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.

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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,

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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.

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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

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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

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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

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Figure 16: Etude No. 13...... 98

Figure 17: Etude No. 14...... 99

Figure 18: Etude No. 15...... 101

Figure 19: Etude No. 16...... 102

Figure 20: Etude No. 17...... 104

Figure 21: Etude No. 18...... 106

Figure 22: Etude No. 19...... 107

Figure 23: Etude No. 20...... 109

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Chapter 1: The Need for Intermediate Etudes

Just as athletes develop their physique over years of intensive training, so must trumpet players develop the muscles used to play in the high and low range over several years of study. When an amazing trumpeter pops out a few screaming high notes without breaking a sweat, we may pretend that it’s magic or some special talent; however, those few notes are the product of many hours holed up in a practice room.1

The beginning trumpet player is faced with developing a number of fundamentals simultaneously; sound, breath control, articulation, flexibility, range, finger dexterity, and dynamics, often while also learning to read music for the first time. Fortunately, many of the beginning band books used in schools, where most wind instrumentalists get their start, offer a comprehensive system of learning the language of music while progressively developing the embouchure required to play the trumpet. For those fortunate enough to study with a private teacher from their first notes on the trumpet, the student will also be working on specific exercises to approach these various challenges. Many students, however, do not begin private lessons until they have been playing for several years and instead miss out on developing many of the fundamentals of playing early on in their progression. David Zauder, in his book Trumpet

1 Adrian Griffin, Buzz to Brilliance: A Beginning and Intermediate Guide to Trumpet Playing (New York: Oxford University Press, 2012), 98. 1

Embouchure Studies, notes that too many students want to play songs and solos before they can physically control their instrument, which results in their playing being “anemic and faulty.”2 Ideally, a student’s top priority should be to develop a beautiful tone through proper breath control and embouchure development. It is the responsibility of the teacher to find a way to work on fundamentals while keeping practice sessions interesting for the student. This is no small task, especially when dealing with younger players.

All of these fundamentals, however, do not progress at the same rate. Every student progresses differently. One of the biggest challenges on the trumpet is the development of range and endurance due to the unique embouchure that is required to play a high brass instrument. Trumpet players can be considered “small muscle athletes”3 due to the fact that they are working on strengthening muscles, just as any athlete would. The embouchure is formed by small muscle groupings in the face and require the strength to endure the demands of trumpet playing. Like athletes, trumpet players cannot expect their strength to develop overnight. A good trumpet embouchure is formed over years of dedicated and efficient practicing.

Developing a longer lasting embouchure is not, unfortunately, a matter of some special technique or approach. It is simply a matter of developing good fundamental skills and then extending the amount of time we practice those skills. Increased endurance

2 David Zauder, Trumpet Embouchure Studies (Cleveland Heights, OH: David Zauder, no date given), i. 3 Will Strieder, “Trumpet Fundamentals: A Comprehensive Guide to Starting Them Right and Keeping Them Right,” ITG Journal 37, no. 4 (June 2013): 48. 2

is not so much a goal as a by-product of efficient work.4

The embouchure is made up of approximately two dozen muscles in the mouth and face that produce the tension necessary to vibrate the air column and create the sound on the trumpet.5 As the lips are pressed together the pitch rises, but this is often confused with using mouthpiece pressure on the lips, which fatigues and can damage those muscles. There are no shortcuts to extending one’s range on the trumpet, it must come from years of practice with a solid foundation in the low and middle registers.6 Yet, as Canadian jazz trumpeter Mike Herriott notes, “no matter how high trumpet players can play, they always want to be able to play higher.”7 The desire to move too fast can result in a number of bad habits forming, which can be solved by the proper use of air. How a trumpet player uses the air is the key to success on the trumpet, and the enemy of the air is excess tension. The key to efficient air is a fine line between allowing the air to release versus blowing the air out.8 Vincent Cichowicz, one of the greatest pedagogues of the past century, says that “a trumpet player who wants to play a high note stiffens the body in preparation for this formidable task. The act of breathing is no longer simple or natural, as it would be for a sigh or a yawn. The habit of taking a correct breath is

4 Keith Johnson, Brass Performance and Pedagogy (Upper Saddle River, NJ: Prentice Hall, 2002), 34. 5 Frank Gabriel Campos, Trumpet Technique (New York: Oxford University Press, 2005), 52. 6 Michael Brown, “Developing the Upper Trumpet Register,” Instrumentalist 52, no. 2 (September 1997): 42. 7 Mike Herriott, “Developing Your Range: Part 1,” Canadian Musician 32, no. 3 (May/June 2010): 30. Will Strieder, “Trumpet Fundamentals: A Comprehensive Guide to Starting Them Right and Keeping Them Right,” ITG Journal 37, no. 4 (June 2013): 47. 3

extraordinarily important. It should be consistent under any circumstances. Breathing should be a part of making music.”9

While a student is developing the embouchure muscles and air support to play in the upper register, they also require repertoire that will challenge them technically, rhythmically, and musically. While many students after three to four years of playing the trumpet will have a well-developed high range, some find it difficult to progress beyond g’’. A further challenge to building the embouchure is the application of orthodontic braces, a common occurrence for the

13 to 16 age group that also corresponds to this playing level. Braces can greatly diminish the student’s endurance and range. Returning to easier repertoire for the sake of the embouchure can be frustrating for the student because they want to be progressing further as musicians.

