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The Art of Playing Trumpet in the Upper Register

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The Art of Playing Trumpet in the Upper Register UNIVERSITY OF MIAMI THE ART OF PLAYING TRUMPET IN THE UPPER REGISTER By August William Haas A DOCTORAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida May 2011 ©2011 August William Haas All Rights Reserved UNIVERSITY OF MIAMI A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts THE ART OF PLAYING TRUMPET IN THE UPPER REGISTER August William Haas Approved: _____________________________ _____________________________ Rachel L. Lebon, Ph.D. Teri A. Scandura, Ph.D. Professor of Jazz Voice Dean of the Graduate School _____________________________ _____________________________ Dante Luciani, M.M. Paul Wilson, Ph.D. Assistant Professor of Jazz Trombone Professor of Music Theory and Composition _____________________________ _____________________________ Jason Carder, M.M. Whit Sidener, M.M. Assistant Professor of Jazz Trumpet Chair of Studio Music and Jazz HAAS, AUGUST (D.M.A., Jazz Performance) The Art of Playing Trumpet in the (May 2011) Upper Register Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor Rachel L. Lebon. No. of pages in text (135) One of the most desired assets for a trumpeter is the ability to play in the upper register, also known as the extreme register. Upper-register playing is required in most genres of music, and it is considered one of the most difficult mental and physical challenges of trumpet performance. This paper aims to critically analyze and discuss upper-register playing, thereby serving as a guide enabling trumpet players to more effortlessly master this task. To achieve this, there will be a comprehensive analysis of the Baroque approach to the upper register, which will then be compared to the modern approach. The assessment will differentiate among embouchures used, jaw and facial structures (i.e. overbite or under bite, straight teeth, or gaps in teeth), diet, breathing techniques, tongue placement, and equipment or combinations thereof (i.e., different mouthpiece and trumpet combinations). Additionally, a study of past and present professional upper- register masters, as well as myths of upper-register playing, will be presented. This paper is intended to serve as a methodology to upper-register trumpet playing and will offer trumpet performers simple, yet proven, practical methods which can improve proficiency in this critical arena. TABLE OF CONTENTS Page LIST OF EXAMPLES ............................................................................................... v LIST OF TABLES ..................................................................................................... vi Chapter 1. INTRODUCTION ................................................................................................ 1 Background ............................................................................................... 2 Justification for Study ............................................................................... 5 Purpose of Study ....................................................................................... 7 Research Questions ................................................................................... 8 2. LITERATURE REVIEW ................................................................................ 9 Books ........................................................................................................ 9 Journals ..................................................................................................... 15 Interviews .................................................................................................. 18 Literature Review Summary ..................................................................... 19 3. METHOD ........................................................................................................ 21 Research Questions ................................................................................... 21 Procedures for the Motives for Choosing this Topic ................................ 21 Procedures for the Selection of Topics Discussed .................................... 22 Procedures for Creating Suggestions for Upper-Register Playing ........... 24 4. EQUIPMENT ................................................................................................ 25 iii Mouthpiece ............................................................................................... 25 Trumpets ................................................................................................... 32 Professional Analysis ................................................................................ 34 5. PHYSIOLOGICAL & PYSCHOLOGICAL FACTORS ............................... 38 Diet & Exercise ......................................................................................... 38 Dental Structure (Teeth) ........................................................................... 39 The Embouchure ....................................................................................... 41 Professional Analysis ................................................................................ 43 6. BREATHING ................................................................................................ 46 Posture ...................................................................................................... 47 Inahaltion .................................................................................................. 47 Exhalation ................................................................................................. 48 Compression ............................................................................................. 49 The “Yoga” and “Wedge” Breath ............................................................. 49 Professional Analysis ................................................................................ 51 7. PRACTICE REGIMEN ................................................................................. 55 8. CONCLUSION .............................................................................................. 69 Personal Reflection ................................................................................... 70 BIBLIOGRAPHY........................................................................................................ 74 APPENDIX A ............................................................................................................. 76 APPENDIX B ............................................................................................................. 77 APPENDIX C ............................................................................................................. 79 PARTICIPANT QUESTIONNAIRE TRANSCRIPTS ................................. 79 iv Roger Ingram ............................................................................................ 79 Jason Carder .............................................................................................. 85 Brian MacDonald ...................................................................................... 88 Jon Faddis ................................................................................................. 90 Gabrielle Cassone ..................................................................................... 93 Bobby Shew .............................................................................................. 95 Chad Shoopman ........................................................................................ 100 Eric Miyashiro .......................................................................................... 104 Greg Gisbert .............................................................................................. 107 Friedemann Immer .................................................................................... 110 Nathaniel Mayfield ................................................................................... 112 Paul Stephens ............................................................................................ 114 Rashawn Ross ........................................................................................... 117 Tony Kadleck ............................................................................................ 121 Tony Plog .................................................................................................. 123 Wayne Bergeron ....................................................................................... 125 Walter White ............................................................................................. 127 Rob Parton ................................................................................................ 129 APPENDIX D PARTICIPANT BIOS ................................................................................... 132 v LIST OF EXAMPLES Page Example 4.0 Basic Framework of a Trumpet Mouthpiece ......................................... 26 Example 4.1 Modern and Baroque Mouthpieces ........................................................ 30 Example 6.0 Illustrated Steps of a Complete Yoga Breath ......................................... 51 Example 7.0 Advanced Major Scale Extentions ......................................................... 56 Example 7.1 Maximum Flexibility.............................................................................. 60 Example 7.2 Herbert
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