utk trombone studio f2014 s/h trombone studio.pdf · handbook/syllabus. f2014.!!...

Handbook/Syllabus. F2014.!

NAME/SIGNATURE:-

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Trombone-Studio-Handbook-and-Syllabus!!

!Music!Performance!MUPF!125/126-Music!Performance!MUPF!225/226!Music!Performance!MUPF!325/326!Music!Performance!MUPF!425/426!Music!Performance!MUPF!525!Trombone!Solo!Class!MUSC!200!

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Meeting-Time-and-Place!HMC!306,!TBA!

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Faculty-Contact-Information-

Dr.!Alex!van!Duuren!Natalie!L.!Haslam!Music!Center,!Room!306!

Cell!Phone:!352L575L0839!Email:[email protected]!

Office!Hours:!By!appointment!(and!see!below!for!more)!-

Handbook/Syllabus. F2014.!THIS-HANDBOOK-

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This!handbook!contains!a!different,-specific-syllabus!for!each!lesson!level!of!trombone!lessons.!Because!most!of!the!information!in!this!handbook!is!not!levelLspecific,!and!applies!to!all!students!in!the!studio,!we!use!a!combined!document.!However,!there!are!specific!benchmarks!which!separate!the!individual!class!levels,!and!these!are!clearly!marked!in!the!“LevelLspecific!Benchmarks”!pages.!You!will!use!this!same!book!throughout!your!time!in!the!trombone!studio,!and!as!your!progress!to!higher!levels,!a!different!benchmark!page!will!apply!to!you,!as!that!new!set!of!benchmarks!becomes!relevant!(and!therefore,!you!will!have!a!new$syllabus!for!your!advanced!level).!!-

MISSION-STATEMENT-

!!The!Trombone!Studio!at!the!University!of!Tennessee!has!the!singular!goal!to!produce,!by!the!time!of!program!completion,!teachers!and!performers!that!contribute!positively!to!the!larger!field!of!the!fine!arts.!This!contribution!is!made!to!the!best!of!our!individual!abilities,!with!the!best!of!our!personal!integrity,!and!with!a!perpetual!focus!on!advancing!our!field,!our!colleagues,!and!ourselves.!!THE-TROMBONE-STUDIO-EXCUSE-POLICY-

!!No-member-of-the-trombone-studio-may-claim-to-be-busier-than-another-student-or-teacher,-or-use-his-or-

her-busyness-to-leverage-against-a-missed-assignment-or-obligation.--

!Everyone!in!a!university!is!busy.!In!fact,!busyness!is!relative!to!your!perspective!on!the!amount!of!work!it!takes!for!one!to!be!considered!“busy.”!Therefore,!since!objective!measures!of!busyness!cannot!be!undertaken,!it!is!not!fruitful!to!engage!in!a!busyness!war,!and!furthermore,!taking!such!a!position!suggests!that!the!excuseLmaker!is!either!more!important!or!more!irresponsible!than!the!excuseLreceiver.!Both!of!these!positions!reflect!poorly!on!oneself.!!!In!general,!trombone!studio!students!are!discouraged!from!excuseLgiving!entirely,!notwithstanding!obviously!extreme!circumstances!for!which!consideration!is!of!course!necessary.!A!model!student!in!the!trombone!studio!simply!completes!his!or!her!obligations!or!does!not,!avoids!deflecting!responsibility,!and!accepts!the!fruits,!ripe!or!rotten,!of!his!or!her!labors.!!!-

CENTRAL-LEARNING-OBJECTIVES-(NONSCOURSE-SPECIFIC)-

!!By!the!end!of!this!course,!all!students!will!be!able!to:!!

1) Recognize!the!nature!of!the!music!business,!and!“what!it!takes”!to!be!a!music!professional!in!their!given!discipline!or!career!focus!


!2) Prepare!for!a!paid!playing!engagement!and!incorporate!the!personal!responsibility,!preparation,!and!

professionalism!that!is!required!in!such!a!circumstance!!

3) Develop!a!foundational!knowledge!of!pedagogical!principles,!as!appropriate!for!their!individual!level,!and!be!able!to!effectively!teach!others!

!4) Illustrate!an!ability!to!perform!in!public!with!poise!and!confidence!

!5) Develop!a!foundational!knowledge!of!both!classical!and!jazz!theory,!as!appropriate!for!their!individual!

level!!

6) Perform!with!excellent!intonation!at!all!times!!

7) Develop!a!personal!musical!style!which!synthesizes!their!own!idiosyncrasies!with!their!teacher,!colleagues,!and!other!professionals!

!REQUIRED-MATERIALS-

!!Students!are!required!to!have!the!following!materials:!!

1) An!instrument!in!excellent!working!order!and!professionalLgrade!mouthpiece!2) A!metronome!and!tuner!(smartLphone!applications!are!okay)!3) One!of!the!many!available!daily!routine!books!4) Bordogni/Rochut!–!Melodious$Etudes$for$Trombone$(Book!1)!5) Blazhevich!–-Clef$Studies$(Tenor)!6) Vernon!–-Singing$Approach$to$Brass$Playing$(Bass)!7) This!Handbook!and!Syllabus!(do!not!misplace!it!)!

!GRADING-POLICIES-AND-STRUCTURE-

!!The!student’s!grade!in!all!MUPF!courses!will!be!determined!as!follows:!!30%-S-Trombone-Studio-(and-Lessons)-Grade:-

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Your!studio!and!lesson!grade!is!determined!as!a!result!of:!!

1) Quality!of!work!done!in!private!lessons,!including!preparation,!progress,!and!attitude!2) Adherence!to!attendance!and!responsibilities!policies!(below)!3) Conducting!yourself!in!a!professional!and!respectful!manner!toward!myself!and!other!studio!

members!

Handbook/Syllabus. F2014.!!Each!lesson!is!graded!Pass!or!Fail.!For!each-two-failed-lessons,-the-student-receives-a-5%-deduction-from-

their-Trombone-Studio-Grade.-You!may!ask!me!for!an!update!of!your!studio!lesson!grade!at!any!time.!!!30%-S-Solo-Class-Grade:-

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Your!solo!class!grade!is!determined!as!a!result!of:!!

1) Participation!and!engagement!in!solo!class!on!a!daily!basis!2) Adherence!to!attendance!policies!3) Completion!of!assigned!performances,!if!any,!during!solo!class!time!

30%-S-Jury-or-Recital-Result:*

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Your!jury!grade!is!determined!as!result!of!your!performance!at!the!endLofLsemester!jury,!or!your!degree!recital,!but!not!both.!Please!see!the!Brass!Guide!for!more!information.!!!10%-S-Personal-Project:-

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Each!semester!you!will!be!assigned!a!small!personal!project,!to!be!completed!by!semester’s!end.!These!projects!can!include,!but!are!not!limited!to,!private!lesson!teaching!of!another!student,!interviews!of!respected!musicians,!listening!assignments,!short!papers,!reading!assignments,!studio!recordings,!and!other!outlets.!The!personal!project!will!be!assigned!to!the!student!by!Dr.!van!Duuren!by!November!1st.!In!addition,!the!student!may!suggest!his!or!her!own!personal!project,!to!be!approved!at!the!discretion!of!the!instructor.!!!!The-Grading-Rule-of-Thumb:--

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This!dangerously!simple!“Rule!of!Thumb”!for!this!studio!is!one!that,!if!followed,!will$virtually$always$result!in!a!final!grade!of!an!A:!!

Show$up.$Show$effort.$!-

RESPONSIBILITIES-OF-ALL-STUDENTS!!-

Each!and!every!student!in!the!trombone!studio!has!a!mandatory!responsibility!to!the!following:!!

1) Attendance!is!mandatory!at!all!brass!student!recitals,!brass!faculty!recitals,!brass!guest!artist!recitals,!and!faculty!brass!quintet!concert!performances.!Students!are,!additionally,!strongly!encourage!to!attend!as!many!School!of!Music!events!as!possible.!!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!*!Students!who!perform!a!degree!recital!are!not!required!to!take!a!jury.!*!This!a!requirement!of!the!entire!brass!area,!and!will!be!adjudicated!at!the!Scale!Proficiency!Exam!following!the!second!semester!of!


!2) Preparation!for!lessons!is!mandatory.!Failure!to!prepare!sufficiently!is!seen!as!cause!for!dismissal!from!

the!lesson,!for!which!a!failing!grade!for!that!lesson!will!be!given.!“Sufficient!preparation”!is!considered:!1L4!hours!of!practice!per!day,!with!a!50%!or!greater!focus!on!the!specific!materials!for!the!given!week’s!lesson!or!rehearsal.!!!

3) Email!will!be!the!primary!form!of!communication!within!the!studio!for!both!individual!and!group!messages.!If!the!email!is!labeled!“RESPONSE!REQUIRED,”!the!student!is!required-to-respond!to!said!email!within!36!hours,!and!preferably!immediately!upon!receipt.!!!

4) If!the!student!is!offered!a!paid!performance!opportunity!by!Dr.!van!Duuren,!and!accepts!that!opportunity,!the!student!cannot-back-out!of!the!opportunity!specifically!in!order!to!accept!a!higher!paying!opportunity!without!express!permission!given!by!Dr.!van!Duuren.!This!is!a!policy!that!is!designed!to!further!you,!the!student,!in!your!development!as!a!professional,!and!is!inextricably!related!to!Central!Learning!Objectives!1!and!2,!below.!!!

5) All!students!enrolled!in!the!private!lessons!must!participate!in!one!large!or!medium!ensemble!(bands,!orchestra,!jazz!band)!and!one!small!ensemble!(trombone!choir,!studio!orchestra,!contemporary!music!ensemble,!etc.).!Students!should!understand!that!performing!in!university!ensembles!is!a!considerable-part!of!their!education!through!the!School!of!Music,!and!therefore!all!students!are!encouraged!to!perform!in!as!many!diverse!ensembles!as!they!possibly!can.!!