What is needed are etudes that continue to challenge other aspects of the student’s playing while remaining in a comfortable range. In addition to these physical limitations is the desire to make learning music fun. Many new etude books that are being written embrace the variety of musical styles that are popular today but have yet to enter the mainstream of trumpet pedagogy. The most readily available repertoire for the trumpet, those found at the local music store, are often the most traditional resources. Trumpet teachers can lead this change by seeking out and using more recent sources, thus causing a supply due to demand.

9 Vincent Cichowicz, “Teaching the Concepts of Trumpet Playing,” The Instrumentalist 50, no. 6 (January 1996): 27. 4

Positionality Statement

20 Interesting Etudes for the Developing Trumpet Player is an etude book I wrote to address what I saw as a need in my own private teaching of trumpet students at the early to mid-high school level. I found the most readily available etudes for intermediate trumpet players were not captivating the interest of my students. In order to find challenging repertoire, the range would be too high. I also wanted the students to learn to play comfortably in a variety of musical styles without having to use multiple books to do so. The book was conceived and written before I became a doctoral student and was based on a perceived need. Each etude was also composed specifically to address issues in my students playing. Now that I am completing a terminal academic degree, I wanted to revisit this book from a scholarly perspective.

One of the benefits of learning to play a musical instrument is a sense of accomplishment; there is reward for long-term dedication. I would like to compare learning to play an instrument to climbing Mount Everest. Why do it? I believe it is to see if we can accomplish something that, at the outset, seems like an enormous challenge. Even greater than any outside praise we may receive is the sense of personal accomplishment, which builds confidence, if we succeed. Deciding to climb Mount Everest is to choose to do something that not everyone can do. At times this can be exciting and rewarding, while at other times daunting

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and scary. Although the challenge is in accomplishing something not everyone has, we still seek out others who have succeeded as a reminder to ourselves that they were once where we are now, saw the same challenges, and overcame those challenges. If they can do it, maybe we can too. This is the reason I have chosen to begin my document with a historical perspective on the challenges of developing the upper register on the trumpet and explore the earliest method books. I believe knowing the history of what you are doing and recognizing that the challenges you face were faced by others is both comforting and empowering. A historical context can both compare and contrast the needs of today’s trumpet students by exploring similarities and differences.

While I recognize the benefits of the most commonly used etude books today, I also wanted to acknowledge their limitations when used with the young generation in today’s eclectic musical world. When I speak of the most readily available etudes I do so from a real- world standpoint having dealt with young students and their parents for over fifteen years.

Although possible, it is not ideal to be working from a different etude book for each musical style you want to explore. There are several other etude books that accomplish the goal that I set out with my book: to provide technically and musically challenging etudes while staying in a limited range and simultaneously exploring multiple styles, keys, and time signatures all in one volume. It is my hope that these recent methods become more well-known in the trumpet community.

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I personally experienced the frustration of playing the trumpet with braces and did not have a private instructor at the time. As a teacher helping students through this difficult time in their development, I sympathize with them and do my best to make the experience as positive as possible. I explore both the reasons why braces present such an obstacle for embouchure development and common solutions to those obstacles.

Finally, I discuss each etude from 20 Interesting Etudes for the Developing Trumpet

Player from a pedagogical stand-point as I seek to address the most common challenges faced by intermediate trumpet players today.

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Chapter 2: Historical Methods Before 1800

Before the trumpet was accepted into art music in the early seventeenth century it was utilized as a signaling instrument, a function it has retained for thousands of years. The earliest treatises reflected this function by writing out the various calls a military trumpet player would be expected to know, as well as trumpet ensemble pieces, and pedagogical exercises. Prior to the nineteenth century there are few publications dedicated solely to the instruction of the trumpet player, let alone etude books. The earliest known method, by Verona born Cesare

Bendinelli (c.1542-1617) and entitled Tutta l’arte della Trombetta (The Entire Art of Trumpet-

Playing), appeared in 1614. Following that, in 1638, is the Modo per imparare a sonare di tromba (Method for Learning the Trumpet in a Warlike Way as well as Musically) by Girolamo

Fantini (1600-1678), originally thought to be the first method before the discovery of

Bendinelli’s work.10 Over one hundred and fifty years later Johann Ernst Altenburg (1734-1801) would publish his Essay on an Introduction to the Heroic and Musical Trumpeters’ and

10 Girolamo Fantini, Method for Learning the Trumpet in a War Like Way as well as Musically, trans. Edward Tarr (Nashville: The Brass Press, 1975), 1. 8

Kettledrummers’ Art (1795), which is more accurately a book of tips about the art of trumpet playing than a true method book.

It is not a surprise that the two surviving methods from the seventeenth century come from Italy. By the end of the Renaissance the “Italian style” was the desired standard for trumpet playing across Europe.

