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Doctoral Dissertation Template UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE TONE DEVELOPMENT THROUGH NON-TRADITIONAL TECHNIQUES: A PEDAGOGICAL RESOURCE FOR TROMBONISTS A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By PHILIP MITCHELL MARTINSON Norman, Oklahoma 2017 TONE DEVELOPMENT THROUGH NON-TRADITIONAL TECHNIQUES: A PEDAGOGICAL RESOURCE FOR TROMBONISTS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Irvin Wagner, Chair ______________________________ Dr. Karl Sievers ______________________________ Dr. Frank Riddick ______________________________ Dr. Eugene Enrico ______________________________ Dr. Judith Pender © Copyright by PHILIP MITCHELL MARTINSON 2017 All Rights Reserved. To Shelley and Mina Table of Contents List of Figures ................................................................................................................. vii Abstract .......................................................................................................................... viii Chapter 1: Introduction ..................................................................................................... 1 Background ................................................................................................................. 1 Purpose ....................................................................................................................... 3 Need for the Study ...................................................................................................... 3 Scope and Limitations ................................................................................................ 4 Methodology ............................................................................................................... 5 Research ............................................................................................................... 5 Questionnaire ........................................................................................................ 6 Related Literature ....................................................................................................... 6 Chapter 2: Concept of Tone ............................................................................................. 8 A Singing Style ......................................................................................................... 11 Chapter 3: Vocal Techniques ......................................................................................... 17 Vowels ...................................................................................................................... 17 Throat Tuning and Vocal Tract Resonance ........................................................ 21 Singing and Playing in Unison ................................................................................. 22 Multiphonics ............................................................................................................. 23 Alternating between Singing and Playing ................................................................ 27 Sing, Buzz, Play, and Other Variations .............................................................. 28 Flutter Tongue .......................................................................................................... 29 Chapter 4: External Devices ........................................................................................... 31 iv Mutes... ..................................................................................................................... 31 Other Apparatuses Targeting Sound ........................................................................ 34 Chapter 5: Buzzing ......................................................................................................... 38 Mouthpiece Buzzing ................................................................................................. 40 Finger Resistance ................................................................................................ 44 Hand Buzzing ..................................................................................................... 44 “Cut Out” Mouthpiece/Visualizer ...................................................................... 45 Rim Buzzing ....................................................................................................... 45 Free Buzzing ....................................................................................................... 46 Buzzing/Playing the Inner Slide ......................................................................... 47 Mouthpiece Buzzing with an External Device ......................................................... 49 Chapter 6: False Tones and Pitch Bends ........................................................................ 56 False Tones ............................................................................................................... 56 Pitch Bends ............................................................................................................... 60 Chapter 7: Conclusion .................................................................................................... 64 Summary of Findings ............................................................................................... 64 Bibliography ................................................................................................................... 67 Appendix A: Questionnaire ............................................................................................ 73 Explanation of Study ................................................................................................ 73 Buzzing ..................................................................................................................... 74 External Devices ....................................................................................................... 75 Vocal Techniques ..................................................................................................... 76 False Tones / Pitch Bends ......................................................................................... 77 v Concluding Questions .............................................................................................. 78 Thanks ……………………………………………………………………………...80 Appendix B: Proposed Questionnaire Participants ........................................................ 81 Appendix C: Questionnaire Data .................................................................................... 84 Appendix D: Institutional Review Board Approval ..................................................... 110 Appendix E: Consent Form .......................................................................................... 111 Appendix F: Recruitment Email ................................................................................... 113 vi List of Figures Figure 1. Tone Construction. ............................................................................................ 9 Figure 2. Anatomy of a Trombone Tone – Quality Variation. ....................................... 14 Figure 3. Vowel Exercise ............................................................................................... 18 Figure 4. Sing and Play in Unison Long Tone Exercise. ............................................... 23 Figure 5. Multiphonic Long Tone Exercise, Perfect Fifth ............................................. 25 Figure 6. Multiphonic Long Tone Exercise, Major Tenth ............................................. 25 Figure 7. Practice Mute Playing. .................................................................................... 33 Figure 8. Pinwheel Exercise ........................................................................................... 36 Figure 9. Buzz Stretch. ................................................................................................... 43 Figure 10. Mouthpiece Exercise in First Position. ......................................................... 43 Figure 11. Inner Slide Buzz ............................................................................................ 49 Figure 12. Practice Pipe (a.k.a. F.A.R.T.) Schematic ..................................................... 53 Figure 13. False Tone Position Diagram. ....................................................................... 57 Figure 14. False Tone Exercise. ..................................................................................... 59 Figure 15. False Tone Exercise with No Slide Adjustment. .......................................... 60 Figure 16. String of Benders. ......................................................................................... 62 Figure 17. Pitch Bend and False Tone Exercise. ............................................................ 63 vii Abstract Sound development is arguably the most important aspect of trombone pedagogy. Over time, most brass players arrive at a daily routine of exercises specifically focused on improving sound; however, certain exercises straying from traditional trombone performance—which are referred to as non-traditional in this document—have become or are becoming an important part of pedagogy. This study identifies these exercises, catalogs them into a pedagogical resource, and ascertains the prevalence of their use within the trombone community. Delineated into four categories, this research explores the use of vocal techniques,
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