!ATTENDANCE-AND-TARDINESS-POLICIES-

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All-music-majors-enrolled-in-private-lessons-are-required-to-also-participate-in-solo-class,-and-are-expected-to-

participate-in-trombone-choir-except-in-the-case-of-an-unavoidable-schoolSrelated-conflict.--

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Attendance!at!individual!trombone!studio!courses!(lessons,!solo!class,!choir)!is!mandatory.!There!are!no!allowed!unexcused!absences.!Attendance!is!also,!of!course,!mandatory!at!any!solo!performances!that!you!may!give!as!an!extension!of!your!trombone!studies!in!the!studio.!Students!should!make!every!effort!to!attend!their!regularly!scheduled!obligations,!however,!if!the!student!needs!to!reschedule!his!or!her!lesson!for!a!valid!purpose,!he!or!she!must!contact!Dr.!van!Duuren!at!least!24!hours!in!advance,!in!order!to!receive!a!makeLup!lesson!time!and!be!excused!from!that!lesson.!!!Each!unexcused!absence!will!incur!a!5%-reduction!of!the!student’s!final!grade!for!the!course.!!!Tardiness-is!additionally!accounted!for!in!the!student’s!grade.!Tardiness!is!defined!as!5-or-more-minutes-past!the!scheduled!starting!time.!Three-instances-of!tardiness!will!be!considered!an!unexcused!absence,!which!will!then!be!treated!according!to!the!above!attendance!policy.!This!in!turn!is!in!effect!for!the!instructor,!and!students!are!no!longer!required!at!a!lesson!to!which!Dr.!van!Duuren!is!5!or!more!minutes!late.!

Handbook/Syllabus. F2014.!!Unexcused-Absence-Relief-Policy:-Near!the!end!of!each!semester,!students!with!unexcused!absences!may!be!given!the!opportunity!to!take!the!absences!off!of!their!record,!in!which!case!the!absence!will!have!no!impact!on!the!student’s!final!grade.!These!opportunities!(which!can!include,!but!are!not!limited!to,!short!essays,!concert!attendances,!recorded!performances,!research!projects,!and!volunteer!work!for!the!trombone!studio)!are!given!at!the!discretion!of!Dr.!van!Duuren,!but!the!student!is!more!than!welcome!to!request!such!an!opportunity.!!!Dr.-van-Duuren’s-Absences:-It!will!occasionally!be!the!case!that!I!need!to!miss!a!lesson!or!class!due!to!an!engagement!(such!as!a!guest!artist!appearance).!Students!will!be!notified!in!advance!of!such!changes,!and!offered!the!opportunity!to!schedule!a!makeLup!lesson.!Students!are!not-required-to!schedule!the!makeLup!lesson,!however,!each!student!is!by!rule!entitled!to-13-lessons-per!semester!(excluding!those!for!which!an!unexcused!absence!was!incurred).!!!-

USE-OF-ELECTRONIC-DEVICES-

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Students!are!permitted!to!use!laptops!in!solo!class,!for!the!sole!purpose!for!greater!engagement!in!the!course!itself.!I!reserve!the!right!to!institute!an!electronic!shutLdown,!both!on!the!individual!and!class!level,!at!any!time!that!I!consider!this!privilege!violated.!!!-

OFFICE-HOURS/OPEN-DOOR-POLICY-

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Office!meetings!are!by!appointment,!and!may!potentially!be!granted!at!any!time!on!request.!In!some!cases,!the!door!to!RM306!will!be!open,!in!which!case!any!and!all!students!are!welcome!to!see!me!or!use!the!space!socially!at!their!leisure.!!-

LETTERS-OF-RECOMMENDATION-

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It!is!my!pleasure!to!write!as!many!letters!of!recommendation!as!you!need,!however,!please!know!that!letters!of!recommendation!are!not$a$requirement!on!the!part!of!any!instructor,!nor!is!it!a!requirement!that!the!instructor!give!a!positive$recommendation.!In!order!to!represent!you,!myself,!and!the!University!of!Tennessee!with!accuracy!and!integrity,!I!take!these!letters!very!seriously!and!write!letters!that!are!specific!to!each!student.!You!are!more!than!welcome!to!discuss!with!me!the!nature!of!any!potential!recommendation!letter.-!PIANO-ACCOMPANIMENTS-

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Students!who!perform!on!Trombone!Night!and!at!their!juries!are!expected!to!obtain!an!accompanist!well!in!advance!to!their!performance.!In!addition,!if!the!student!is!performing!in!Solo!Class!near!the!time!of!their!

Handbook/Syllabus. F2014.!upcoming!public!performance,!they!may!be!asked!to!bring!the!piano!accompanist!at!that!time!as!well.!In-some-

cases,-I-will-be-available-to!perform!the!accompaniment!myself,!which!will!save!your!time!and!sometimes!money,!but!you!must!ask!me!in!advance!if!it!is!possible!that!I!perform!any!given!piece!with!you.!Please!do!not!simply!assume!that!I!will!play!the!piano!part!for!you.!!!REPRESENTATIVE-LITERATURE-FOR-TROMBONE-

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!In!order!to!aid!students!in!selecting!appropriate!literature!for!their!current!standing,!the!following!lists!of!representative!literature!are!provided.!Please!note!that!these!lists!are!not!allLinclusive,!and!the!student!is!not-required-to!select!a!work!from!his!or!her!respective!class!level.!They!are!intended!for!reference!only.!!

Tenor-Trombone-–-First-Year-

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Benson!–!Aubade!Handel!–!Honor$&$Arms!Handel!–!Wher’er$You$Walk!Hasse!–!Suite!Berlioz!–!Recitative$&$Prayer!Rossini!–!Inflamatus!Gailliard!–!Sonata!nos.!1,!2,!5!Marcello!–!Sonata$III!Marcello!–!Sonata!in!C!Marcello!–!Sonata$in!E!minor!Handel!–!Sonata$no.!3!Ropartz!–!Andante$et$Allegro$De!La!Nux!–!Concert$Piece$Telemann!–!Sonata$in!F!minor!Still!–!Romance$Ridout!–!Concertino$Mozart!–!Concert$Rondo,$K.!371!Mozart!–!Concerto!in!BLflat,!K.!191!Klingbeil!–!Three$Movements$Bernstein!–!Elegy$for$Mippy$II$(unaccomp.)!Jacob!–!Sonata$Guilmant!–!Morceau$Symphonique$Barat!–!Andante$et$Allegro$Skolnik!–!Little$Suite$in!ALflat!SaintLSaens!–!Cavatine!Cesare!–!Canzon$“La$Hieronyma”$(King!edition)!Handel!–!Concerto$in!F!minor!Albinoni!–!Concerto$in!D!minor!Albrechtsberger!–!Concerto$$RimskyLKorsakov!–!Concerto$

Bass$Trombone$Second$Year$Cont….$Stevens!–!Sonatina$Nelhybel!–!Concerto$for$Bass$Trombone$Lebedev!–!Concerto$in$One$Movement$!

Bass-Trombone-–-Third-Year:-

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Lebedev!–!Concerto$Allegro$Shostakovich!–!Adagio$from$“Limpid$Stream”$Sachse!–!Concertino$Spillman!–!Concerto$Ewazen!–!Ballade$for$Bass$Trombone$George!–!Concerto$Jacob!–!Cameos$Galliard!–!Six$Sonatas!Fetter!–!Spain!!Wilder!–!Sonata$Hidas!–!Meditation!(unaccomp.)!Koopman!–!Canzone$(with!CD)!!

Bass-Trombone-–-Fourth-Year:-

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Hartley!–!Sonata$Breve$(unaccomp.)!Ewazen!–!Concertino$Ewazen!–!Concerto$Ewazen!–!Rhapsody$Bach!–!Flute$Partita$Casterede!–!Fantasie$Concertante$Boutry!–!Tubachhanale$Bozza!–!Theme$Varie$Bozza!–!New$Orleans$Duckworth!–!Statements$and$Interludes$

Handbook/Syllabus. F2014.!Pryor!–!Thoughts$of$Love$Kalinkowitsch!–!Elegia$“Memories$of$Shostakovich”$$

Tenor-Trombone-–-Second-Year-

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Vaughan!Williams!–!Six$Studies$in$English$Folksong$Jorgensen!–!Romance,$op.!21!Rousseau!–!Piece$Concertante$White!–!Sonata$Whear!–!Sonata$Genzmer!–!Sonata$Kenny!–!Fanfare$(unaccomp.)!Sanders!–!Sonata$Davison!–!Sonata$Monaco!–!Second$Sonata$Weber!–!Romance$Mahler!–!Solo$from!Symphony!no.!3!(Ostrander)!Salzedo!–!Piece$Concertante$Pergolesi!–!Sinfonia$Nordheim!–!The$Hunting$of$the$Snark$(unaccomp.)!Tomasi!–!Danse$Sacree$Larsson!–!Concertino$McKay!–!Sonata$no.!1!Stojowski!–!Fantaisie$Jongen!–!Aria$and$Polonaise$Beethoven!–!Seven$Variations$(theme!from!Magic!Flute)!Frackenpohl!–!Variations$on$a$Theme$of$Shostakovich$Corwell!–!Distant$Images$(with!tape)!Ross!–!Cyptical$Tryptich$Cook!–!Bolivar$$Wagenseil!–!Concerto$Rossini/Liszt!–!Cujus$Animam$(with!organ)!David!–!Concertino$Pryor!–!Blue$Bells$of$Scotland$Buss!–!Trek!$Cage!–!Solo$for$Sliding$Trombone$(unaccomp.)!Jorgensen!–!Suite$Bassett!–!Sonata$Stevens!–!Sonatina$$

Tenor-Trombone-–-Third-Year:-

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Dutilleux!–!Chorale,$Cadence,$&$Fugato$

Frank!–!Variations$on$“Barnacle$Bill$the$Sailor”$Markey!–!Variations$on$“Turkey$in$the$Straw”$Schnyder!–!Sonata$Zwilich!–!Concerto$$!