The Italian style was a method of trumpet playing which Italian trumpeters introduced to the courts as they gradually travelled northwards across Europe, from the end of the 15th century to the end of the 16th... Two categories of this style are found. The first consists of military signals, which belong to the earliest repertory of the trumpet. These the Italians standardized... In the second category we find the trumpeters’ sonatas; this made up the ensemble music played by trumpeters at meal times, whence the term ‘blowing-at-table’.11

While the trumpet was being introduced into art music in Italy in the seventeenth century, the trumpet in France “remained limited to its traditional heroic role for a long time.”12 Trumpet ensembles under Louis XIV were rigidly controlled by the monarchy and had a clear hierarchical structure. When Charles II was restored to the monarchy in London in 1660 he modeled the

French organization of their instrumental ensembles, although unlike France, “where the trumpeters accompanied only the king, the English trumpeters were divided into four different regiments of Life Guards... as a rule a member of the trumpet corps was first admitted for a

11 Peter Downey, “A Renaissance Correspondence Concerning Trumpet Music,” Early Music 9, no. 3 (July 1981): 328–329. 12 Edward Tarr, The Trumpet (Chandler, AZ: Hickman Music Editions, 2008), 82. 9

probationary period without remuneration, becoming later a trumpeter ‘in ordinary.’”13 In

1623, Emperor Ferdinand II, Emperor of the Holy Roman Empire, founded the Imperial Guild of

Court and Field Trumpeters and Court and Army Kettledrummers.14 As a result the Guild strictly controlled who had the privilege of learning to play the trumpet and kettledrums amongst all of the German-speaking countries of the Holy Roman Empire.

Emperor Ferdinand II confirmed twelve articles of the Imperial Privilege that “fulfilled two main functions: first, to keep the number of trumpet players small and the level of their art high by means of strict regulation of instruction, and second, to ensure the exclusivity of the trumpet by means of restrictions as to its use.”15 This exclusivity helps to explain the lack of widely available trumpet methods at the time. Once a student was taken into the Guild, they were to take an oath to keep the skilled art of trumpet playing a secret from non-members.

Each student learned by rote from their master and would play from memory for the rest of their career.16 Instructors were only allowed to take on one student at a time, unless his own son was also studying, and paid 100 thalers for two years of instruction, although the apprenticeship could last up to seven years. It was only after this seven-year period, and conditional on the trumpeter participating in at least one military campaign, thus earning him

13 Tarr, The Trumpet, 88. 14 Girolamo Fantini, Method for Learning the Trumpet in a War Like Way as well as Musically, trans. Edward Tarr (Nashville: The Brass Press, 1975),), 56. 15 Edward Tarr, The Trumpet (Chandler, AZ: Hickman Music Editions, 2008), 66. 16 Caldwell Titcomb, “Baroque Court and Military Trumpets and Kettledrums: Technique and Music,” The Galpin Society Journal 9 (June 1956), 61. 10

the title of Field Trumpeter, that he could then become an instructor himself.17 Trumpeters studying to be members of the Imperial Guild began by developing the lower register, adding range as the embouchure developed. The instrument, however, was quite different from the trumpet we play today.

The natural trumpet of the Baroque era did not have valves and could therefore only play the notes of the harmonic overtone series.

Figure 1 Harmonic overtone series of the natural trumpet.

The overall length of the trumpet was almost twice that of today’s instrument. Normally pitched in D, it was a sixth below the Bb trumpet, instead of a third above like the modern D trumpet.18 The proportion of cylindrical to conical tubing was slightly larger, and although the tubing length was longer, the bore of the cylindrical sections averaged one tenth of an inch smaller in diameter than the modern bore. The trumpet in the Baroque era had a smaller bell

17 Edward Tarr, The Trumpet (Chandler, AZ: Hickman Music Editions, 2008), 66–67. 18Caldwell Titcomb, “Baroque Court and Military Trumpets and Kettledrums: Technique and Music,” The Galpin Society Journal 9 (June 1956), 66. 11

with a more gradual flare, and different degree of taper. The mouthpiece was also quite different. It was larger than today’s mouthpiece with a flat, broad rim, and a nearly hemispherical cup shape. The inner edge of the rim and throat were unbeveled and sharp.19

These differences existed to facilitate a more reliable high register, as opposed to today’s preferences for flexibility. Lead jazz players today often favor shallower mouthpieces with different rim edges and throat sizes for this same aid in the high register but is not the kind of mouthpiece a student would be playing on during the developmental stages of their playing.

There are no shortcuts to developing a high register, although many students believe that specialized equipment is the answer. Altenburg wrote that many players would choose to use a mouthpiece with a narrow bowl and small throat to help play quite high, but that in doing so the player sacrificed the purity of the sound in the high register, as well as fullness of sound in the low register. Although everyone must choose the mouthpiece that is suitable for his lips and part he plays, wrote Altenburg, these smaller mouthpieces were not advisable.20

Much has been written regarding the distinction in registers, and their respective players, in the Baroque era. Edward Tarr’s contemporary exercise book for the Baroque

Trumpet, The Art of Baroque Trumpet Playing (1999), divides the exercises up between the principale (low), mid-clarino, and clarino (high) registers. At the time of Bendinelli and Fantini’s

19 Arnold Fromme, “Performance Technique on Brass Instruments during the Seventeenth Century,” Journal of Research in Music Education 20, no. 3 (Autumn 1972), 333–334. 20 Johann Ernst Altenburg, Essay on an Introduction to the Heroic and Musical Trumpeters’ and Kettledrummers’ Art, trans. Edward Tarr (Nashville, TN: The Brass Press 1974), 80. 12

method books, trumpet players specialized by register and were not expected to play outside of their designated range. As the trumpet progressed into art music during the Baroque era, the distinction of the principale and clarino registers became commonplace. Although the smaller bore size did help, it was the specialization, combined with talent and practice, that led to the success of these players. Since a clarino player could completely ignore the low notes, they could develop an embouchure suited only to the upper register.21 The modern trumpeter, now on a trumpet designed to be more flexible between the registers, no longer specializes in this way and must learn to play in all registers. This development can be, understandably, slow and does not always progress at the same rate as other technical and musical challenges faced by today’s trumpet students.

