strong musical

mental image and understand the nuances of proper tone production. In this

capacity, mouthpiece buzzing has a wide range of useful applications. However,

beginners might be best served by the two methods described above since they

are conceived from the most basic element of wind activated vibration.

C. The squares vs rectangles logic as applied to playing a brass instrument… “When I play

the trumpet, my lips vibrate/buzz, but I do not buzz my lips to play the trumpet?”

D. Keep the process of breathing simple and choose instructions that encourage relaxation

and freedom of the breath during both inhalation and exhalation.

V. Other Tips

A. Try and get students to perform all instructions to a steady beat pulse.

1. Breathing should be done in-time and inhalation should be evenly taken over an

entire beat.

2. Some students will inhale quickly and then hold the air until it is time to be used.

Often referred to as “capping the breath,” this locks up the muscles and begins

the sound from a state of tension.

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3. It can be helpful to subdivide the beat of inhalation by saying counting “1, 2, 3,

BREATH-BREATH, PLAY” (1, 2, 3, 4-&, 1) aloud.

B. With regards to verbal instructions, less is usually best. Lean on your use of modeling

and singing.

C. Realize that the minds of beginners will fixate on any direction you give them. Without a

frame of reference for how to play, they will approach instruction with an “all or nothing”

mindset. The solution is to keep instructions simple, direct, and at times using abstract

thoughts and imagery.

D. Make the SING AND PLAY! Button pushing is NOT the source for making music. We

must develop in our students a detailed mental image of the music and singing is a crucial

step in this process.

LESSON 4 – Developing a pedagogically informed lexicon and phraseology

I. Lesson Objectives

A. Identify common words and phrases that music teachers use when teaching band.

B. Identify unintended problems that stem from these words and phrases

C. Identify alternative words and phrases that are better suited to helping students overcome

common pedagogical challenges

II. Introduction

A. What is a lexicon?

1. A lexicon is the vocabulary for a branch of knowledge or subject

2. The identification of commonly used words used by teachers to communicate

pedagogical and musical instructions to students

B. What is meant by a pedagogically informed lexicon?

54

1. While many words are commonly used for instructing wind and brass players,

teachers should consider what pedagogical implications might exist when

deciding what words and phrases are used.

2. I believe an audit of commonly used words and phrases is necessary since many

of the most used phrases by band directors are pedagogically unhelpful.

3. Instructions that present easy to execute actions and address pedagogical nuances

should be explored and considered.

C. What pedagogical criteria will be applied to the evaluation of brass instruction

vocabulary?

1. Clarity of the instruction… Is the instruction easily understandable and simple

enough to comprehend and act upon?

2. How might a novice player interpret the instruction? We must keep in mind

mature players will form an interpretation that is also informed by their playing

experiences.

3. If the instruction is an action, consider what verb is being associated with the

instruction and whether that action is something that can be easily performed or

demonstrated.

4. Are there negative pedagogical effects associated with the word or phrase that

might hinder a student’s ability to produce successful outcomes.

5. Active vs. Passive processes

a) Active processes are those actions that should be dedicated to our

consciousness when playing. Ideally this should be a short list and

include the detailed mental image of the desired musical outcome.

b) Passive refers to all other mental and physical processes that that are

involved in playing the instrument. Passive processes are best executed

by the subconscious mind. The subconscious mind is responsible for

55

organizing the body’s many physical systems as it attempts to execute

the actions sent by the conscious mind. Examples…

i. Elements of the embouchure

ii. Fingerings

iii. The tongue

III. Sample phrases to be examined and alternatives

A. Buzzing the lips to make a sound

1. Kids are often told brass instruments make their sound by buzzing the lips.

2. Brass instruments generate their vibration from accelerating air across relaxed

lips and into the instrument.

3. The lip vibration is a byproduct of the acoustical phenomenon within the

instrument. While integral to the production of sound, the vibration is completely

passive on the part of the performer.

4. Reasons for revision

a) Students instructed to buzz their lips almost always purse their lips

creating an abundance of tension

b) This excess tension restricts both the ability of the breath to freely flow

into the instrument and keeps the lips from vibrating naturally with

instrument’s acoustical feedback

c) The result being poor tone with impeded resonance along with

significant tension in the face, throat, and chest from the restricted

breath.

5. Alternatives

a) Brass instruments generate their sound by the player accelerating their

wind into the horn. This energizes the air already inside the tubing

creating a vibrating column of air forming a standing sound wave.

