ABC Trumpet Clinic I (Matzen) Intro, Chicago School Intro, Tone Vs. Sound, Buzzing, Breathing, Embouchure and Diagnostics

Transcription

1 ABC Trumpet Clinic I (Matzen) Intro, Chicago School Intro, Tone Vs. Sound, Buzzing, Breathing, Embouchure and Diagnostics

2 Max Matzen Quick Intro Associate Professor of Trumpet at Utah State University MM and DMA (Performance and Literature) from Eastman School of Music BM (Jazz Studies) from University of North Florida Groups: Rochester Philharmonic, Jacksonville Symphony, Emerald Brass Quintet, Utah Festival Opera, USU Faculty Jazz Combo Utah State University (Logan, UT)

3 Stan Friedman SOLUS (1974)

4 The Trumpet

5 Intro: Chicago School of Brass Pedagogy

6 Arnold Jacobs

7 Intro to Arnold Jacobs Principal Tuba of Chicago Symphony One of the foremost brass pedagogues of his time, and was considered an expert on anything related to brasswind, woodwind, and vocal performance. Most of his philosophies are documented in Song and Wind, a compilation of his concepts compiled by Brian Frederiksen.

8 Beginning of the Chicago School Many brass musicians of the Chicago Symphony agreed with Jacobs and his principals. Many of them began, or already were, teaching these principals in their studios (Northwestern University, DePaul, private studios, etc). Vincent Cichowicz

9 Chicago School simplified Defined - Having an*** extremely*** clear mental concept of what the tone of an instrument should be, and simply allowing the body to attempt to recreate it. From Arnold Jake Jacobs: There are two instruments. One in the hands and one in the head. The instrument in the hands is a mirror reflecting the one in the head. - I believe that it is best to be somewhat unconscious of our physical maneuvers but highly conscious of our musical goals.

10 Musical Goals They ve heard examples (Professional playing) They are imitating something (consciously) They are imitating something (subconsciously) They are stimulated Ambrose Akinmusire Masterclass

11 Listening for Professionals (teachers and performers)

12 Listening for most kiddos

13 Quick Pause How many of our students musical goals come primarily from our verbal instructions? How many of our students can name multiple professional performers on their own instruments? How many of our students can name recordings of their favorite performers? Markus Stockhausen

14 When Listening, We Should all be Here:

15 Chicago School for Teachers Before our students are to try and implement any advanced physical instructions (from a teacher) they must know, and have clear musical goals. If we attempt to micromanage musculature before they have a clear concept of great tone in the front of their minds, the results may be less than desirable.

16 Tone vs. Sound There s no secret to how you become great a great brass player. You learn what a great tone is and then you work your butt off. Adolph Herseth

17 Tone vs. Sound Tone The nuts and bolts that come out of the instrument. Tones can be healthy, or unhealthy. Healthy tones (on all brass instruments) have select characteristics.* Sound Sound is the artistic effort. Sounds can be British, German, Jazzy, etc A professional player can mask his/her tone quality in efforts to play with a certain sound (ex. Wynton Marsalis)

18 Common phrases in use Darken the tone Warm the tone Bright tone (as a negative)... typically used alongside tinny or thin Dark tone (as a positive)... typically used alongside full, dark, rich, or big Nic Payton - Trumpet

19 Are healthy tones bright, or dark? Chris Martin (New York Philharmonic)

20 Adolph Herseth (Chicago Symphony )

21 New York Philharmonic (Mahler 2 Excerpt)

22 Dark vs. Bright Brass instruments are born to resonate this is typically a bright quality (yes, bright). Frequently when students are asked to darken the tone the result is tension (or use of muscles) in the chops, throat, neck or elsewhere.

23 That dark jazzy sound Ryan Kisor (Lincoln Center Jazz Orchestra)

24 Louis Armstrong When You re Smiling

25 Continued Many students (young and old) do not understand when they are playing with or without a good tone quality. Most students (young and old) cannot verbally describe a healthy tone quality they usually describe good coffee.

26 Ideal Tone: Clear, Bright and Resonant Maurice Andre French Virtuoso

27 What are some ways for our students to gain resonance? Thomas Gansch Trumpet, Mnozil Brass

28 Some Answers Close listening* Practicing fundamentals (long tones, slurs, Clarke, etc.) Relaxation in neck, shoulders, embouchure, etc. Lip bends (at f or ff) Mouthpiece buzzing Pacho Flores

29 Mouthpiece Buzzing

30 Thoughts on Buzzing Highly varied results! Many pro players are anti buzz. Many pro players are pro buzz. Many players buzz in different ways (sounds, gear, etc). Works by the drop full. Easy to overdo. Berp

31 More Thoughts on Buzz Just simply buzzing leads to (again ) highly varied results. Students should buzz in a way that leads to increased resonance. At *this*stage, try to keep it simple. Consider avoiding things like buzzing rims, lips alone, lead pipe, etc. Tone Choice: Thick/meaty buzz vs. foggy. Terry Warburton

32 Optimal: Sing, Buzz, Play Sing a passage, buzz it, then play it. Singing and buzzing must be executed with good musicianship (pitch, rhythm, articulation, expression, etc).

33 Breathing

34 Some commonly used expressions when teaching how to take a good breath Breathe from the diaphragm Breathe in warm air Fill from the bottom up Don t let the shoulders raise Breathe deep into your stomach, not your chest 6. Breathe to make your stomach expand 7. Expand to breathe 8. Take a huge breath 9. Not a huge breath. Breathing should be conversational when playing a brass instrument 10. Take a bunch of air because it s free and doesn t cost anything! Jacob Skyview High School Senior (Smithfield, Utah)

35 Having a uniform breathing pedagogy for all brass instruments may be harming your trumpeters. The trumpet is small. It has a small mouthpiece with a small throat. Resistance is high. When playing a trumpet, breathing (and we move air) should be close as to conversational as possible. The Rabbit Hole

36 Exhibit A (Timofei Dokshizer)

37 Other Common Thoughts Breathe like singers Breathe quietly! Breathe from the diaphragm!

38 Exhibit B (Anna Netrebko)

39 Trumpet Breath Concluded This is an instrument where it s ok to make breathing a higher experience (to the collarbone). Conversational breathing is the idea. Imagine sucking in air, as opposed to tanking up from the bottom or diaphragm.

40 ABC Clinic 1 Review

41 1. Consider: Chicago School of Brass Listening based Students are pursuing a great tone (consciously or sub-consciously) Resource: Song and Wind (Brian Frederiksen) Pedagogy

42 2. Tone: Clear, Bright and Resonant Use caution with your adjectives when describing tone. Brightness is a good thing. Darkening or trying to darken can lead to tension issues. Trumpets are born to resonate (Jericho).

43 3. Buzzing can Increase Resonance Careful with buzzing. Can be overdone. Avoid extremes (lips, rims, leadpipes, too much, etc). Try having them fog the buzz. Optimal: Sing, buzz, play.

44 4. Breathing: Keep it Conversational Trumpets need a different breath from the rest. Breathing a bit higher and is perfectly fine. Imagine sucking in air. Tanking up with to much air can be very problematic.

45 Questions? Contact Information If you have ideas for things you d like for me to cover, feel free to send a note.