Altenburg wrote about the clarino player in his essay and notes the difficulty presented by the high register. He stated that,

The proper embouchure for the formation of this sound is extraordinarily difficult to attain, and cannot be described accurately with rules. Practice should perform the best service hereby, although much depends also on the structure of the lips, etc. A strong thrust of air and a tight drawing together of the teeth and lips are probably the most important aspects thereof.22

21 Arnold Fromme, “Performance Technique on Brass Instruments during the Seventeenth Century,” Journal of Research in Music Education 20, no. 3 (Autumn 1972), 334. 22 Johann Ernst Altenburg, Essay on an Introduction to the Heroic and Musical Trumpeters’ and Kettledrummers’ Art, trans. Edward Tarr (Nashville, TN: The Brass Press 1974), 94. 13

The development of a strong embouchure to handle the demands of the upper register on the trumpet through productive practicing is not, then, a new concept. Caldwell Titcomb, in his article on the technique and music of Baroque court and military-trumpeters states that during extended periods of playing in the upper register it was not unusual for two clarino players to exchange parts back and forth in order to share the burden on the player’s embouchure. This has been a common practice throughout the history of trumpet performance and continues to this day. Despite the specialization and unique equipment, there seems to be agreement on the need for extended practice and development to endure the difficulties of high register playing on the trumpet, even at the beginning of exploration in the field of trumpet pedagogy. Few though they were, a brief overview of each of the aforementioned methods is of interest to the modern trumpet student and teacher.

Born in Verona around 1542, Cesare Bendinelli began his career on trombone, not trumpet, at the court of Schwerin. From 1567 to either 1577 or 1580, he was a court trumpeter at the Imperial court of Vienna. From 1580 until his death in 1617, Bendinelli worked at the court of Munich as Trumpet Major.23 By the end of his life Bendinelli suffered from gout and went as far as to have his epitaph carved in marble in 1613, now part of the south wall of the

Munich Cathedral, the Dom zu Unserer Lieben Frau (the “Frauenkirche”).24 In 1614, he sent the

23 Edward Tarr, The Art of Baroque Trumpet Playing: Exercises from the Schola Cantorum Basiliensis, Volume 1 (Mainz, Germany: Schott, 1999), 98. 24 Cesare Bendinelli, Tutta l’arte della Trombetta 1614: Complete English Translation, Biography, and Criticla Commentary, trans. Edward Tarr (Vuarmarens, Switzerland: The Brass Press/Editions Bim, 2011), 8. 14

Accademia Filarmonica of Verona a trumpet built by Anton Schnitzer in 1585, along with the trumpet method, Tutta l’arte della Trombetta (The Entire Art of Trumpet Playing). It is currently the earliest known method book for the trumpet, but was largely ignored by scholars until

1975, when it first appeared in facsimile. According to the well-known trumpet historian,

Edward Tarr, “the earliest known trumpet method contains over 300 so-called sonatas, which were performed at processions and other festive occasions by a 5- or 10-part trumpet ensemble, furthermore military signals, and certain pieces for one trumpet unaccompanied which seem to have served a pedagogical function.”25 In a manner that is timeless for the development of all trumpet students, Bendinelli’s exercises begin by developing the principale register first. The discovery of this method also contains the earliest known pieces in the clarino register, with pieces dating back as far as 1584. The range of his sonata number 327 is c’’-a’’, which was the same range used by Monteverdi for the clarino part in the toccata prologue in his opera Orfeo.26 Bendinelli’s pedagogical progression is the same as we see today, starting with a limited low range with large note values, and gradually adding range and shorter notes.

An advancement in the demands of the trumpet player can be seen in Fantini’s work of 1638, where he extends the clarino register up to c’’’ and d’’’.

25 Edward Tarr, The Art of Baroque Trumpet Playing: Exercises from the Schola Cantorum Basiliensis, Volume 1 (Mainz, Germany: Schott, 1999), 98. 26 Cesare Bendinelli, Tutta l’arte della Trombetta 1614: Complete English Translation, Biography, and Criticla Commentary, trans. Edward Tarr (Vuarmarens, Switzerland: The Brass Press/Editions Bim, 2011), 14–19. 15

Girolamo Fantini was born in Spoleto in 1600 and became the court trumpeter to

Ferdinand II, the Grand Duke of Tuscany, in 1631. One of the most famous trumpet players in

Italy at the time27, his ability as a performer is referenced in Mersenne’s Harmonicorum of

1635-36.28 The dedication to Ferdinand II in his method, Modo per Imparare a sonare di

Tromba, is dated April 20, 1638. A translation of the title page reads:

Method for Learning to Play the Trumpet, Both Military and Artistic, to the Organ, with Muted Trumpet, with the Harpsichord, and any other Instrument. In addition are many sonatas such as Ballads, Branles, Caprices, Sarabandes, Correntos, Ornamentations, and Sonatas with the Trumpet and Organ together.29

Although no longer the earliest method book thanks to the discovery of Bendinelli’s work,