56

b) “Buzz” should be avoided as a verb or instruction to students. It is best

used as a description or adjective to describe the phenomenon that is

present when playing the instrument properly.

c) Seek out actions and instructions that direct the student to move air.

i. Take a breath and release

ii. Make wind into the mouthpiece

iii. Accelerate the air

B. Use more air

1. This instruction is the “catch-all” phrase for seemingly every problem a brass

teacher might encounter, but most often…

a) Range… high or low

b) Slurring through notes within the harmonic series

c) Poor tone

2. If there is an abundance to isometric tension in the player, any attempts to “use

more air” will result in compounded pressure and tension

3. Many younger students will get red in the face or have unusual

swelling/expansion in the throat… they make it look hard when it should be easy

to move air through the horn

4. Alternatives

a) It’s an issue of quantity vs quality

b) The quality of the wind needs to be fast and energized, BUT free

flowing and absent of excess tension and pressure

c) Identify and foster positive habits on the inhalation that reduce tension

in the body

i. Keep the breath in time with the inhalation and the start

the sound with a quick turn-around

57

ii. There is such a thing as breathing too much… stretch the

breath yes, but never to the point of being uncomfortable

d) Select words and instructions that emphasize the quality of the wind

needed

i. Release the wind through the lips

ii. “Spin the air through the phrase”

iii. Practice moving wind w/o the instrument either freely

through the lips or on the mouthpiece… listen for

tension and restriction.

C. Blow harder

1. The action of “blowing” is sometimes unhelpful for students who are already

struggling with a delivery of the breath that is free of tension.

a) Students often associate blowing with actions such as extinguishing

birthday candles or blowing dust off a dirty mantle.

b) The result is often turbulence in the airstream from the wind trying to

enter the instrument in excess quantities.

c) This issue affects the high brass more than low because of the smaller

equipment

2. Harder is a word that fails to inspire the free, flowing, and energized qualities in

the airstream that are needed to produce a good sound

3. Alternatives

a) More accurate descriptors

i. Free, flowing, fast

ii. Hot, humid, rich

iii. Energized

b) Use imagery to help students visualize

58

i. Associate a shape with the column of air… round and

full bodied

ii. Blowing across a hot drink (blow too hard and the drink

will splash and spill)

iii. Blowing across a candle from a distance without

extinguishing it

c) Better verbs for delivery of the wind

i. Release

ii. Let go

D. Breath support

1. Considering a novice player’s perspective, how do you “do” support?

a) Is it a voluntary muscle constriction?

b) Does it involve flexing of the abdominal muscles?

2. Like many phrases, it is well-intentioned, but leaves the students to interpret their

own meaning and instructions executing.

3. Is the instruction to “use breath support” easily tied to a musical outcome?

4. Alternatives

a) Float the sound on the breath

b) Breath and “sing the sound”

c) Just encouraging students to take a full breath often results in enough

energy behind the exhalation without having to labor… passive result

E. Relax

1. How does a student “do” relaxed? Is this even an executable command?

a) More of a wishful sentiment

b) Telling a friend to relax before big test never helps.

59

2. Relaxation is a more appropriate as an adjective than a verb as it describes a

desirable state of being.

3. Alternatives

a) Teachers need to think creatively. Consider instructions that encourage

relaxation in the body and not simply asking for it.

b) Address the quality of the breath as being hot, humid, full, rich to

encourage muscles to release.

c) Taking a good breath can naturally break muscles free from tension if

done properly.

IV. Conclusions

A. The best teaching is an art-form that transcends the use of parroted phrasing.

B. The search for best-practice teaching is never over. We should constantly reflect over

how we teach, what we ask students to do, and evaluate how students respond.

C. The most creative aspects of teaching are often the result of carefully crafted language.

Chapter Conclusions It has hopefully become clear to see the pedagogical threads woven between these four

lecture materials. Generating and focusing an accurate mental image of the music and trusting the

mind to organize the many physical systems used in playing without dedicated conscious thought

is a central tenant in the teaching philosophies of both Adam and Cichowicz. In the lesson

materials for both teaching a new brass player their first sounds and improving upon wind playing

phraseology, there is a commitment to avoiding direct instructions that relate to physical

processes and every effort is made to teach through creative musical thought and abstract

imagery. Mr. Adam is often quoted from his clinic address for the phrase brass playing is 90%

imagination of the sound (music), 9% taking and using a good breath, and 1% everything else.

60

Utilizing the imagination to subconsciously direct physical triggers in the body is the most

efficient way to address most aspects of playing a brass instrument.

61

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