Jazz-Standards-–-roughly-by-difficulty-

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First-Level:-

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A$Night$in$Tunisia$All$the$Things$You$Are$Alone$Together$Autumn$Leaves$Bessie’s$Blues$Blue$Bossa$Blue$Monk$Body$and$Soul$Fly$Me$to$the$Moon$Four$Green$Dolphin$Street$Have$You$Met$Miss$Jones$Indiana$It$Don’t$Mean$a$Thing!Just$Friends$Limehouse$Blues$Misty$My$Funny$Valentine$One$Note$Samba$Perdido$Satin$Doll$So$What$Stella$by$Starlight$Sweet$Georgia$Brown$Take$the$“A”$Train$Tune$Up$What$Is$This$Thing$Called$Love$$

Second-Level:-

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All$Blues$All$of$Me$Anthropology$Blues$for$Alice$Footprints$Girl$from$Ipanema,$The$

Handbook/Syllabus. F2014.!Chambers!–!3$B’s!(unaccomp.)!Serocki!–!Sonatina$Ferro!–!Daybreak$$Ferro!–!Midday!!Ferro!–!Midnight$$Ferro!–!Sunset$$Milhaud!–!Concertino$d’Hiver$Hartley!–!Sonata$Concertante$Phillips!–!T.$Rex$(with!tape)!Ewazen!–!Sonata$Asia!–!Dream$Sequence$1$(unaccomp.)!Eben!–!Two$Invocations$(with!organ)!Hindemith!–!Sonate$Stevens!–!Sonata$Sulek!–!Sonata$“Vox$Gabrieli”$Holst!–!Duo$Concertante$(with!organ)!Wilder!–!Sonata$for$Trombone$Persichetti!–!Parable$(unaccomp.)!Grondahl!–!Concerto$Duckworth!–!Statements$&$Interludes$Bozza!–!Ballade!Boutry!–!Capriccio$Schumann!–!Three$Romances$Bourgeois!–!Coat$de$Bone$(unaccomp.)!Glazanov!–!Chant$du$Menestrel$Howarth!–!Concerto!F.!Strauss!–!Notturno,!op.!7!(Lawrence)!Debussy!–!Beau$Soir!Crespo!–!Improvisation$Nr.$1!(unaccomp.)!SaintLSaens!–!Le$Cygne$Massenet!–!Meditation$from!“Thais”!(Hartman)!!

Tenor-Trombone-–-Fourth-Year-and-Above:-

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Casterede!–!Sonatine$Bolter!–!Arctic$Emanations$Dorsey!–!Trombonology$$Goldstein!–!Colloquy$Tomasi!–!Concerto$Arnold!–!Fantasy$for$Trombone$(unaccomp.)!Krenek!–!Five$Pieces$Walker!–!Concerto$Bloch!–!Symphony$Martin!–!Ballade$Appermont!–!Colors$$

How$High$the$Moon$I$Can’t$Get$Started$I’ll$Remember$April$I$Love$You$Lady$Bird$Michelle$My$Foolish$Heart$My$Romance$Night$and$Day$Recordame$Sidewinder$Straight,$No$Chaser$They$Can’t$Take$That$Away$From$Me$West$Coast$Blues$When$I$Fall$in$Love$Yesterday$You$Are$the$Sunshine$of$My$Life$$

Third-Level:-

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Au$Privave$Body$and$Soul$Chega$De$Saudade$Confirmation$Corcovado$Donna$Lee$Easy$Living$Freddie$the$Freeloader$Half$Nelson$Honeysuckle$Rose$Impressions$In$a$Sentimental$Mood$Jeanine$Jordu$Lazy$Bird$Like$Someone$in$Love$Maiden$Voyage$Mood$Indigo$My$Favorite$Things$Nardis$Prelude$to$a$Kiss$Shadow$of$Your$Smile$$Someday$My$Prince$Will$Come$Song$for$My$Father$Sophisticated$Lady$

Handbook/Syllabus. F2014.!Filas!–!Sonata$!Jacob!–!Concerto$Rota!–!Concerto$Plog!–!Three$Miniatures$Rabe!–!Basta$(unaccomp.)!Bourgeois!–!Fantasy$Pieces$(unaccomp.)!Berio!–!Sequenza$V$(unaccomp.)!Xenakis!–!Keren$(unaccomp.)!Lynn!–!Doollallynastics$(unaccomp.)!Defaye!–!Deux$Dances$Ewazen!–!Visions$of$Light$Bizet/Elkjer!–!Carmen$Fantasy!de!Meij!–!T]Bone$Concerto$Creston!–!Fantasy$Bourgeois!–!Concerto$Peaslee!–!Arrows$of$Time$Schuller!–!Eine$Kleine$Posaunedmusik$de!Frumerie!–!Sonat$(or!Concerto)!Rouse!–!Trombone$Concerto$!

Bass-Trombone-–-First-Year:-

Hartley!–!Arioso$Hindemith!–!3$Leichte$Stucke$Albinoni!–!Adagio$in$Fa$majeur$Hoffman!–!Trigger$Treat!Bariller!–!Hans$de$Schonceloch$Tcherepnin!–!Andante$for$Tuba$Muller!–!Praeludium,$Chorale,$Variations$and$Fugue$Siekmann!–!Concerto$for$Bass$Trombone$Siekmann!–!Rhapsody$on$Pennsylvania$Dutch$Songs$Lieb!–!Concertino$Basso$Vaughan!Williams!–!Six$Studies$in$English$Folk$Songs$Lassen!–!Zwei$Fantasie$Stucke$

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Bass-Trombone-–-Second-Year:-

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Tuthill!–!Fantasia$for$Tuba$or$Bass$Trombone$White!–!Tetra$Ergon$McCarty!–!Sonata$for$Bass$Trombone$Lanatier!–!Introduction,$Romance$and$Allegro$Spillman!–!Two$Songs$Bach!–!Cello$Suites$Telemann!–!Flute$Fantasies$Tchaikovsky!–!Melodrama$Dossett!–!Trilogy!

Stompin’$at$the$Savoy$There$Is$No$Greater$Love$There$Will$Never$Be$Another$You$Well$You$Needn’t$Woody’n$You$Yes$or$No$Yesterdays$$

Fourth-Level:-

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Airegin$Angel$Eyes$Black$Orpheus$Bluesette$Boplicity$Ceora$Chelsea$Bridge$Cherokee$Daahoud$Desafinado$Dolphin$Dance$Epistrophy$Freedom$Jazz$Dance$Giant$Steps$I$Mean$You$Invitation$I$Remember$Clifford$Joy$Spring$Lush$Life$Meditation$Moment’s$Notice$Mr.$P.C.$Naima$Nica’s$Dream$Ornithology$Out$of$Nowhere$‘Round$Midnight$Scrapple$from$the$Apple$Some$Skunk$Funk$Spain$Speak$No$Evil$Stolen$Moments$Summer$Samba$Take$Five$Teach$Me$Tonight$

Handbook/Syllabus. F2014.!UNIVERSITYSWIDE-POLICIES-

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Academic-Integrity,-Cheating-and-Plagiarism-

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“An$essential$feature$of$the$University$of$Tennessee,$Knoxville$is$a$commitment$to$maintaining$an$atmosphere$of$intellectual$integrity$and$academic$honesty.$As$a$student$of$the$university,$I$pledge$that$I$will$neither$knowingly$give$nor$receive$any$inappropriate$assistance$in$academic$work,$thus$affirming$my$own$personal$commitment$to$honor$and$integrity.”$!!The!minimum!penalty!for!either!plagiarism!or!cheating!is!an!“F”!in!the!course,!with!suspension!and!dismissal!also!as!possibilities.!-

Accommodations-for-Students-with-Disabilities-

$“Any$student$who$feels$he$or$she$may$need$an$accommodation$based$on$the$impact$of$a$disability$should$contact$the$Office$of$Disability$Services$(ODS)$at$865]974]6087$in$2227$Dunford$hall$to$document$their$eligibility$for$services.$ODS$will$work$with$students$and$faculty$to$coordinate$reasonable$accommodations$for$students$with$documented$disabilities.”$!!As$an$institutional$member$of$the$national$association$of$schools$of$music,$the$University$of$Tennessee$School$of$Music$supports$the$association's$commitment$to$student$health$and$wellness.$The$following$web$address$provides$links$to$information$for$resources$related$to$physical$and$mental$well]being,$as$well$as$assisting$in$offering$preventative$measures$that$students$can$take$to$avoid$serious$and/or$chronic$conditions:$http://www.music.utk.edu/about/health.html.$!-

Key-Resources-for-Students-

!•!Hilltopics:!http://dos.utk.edu/hilltopics!(campus!and!academic!policies,!procedures!and!standards!of!conduct)!!•!Course!Timetable:!https://bannerssb.utk.edu/kbanpr/bwckschd.p_disp_dyn_sched!(schedule!of!classes)!•!Academic!Planning:!http://www.utk.edu/advising!(advising!resources,!course!requirements,!and!major!guides)!•!Student!Success!Center:!http://studentsuccess.utk.edu!(academic!support!resources)!•!Library:!http://www.lib.utk.edu!(access!to!library!resources,!databases,!course!reserves,!and!services)!•!Career!Services:!http://career.utk.edu!(career!counseling!and!resources;!hireLaLvol!job!search!system)!-

University-Civility-Statement-

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“Civility$is$genuine$respect$and$regard$for$others:$politeness,$consideration,$tact,$good$manners,$graciousness,$cordiality,$affability,$amiability$and$courteousness.$Civility$enhances$academic$freedom$and$integrity,$and$is$a$prerequisite$to$the$free$exchange$of$ideas$and$knowledge$in$the$learning$community.$Our$community$consists$of$students,$faculty,$staff,$alumni,$and$campus$visitors.$Community$members$affect$each$other’s$well]being$and$have$a$shared$interest$in$creating$and$sustaining$an$environment$where$all$community$members$and$their$points$of$view$are$valued$and$respected.$Affirming$the$value$of$each$member$of$the$university$community,$the$

Handbook/Syllabus. F2014.!campus$asks$that$all$its$members$adhere$to$the$principles$of$civility$and$community$adopted$by$the$campus:$http://civility.utk.edu/.”$$Your-Role-in-Improving-Teaching-and-Learning-through-Course-Assessment-

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“At$UT,$it$is$our$collective$responsibility$to$improve$the$state$of$teaching$and$learning.$During$the$semester,$you$may$be$requested$to$assess$aspects$of$this$course$either$during$class$or$at$the$completion$of$the$class.$You$are$encouraged$to$respond$to$these$various$forms$of$assessment$as$a$means$of$continuing$to$improve$the$quality$of$the$UT$learning$experience.“$!SCHOOL-OF-MUSIC-DEGREESLEVEL-LEARNING-OUTCOMES-

!!This-course-supports-the-following-Bachelor-of-Music/Arts-Learning-Objective:-

!1. Create!an!effective!music!presentation!by!integrating!comprehensive!capabilities,!and!by!

demonstrating!general!knowledge!of!literature!and/or!key!concepts,!in!the!concentration.!-

This-course-supports-the-following-Master-of-Music-Learning-Objective:-

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1. Create!an!effective!music!presentation!at!a!high!level!by!integrating!comprehensive!capabilities,!and!by!demonstrating!advanced,!comprehensive!knowledge!of!literature!and/or!key!concepts!at!an!advanced!level,!in!the!concentration.!