Fantini’s method does contain the first composition for trumpet and organ or trumpet and keyboard instrument that we know of. In what was likely the first concert for the combination of trumpet and organ, Fantini performed with Girolamo Frescobaldi, organist of St. Peter’s

Basilica in Rome, in the summer of 1634.30 This performance did not take place at the Basilica itself, but most likely in a private home in Rome staged by Cardinal Francesco Barberini to

27 Robert Douglas, “The First Trumpet Method; Girolamo Fantini’s ‘Modo per Imparare a sonare di Tromba’ (1638),” Journal of Band Research 7, no. 2 (Spring 1971), 18. 28 Marin Mersenne, Harmonicorum (Paris: Guillaume Baudry, 1636). 29 Douglas, “The First Trumpet Method,” 20. 30 Edward Tarr, The Art of Baroque Trumpet Playing: Exercises from the Schola Cantorum Basiliensis, Volume 1 (Mainz, Germany: Schott, 1999), 112. 16

further the influence of the Barberini family in the arts scene there.31 Although Fantini uses the term soprano for the clarino register, Fantini’s book also begins by focusing on the principale register, showing that the beginner student should develop a good lower register, adding range as the embouchure and player develops. It is on pages 78-82 that Fantini introduces studies in the clarino register. Unlike Bendinelli, Fantini presents the technique of using a variety of syllables when tonguing groups of notes on the trumpet. The Modo di battere la lingua puntata in diversi modi (Method of tonguing with a pointed tongue in different ways)32 shows different ways of tonguing, here reproduced by Edward Tarr:

31 Shelby Allen Lewis, “Fantini and Frescobaldi in Rome, Circa 1634: A Study of Context and Practice,” (DMA diss., Louisiana State University, 2015), 41–44, https://digitalcommons.lsu.edu/gradschool_dissertations/3655/. 32 Edward Tarr, The Art of Baroque Trumpet Playing: Exercises from the Schola Cantorum Basiliensis, Volume 1 (Mainz, Germany: Schott, 1999), 116. 17

Figure 2 Method of Tonguing with a Pointed Tongue in Different Ways by Girolamo Fantini, 1638. Transcribed by Edward Tarr.

This style of vocalization resulted in a greater sense of line and phrasing and more connection between notes, albeit a smaller tone and less pronounced articulations.33 This technique was lost by the nineteenth century, although today trumpet players still make use of double and triple tonguing, but more to facilitate speed than to mimic the human voice in groupings of notes. According to Arnold Fromme, the seventeenth century trumpet had a smaller bore and bell and did not need to be played at a volume level demanded of today’s trumpet players. The

33 Arnold Fromme, “Performance Technique on Brass Instruments during the Seventeenth Century,” Journal of Research in Music Education 20, no. 3 (Autumn 1972), 330. 18

instrument required less air and abdominal support, which made this style of articulation more noticeable and easier to execute.34

The second half of Fantini’s book consists of pieces for trumpet and basso continuo that he refers to as “sonatas” as well as “dance movements for trumpet and unspecified bass instrument, probably harpsichord, and eight sonatas for trumpet and organ,” as noted by

Edward Tarr, who continues: “with these pieces the trumpet takes its place for the first time in art music.”35 These pieces are grouped under the headings of ricercata, balleto, brando, saltarello, sarabanda, aria, capriccio, corrente, sonata, and gagliarde. Those pieces that do not have a continuo part are for two trumpets.36 Whereas the compositions outside of pedagogical exercises in Bendinelli’s work were limited to military signals and trumpet ensemble pieces, by

1638 Fantini demonstrates the need for trumpet players to be able to perform a variety of styles. The German composer and music theorist Daniel Speer (1636-1707) then wrote a method for a variety of instruments in 168737, dedicating ten pages to the trumpet. He puts the range of the trumpet up to c’’’ and includes six-part trumpet ensemble pieces. There is then a span of over one hundred years before Johann Ernst Altenburg’s Essay on an Introduction to the

Heroic and Musical Trumpeters’ and Kettledrummers’ Art of 1795.

34 Arnold Fromme, “Performance Technique on Brass Instruments during the Seventeenth Century,” Journal of Research in Music Education 20, no. 3 (Autumn 1972), 331. 35 Girolamo Fantini, Method for Learning to Play the Trumpet in a Warlike Way as well as Musically, trans. and commentary Edward Tarr (Nashville, TN: The Brass Press, 1975), 1. 36 Robert Douglas, “The First Trumpet Method; Girolamo Fantini’s ‘Modo per Imparare a sonare di Tromba’ (1638),” Journal of Band Research 7, no. 2 (Spring 1971), 22. 37 Daniel Speer, Grundrichtiger Unterricht der Musicalischen Kunst, (Ulm: Kühnen, 1687). 19

Although it is not a method book strictly speaking, Altenburg’s treatise is a wealth of information regarding the trumpet up to the end of the eighteenth century. He discusses the trumpet’s use from ancient times through the formation of the guilds and the training of trumpet students. As with the previous texts discussed, Altenburg describes the trumpet’s military ties but also the instruments that would have been in use and his own pedagogical ideas as to the playing and teaching of the trumpet. Notably, he lays out nine “lessons” on how a teacher might instruct a trumpet pupil. In each lesson he suggests how the student should be progressing in his study of the instrument, but not in any hurried fashion as might be surmised by the layout of nine lessons. At the conclusion of the lessons Altenburg tells the reader that,

