The Fundamentals of a New Practice Method for Improvising Trumpet Players
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THE FUNDAMENTALS OF A NEW PRACTICE METHOD FOR IMPROVISING TRUMPET PLAYERS EUGENE BALL Submitted in partial fulfilment of the requirements for the degree of Master of Music Performance in the School of Music, Victorian College of the Arts (The University of Melbourne). 2004 Table of Contents Page ii Index of Figures iv Declaration of Originality v Acknowledgements 1 Chapter One: Delineation of the Research Topic 5 Chapter Two: The Research 12 Chapter Three: The Emergence of the Technique/Creativity Dichotomy 19 Chapter Four: A Review of Existing Trumpet Methods 27 Chapter Five: A Review of the Demands of Improvisation 31 Chapter Six: The Adaptation of Existing Exercises 46 Chapter Seven: Identifying Some Anomalies in Current Modes of Music Instruction 55 Chapter Eight: Final Observations and Recommendations for Further Research 59 References 63 Appendix A: Questionnaire 65 Appendix B: Summary of Findings i Index of Figures Page 33 Figure 1a: Stamp Exercise 3 – Original Presentation 33 Figure 1b: Stamp Exercise 3 – Secondary Adaptation 34 Figure 1c: Schlossberg Exercise 5 – Original Presentation 34 Figure 1d: Schlossberg Exercise 5 – Secondary Adaptation 35 Figure 1e: Stamp Bending Exercise – Original Presentation 35 Figure 1f: Stamp Bending Exercise – Secondary Adaptation 36 Figure 2a: Arban Exercises on the Slur No. 22 – Original Presentation 36 Figure 2b: Arban Exercises on the Slur No. 22 – Secondary Adaptation 37 Figure 3a: Caruso Exercise 3 – Original Presentation 37 Figure 3b: Caruso Exercise 3 – Secondary Adaptation 38 Figure 3c: Schlossberg Exercise 38 – Original Presentation 38 Figure 3d: Schlossberg Exercise 38 – Secondary Adaptation 39 Figure 4a: Clarke First Study Exercise 13 – Original Presentation 39 Figure 4b: Clarke First Study Exercise 13 – Primary Adaptation 40 Figure 4c: Clarke Second Study Exercise 37 – Original Presentation 40 Figure 4d: Clarke Second Study Exercise 37 – Primary Adaptation 41 Figure 5a: Arban Exercises in Double Tonguing No. 18 – Original Presentation 41 Figure 5b: Arban Exercises in Double Tonguing No. 18 – Primary Adaptation ii 42 Figure 5c: Arban Exercises in Double Tonguing No. 18 – Secondary Adaptation iii Declaration of Originality This thesis contains no material that has been accepted for the award of any other degree or diploma in any other university and, to the best of my belief, this thesis contains no material previously published or written by any other person except where due reference is made in the text. ___________________________ Eugene Ball iv Acknowledgements I wish to acknowledge the many who have formally and anecdotally contributed to this work. In particular, thanks go to Miroslav Bukovsky, Rob Sims, John Hoffman, Craig Scott, Patrick Crichton and David Elton for their assistance in enlisting the participation of their trumpet students. I wish also to thank this project’s supervisor, Dr. Barry Bignell for his profound insight and direction. v THE FUNDAMENTALS OF A NEW PRACTICE METHOD FOR IMPROVISING TRUMPET PLAYERS EUGENE BALL Submitted in partial fulfilment of the requirements for the degree of Master of Music Performance in the School of Music, Victorian College of the Arts (The University of Melbourne). 2004 Table of Contents Page ii Index of Figures iv Declaration of Originality v Acknowledgements 1 Chapter One: Delineation of the Research Topic 5 Chapter Two: The Research 12 Chapter Three: The Emergence of the Technique/Creativity Dichotomy 19 Chapter Four: A Review of Existing Trumpet Methods 27 Chapter Five: A Review of the Demands of Improvisation 31 Chapter Six: The Adaptation of Existing Exercises 46 Chapter Seven: Identifying Some Anomalies in Current Modes of Music Instruction 55 Chapter Eight: Final Observations and Recommendations for Further Research 59 References 63 Appendix A: Questionnaire 65 Appendix B: Summary of Findings i Index of Figures Page 33 Figure 1a: Stamp Exercise 3 – Original Presentation 33 Figure 1b: Stamp Exercise 3 – Secondary Adaptation 34 Figure 1c: Schlossberg Exercise 5 – Original Presentation 34 Figure 1d: Schlossberg Exercise 5 – Secondary Adaptation 35 Figure 1e: Stamp Bending Exercise – Original Presentation 35 Figure 1f: Stamp Bending Exercise – Secondary Adaptation 36 Figure 2a: Arban Exercises on the Slur No. 22 – Original Presentation 36 Figure 2b: Arban Exercises on the Slur No. 22 – Secondary Adaptation 37 Figure 3a: Caruso Exercise 3 – Original Presentation 37 Figure 3b: Caruso Exercise 3 – Secondary Adaptation 38 Figure 3c: Schlossberg Exercise 38 – Original Presentation 38 Figure 3d: Schlossberg Exercise 38 – Secondary Adaptation 39 Figure 4a: Clarke First Study Exercise 13 – Original Presentation 39 Figure 4b: Clarke First Study Exercise 