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LEVELSSPECIFIC-BENCHMARK-PAGES-(ONLY-ONE-APPLIES)-

!!Learning!to!be!a!successful!performer!and!teacher!does!not!happen!at!the!same!pace!for!all!people,!and!this!studio!recognizes!that!fact.!However,!in!order!to!provide!the!student!with!some!benchmarks!against!which!his!or!her!progress!can!be!compared,!as!well!as!guidelines!for!his!or!her!successful!advancement!through!the!trombone!curriculum,!the!following!guidelines!are!given!for!each!grade!level:! -

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MUPF-125/126-SYLLABUS-(BENCHMARKS)-

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• Development!of!a!consistent!warmLup/routine!!

• Development!of!a!characteristic!tone!!• Development!of!satisfactory!legato!and!detached!articulation!styles!

!• Range!security!up!to!A4!and!down!to!E2!!• All!major!scales!and!all!minor!scales!(in!all!three!modes),!including!arpeggios,!two!octaves!at!120!bpm*!

!• Chromatic!scales!from!any!starting!note!!• Fundamental!understanding!of!trombone!tuning!idiosyncrasies!!• Development!of!satisfactory!sight!reading!skills!!!!!!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!*!This!a!requirement!of!the!entire!brass!area,!and!will!be!adjudicated!at!the!Scale!Proficiency!Exam!following!the!second!semester!of!100!level!study.!!



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!

Retention/refinement!of!the!125/126!minimums!as!well!as:!-

• Ability!to!single!tongue!sixteenth!notes!at!a!minimum!of!110!bpm-

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• Multiple!articulation!tonguing!technique!on!repeated!notes--

• Range!security!up!to!B4-and!down!to!C2--

• All!major!scale!modes--

• Development!of!jazz!style!and!articulation--

• Fundamental!development!of!both!tenor!and!alto!clef!reading--

• Ability!to!play!simple!tunes!by!ear!in!any!key--

• Ability!to!consistently!perform!with!satisfactory!intonation-!-• Development!of!strong!sight!reading!proficiency,!including!tenor,!alto,!and!BbLtreble!clefs**-

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!**!This!will!be!adjudicated!at!the!areaLwide!Sight!Reading!Proficiency!examinations!that!take!place!after!the!second!year,!and!form!a!barrier!to!the!third!year!of!private!lesson!study.!!



!

!Retention/refinement!of!the!225/226!minimums!as!well!as:!-


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• Multiple!articulation!technique!on!scalar!passages--

• Range!security!up!to!C#5-and-down!to!G1--

• All!aforementioned!scales!as!well!as!the!octatonic!and!whole!tone!scales-

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• Ability!to!consistently!perform!with!excellent!intonation!--

• Ability!to!prepare!and!perform!a!successful!full!or!half!recital!(as!per!specific!degree!requirements)-

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• Development!of!an!understanding!of!jazz!improvisation--

!!!!!



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!Retention/refinement!of!the!325/326!minimums!as!well!as:--


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• Multiple!articulation!technique!on!arpeggiated!passages--

• Range!security!up!to!Eb5-and!down!to!D1--

• Ability!to!improvise!over!standard!chord!progressions--

• Ability!to!prepare!and!perform!a!successful!full!recital!of!advanced!level!repertoire!at!a!quality!appropriate!to!a!developing!professional!level!performer-

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!!!!!-

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MUPF-525-SYLLABUS-(BENCHMARKS)-

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!Retention/refinement!of!the!425/426!minimums!as!well!as:!!• Ability!to!audition!competitively!for!a!professional!band!or!orchestra,!a!graduate!program!in!a!reputable!college!or!conservatory,!and/or!in!national!or!international!level!competitions-

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• Demonstration!of!a!deeper!understanding!of!pedagogical!concepts!and!ability!to!conduct!an!effective!private!teaching!session-

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• Understand!the!interview!process!for!collegiate!teaching!positions,!and!demonstrate!a!general!preparedness!for!that!process,!including!development!of!application!materials!(CV,!cover!letter,!etc.)-

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A-Note-on-Benchmarks:-All!students!should!seek!to!exceed!the!minimum!benchmarks!of!their!level,!in!order!to!ensure!without!doubt!their!advancement!through!the!brass!area!programs!as!well!as!their!advancement!as!a!potential!professional!musician!and!teacher.--

Handbook/Syllabus. F2014.!TEACHING-METHODS/HANDOUTS-

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!The!following!pages!are!consist!of:!!

1) Lesson!pages!on!which!we!will!write!notes,!assignments,!and!grades!!

2) Personal!methods!that!are!included!to!assist!you!in!your!personal!practice!and!development!outside!of!my!office.!

! Tone!Production!!Articulation!!Intonation!!Slide!Technique!!Air!Flow/Steadiness!!Breathing!!Rhythm!!Pulse!!Phrasing!!Pacing!!Presentation!!Engagement!!Personalization!!Vibrato/Color!!Knowledge!!Posture!!Ease!of!Playing!!Confidence!

Grade&(P/F)&Assignments&Priority&List&!!!1.!!!!2.!!!!3.!

MUPF&X35/36:&UTK&Trombone&Studio:&&Lesson&Notes&–Date:& Element!Trends!

&

Throughout(the(course(of(my(certification(in(Learner3Centered(Teaching,(I(absorbed(a(great(

deal(of(education(philosophy.(I(was(systematically(observed(and(reviewed,(and(so(I(absorbed(

a(great(deal(of(practice(as(well.(But(the(curriculum(didn’t(convince(me(of(the(virtues(of(this(

philosophy;(it(simply(bolded(the(font.(Sometimes(all(one(needs(is(a(defining(phrase(to(put(

into(focus(the(tacit(values(growing(alongside(every(experience(one(has.((!_________________________________________________________________________________________________________(

(

I(believe(in(flexibility)of)instruction)under(the(umbrella(of)structured)goals.(In(a(field(that(balances(technical(mastery(with(ethereal(and(emotional(understanding,(for(performing(

musicians(the(opposite(of(that(statement(is(a(dangerous(temptation.(With(underlying(forces(

in(our(careers(such(as(natural(talent(and(instinctual(understanding,(it(is(very(tempting(for(

pedagogues(to(rely(on(hindsight(bias:(“What(worked(for(me(will(work(for(you.”(Yet,(when(a(

teacher(relies(on(resources(contained(exclusively(within(his(or(herself,(and(works(toward(an(

end(where(success(is(individually(and(often(loosely(defined,(the(pedagogy(therein(is(

reversely(oriented:(rigidity)of)instruction)under(the(umbrella(of)flexible)goals.(In(order(to(avoid(the(ghastly(visage(in(this(mirror,(I(take(the(following(approaches:(

(

Instead!of!putting!knowledge!into!the!student,!I!focus!on!bringing!knowledge!out!of!them.!Neurologically(speaking,(in(order(to(make(sense(of(a(new(situation((in(order(to(learn),(humans(must)locate(the(pre3existing(knowledge(they(possess(that(reconciles(it.(Concordantly,(research(shows(that(learning(is(accelerated(when(pre3existing(knowledge(is(

used(as(the)starting)point(for(instruction.(The(definition(of(intelligence(itself(is(the(ability(to(move(knowledge(around(in(the(brain(so(that(it(bumps(up(against(a(new(experience(and,(

suddenly(then,(makes(a(new(connection.(Therefore,(I(don’t(believe(that(students(are(

incomplete(people,(waiting(to(be(completed(by(their(instructors.(It(is(like(building(a(bridge(

over(an(abyss(that(separates(one(town(from(another;(the(two(towns(become(one)locale,)municipal(considerations(notwithstanding.)In(order(to(build(those(bridges,(I(emphasize(continuity(amongst(concepts,(the(rhythm(of(processes,(and(the(logic(that(is(implicit(within(

that(process.((

(

I!provide!as!many!resources!as!possible,!tools!that!can!integrate!disparate!environments!into!a!whole.!As(a(byproduct(of(an(inquisitive(nature,(I’ve(built(some(level(of(proficiency(in(a(variety(of(areas,(leading(me(to(know(at(least(a(little(about(a(lot(of(things.(For(

my(students,(that(means(that(I(can(be(a(resource(person.!This(necessitates(that(I(understand(the(primary(method(through(which(the(student(learns,(which(is(easily(done(by(conducting(a(

Learning(Style(Inventory.(This(short(questionnaire(results(in(critical(information(about(that(

person’s(preferences(and(tendencies(in(knowledge(acquisition.(In(this(way,(my(pool(of(

resources(is(used(much(more(efficiently;(I(can(apply(each(of(my(strengths,(skills,(tidbits,(

metaphors,(philosophies,(and(exercises(in(a(way(that(fully(realizes(the(potential(of(that(

resource.((!