“according to this particular plan [of study], one can spend one or several months on each lesson, during which time the teacher must allow himself to spare no pains to point out his pupil’s progress, as well as to improve upon his deficiencies and mistakes.”38 In the Fifth Lesson,

Altenburg instructs that,

At the beginning one should not immediately insist on an excessive high [register], for this comes [only] gradually from long practice... if the tone is pushed [so that it sounds] rough and screeching, have him seek a better tone through adjustment of his mouthpiece and embouchure. As soon as his lips become thick, have him stop playing. During the period of his apprenticeship he must not practice any other wind instrument and should especially avoid the French transverse flute. Likewise, at the beginning, he may not play on the short trumpet but [only]

38 Johann Ernst Altenburg, Essay on an Introduction to the Heroic and Musical Trumpeters’ and Kettledrummers’ Art, trans. Edward Tarr (Nashville, TN: The Brass Press, 1974), 119. 20

on a longer [one].39

Altenburg wrote these words in the late eighteenth century, but their relevance to today’s developing trumpet players is striking. Range should not be pushed past the student’s natural embouchure development and a solid foundation on the Bb trumpet should be established over a long period of study before attempting the smaller, higher horns. The statement regarding adjustment of embouchure and mouthpiece is more relevant to the specialization in different registers practiced during this time, as opposed to today’s student. Finding the right mouthpiece for the student is important, due to a variety of factors unique to each person, but there are no short-cuts for range development when it comes to equipment. Of mouthpiece selection, Altenburg writes:

It generally is a prime rule that one should accustom oneself to only one particular mouthpiece, because the embouchure can be spoiled by frequent changes. Everyone must choose a mouthpiece suitable to the condition of his lips and the part which he plays. It would therefore be absurd for one with thick lips or for one who plays principale parts to want to select a mouthpiece with a narrow cup and a small opening, and so on.40

Well before 1795 the limits of what could be expected from a clarino player were challenged by composers such as Georg Philipp Telemann, Johann Sebastian Bach, Leopold Mozart, and

Michael Haydn. The latter composer went as far as to write a concert a’’’, the twenty-fourth

39 Altenburg, Essay, 118. 40 Altenburg, Essay, 80. 21

partial on the D trumpet, in the first movement of his Concerto in D Major of 1763.41 Altenburg acknowledges that the clarino player is one who has attained great proficiency in the upper register as well as having mastered other skills such as playing all of the partials in tune, playing in a vocal style, and producing a pure tone. For the demands placed on the clarino player both in terms of range and endurance, Altenburg says that “strong lips are particularly needed. It is true that they can be [developed] through frequent practice, at least to a certain degree.

However, a great deal depends on the structure of the mouth.”42 One challenge that he could not foresee that presents difficulties in range development today is the popularity of braces and orthodontic treatments coinciding with the early development stages of young trumpeters, as will be discussed in a further chapter.

These early trumpet methods show both similarities and differences in the challenges faced by trumpet players both hundreds of years ago and today. There may be differences in the instrument itself, how one specializes, and the formation of the embouchure, but the consensus is that the development of range may not progress at the same rate of other playing elements on the trumpet due to the demands put on the player physically to produce this register. The twentieth, and now twenty-first, century approach has moved to a more non- pressure-based system, where stretching the lips is no longer the desired technique, and

41 Edward Tarr, The Trumpet (Chandler, AZ: Hickman Music Editions, 2008), 93. 42 Johann Ernst Altenburg, Essay on an Introduction to the Heroic and Musical Trumpeters’ and Kettledrummers’ Art, trans. Edward Tarr (Nashville, TN: The Brass Press 1974), 95. 22

responsive, softer lips are preferred over calloused, strong lips,43 but the need to not force the student into a range that has not yet developed stays the same for the longevity of the player’s career.

43 Arnold Fromme, “Performance Technique on Brass Instruments during the Seventeenth Century,” Journal of Research in Music Education 20, no. 3 (Autumn 1972), 331. 23

Chapter 3: Proliferation in the Nineteenth Century

A number of factors resulted in a marked increase in trumpet methods, some still in use today, during the nineteenth century. The Guild was in decline, the Industrial Revolution resulted in experimentation with valve systems for the trumpet and the invention of the cornet, and the shift of musical instruction away from the church and court passed on to the conservatory system. Given the changing political climate at the time, it is no surprise that changes happened to the trumpet as well. It had long been associated with the monarchy, and the Guild kept the instruction of the trumpet a guarded secret from the common people. The

Imperial Privilege, first confirmed by Ferdinand II, was confirmed for the last time by Josef II in

1767.44 Small and mid-sized courts were disappearing, and along with them the five to ten trumpet players who were members of the Guild, weakening the entire organization. Edward

Tarr writes of this widespread decline,

The Berlin court played a particular part in the decline of the trumpeters’ guild. One of the first official duties of Freidrich Wilhelm I... was in 1713 to dissolve the corps consisting of 24 trumpeters and two kettledrummers... the still-continuing fraternal relationship among the trumpeters of Prussian cavalry regiments was finally dissolved by Freidrich

