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The Musical Career and Teaching Philosophies of Euphoniumist Steven J Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 The Musical Career and Teaching Philosophies of Euphoniumist Steven J. Mead Robert Thomas Pendergast Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE MUSICAL CAREER AND TEACHING PHILOSOPHIES OF EUPHONIUMIST STEVEN J. MEAD By ROBERT THOMAS PENDERGAST A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2009 The members of the committee approve the treatise of Robert Pendergast defended on December 3, 2008. __________________________ John Drew Professor Co-Directing Treatise __________________________ Paul Ebbers Professor Co-Directing Treatise __________________________ Jane Piper Clendinning Outside Committee Member __________________________ Patrick Meighan Committee Member The Graduate School has verified and approved the above-named committee members. ii ACKNOWLEDGEMENTS As I prepared this treatise I was fortunate to receive advice and assistance from several individuals and institutions. I extend my deepest gratitude to them all: To Steven Mead who has been not only an inspiration during the time of this study, but also a musical presence in my life. Steven has been extremely gracious to allow this treatise to be written and donated many hours of his time for interviews. To Rex Mead for being so cooperative and taking time for interviews with a total stranger from across the Atlantic. To Florida State University and my supervisory committee: Prof. Paul Ebbers, Prof. John Drew, Prof. Patrick Meighan, and Prof. Jane Clendinning for advice and direction throughout my degree. Thanks especially to Dr. Clendinning and Prof. Ebbers for their unwavering leadership. The assistance of Michael Warny and Mark Barton, professors of trombone, euphonium, and tuba at the University of Houston, cannot be underestimated. They and the university were very accommodating during my visit to their campus. I offer a special thanks to Mike for providing a recording of the Steven Mead master class which provided a wealth of material for my treatise. Of course this project would not have been possible without the love and support of my parents, Elaine and Robert Pendergast, and my fiancée, Heather Small. iii TABLE OF CONTENTS List of Audio Examples .................................................................................................. v List of Figures ................................................................................................................. vi Abstract ............................................................................................................................viii INTRODUCTION .............................................................................................................1 CHAPTER 1: Biography .................................................................................................. 9 CHAPTER 2: Professional Career and Contributions .................................... .................41 CHAPTER 3: Teaching Philosophies and Musical Topics .............................................108 CHAPTER 4: Reflections on Euphoniumist Steven J. Mead ..........................................186 APPENDICES A. Human Subjects Approval Memorandum ..........................................................194 B. Mead Master Class Permission Letter .................................................................196 C. Tour Schedule ......................................................................................................197 D. Discography .........................................................................................................201 E. Etude List .............................................................................................................206 F. Solo Repertoire List .............................................................................................209 G. Excerpt List ..........................................................................................................213 H. Time To Shape-Up Routine .................................................................................217 I. Timely Advice to Students ...................................................................................221 BIBLIOGRAPHY ...........................................................................................................222 BIOGRAPHICAL SKETCH ..........................................................................................231 iv LIST OF AUDIO EXAMPLES Example 1: George Frideric Handel: The Harmonious Blacksmith……………............15 Barrie Perrins, euphonium soloist Hendon Brass Band Recorded: (N. D.) Example 2: Opening Master Class Remarks at the University of Houston ...................108 Steven Mead, lecturer Recorded: Moores School of Music, University of Houston Example 3: Discussion and Performance of Types of Vibrato ......................................158 Steven Mead, lecturer Recorded: Moores School of Music, University of Houston v TABLE OF FIGURES Figure 1: Steve and his father, Rex, play Deep Inside the Secret Temple by Bizet……...11 Figure 2: (From left to right) Trevor Groom, John Clough, Barrie Perrins………. ….....16 Figure 3: Mead Playing Trombone in the Taverners Big Band …. ...................................27 Figure 4: Opening Phrase of the Adagio Molto Espressivo Section .................................30 Figure 5: Opening Phrase of the Allegro Molto Vivace Section……………………….. ..31 Figure 6: Ending Section and Codetta . .............................................................................31 Figure 7: Newton Park College ….....................................................................................33 Figure 8: Mead Accepting His New Euphonium at the 1985 Best of Brass Contest... .....38 Figure 9: The Euphonium Player of the Year Shield Trophy ............................................38 Figures 10 and 11: Mead Playing at the Marquee with Camerino . ..................................63 Figure 12: Meechan, Camerino, Rombola, and Mead. ......................................................69 Figures 13 and 14: Mead Performing at the Roberta di Camerino Fashion Show .. .........70 Figure 15: Mead Visiting Rudin in Germany ... ................................................................74 Figure 16: Solo Score of Hallows ... ..................................................................................75 Figure 17: Mead Performing “The Hallows” with the Stuttgart Philharmonic . ...............76 Figure 18: Diagram of After-Market Tuning Slide Trigger . .............................................80 Figure 19: Tubing formed in a Pneumatic Press . ..............................................................83 Figures 20, 21 and 22: Bell Making Process. ...................................................................84 Figure 23: The Taper Valve Stem Diameter . ....................................................................85 Figure 24: Push-Ball Release System . ..............................................................................86 Figure 25: Typical Exercise Mead Uses in Play-Test of Besson Euphoniums ............... ..88 Figures 26 and 27: Mead Testing a Euphonium in Germany . ..........................................89 vi Figure 28: Chart Comparing the Resonance of the Old and New Besson Euphonium . ...91 Figure 29: Kosikup Mouthpiece . ......................................................................................96 Figure 30: Wick SM3M and 4AM .................................................................................. ..99 Figure 31: Chart of Denis Wick SM Mouthpiece Sizes ................................................. 103 Figure 32: Promotional Photo: Euphonium Mouthpiece Center Left . ............................104 Figure 33: Chart of Alliance Euphonium and Baritone Mouthpiece Sizes . ...................106 Figure 34: Steven Mead and Paolo Fava in Veniano, Italy, 1998 . .................................123 Figures 35, 36 and 37: Left, Front and Right Angle Views of Correct Euphonium Position.............................. 128 Figure 38 and 39: The Ultrabreathe and Mead using it in a Master Class ...................... 131 Figure 40: Twenty Second Long-Tone Exercise ............................................................ 140 Figure 41: Low Range Long Tone Study ....................................................................... 141 Figure 42: Two Mouthpiece Buzzing Patterns ............................................................... 143 Figure 43: Opening Phrase of Movement II of Horovitz’s Euphonium Concerto ......... 143 Figure 44: Use of the Fourth Valve to Improve Intonation ............................................ 148 Figure 45: Alternate Fingers Using the Fourth Valve .................................................... 148 Figure 46: Suggested Long Tone Warm-Up Exercise .................................................... 159 Figure 47: Major Scale in Crab Patten ............................................................................ 161 Figure 48: Author’s Practice Pie Graph from Mead Master Class ................................. 163 Figure 49: Last Measures of the First Movement of Horovitz’s Euphonium Concerto.. 174 Figure 50: RNCM Career Class Handout ......................................................................
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