(

Finally,(I(believe(the(basis(of(progress(is(asking(the(right(questions,(not(having(the(right(

answers,(and(so(I!teach!processes!of!inquiry.(I(like(to(ask(questions(in(a(way(that(encourages(further(dialogue.(For(example,(the(question,(“Describe(the(musical(style(of(

Beethoven”(is(richer(when(asked(as(“If(Beethoven(was(born(in(1970,(would(he(still(have(been(

a(pianist(and(composer?(If(so,(what(kind(of(music(might(he(write?(If(not,(what(profession(

would(suit(him?”(The(latter(abstraction(invites(not(only(complex(critical(thinking,(but(it(

strongly(encourages(more(questions,(and(more(conversation.((The(hypothetical(best)instructor)for(a(given(student(is(the(only(instructor(who(knows(and(understands(them(in(perfect(detail;(the(student(him(or(herself.(Therefore,(since(asking(the(right(questions(

critically(defines(instructional(quality,(it(should(critically(define(the(quality(of(the(student.(

(

Teaching(to(the(student((and(not(at(them)(does(not(mean(a(loss(of(control.(It(doesn’t(mean(a(loss(of(structure,(planning,(or(focused(deliverables.(Simply(put,(learner3centered(teaching(is(

aligning(the(flow(of(information(to(run(parallel(with(the(currents(of(the(individual.(This(is(the(

foundation(of(my(philosophy(as(a(teacher.((

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Vibrato Technique:Foundations and Exercise

Alex van Duuren

Vibrato Rhythm

Trombone

The technique of vibrato is underpracticed and oft misunderstood. Many performers rely upon a rough estimation of "vibrato sound" and mimicry of outstanding professionals; however, an understanding of vibrato fundamentals will ensure good technique and allow for the manipulation and personalization thereof.

Vibrato is not the "shaking" of a tone, nor is it what its actual name implies, an addition of vibration itself (trust me, any sound is vibrating already!). Vibrato is simply an oscillation of pitch around a "center" tone (the tone being played); in other words, a rhythmic bending of pitch. Vibrato use varies widely however, and some applications of vibrato sound pleasant while others are strident, shaky, and unruly. Although there are many different and personalized ways of producing a tone with vibrato, we can generalize the technique into two very broad categories, based on perceived results:

A Good Vibrato enhances the quality of the tone; in other words, when the performer adds vibrato, the tone becomes more pleasant.A Bad Vibrato detracts from the quality of the tone; in other words, when the performer adds vibrato, the tone becomes less pleasant.

There are three main "rules" of vibrato which, when executed simultaneously, will all but guarantee to enhance a tone:

1) - The degrees of sharpness and flatness around the tone center should be equal, resulting in an average pitch frequency that is still an intoned note.Note: As a general rule, most brass performers beginning vibrato practice tend to have more trouble flattening their tone than sharpening it.2) - The oscillations should be rhythmically symmetrical and steady (this does not mean that they have to be "in time" with the music you are playing).3) - The addition of vibrato should not deteriorate the fundamental tone quality of the performer.

A well-played vibrato contributes to the expressiveness and colorfulness of a tone. Those that can execute this technique successfully are able to manipulate these oscillations in dynamic ways, both subtly and dramatically, contributing to a variety of shifting tonal characters and generally a better performance.

The exercise below is a great way to practice all three elements of good vibrato. While playing a long tone F3, move your jaw up and down (like saying “maw maw”) to bend the pitch of the note in a steady rhythmic fashion. Your jaw should execute the rhythm of the upper staff while you play the whole notes below.

Important tips for the exercise:

- Avoid jolting the pitch in either direction, instead slide the pitch as evenly as possible. Every time you change from up to down you should be sliding back through the center of the tone exactly halfway through the note. - As the rhythm of vibrato gets faster, allow the amplitude of the pitch-bend to decrease. - Similarly, higher notes feel like they require smaller amplitudes of change, and vice versa. This is due to the decreasing proportion of embouchure movement to frequency change as you ascend in pitch. - Make sure to go as far “up” with the pitch as you go “down”. - Watch out for tone deterioration at the extremes of the pitch bend. It is normal at slow vibrato speeds, but avoidable at the higher speeds.- Spend time perfecting the individual rhythmic values of vibrato before attempting to string them together as a single exercise.

One full cycle simile ----q = 60+

repeat with any tone

BONUS: You will probably notice your flexibility, especially lip trills and smaller intervals, improving as a result of practicing vibrato.The key to both techniques is rhythmic control!

Routine(Generator!!A"Focus"Assistant"for"Productive"Practice!

!Warm.up(routines(are(absolutely(critical(to(success,(and(I(hate(them.((!Everybody!knows!that!practice!consistency!and!goal6oriented!focus!are!imperatives,!in!some!way!or! another,! for! every! successful! brass! musician.! A! huge! step! toward! this! end! is! the!warm4up"routine,!which!is!a!set!of!exercises!that!cover!all!fundamental!techniques!of!playing!over!the!course!of!30660!minutes.!This!is!an!element!of!daily!practice!which!helps!teach!our!bodies!what!we!expect!from! it! every! time!we!play! our! instrument.!Without! repetition,! and! consistency! of! input! to! our!bodies,!muscle!memory!is!slow!to!adapt;!like!it!or!not,!muscle!memory!forms!a!significant!body!of!the!overall!technique!of!all!musicians.!!!You!would!be!hard6pressed! to! find!a!single!professional!brass!musician!who!would!recommend!against! a! warm6up! routine! of! some! kind.! However,! there! is! no! routine! that! is! best! for! every!person,! and! even! the! concept! itself! is! subject! to! interpretation.! However,! it! is! empirically! well!established! that! there! are! certain! elements! of! a! routine! which! are! important! to! address,! and!usually!a!natural!order!follows!logically.!What!is!meant!by!consistency"is!not!necessarily!doing!the!same!exercises!in!the!same!order!every!day!at!the!same!time!(although!certainly!this!qualifies!as"being! extremely! consistent! in! the! area! of! structure! and! discipline);! instead,! if! you! are! simply!consistent! in! the! fundamental! purpose! of! a! routine,! focus" on" technical" goals" in" order" to"systematically"improve,"this!will!be!end6over6end!better!than!the!alternative,!doing!nothing.!!!The! problem! is! that! not! everybody! is! quick! to! adopt! a! routine.! Certain! personalities! reject! the!rigidity!and!inevitable!monotony,!while!others!embrace!it!full6heartedly.!I!fall!into!the!category!of!those! who! reject! structured! routines,! and! despite! knowing! for! many! years! the! rationale! that!applies,!I!never!was!able!to!change!who!I!am!and!do!a!specific!routine!every!day.!I!also!know!there!are!others!like!me,!and!as!such!I’ve!spent!some!time!finding!the!best!way!for!myself!and!others!like!me!to!incorporate!consistency!and!focus.!!!There! are! multiple! ways! to! approach! adopting! a! routine;! some! people! will! enjoy! following! a!published! routine! from! start! to! finish! every! day! (see! Method! Repertoire! for! some! available!options),! others! like! to! make! a! collage! of! various! existing! routines,! and! still! more! will! enjoy!creatively!composing!their!own!exercises.!Some!people!put!the!exercises! in!a!certain!order!each!time,!while!others!shuffle!them!around!to!fit!present!needs!and!desires.!Remember,!any!way!you!approach! it,! a! routine! is! about! systematic! focus! toward!building!muscle!memory!and! improved!technique.!!I! am! in! the! camp! of! those! who! dislike! rigidity! in! a! routine,! and! prefer! to! compose! my! own!exercises.!However,!the!problem!is!that!actively!creating!both!form!and!content!during!a!routine!session!is!a!considerable!effort,!and!can!take!away!from!the!freedom!to!focus!on!the!actual!goals!at!hand,!a!critical!flaw.!So!I!asked!myself:!How!can!I!develop!a!“routine”!that!is!structured!enough!to!keep! me! focused! but! free! enough! to! satisfy! the! drag! of! monotony,! while! still! maintaining!consistency! and! a! comprehensive! approach! to! the! fundamental! elements! of!my! technique?!The!answer!is!a!random,!systematic!routine!generator!that!provides!flexible!instructions.!

To(use(the(generator,(follow(these(easy(steps((you(can(copy(the(quotes(below):(!Part(1:(!

1) Go!to!http://textmechanic.com/Permutation6Generator.html!and!scroll!to!“Universal!Text!Combination!Generator”.!

2) In!the!“Prefix”!box,!put!in!the!word!“Do”,!followed!by!one!space.!3) In!“Input!Box!1”,!list!up!to!10!basic"techniques"that!should!be!approached!in!a!warm6up!

routine.!(See!picture!below!for!suggestions).!4) In!“Divider!1”,!put!the!words!“!in!the!key!of!”,!preceded!and!followed!by!one!space.!5) In!“Input!Box!2”,!list!the!seven!letters!of!the!musical!alphabet.!6) In!“Divider!2”,!put!a!hyphen.!7) In!“Input!Box!3”,!list!the!six!main!key!suffixes!(see!example!below).!8) In!“Divider!3”,!put!“!while!focusing!on!“,!preceded!and!followed!by!one!space.!9) In!“Input!Box!4”,!list!up!to!10!current"focus"points.!These!are!more!specific!methods"which!

you!want!to!devote!exclusive!focus!to!for!that!particular!iteration!of!the!generated!exercise.!They!should!be!relevant!to!you!personally.!Some!of!my!personal!examples!are!below.!

10) !!A!suffix!is!not!necessary,!but!you!should!feel!free!to!amuse!yourself!with!something!like!“,!dummy!”!or!“,!please.”!!

11) !!Click!on!“Generate!Combinations.”!Depending!on!how!many!items!you!listed!in!the!first!and!fourth!boxes,!you!will!have!up!4200!exercise!instructions.!!

12) !!Click!in!the!combination!field,!and!use!a!keyboard!shortcut!to!highlight!and!copy!the!field!!!!(for!example,!“Apple6A!66>!Apple6C”!on!a!Mac).!!

!

!

Part(2:((

1) Go!to!http://textmechanic.com/Random6Line6Picker.html!2) Click!on!the!upper!white!text!box!and!use!a!keyboard!shortcut!to!“paste.”!(Apple6V)!3) Click!on!the!box!that!says!“Pick!Random!Line”.!4) Now!you!are!ready!to!go!!Use!and!adapt!existing!exercises!or!compose!your!own!to!follow!

the!generated!instructions!in!the!lower!text!box.!!!

