DOCSLIB.ORG

DMA Document

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DMA Document Twenty Interesting Etudes for the Developing Trumpet Player: The Challenges of Range and Need for Intermediate Etudes D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Edward Clark, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Timothy Leasure, Advisor Bruce Henniss Graeme Boone Alan Green CoPyrighted by Edward Clark 2019 Abstract The uPPer register is one of the slowest elements of a trumPet Player’s fundamentals to develoP due to the demands Placed on the embouchure. 20 Interesting Etudes for the Developing Trumpet Player was written to Provide intermediate etudes in a variety of musical styles that will challenge the student technically and musically, within a reasonable range of f# to g’’. This document gives a historical PersPective on the challenges of range within the context of available trumpet books starting at the beginning of the seventeenth century. Some of the most commonly used etude books today are discussed as well as suggestions for new additions to the intermediate rePertoire. Limitations of range in young Players, owing to the difficulties caused by orthodontic braces, are exPlored and several solutions are offered for the teacher to helP the student through those challenges. Finally, each of the etudes in Twenty Interesting Etudes for the Developing Trumpet Player by Ted Clark is examined for how they address common challenges for the intermediate trumPet Player, thus Providing a welcome addition to the intermediate rePertoire. ii Acknowledgments There are many PeoPle I would like to thank for suPPorting me through the writing of this document and comPletion of my doctoral degree. Without the suPPort and encouragement from the following PeoPle, this would not have been Possible. First, I apPreciate the guidance Timothy Leasure, my advisor at The Ohio State University, has Provided over the Past three years. His Patience and encouragement of my Professional and academic develoPment has been an invaluable asset during the challenges of comPleting my degree. I am grateful for my committee, Bruce Henniss, Dr. Graeme Boone, and Dr. Alan Green. Each of these Professors has had a sPecial imPact on my time at The Ohio State University. I would also like to thank the entire library staff at the Music and Dance Library for their constant helPful attitude and assistance. Two fellow students deserve recognition. Isaac Winland was of great assistance in helPing me navigate my degree at The Ohio State University and Zack Dierickx first gave me the idea of writing my final document on the etude book I had written. I would like to thank Timothy Quinlan and qPress Music Publishers for Publishing my etude book in 2018 and allowing me to use the musical examPles in this document. I was fortunate during my years in Toronto to have insPiring students, for whom the etudes were written. I would like to extend a thank you to all of them, esPecially John Rolland, iii the only student to Play all twenty etudes as they were being written. Thank you for being my guinea Pig. I would like to thank my sister, Laura, and mother, Cathy, for their constant suPPort and unending love. I would also like to thank my in-laws, Frank and Mary Ellen Fecser. Without their understanding and suPPort this degree would not have been Possible. Finally, and most imPortantly, I would like to thank my Patient and loving wife. Katie has been by my side as I went back to school after moving to the United States. Commuting five hours Per day and staying uP after the kids have gone to bed to Practice and comPlete school work would not have been Possible without her suPPort. This degree was comPleted during the first years of our marriage, and we even had a baby half way through. To my kids, thank you for keePing a smile on my face and being a constant reminder of why I am Putting myself through all of this. This is for you. iv Vita 1980..............................................................................................Born – Brockville, Ontario 2003...................................................................................B.Mus. in TrumPet Performance University of Toronto 2003-2005...............................................................................................Graduate Assistant Illinois State University 2005.....................................................................................M.M. in TrumPet Performance Illinois State University 2005-2015....................................................................................Freelance TrumPet Player Based in Toronto, ON 2005-2015...............................................................................................TrumPet Instructor Royal St. George’s College Toronto, ON 2016-2019....................................................................................Freelance TrumPet Player Based in Cleveland, OH 2017-2019............................................................Graduate Teaching Associate in TrumPet The Ohio State University Fields of Study Major Field of Study: Music v Table of Contents Abstract...........................................................................................................................................ii Acknowledgements........................................................................................................................iii Vita..................................................................................................................................................v List of Figures................................................................................................................................vii Chapter 1: The Need for Intermediate Etudes...............................................................................1 Positionality Statement.................................................................................................5 Chapter 2: Historical Methods Before 1800...................................................................................8 Chapter 3: Proliferation in the Nineteenth Century.....................................................................24 Chapter 4: Etude Books in Use Today...........................................................................................40 Chapter 5: Dental Considerations and Embouchure