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Extended Techniques in Trumpet Performance and Pedagogy

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Extended Techniques in Trumpet Performance and Pedagogy U UNIVERSITY OF CINCINNATI Date: May 14, 2009 I, Amy K. Cherry , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Trumpet It is entitled: Extended Techniques in Trumpet Performance and Pedagogy Student Signature: Amy K. Cherry This work and its defense approved by: Committee Chair: Alan Siebert Timothy Northcut Dr. Lizabeth Wing Approval of the electronic document: I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee. Committee Chair signature: Alan Siebert Extended Techniques in Trumpet Performance and Pedagogy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Division of the CollegeǦConservatory of Music 2009 by Amy K. Cherry B.M., University of Illinois, 1993 M.M., University of Cincinnati, 1995 Committee Chair: Alan Siebert ABSTRACT The impetus for this study was the question of whether extended techniques are actually being taught in college trumpet studio settings as standard skills necessary on the instrument. The specific purposes of this document included: 1) catalogue the extended techniques available to today’s trumpet performer, 2) reflect on their current use and address the question of how and when students are introduced to extended techniques, 3) contribute pedagogical exercises and suggestions to aid trumpeters in the study of some of the more challenging techniques, and 4) conclude with a Guided Approach to the literature detailing suggestions for the study of the twenty pieces referenced in this document. A survey was conducted of the current pedagogical status of extended techniques at the collegiate level. The online survey, which included questions regarding how and when students are introduced to extended techniques in their study of the trumpet, was completed by 166 college and university trumpet studio teachers from the United States and Canada. Examination of the results offers a unique view of the attention currently being given to extended techniques in college trumpet studios; they provide insight into specific teaching materials and performance repertoire being used by studio teachers today. Within each chapter pedagogical exercises assist in the study of certain techniques. The exercises are written as an introduction to many of these techniques, offering opportunities to experiment with the more challenging techniques before encountering them in the literature. Two specific techniques, multiphonics and flutter iii tonguing, are covered in greater detail with a larger collection of exercises. Pedagogical suggestions offered by the survey respondents are also included. Finally, the Guided Approach to the literature was compiled. Twenty pieces were selected and arranged in an order that provides a progressive approach to extended techniques. Each piece is catalogued through an individual profile which provides practical information regarding the piece: date, publication information, length, range, style of notation used, equipment requirements, who the piece was commissioned by or written for, a listing of all extended techniques employed, a listing of existing recordings, and a commentary concerning its particular challenges and benefits of study. The goal is to provide a resource for those who might not be familiar with the repertoire and help them choose appropriate literature for their students’ level of experience with these techniques. There exists a need for additional pedagogical materials that can be used to introduce extended techniques to students of the trumpet. The document is designed to aid the serious student of the trumpet in meeting all the expectations of the repertoire. iv © 2009 Amy K. Cherry All Rights Reserved v ACKNOWLEDGEMENTS There are many people who have been helpful in the completion of this project. I owe a special debt of gratitude to the following: My advisor and teacher, Alan Siebert, for his long-standing support and his guidance and patience with this project, Committee member Tim Northcut, for his support and for giving me responsibilities early on which helped prepare me for this, Committee member Dr. Lizabeth Wing, for asking questions and offering focus, All the volunteers in the United States and Canada who participated in the survey; their valuable time and thoughtful insights allowed this interesting look at current pedagogical practices, Western Carolina University, for the hosting of the online survey, Colleague Sue Grider, for her much needed technical guidance, My mom, for helpful assistance, baby-sitting, and constant support, My husband Dan, for his support, encouragement and fortitude which allow me to take on challenges and inspire me to be successful, My daughter Meghan, for reminding me to never get too extended. vi Table of Contents List of Tables .......................................................................................................................2 List of Musical Examples ....................................................................................................8 Introduction ........................................................................................................................11 Chapter I. Overview of Extended Techniques ............................................................16 II. Multiphonics/Vocalizations .......................................................................26 III. Tongue Techniques ....................................................................................55 IV. Valve Techniques .......................................................................................80 V. Lip Techniques...........................................................................................99 VI. Slide Techniques ......................................................................................112 VII. Additional Techniques .............................................................................131 VIII. “Current Pedagogical Status of Extended Techniques” Survey with Summary and Conclusions ..................................................161 Bibliography ....................................................................................................................220 Appendices A. Online Survey ..........................................................................................226 B. Survey Solicitation Materials ...................................................................240 C. Respondents’ Comments .........................................................................243 D. Guided Approach ....................................................................................266 E. Chart of 20 Chosen Pieces Reflecting Which Techniques Each Piece Employs ..................................................310 F. Suggestions for Future Research: Current Happenings in the World of Contemporary Trumpet – FONT and Center for Advanced Musical Studies, International Trumpet Seminar ................................................................312 1 TABLES Table Page 2.1 Level of Study Appropriate for the Teaching of Multiphonics ...................................45 2.2 Perceived Usefulness of Multiphonics .........................................................................45 2.3 Perceived Difficulty of Multiphonics ..........................................................................45 2.4 Level of Study Appropriate for the Teaching of Vocalizations ...................................53 2.5 Perceived Usefulness of Vocalizations ........................................................................54 2.6 Perceived Difficulty of Vocalizations ..........................................................................54 3.1 Level of Study Appropriate for the Teaching of Flutter Tonguing .............................67 3.2 Perceived Usefulness of Flutter Tonguing ...................................................................67 3.3 Perceived Difficulty of Flutter Tonguing ....................................................................67 4.1 Level of Study Appropriate for the Teaching of Valve Techniques ............................97 4.2 Perceived Usefulness of Valve Techniques .................................................................97 4.3 Perceived Difficulty of Valve Techniques ...................................................................98 5.1 Notation of Microtones ..............................................................................................103 5.2 Level of Study Appropriate for the Teaching of Lip Techniques ..............................111 5.3 Perceived Usefulness of Lip Techniques ...................................................................111 5.4 Perceived Difficulty of Lip Techniques .....................................................................111 6.1 Tae Hong Park, t1, Notation Table ............................................................................119 7.1 Notation of Percussive Effects ...................................................................................133 7.2 Level of Study Appropriate for the Teaching of Percussive Effects .........................138 7.3 Perceived Usefulness of Percussive Effects ..............................................................138 7.4 Perceived Difficulty of Percussive Effects ................................................................138
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