!!Here(are(some(tips(for(using(this(system:(!You"may"wish"to"spend"10"minutes"or"so"on"long"tones"before"jumping"into"the"generation,"to"ensure"that" you" are" ready" to" do" some"of" the"more" demanding" techniques" (range," lip" slurs)." Alternatively,"jump"right"in"but"ignore"“range”"and"“slur”"generations"as"you"see"fit"and"until"you"are"ready."""I" suggest" spending" between" 15490" seconds" on" each" generation." However," some" people"will" benefit"from"slightly"longer"time"spent"on"each"single"exercise."Always"keep"it"moving"and"stay"focused."""Don’t"be"too"creative"with"the"inputs"in"boxes"1"and"4,"there"is"enough"creativity"involved"in"using"the"generator"and"the"point"is"to"create"some"sense"of"structure."""If"you"want"to"have"a"practice"session"that"is"more"focused"on"a"particular"method"or"topic,"put"less"lines"in"the"fourth"input"box."""You"might"wish"to"use"the"generator"as"an"addition"to"your"existing"routine."For"example,"throw"in"10"generated"exercises,"for"the"sake"of"variety,"at"the"end"of"a"published"or"established"personal"routine.""

Building(Blocks(An#Efficient#Scale#Theory#for#Improvisational#Study#

Alex#van#Duuren#!

!Successful! musical! improvisation,! of! any! kind,! is! a! combination! of! two! important! and!

interdependent! elements:! melodic! creativity! and! technical! proficiency.! They! do! not! however!

produce!positive!results!independently:!a!person!with!tremendous!creativity!but!little!technique!

will! play! similarly! as! poorly! as! his! counterpart!with! flawless! technical! knowledge! and! stymied!

creative!capacities.!

!

Creativity! is! a! generally! nebulous! concept,! and! is! represented! as! a! unique! combination! of! an!

individual’s!experiences,!disposition,!genetics,!and!even!the!events!of!a!particular!day.!Of!the!two!

elements,!creativity!is!harder!to!“achieve”!because!in!a!large!part,! it! is!not!a! learned#skill,!per!se.!

Creativity! is,! instead,! more! of! an! absorbed# skill! that! is! either! enacted! by! the! individual,! or!

suppressed.!Technique,!on!the!other!hand,! is!controllable!and!easily!attainable!through!a!simple!

acquisition!of!knowledge!and!dedication!to!practice!hours.!

!

We! sometimes! confuse! a! lack! of! creativity! for! a! lack! of! technical! proficiency;! you! might! be!

surprised!at!how!much!more!"creative"!you!can!be!when!you!have!a!variety!of!technical!abilities!at!

your!immediate!disposal.!!

!

An! important!part!of! that!proficiency! is!scale( theory.!Possessing!a! foundational!knowledge!and!

working! proficiency! of! scales! for! improvisation! is! very! freeing! to! the! mind,! and! will! result! in!

enabled# creativity.! It! is! nearly! impossible! to! be! concerned! with! chord! theory! and! creative!

composition!simultaneously.!

!

The!following!information!and!pages!constitute!my!personal!theory!and!pedagogical!practice!with!

the! scales! used! in! improvisation.! I! aim! to! show! that! a! great! many! of! the! scales! used! in! jazz!

improvisation!are!either!a!mode!of!a!major!scale,!or!what!I!call!a!“block6scale.”!This!presentation!

culminates! with! a! worksheet! that! you! can! complete! for! personal! practice! with! the! theory.!

!

The$Major$Modes$$

A"major$mode$describes"one"of"the"different"ways"to"“bookend”"a"diatonic"scale"collection."As"there"are"seven"unique"tones"in"every"key,"there"are"seven"modes"at"which"one"can"start"a"scale"in"that"key."For"example,"a"C"major"scale"that"is"begun&and&completed&on&F&is"the"4th&mode&of"C"major."To"gain"proficiency"in"these"modes,"simply"practice"them"first,"and"then"learn"to"associate"with"chords"later."Note"that"you"don’t"need"to"know"the"names,"only"the"associated"chords!""1st"starting"point"G"Ionian"(ex)"C"D"E"F"G"A"B"(C)"You"may"choose"to"play"it"when"you"see:"a"majorGseventh"chord"(for"example"above"CΔ7)$ "2nd"starting"point"G"Dorian$(ex)"D"E"F"G"A"B"C"(D)"You"may"choose"to"play"it"when"you"see:"a"minorGseventh"chord"(for"example"above"D4)$""3rd"starting"point"G"Phrygian"(ex)"E"F"G"A"B"C"D"(E)"You"may"choose"to"play"it"when"you"see:"a"iii"functioning$chord,"or"any"tranposition"of"CMajb5/B$"4th"starting"point"G"Lydian"(ex)"F"G"A"B"C"D"E"(F)"You"may"choose"to"play"it"when"you"see:"a"majorGseventh"chord"(for"example"above"FΔ7)""5th"starting"point"G"Mixolydian"(ex)"G"A"B"C"D"E"F"(G)"You"may"choose"to"play"it"when"you"see:"a"dominantGseventh"chord"(for"example"above"G7)""6th"starting"point"G"Aeolian"(ex)""A"B"C"D"E"F"G"(A)"You"may"choose"to"play"it"when"you"see:"a"minorGseventh"chord"(for"example"above"A4)""7th"starting"point"G"Locrian$(ex)"B"C"D"E"F"G"A"(B)"You"may"choose"to"play"it"when"you"see:"a"halfGdiminished"chord"(for"example"above"Bø)""Of"these"seven"modes,"the"most"important"to"master"early"on"are"the"2nd,$4th,$5th,$and$7th$modes,"which"are"extremely"common"in"all"jazz"music.""$$Looking$at$these$relationships$from$the$opposite$angle:$"If"the"chord"symbol"is$Δ7$,"you"can"play"the"1st"or"4th"major"mode"beginning"on"that"tone.""If"the"chord"symbol"is"–,"you"can"play"the"2nd"or"6th"major"mode"beginning"on"that"tone.""If"the"chord"is"a"“iii”"in"the"current"key,"you"can"play"the"3rd"major"mode"beginning"on"that"tone.""If"the"chord"symbol"is"7,"you"can"play"the"5th"major"mode"beginning"on"that"tone."""If"the"chord"symbol"is"ø,"you"can"play"the"7th"major"mode"beginning"on"that"tone."

!Worksheet:*Major*Modes*

**In!this!worksheet!you!will!apply!and!exercise!your!knowledge!of!how!the!modes!of!major!are!used!in!jazz!improvisation.!On!the!left!side!of!the!worksheet,!a!scale!is!given!and!you!are!to!provide!the!mode!of!major!that!the!given!scale!represents!(you!can!give!this!as!a!number,!i.e.!1st,!in!as!the!official!Greek!nomenclature,!i.e.!Ionian),!as!well!the!chord!symbol!which!is!associated!with!that!scale.!On!the!right!side,!you!are!given!a!chord!symbol!and!asked!to!provide!the!mode!as!well!as!a!scale!that!is!associated!with!that!chord!symbol!(there!may!be!more!than!one!correct!option).)In!addition,!circle)the)main)chord)tones)of!the!scales!on!both!sides!of!the!worksheet.!!

!!!!!

C!!D!!E!!F!!G!!A!!B!!C!!Mode:!Ionian !!!!!!!!Chord:!CΔ7!

D!!E!!F#!G#!A!!B!!C#!!D!!Mode:!!!!! !!!!!!!!!!!!!!!!!Chord:!

Bb!!C!!Db!!Eb!!F!!Gb!!Ab!!Bb!!Mode:!!!!! !!!!!!! !!!!!Chord:!

C!!!D!!!Eb!!!F!!!G!!!A!!!Bb!!!C!!!Mode:!!!!! !!!!!!!!!!!!!!!!!Chord:!

F#!!G#!!A#!!B!!C#!!D#!!E!!!F#!!Mode:!!!!! !!!!!!!!!!!!!!!!!Chord:!

A!!Bb!!C!!!D!!!E!!!F!!!G!!!A!!Mode:!!!!! !!!!!!!!!!!!!!!!!Chord:!

C#!!D!!!E!!!F#!!G!!!A!!!B!!!C#!!Mode:!!!!! !!!!!!!!!!!!!!!!!Chord:!

Chord:!CΔ7 Mode:!Ionian !!!!!!!Scale:!!!C D E F G A B C!!!!!

Chord:!F*7* Mode:!!Scale:!!!!!!!!

Chord:!G*- Mode:!!Scale:!!!!!!!!Chord:!Fmajb5/E Mode:!!Scale:!!!!!!!!

Chord:!F#ø Mode:!!Scale:!!!!!!!!

Chord:!EbΔ7 Mode:!!Scale:!!!!!!!!

Chord:!A*7 Mode:!!Scale:!!!!!!!!

The$Block*Scales$!Block*Scales:!Learning!advanced!scales!is!made!much!simpler!by!learning!three!blocks!FIRST,!and!practicing!these!tetrachords!until!you!are!proficient!at!performing!them!at!any!starting!pitch.!Once!you!have!learned!the!blocks!and!accustomed!yourself!to!their!sound!qualities,!THEN!learn!how!they!are!put!together!and!combined!to!form!important!scales!used!in!improvisation.!!BlockFscales!are!the!various!combinations!of!three!types!of!fourFnote!scale!fragments,!called!tetrachords.!These!tetrachords!work!like!building(blocks,!and!can!be!put!together!in!different!configurations!to!create!the!unique!and!advanced!scales!that!"belong”!to!some!of!the!more!advanced!chords.!The!exceptions!to!this!rule,!including!the!very!oftFemployed!blues!scale,!can!be!found!on!the!supplemental!page.!!!Several!of!these!scales!may!have!alternate!titles,!as!well!as!alternate!ways!that!they!can!be!mentally!conceived.!For!example,!the!“diminishedFwhole!scale”!can!be!conceived!as!the!7th!mode!of!melodic!minor,!as!well!as!by!using!the!building(block!method!that!I!am!advocating!here.!!!Nomenclature:!BlockFScales!require!an!indication!of!how!the!blocks!are!connected:!by!halfFstep!(indicated!with!⌃),!wholeFstep!(indicated!with!�),!or!by!elision!(indicated!with!~).!In!addition,!scales!that!include!8Ftones!will!include!a!*!indication!to!denote!that!the!first!note!of!the!scale!need!be!repeated!at!the!"end”,!in!order!to!complete!the!customary!representation!of!the!scale. !

The$Blocks$!

$The$Scales$

!

!! !!!!!!!! “Locrian$#2”$

$!!!!!!!!!!!!!!!!!!!!!!!!!!⌃!!

“Diminished$Whole*tone”$$

!!!!!!!!!!!!!!!!!!!!!!!!!�!!