Challenges..................................................53 Chapter 6: 20 Interesting Etudes for the Developing Trumpet Player by Ted Clark......................70 Chapter 7: Conclusion.................................................................................................................112 ApPendix A: Foreward from Twenty Etudes for the Developing Trumpet Player.......................114 Bibliography................................................................................................................................116 vi List of Figures Figure 1: Harmonic overtone series of the natural trumPet........................................................11 Figure 2: Method of Tonguing with a Pointed Tongue in Different Ways....................................18 Figure 3: Dental occlusion.............................................................................................................63 Figure 4: Etude No. 1....................................................................................................................73 Figure 5: Etude No. 2....................................................................................................................76 Figure 6: Etude No. 3....................................................................................................................79 Figure 7: Etude No. 4....................................................................................................................81 Figure 8: Etude No. 5....................................................................................................................83 Figure 9: Etude No. 6....................................................................................................................84 Figure 10: Etude No. 7..................................................................................................................86 Figure 11: Etude No. 8..................................................................................................................88 Figure 12: Etude No. 9..................................................................................................................90 Figure 13: Etude No. 10................................................................................................................92 Figure 14: Etude No. 11................................................................................................................94 Figure 15: Etude No. 12................................................................................................................96 vii Figure 16: Etude No. 13................................................................................................................98 Figure 17: Etude No. 14................................................................................................................99 Figure 18: Etude No. 15..............................................................................................................101 Figure 19: Etude No. 16..............................................................................................................102
Load more

Recommended publications
  • Pastiche for Piano on Kaikhosru Shapurji Sorabji Op 6 Sheet Music
    Pastiche For Piano On Kaikhosru Shapurji Sorabji Op 6 Sheet Music Download pastiche for piano on kaikhosru shapurji sorabji op 6 sheet music pdf now available in our library. We give you 4 pages partial preview of pastiche for piano on kaikhosru shapurji sorabji op 6 sheet music that you can try for free. This music notes has been read 2619 times and last read at 2021-09-28 10:12:03. In order to continue read the entire sheet music of pastiche for piano on kaikhosru shapurji sorabji op 6 you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Piano Method, Piano Solo Ensemble: Mixed Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Opus Calidoscopium In Memory Of Sorabji Op 2 Opus Calidoscopium In Memory Of Sorabji Op 2 sheet music has been read 3180 times. Opus calidoscopium in memory of sorabji op 2 arrangement is for Advanced level. The music notes has 4 preview and last read at 2021-09-26 19:02:59. [ Read More ] Pastiche 2017 Pastiche 2017 sheet music has been read 2663 times. Pastiche 2017 arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 02:51:33. [ Read More ] Virtuoso Etude No 4 In Memory Of Sorabji Nocturne Op 1 Virtuoso Etude No 4 In Memory Of Sorabji Nocturne Op 1 sheet music has been read 2729 times. Virtuoso etude no 4 in memory of sorabji nocturne op 1 arrangement is for Advanced level. The music notes has 4 preview and last read at 2021-09-28 05:00:02.
    [Show full text]
  • A Scientific Characterization of Trumpet Mouthpiece Forces in the Context of Pedagogical Brass Literature
    A SCIENTIFIC CHARACTERIZATION OF TRUMPET MOUTHPIECE FORCES IN THE CONTEXT OF PEDAGOGICAL BRASS LITERATURE James Ford III, B.M., M.M., M.M.E. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2007 APPROVED: Kris Chesky, Committee Chair Gene Cho, Minor Professor Leonard Candelaria, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Ford III, James, A Scientific Characterization of Trumpet Mouthpiece Forces in the Context of Pedagogical Brass Literature. Doctor of Musical Arts (Performance), December 2007, 61 pp., 7 tables, 2 graphs, references, 52 titles. Embouchure dysfunctions, including those from acute injury to the obicularis oris muscle, represent potential and serious occupational health problems for trumpeters. Forces generated between the mouthpiece and lips, generally a result of how a trumpeter plays, are believed to be the origin for such problems. In response to insights gained from new technologies that are currently being used to measure mouthpiece forces, belief systems and teaching methodologies may need to change in order to resolve possible conflicting terminology, pedagogical instructions, and performance advice. As a basis for such change, the purpose of this study was to investigate, develop and propose an operational definition of mouthpiece forces applicable to trumpet pedagogy. The methodology for this study included an analysis of writings by selected brass pedagogues regarding mouthpiece force. Finding were extracted, compared, and contrasted with scientifically derived mouthpiece force concepts developed from scientific studies including one done at the UNT Texas Center for Music & Medicine.