44 Edward Tarr, The Trumpet (Chandler, AZ: Hickman Music Editions, 2008), 68. 24

Wilhelm III on 8 November, 1810. In Saxony, the Privilege remained valid until the general abolition of guilds in 1831... In Vienna, the Union of Court Trumpeters, the successor organization to the Imperial Guild, was dissolved on 28 August 1878.45

The changing political landscape in Europe coincided with changing musical tastes. The art of clarino playing was no longer in its golden age and the trumpet instead took a back seat in art music during the Classical period. First trumpet parts often did not go above g’’, thus excluding the trumpet from melodic material. The out-of-tune partials were no longer as acceptable to composers and audiences alike, so the natural step the trumpet would need to take would be to find a way to make it fully chromatic. Fortunately for the revival of the trumpet, the

Industrial Revolution was also happening at this time in Europe, and a great era of experimentation in the construction of the trumpet would get underway at the beginning of the nineteenth century that resulted in the invention of the valve in the 1820s.

To track the number of patents taken out for various valve systems at the beginning of the nineteenth century would fill a volume by itself, which lies beyond the scope of this document. Tarr states plainly that “the period from 1800 to 1850 is a fascinating one for brass historians, for brass instruments were then built in more shapes and sizes than before or since.”46 The invention of valves has been attributed to Heinrich Stölzel (1777-1844), a German

45 Tarr, The Trumpet, 68. 46 Edward Tarr, “The Romantic Trumpet,” Historic Brass Journal 5 (1993), 213–261. 25

horn player.47 Although keys had been added to the trumpet earlier, and experimentation was already underway on the horn, a patent by Jacques Michel Labbaye registered in January of

1827 for a trompette d’harmonie à trois ventilateurs & à pistons gives us the earliest example of a trumpet capable of a full chromatic scale using three valves.48 It was during that same year that François Georges Auguste Dauverné (1799–1874) became the first person to perform in public on a valved trumpet, using an F trumpet referred to as trompette moderne or trompette chromatique, for a concert in Paris.49 Trumpet players were, however, resistant to the addition of valve systems to their instrument. A large number of players and composers continued to write for and play natural trumpets, despite its melodic limitations. Indeed, even when valved trumpets were used, they were still crooked in various keys in order to make use of as many open harmonics as possible. The age of valved trumpets was not immediate, but rather a slow process that would take decades to become popular. Given the long tradition of trumpet playing and the reluctance of many of its players to use the valved instrument, a new instrument embraced the valve and revolutionized the trumpet’s popularity among the masses: the cornet à pistons.

47 Jeremy Montagu, The World of Romantic and Modern Musical Instruments (New York: The Overlook Press, 1981), 76. 48 Géry Dumoulin, “The Cornet and Other Brass Instruments in French Patents of the First Half of the Nineteenth Century,” The Galpin Society Journal 59 (May 2006), 78. 49 François Georges Auguste Dauverné, The Dauverné Solo Collection for Trumpet from the Collection de VI Solos pour la Trompette Chromatique, ed. Ronnie Ingle (New York: Carl Fischer, 2012), 2. 26

The first patent that directly referred to the cornet was by Joseph Isidore Pertus, in

December of 1833, in Paris.50 The cornet was more accessible to a wider base of amateur musicians than the trumpet. Due to its construction the cornet was easier to play in the upper register, blowed more freely, and responded better to articulations. Many of these first instruments were constructed with only two valves, including Stölzel’s design, despite the 1827 patent by Labbaye. In 1834, however, a Parisian instrument maker by the name of Étienne

François Périnet (fl.1829–1860) applied for a five-year patent to add a third valve to the cornet.51 Four years later Périnet would take out another patent that would have the greatest impact on brass instrument development in the nineteenth century; an improvement to the construction of the Stölzel valve system. According to Périnet, the sharp angles of the Stölzel system had a negative effect on the acoustics of the instrument. By enlarging the diameter of the pistons, he was able to eliminate these angles and allow tubular porting across the valve so that the airflow did not have to move vertically inside.52 This is the system that is still in place on modern trumpets. Despite the fact that the patent went into effect in 1838, it was not until the 1850s that this particular valve construction became generally used by instrument makers.53 Périnet and Stölzel are the two leading figures remembered for the development of

50 Géry Dumoulin, “The Cornet and Other Brass Instruments in French Patents of the First Half of the Nineteenth Century,” The Galpin Society Journal 59 (May 2006), 78. 51 Dumoulin, “The Cornet,” 80. 52 Eugenia Mitroulia, Géry Dumoulin, and Niles Eldridge, “On the Early History of the Périnet Valve,” Galpin Society Journal 61 (April 2008), 217–219. 53 Niles Eldredge, “A Brief History of Piston-Valved Cornets,” Historic Brass Society Journal 14 (2002), 352. 27

valve systems at the beginning of the nineteenth century, but many more patents were applied for during this time while instrument makers sought to modernize the trumpet and in so doing make it more accessible to a wider portion of the population. Once again in the words of

Edward Tarr, “It will probably never be possible to draw an absolutely clear picture of the development of the different valve systems, which revolutionized brass playing and ushered in the modern era, since many of the patent specifications and drawings are not preserved.”54

The new interest sparked by the chromatic ability of the cornet and valved trumpet necessitated the publication of several method books. As early as 1834, the French horn player

L. (?) Dufrène published Grande Méthode Raissonnée de Cornet-Trompette à Pistons.55 Early method books included sections for natural, keyed, and valve trumpet, such as Metodo per