“Lydian$Dominant”$$

!!!!!!!!!!!!!!!!!!!!!!!!!!⌃ !

“Lydian$Augmented”$$

!!!!!!!!!!!!!!!!!!!!!!!!!�!!

“Diminished”$$

!!!!!!!!!!!!!!!!!!!!!!!!!!⌃!!!!!!!!!!!!!!!!*!!

“Auxiliary$Diminished”$$

!!!!!!!!!!!!!!!!!!!!!!!!!� *!$!

“Whole$tone”$$

!!!!!!!!!!!!!!!!!!!!!!!!!!!~!!

Whole$tone:$“W”$(ex)!C!D!E!F#!

!This!block!is!made!of!tones!separated!exclusively!by!wholeF!steps.!!

Minor:$“M”!(ex)!C!D!Eb!F!

!This!block!is!the!same!as!the!first!four!notes!of!any!minor!scale.!!

Diminished:!“D”!!(ex)!C!Db!Eb!E!

!This!block!consists!of!an!alternating!interval!arrangement,!beginning!with!a!halfFstep.!!

W$ W$ M$D$

W$

D$

W$

M$

D$

W$

W$ D$

Ex.!Chord:!C7+,!C7+5,!(opt.!C7)!

M$

Ex.!Chord:!C7b9,!(opt.!C7)! Ex.!Chord:!C!o!

Ex.!Chord:!CALT,!C7b13,!etc.!(opt.!C7)! Ex.!Chord:!CΔ+5!

Ex.!Chord:!C7+11!(opt.!C7)!Ex.!Chord:!Cø!

M$

Worksheet:*Block.Scales***In#this#worksheet,#you#are#given#a#chord#and#asked#to#fill#in#the#blocks#and#label#them.#In#addition,#write#in#the#main#chord*tones*of#the#given#chord#in#capital'letters,#and#fill#in#the#remaining#scale*tones,*which#form#the#extensions#of#the#chord,#or#“colors”,#with#lower-case'letters.'#''# # ####EXAMPLE#

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? 87 .. ..¿ œ ¿# œ ¿# œ jœb ¿N œ ¿# œ ¿# œ JœU Jœ œ ¿b œ ¿b œ ¿b jœ œ ¿b œ ¿b œ ¿bU

? .. ..5 ¿ œ ¿# œ ¿# œ Jœb ¿N œ ¿# œ ¿# œ JœU

Jœ œ ¿b œ ¿b œ ¿b Jœ œ ¿b œ ¿b œ ¿bU

? b b 44 ..9 œ œ ¿ œ œ ¿ œ ¿ œ œ ¿ œ .œ J¿ ¿ œ œ ¿ œ œ ¿ œ ¿ œ œ ¿ œ .¿ Jœ ˙

? b b ..17 ¿ ¿ œ œ ¿ œ ¿ œ œ ¿ œ ¿ œ ¿ œ ¿ œ œ œ œ ¿ œ œ ¿ œ ¿ œ œ ¿ œ .¿ Jœ ˙

False-tone Exercises Alex van Duuren

©

6 4 2 1 6 4 2 1 1 2 4 6 1 2 4 6

1 4 2 1 3 1 2 1 1 2 1 3 1 2 4 6

II. Single-position Melodies

I. Major Scales with False-Chromatic-Passing-Tones

General Notes: All false-tones should be played with as much stability as possible. Aggressive air and intensive embouchure control will be required.. False-tones do not "work" in certain positions for certain notes, and are especially difficult in extreme registers. Use the exercises as a guideline to begin practicing false-tones, improving embouchure independence and effeciency.

Notes: Tempo is not necessarily important, but in generally the exercise should be played steadily. Practice this exercise with in other keys and in other ranges of the instrument.

Notes: Try this in all seven positions. Try finding other melodies to perform in a single position (hint: not all melodies work well! keep it simple.)

"Ode to Joy" - Play only in 1st position, then in normal positions on the repeat.

A full chromatic scale sounds while the player uses positions for a major scale.

A simple melody is played entirely in a single position.

? b .. ..25 œ ¿ ¿ œ ¿ œ ¿ œU œ ¿ œ ¿ œ ¿ ¿ œU

? b bb b .. .. nnbb 4329 œ ¿ ¿ ¿ œ ¿ œ œ œ œ ¿ œ ¿ ¿ ¿ œ

? b b 4333 Œ Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿? b b38 ¿ ¿ ¿ ¿ ¿U ¿ ¿ ¿ ¿ ¿ .¿U

? b b42 Œ Œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ? b b47 œ œ œ œ œU œ œ œ œ œ .U̇

2

F Major: 1x in 1st position only, 2x with "regular" positions

III. Single Position ScalesScales are first played in a single

position, then played in natural positions.

Bb Dorian: 1x in 1st position only, 2x with "regular" positions

Notes: Try with any scale of your choosing, although again, some work significantly better than others.Also, certain tones will be especially difficult to produce as a false tone (for example: G in the staff). Don't spend too much time or effort on these tones, rather "glide" through that area as smoothly as possible.

IV: "Transposed" False Tone MelodiesMelodies sound a half-step below their natural key,

while slide positions are maintained in the "correct" key.

"Happy Birthday": Although read with "regular" slide positions, this passage should sound in A major; that is, every written tone sounds down a half-step via the false-tone.

Repeat the melody with normal slide positions.

Notes: This exercise is very versatile and can be applied to just about anything: other melodies, scales,solo literature, excerpts, etc.

Pitch&in&Space:&A&Critical&Misnomer&for&Brass&Musicians&&

&Fact:&Notes&do&not& literally(go&up&and&down.!If!you!are!a!brass!player!and!you,!like!almost!all!of!

your!peers,!think!that!they!do,!then!you!are!likely!causing!your!body!an!adverse!confusion.!!!

In! fact,! they! aren’t! high!or! low!either.! In! reality,! all!musical! notes! are! simply! frequency! changes:!they!are!either!faster'or!slower,!when!compared!to!each!other.!This!misconception!arises!from!the!fact!that!faster!frequencies!are!measured!in!higher'numbers:!the!pitches,!though,!do!not!exist!in!directional!space.!In!order! for! us! to! communicate! effectively,! however,!we! have! chosen! the! naturally! intuitive! description! of!“high”!and!“low”,!“up”!and!“down”,!because,!given!no!science!and!only!sounds,!it!makes!more!natural!sense!than!“faster”!and!“slower.”!But,!you!see,!musical!notes!don’t'go'up'and'down.!!

While!this!may!seem!like!a!trivial!distinction,!and!indeed!it!is!for!many!instrumentalists,!for!brass!players! this! subtle!but!unfortunate!misnomer! is!entirely!detrimental! to!a!healthy!and! relaxed! technique.!One! of! the! primary! resulting! issues! of! this! misconception! is! a! deteriorating& directional& approach! to!notes!in!extreme!registers.!This!is!consistent!with!the!way!that!we!act!in!our!everyday!lives:!if!something!is!up!high,!or!down!low,!we!reach'for!it.!In!other!words,!we!tend!to!approach!the!“high!notes”!from!below!and!the!“low!notes”! from!above,!and! therefore!miss! the!“center”!of! the! tone,!a!critical!and!sometimes!elusive!sweetspot!for!brass!musicians.!But!by!understanding!the!true!nature!of!pitch!frequencies,!and!freeing!the!mind!from!believing!that!they!exist!in!literal!space,!the!brass!player!can!avoid!this!problem.!!!

Part!of! the!reason! for! the!misnomer! is! the!need! to!display! the!notes! in!a!visual! space,! in!musical!notation.!Currently,!we!read!notation!with!time!moving!horizontally!and!pitches!designated!vertically.!But!consider!that!pitches!could!just!as!easily!be!displayed!horizontally'(see!Alternate'Notation'Example'below).!!!

This!is!not!ideal!for!the!true!science!of!pitches,!but!is!intuitive!presumably!due!to!the!way!that!we!communicate!written!language:!we!read!text!from!the!left!to!the!right!on!the!first!level,!and!then!from!the!top!to!the!bottom!on!the!second!level.!But!clearly!what!matters!is!not!the!orientation!of!the!display,!but!that!the! method! used! to! extract! the! information! is! understood! and! consistent! (the! Chinese! language,! for!example,!is!read!top!to!bottom!first,!and!right'to'left!second).!!!

In! addition,! some!of! the!most!popular!performance! instruments,! like! the!piano!and!organ,!orient!available!tones!in!such!a!way!that!makes!it!feel! like!higher!notes!go!“up”!(although,!it! is!more!accurate!to!say! that! they!go!right' in! the! case!of!keyboards).!However,! the! strings!of! the!piano!could! just'as'easily'be!manufactured!such!that!high!notes!go!down!or!left.!The!important!thing!to!realize!is!that!the!manufacturing!design!of!a!musical!instrument!has'nothing'to'do'with!the!movement!of!pitches,!because!pitch!frequencies!do! not! actually! exist! in' space.! Rather,! as! mentioned! before,! we! use! different! mechanisms! to! make! the!frequencies!faster!or!slower.!!!Here!are!some!other!examples:!!On&a&guitar&or&a&violin,!high!notes!are!played!down'and'away!from!the!performer,!and!vice!versa.!!On&a&harp,!high!notes!are!played!toward'the!performer,!and!vice!versa.!!!On&a&non@keyboard&percussion&instrument,!higher!notes!are!played!with'more'tension.!&On&a&Theremin,!high!notes!are!played!toward'a!fixed!post,!and!vice!versa.!!!On&a&computer&sine@wave&generator,!high!notes!are!inputted!with!higher!numerical'values.!&

But!what!about!wind!instruments?!The!problem!is!that!wind!instruments!create!higher!pitches!in!modular!ways,!with!a!combination!of!mechanical!function!and!physical!change!(faster!air,!smaller!aperture,!thinner! lips,! etc.).!Because!we!don’t!have! something! to! literally! see'and! touch,! like!a!piano!or!a!harp,!we!default! upon! our! natural! human! perception! of! the! notes;! a! “high! note”! is! “up.”! This! combines! both! our!instinctual!and!default!feeling!with!the!way!that!we!read!musical!notation,!and!therefore!is!simply!intuitive.!But,!considering!the!most!salient!mechanical!and!functional!change!that!occurs!when!a!brass!players!plays!“high”,!the!truth!is!that:!!On&a&brass&instrument,&high!notes!are!played!smaller.!!!