    [Show full text]
  • Rachmaninoff's Early Piano Works and the Traces of Chopin's Influence
    Rachmaninoff’s Early Piano works and the Traces of Chopin’s Influence: The Morceaux de Fantaisie, Op.3 & The Moments Musicaux, Op.16 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Keyboard Studies of the College-Conservatory of Music by Sanghie Lee P.D., Indiana University, 2011 B.M., M.M., Yonsei University, Korea, 2007 Committee Chair: Jonathan Kregor, Ph.D. Abstract This document examines two of Sergei Rachmaninoff’s early piano works, Morceaux de Fantaisie, Op.3 (1892) and Moments Musicaux, Opus 16 (1896), as they relate to the piano works of Frédéric Chopin. The five short pieces that comprise Morceaux de Fantaisie and the six Moments Musicaux are reminiscent of many of Chopin’s piano works; even as the sets broadly build on his character genres such as the nocturne, barcarolle, etude, prelude, waltz, and berceuse, they also frequently are modeled on or reference specific Chopin pieces. This document identifies how Rachmaninoff’s sets specifically and generally show the influence of Chopin’s style and works, while exploring how Rachmaninoff used Chopin’s models to create and present his unique compositional identity. Through this investigation, performers can better understand Chopin’s influence on Rachmaninoff’s piano works, and therefore improve their interpretations of his music. ii Copyright © 2018 by Sanghie Lee All rights reserved iii Acknowledgements I cannot express my heartfelt gratitude enough to my dear teacher James Tocco, who gave me devoted guidance and inspirational teaching for years.
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • Part 3- a Sequential Approach to Etudes
    Part Three: A Sequential Approach to Etudes by Robert Jesselson The first two parts of this series discussed the benefits of employing an organized and sequential approach for teaching the intermediate string player. With this method the string teacher can create a solid technical and musical foundation for the student, and avoid skipping over important information that will be required for his/her future growth. Part One explored the complex set of skills, knowledge and experiences that a developing string player needs to acquire in order to become a competent musician and creative artist. Part Two of this series discussed the use of organized exercises to address specific aspects of the technique. These exercises, along with the ubiquitous scales and arpeggios that musicians need to master, are the basic building blocks of technique. Etudes then expand on the micro-technique of the exercises. They begin to put the technical pieces together into musical shapes, and should be approached both technically and musically. The current article will explore the importance of providing a good sequence of etudes in order to solidify the technique and facilitate the learning of literature. The repertoire of cello etudes is large and varied, with many excellent studies from which to choose. Besides Duport, Dotzauer, Lee, Popper, Franchomme, Piatti, and Servais, we have etudes by Gruetzmacher, Kummer, Klengel, Merk as well as contemporary etudes by Minsky and others. There are also collections of etudes compiled by pedagogues such as Alwin Schroeder. Although I use individual etudes by all of these composers to address specific issues, I prefer to use a succession of complete etude books in order to immerse the students in a specific technical and stylistic approach by one composer at a time.
    [Show full text]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy 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 Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]
  • Emotion and Vocal Emulation in Trumpet Performance and Pedagogy
    Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy by Geoffrey Tiller A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Geoffrey Tiller 2015 Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy Geoffrey Tiller Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract This dissertation examines the aesthetics of trumpet performance with a focus on the relationship between a vocal approach and expressiveness in trumpet playing. It aims to improve current trumpet pedagogy by presenting different strategies for developing a theory of a vocal approach. Many of the concepts and anecdotes used in respected pedagogical publications and by trumpet teachers themselves are heavily influenced by the premise that emulating the voice is a desired outcome for the serious trumpet performer. Despite the abundance of references to the importance of playing trumpet with a vocal approach, there has been little formal inquiry into this subject and there is a need for more informed teaching strategies aimed at clarifying the concepts of vocal emulation. The study begins with an examination of vocal performance and pedagogy in order to provide an understanding of how emulating the voice came to be so central to contemporary notions of trumpet performance aesthetics in Western concert music. ii Chapter Two explores how emotion has been theorized in Western art music and the role that the human voice is thought to play in conveying such emotion. I then build on these ideas to theorize how music and emotion might be better understood from the performer’s perspective.
    [Show full text]
  • Views, However the Hamburg Council Refused to Release Him from His Obligations
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Sinfonia in D, GWV 511: A Critical Edition Randall D. Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SINFONIA IN D, GWV 511: A CRITICAL EDITION By RANDALL D. HAYNES A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2009 The members of the committee approve the treatise of Randall D. Haynes defended on October 26, 2009. __________________________________ Bryan Goff Professor Directing Treatise __________________________________ Charles Brewer University Representative __________________________________ John Drew Committee Member __________________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members. ii To my entire family, because your support, love, encouragement, dedication and prayer is what got us all through this journey! iii ACKNOWLEDGEMENTS I would like to thank my committee for their unending support and dedication to getting me through this degree. Your knowledge, encouragement, criticism and guidance is most gratefully appreciated. Special thanks are extended to Bryan Goff for his tireless efforts in the preparation of this manuscript. Thank you to Dr. Evan Jones and Mrs. Kari Zamora for your suggestions and ideas regarding the theoretical aspects of this work. Thank you to all of my professors at the University of Cincinnati College- Conservatory of Music, Wright State University, the University of Florida and The Florida State University. You have all been inspirational to me, not only as a musician, but as a person as well.