13 – Primary Adaptation 40 Figure 4c: Clarke Second Study Exercise 37 – Original Presentation 40 Figure 4d: Clarke Second Study Exercise 37 – Primary Adaptation 41 Figure 5a: Arban Exercises in Double Tonguing No. 18 – Original Presentation 41 Figure 5b: Arban Exercises in Double Tonguing No. 18 – Primary Adaptation ii 42 Figure 5c: Arban Exercises in Double Tonguing No. 18 – Secondary Adaptation iii Declaration of Originality This thesis contains no material that has been accepted for the award of any other degree or diploma in any other university and, to the best of my belief, this thesis contains no material previously published or written by any other person except where due reference is made in the text. ___________________________ Eugene Ball iv Acknowledgements I wish to acknowledge the many who have formally and anecdotally contributed to this work. In particular, thanks go to Miroslav Bukovsky, Rob Sims, John Hoffman, Craig Scott, Patrick Crichton and David Elton for their assistance in enlisting the participation of their trumpet students. I wish also to thank this project’s supervisor, Dr. Barry Bignell for his profound insight and direction. v CHAPTER ONE: DELINEATION OF THE RESEARCH TOPIC The Problem The mastery of any instrument must of necessity include a systematic approach to the acquisition of technical proficiency, and a familiarisation with the repertoire specific to the instrument. That a performer develop high levels of facility in order to articulate musical ideas is an inescapable fact of artistic life. As an improvising trumpet player, however, I have been concerned for many years about the pedagogical balance between skill acquisition and the development of the ability to articulate musical ideas, the creative component, with ease and coherence. My own experience as a student and my observation of teaching practices has led me to the view that there is a discontinuity between what trumpet players are required by convention to practise and what and how they are expected to perform. For the improvising trumpet player, whose performance materials remain hidden until the very moment of execution, this separation of function is more pronounced. The rigidity of conventional trumpet practice routines could be said to be irrelevant and even detrimental to the generation and development of musical ideas, particularly for the improvising musician. The improviser’s role is, after all, to create spontaneously. Traditional modes of instrumental instruction, however, in focussing on the attainment of technique, do little to develop improvisatory skills. 1 The Topic This project examines the perceived split between technique and creativity as reflected in trumpet methods and illuminates, within a historical context, how it evolved. Further, this project discusses the implications the split has for improvising trumpet players, and explicates the principles of a more integrated trumpet method for improvisers. Key Concepts For the purposes of this study I use the term technique to mean the mechanical skill required to execute passages of music, and the term creativity to describe inventiveness and imagination in music expression. The term improvisation is used to describe the spontaneous and simultaneous conception and creation of music. The term exercise identifies the short, often repetitive segments of music prescribed for the acquisition of technique. The term routine is used to describe a group of exercises that comprise a player’s daily technical regimen. Limits of the Study This project does not intend to present a complete trumpet method that integrates the development of the creative components of music in concurrence with skill acquisition. Rather, it examines the problematic division between technique and creativity in 2 conventional music education and performance, which has prompted me to present some recommendations which could form the basis of a more integrated method of trumpet instruction for improvisers. While this study focuses on Australian trumpet players studying at tertiary level, it is hoped that its outcomes will be of benefit globally, at all levels of music instruction. Ethics Approval Ethics approval for this project has been granted by the Human Research Ethics Committee, The University of Melbourne. Synopsis of Content Chapter Two explains the problem in greater detail and substantiates it in the form of a review of the literature and a presentation of data gathered by way of a questionnaire distributed to Australian tertiary trumpet students. Chapter Three discusses the historical rise of the division between technique and creativity in music performance and education. Chapter Four describes the principles common to conventional trumpet methods, focussing on the five methods most widely used throughout Australia. 3 Chapter Five discusses