Due! to! the!necessity! to!move! air! at! a! faster! rate! in!order! to! create! faster! frequencies! (yes,! that’s!directly!related),!the!aperture!of!the!embouchure!must!get!smaller'when!“ascending.”!And!conversely,!the!aperture!must!become!larger'when!“descending.”!!!

There!is!nothing!“up”!about!high!notes!except!our!psychological!perception!of!the!notes.!And!this!is!where! brass! players,! with! common! perception,! can! create! adverse! effects;! namely,! an! inappropriate!approach!to!notes!in!extreme!registers.!!!

Generally,! we! “center! up”! our!middle! range! tones! relatively! well,! and! begin! to! deteriorate! from!there,! with! the! effect!most! drastic! in! the! upper! register.! By! changing! our! perception! of! “high! notes”! to!“smaller!notes”!(or!“faster!notes”),!we!can!approach!these!notes!from!the!center'of!the!tone,!and!not!from!a!point!below.!A!centered!tone!is!one!that!is!resonant,!toneful,!and!above!all,!easy!to!play.!!

!!

!

!!

F5!

(E5)!

D5!

C5!

Bb4!

(Ab4)!

F4!

D4!

Bb3!

F3!

Bb2!Bb1!

!

F5!

(E5)!

D5!

C5!

Bb4!

(Ab4)!

F4!

D4!

Bb3!

F3!

Bb2!Bb1!

!

Bb!Harmonic!Series!–!The!Common!Psychological!Approach!

Bb!Harmonic!Series!–!The!Best!Psychological!Approach!

!

Alternate!Notation!Example!–!Horizontal!Pitch!Designation!

Arrows!represent!the!psychophysical!approach!to!notes!throughout!the!

register!of!the!instrument!(trombone!in!1st!position!given!as!example)!

!

On the “Memorization” of Music

Listening to music is a multi-sensory experience; in addition to being heard, music is also felt (non-physically). For

the “educated” (and I use this word only for its colloquial understanding and connotation) instrumentalist the

experience is compounded into a few extra dimensions, being not only heard and felt, but also seen (the musical

notation which the performer “reads”) and touched (in the physical act of playing an instrument). In most cases,

the performing musician undergoes these senses simultaneously in the act of music-making.

As we know from studies of the sensory-deprived people of the world, when any single individual sense is “turned

off”, the depth of awareness of the other active, “on” senses is heightened. You become more aware of sounds in

a room that is completely dark. You are especially aware of a food’s texture if you cannot smell it.

When a musician reads music, due to the highly complex symbolism and codification of sound into a coherent

language that is music notation, the primary sense being occupied by the brain is visualization and active real-time

interpretation of those visualizations. It is certainly true that the most efficient way to learn a new piece of music

is through reading of musical notation; there simply isn’t a faster way to communicate music for the purposes of

cooperative, interactive music making. While reading music might be the fastest way to learn a piece of music, it

is not, by any means, the most comprehensive way to learn music; the fastest way to learn does not necessarily

correlate to the best way to perform. Yet, the ensemble musician of Western music invariably engages in the act

of “reading” music all the way from the first “sight-reading” to the final public performance.

In music-making, the classically-educated performer makes the unspoken presumption that the communication of

the music is entirely contained within the medium through which that performer learned the music. In other

words, we assume that all that is necessary to learn a particular piece of music is self-contained within the pages

on which that music is written down in standard musical notation. And why wouldn’t we make that assumption?

Certainly a musical work with is accurately and well-notated contains specific and standardized instructions on

how to realize the notation into audible and coordinated sounds. To further clarify this presumption, consider

how the classically-trained view a street performer who cannot read a note of music; the street performer is

musically illiterate and therefore an amateur. In other words, his or her understanding of music is incomplete.

But then consider this: Have you ever noticed how simply and easily a group that doesn’t actively read music

(either at all, or in performances) stays together in their performance? Have you ever heard a mariachi band fall

apart because the trumpet player was rushing? How about a rock band lose twenty beats per minute because the

drummer was dragging? Have you ever heard a small combo of street performers lose their place and have to

start over? It isn’t simplicity of rhythm; a transcription of rock rhythms is often significantly more complex than a

piece of “classical music.” Contrary to popular belief, it isn’t the presence of drums, providing a “beat”, either;

“beats” are fundamental to all music, you only have to listen for them. The reason that a trio of djembe players

stay to together is because their primary focus, physiologically speaking, is not on sight but on sound and feelings.

The notation of music, for all its powerful and useful applications, does not convey how the music is supposed to

feel, and it actively challenges the depth to which the auditory senses can engage.

If you struggle with your tempo control, or rhythmic integrity, or ensemble blend, it may be because your

performance psychology is heavily dominated by seeing music, instead of feeling and hearing it. Similarly, and

importantly correlated, if you struggle with music “memorization”, it may be due to the fact that you are

attributing the skill to the act of recollection of visual information! Music, as it exists in a real-life sound

performance, is not a series of dots on a page, of X’s and O’s, but of sounds themselves. When an illiterate

musician performs without a single written note of music, they are not recalling visualizations, they are realizing

and recalling existing knowledge of organized sounds.

We might think that the “illiterate” musician should learn how to read music. It is perhaps true that the illiterate

musician would gain efficiency of musical learning by gaining that skill. However, the illiterate musician thinks of

us, the classically-trained and educated musicians, as needing to learn how to feel music. They would say we need

to learn how to focus on it, to interact with it, to manipulate and adaptively react to it, to engage in it. To do that,

turn the “lights” off and put the music away. To you it is music “memorization”, a tedious and sometimes

frightening or anxiety-producing objective; what happens if you forget a note? What happens if you lose your

place? Well, ask yourself what the illiterate street performer thinks about music memorization…without written

notes and rhythms to recall from memory, they simply call it “knowing” a piece of music. And trust me, they don’t

forget notes.

Stuck? Stalled? Going Backwards?!

Insanity: doing the same thing over and over again and expecting different results. – Albert Einstein

Einstein wasn’t talking about trombone playing, but he might as well have been. While we must have patience enough to see ourselves through the many phases of learning a brass instrument, sometimes it is simply just time to try something new. If you are stuck, pick a single thing from this list that you aren’t currently experimenting with and give it a shot. If you want a different result, try something different.

If you don’t know what a particular item means, ask me!

This is not an exhaustive list! These are some of my favorite strategies that I believe have high chances of garnering positive results. Remember, pick just one and try it for at least three days before you render judgment!

Breathing and buzzing while

laying down

45 degree Floor Laser

Use a cut-away

Practice false tones

Put one earplug in

Play in complete darkness

Stretch before playing

Start notes with a “hah” attack

Play the Air Trombone

Analyze your overtones

(sygyt.com)

Record yourself and take notes

as your listen

Listen to a trombone album

Play an entire practice session

with tuning drones

Shift your mind’s eye perception

Play back a recording at ½ speed

Buzz an entire Rochut

Pencil exercise

Watch yourself play in a mirror

Dynamic swells throughout

extreme dynamics

Practice really aggressively for

20 minutes, then take a break

The No-Pressure Exercise

Pretend you are a different

player that you respect

Meditate on

relaxation/breathing

Practice stabilizing the corners

of the embouchure

Blow exaggerated amounts of

air through the Air Trombone

Practice the Numbered

Articulation System

Do a breathing exercise

Learn a new scale

Do a two-way lesson with a

friend

Make a thought-log of a

practice session

Practice the follow-through of

air, like in a golf swing

Cyclops air

Play through music or melodies

that you have memorized

Caruso Exercises

Use a breathing accessory/tool.

Read a book on brass playing

Ask the same question to five

different people

Study how your exhalation

reflects your inhalation

Practice playing ppp/fff

Sing what you are playing

Come up with your own

strategies and share them!

Shifting Consciousness: Where is Your Mind’s Eye Looking?

It is well known that musicians tend to be perfectionists. They focus intensely on shortcomings and do everything in their power to eradicate them, lest they diminish their potential or value as a performer. The result of our perfectionism is that when we play our instrument, we will default upon "looking" with our “mind’s eye” at the place which we consider to be the sole origination of a given problem. We determine this origination point based on our perception of our sensations. For example, we might say: "I have accuracy issues because my corners aren't strong enough" and put all of our internal view on the extremities of the embouchure. Have you ever considered where your mind, not your eyes, physically looks at when you play your instrument?

Unfortunately for us, our deficiencies are almost always compound, not singular. Yet we perceive them as "originating" from a singular area, and we bend our mental and conscious perception toward that specific place in the body; it is a type of tunnel-vision that is categorically unhelpful.

Sure, the corners of the embouchure should have strength and integrity, but here is a partial list of other factors, in no particular order, which can affect note accuracy:

In other words, the "problem" is not as homogenous as our bodies might lead us to believe, and is instead multi-dimensional. There is no better way to approach a multi-dimensional problem than from multiple angles.

For example, if you are having trouble with excessive body tension, spend some time “staring” at your feet, making sure they are well rooted to the ground. If you have trouble with your high range, practicing ascending scales while “staring” at your slide technique, making sure you are not playing out of tune and causing your embouchure to fight harder than it already feels is necessary.

Make sure you understand this important distinction regarding this technique: in some cases the shift of perception causes us to discover additional or even more impactful sources of any given problem. However, in many other cases the power in “looking elsewhere” is simply in releasing the death-grip that your consciousness had on a certain area of your body. It is a “distraction technique” that can help temper our perpetual penchant for “paralysis by analysis.”

Harsh/Thick Articulation Throat Closure/Constriction Over/Under Blowing Lack of Ear Training Placement of Posterior portion of Tongue Place of Articulation

Exercise

Write down a list of all possible contributing factors to a given problem (if you need help with this, ask a teacher or respected source), even if you strongly believe those factors not to be unrelated to the source of the problem. Then write down a few unrelated things to “look at” as well. Then, practice while shifting your conscious focus to the various elements on your list.

utk trombone studio f2014 s/h trombone studio.pdf · handbook/syllabus. f2014.!!...

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