    [Show full text]
  • Mathematical Analysis of the Music of Johann Sebastian Bach
    East Texas Baptist University School of Fine Arts Department of Music The Two-Part and Three-Part Inventions of Bach: A Mathematical Analysis Honors Project By Jennifer Shafer Dr. Randall Sulton, Project Supervisor Committee Members: Dr. Virginia Lile Boaz, Dr. Melissa Reeves Marshall, Texas March 2010 1 Introduction Benoit B. Mandelbrot‟s book The Fractal Geometry of Nature was published in 1983. This publication updated and replaced two earlier works from 1975 and 1977 and codified his theory of fractal geometry as a new branch of mathematics. As a result of the creation of fractal geometry in the world of mathematics, music theorists have since created new techniques for analyzing music. These methods include study of fractal structure, fractal dimension, strange attractors in music, and Fourier analysis of musical lines. For my own research in this area, I chose to analyze the fifteen Two-Part Inventions and fifteen Three-Part Inventions of Johann Sebastian Bach (1685-1750).1 Each of these pieces can “be defined as a short contrapuntal work centering around the development of material from one or two motives”.2 While each piece has a unique motive, the compositional technique is the same, making all thirty pieces musically and technically different but similar in style. I based my analysis on two primary sources: “Fractal Geometry of Music,” a 1993 article by Kenneth J. and Andreas J. Hsu, and Fractals in Music: Introductory Mathematics for Musical Analysis, published in 2007 by Charles Madden. Both sources suggested new methods of musical analysis, some of which I chose to use in my research.
    [Show full text]
  • Two Etudes by Unsuk Chin: No
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Two Etudes by Unsuk Chin: No. 1, in C, and No. 6, Grains, for Piano Doori Yoo Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TWO ETUDES BY UNSUK CHIN: NO. 1, IN C, AND NO. 6, GRAINS, FOR PIANO By DOORI YOO A Treatise submitted to College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2013 Doori Yoo defended this treatise on February 5, 2013. The members of the supervisory committee were: Read Gainsford Professor Directing Treatise Michael Buchler University Representative Joel Hastings Committee Member Timothy Hoekman Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ! ACKNOWLEDGEMENTS My first and deepest thanks go to God, who is my constant source of strength. My entire life, including this very treatise, reveals His faithfulness. I would like to express my very special gratitude to my major professor, Dr. Read Gainsford. I could not have completed this treatise without his many hours of help and guidance. I am ever grateful for the support that I had from this incredible artist. Because of his excellent teaching, my doctoral studies were both fruitful and tremendously enjoyable. The ingredients for his teaching always included knowledge, curiosity, creativity, openness, as well as genuine care for his students.
    [Show full text]
  • Natural Trumpet Music and the Modern Performer A
    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
    [Show full text]
  • Edward Tarr Brass Ensemble in 1969 (In Formations from 5 to 15 Musicians) and the Duo (With Irmtraud Krueger, Organ) in 1980
    Edward Biography Tarr Biography Edward H. Tarr is a native of Connecticut (USA) and a pupil of two of the most respected orchestral trumpeters: Roger Voisin and Adolph Herseth (Boston and Chicago Symphony Orchestras). His interest in the - at that time - more obscure reaches of the trumpet repertoire led Tarr to start researching whilst studying in the USA, and he continued and intensified his research after moving to Europe in 1959 to study musicology: (University of Basel with Prof. Leo Schrade; Ph.D. degree from University of Hamburg, 1986.) Edward H. Tarr is a pioneer in the reintroduction of historical brass instruments, and has made countless recordings and performances on natural trumpet and cornett, whilst not neglecting the modern instrument. He has toured the world, has been adviser to several musical instrument manufacturers (R. Egger in Basel and Yamaha) and has produced scholarly editions of the most important trumpet concerti. Activities in the world of musical education included teaching historical trumpet and cornett at the Schola Cantorum Basiliensis (from where he retired in 2001) and modern trumpet at the Basel Conservatory, as well as guest professorships and master classes in Stockholm, Oslo, Copenhagen, Helsinki, Melbourne, Sydney, Stanford, Los Angeles, Tallahassee, Lucerne, and Vaduz. He is also a much sought-after juror at major international competitions. Dr Tarr has been director of the Bad Saeckingen Trumpet Museum since its inception in 1985. He founded the Edward Tarr Brass Ensemble in 1969 (in formations from 5 to 15 musicians) and The Duo (with Irmtraud Krueger, organ) in 1980. For Naxos, Edward Tarr conducted the Wasa Baroque Ensemble and soloists on Vol.
    [Show full text]