Tromba (ca. 1835)56 by Giuseppe Araldi, first trumpeter of the Royal Theatre “La Scala”.57 They also show examples of the necessity to educate trumpet players in a variety of musical styles, in order to create a well-rounded musician for the demands of the day. A circa 1841 method by

Carnaud fils aîné (the eldest son of the Carnaud family), Méthode de Cornet à Pistons et de

Trompette à Pistons,58 includes “thirty-six studies on scales, one study transposed in all major

54 Edward Tarr, “The Romantic Trumpet,” Historic Brass Journal 5 (1993), 230. 55 L. Dufrène, Grande Méthode Raissonnée de Cornet-Trompette à Pistons (Paris Gambaro, 1834). 56 Giuseppe Araldi, Metodo per Tromba a Chiavi et a Macchina (Milano: F. Lucca, ca. 1835). 57 Friedrich Anzenberger, “Method Books for Valve Trumpet to 1850: An Annotated Bibliography,” Historic Brass Society Journal 9 (1997), 51. 58 Carnaud fils aîné, Méthode de Cornet à Pistons de Trompette à Pistons (Paris: Richault, ca. 1841). 28

keys, twelve duos for two cornets with valves, three trios for two cornets and trumpets with valves, and solo excerpts from well-known contredanses, waltzes, and galops... [and] ends with an air with variations.”59 Carnaud’s inspiration for his method book also comes from his students and presumably taught out of his own book, writing exercises that would meet the needs of the challenges he saw his students facing. He dedicated the book to them. It is written primarily for a cornet with two Stölzel valves and provides an example of the range expected of the players at this time. In the fingering chart for the valve trumpet the range is from A to c’’’, but he states that notes above g’’ are very seldom used.60

The impetus of trumpet players to write method books for their students came as a result of the rise in the conservatory system as the main source of music education, replacing the church and the court. Coinciding with a growth in cities throughout Europe, these institutions were appearing in London, Leipzig, Prague, Vienna, and arguably most significantly for the trumpet, Paris. The Paris Conservatoire became the model for other such conservatories due to the “central role it achieved in opera and instrumental music and its unusually strong government funding.”61 As has been seen, it was in Paris that the cornet à pistons became popular, the more technically proficient cousin of the trumpet. In the early 1790s there were

59 Anzenberger, “Method Books,” 52. 60 Anzenberger, “Method Books,” 52. 61 Wiliam Weber et al., “Conservatories,” in Grove Music Online, accessed February 7, 2019, https://doi.org/10.1093/gmo/9781561592630.article.41225. 29

attempts at forming music schools for the edification of the populace, but on August 3, 1795, the Conservatoire National Superior de Musique et de Danse was established.

The Paris Conservatoire was to be a practical training school, much like the recently established Conservatoire des Arts et Métiers, an intellectual centre for the education of all French citizens, akin to the new Institut des Sciences et des Arts, and an institution that ‘conserved’ the music of the French nation, in the manner of the Bibliothèque Nationale. Provision was made for training instrumentalists and singers, for offering courses in theory, composition and music history and for creating a repository of instruments, scores and music books. The Conservatoire was the first truly modern institution of its kind, organized on a national basis, free from charitable aims and with an entirely secular, indeed anticlerical, background. As such it soon emerged as the model for all subsequent conservatories in the West. Among the Conservatoire’s innovations was the creation and dissemination of uniform methods of pedagogy (first mandated in 1796)62

In 1833 the founder of the Paris Conservatoire, Luigi Cherubini (1760-1842), implemented a trumpet course and appointed François Georges Auguste Dauverné (1799-1874) as its first instructor, the same year Dauverné gave the first performance on the valved trumpet in Paris.

Dauverné was an ambassador for the instrument and was responsible for convincing the instrument maker Halary to build a French version of a Prussian valved trumpet. He also convinced composers, including Berlioz and Rossini, to write for it.63 Five years before this appointment, Dauverné published a fingering chart for the valved trumpet for all of the major

62 Wiliam Weber et al., “Conservatories,” in Grove Music Online, accessed February 7, 2019, https://doi.org/10.1093/gmo/9781561592630.article.41225. 63 Edward Tarr, “The Romantic Trumpet,” Historic Brass Journal 5 (1993), 235. 30

and minor scales. In Dauverné’s Théorie ou Tablature de la Trompette à Pistons64 (Theory or

Fingering Chart of the Valve Trumpet) he states that the trumpet player should avoid keys with more than three accidentals because of the complicated fingerings and to use crooks instead.65

Today trumpet players no longer use crooks to change the key of their instruments in order to maximize the number of open harmonics, thanks to the improved level of consistency of sound when using all of the valve combinations. Thus, a new technique has been added to the trumpet player’s development. Not enough etude books push young players into keys beyond a few sharps or flats. The demands on the trumpet player to play in all keys, especially since they no longer use crooks, necessitates the cultivation of that skill through etudes.

It is either this publication by Dauverné or that of Andreas Nemetz that can be credited as the first method for the valved trumpet. In 1828 Nemetz, a trombonist in Vienna’s Imperial

Court Opera House, published a trumpet tutor66 consisting of four sections; for natural trumpet, keyed trumpet, valve trumpet and bass trumpet, and a brief section for posthorn.67 According to Friedrich Anzberger, the five studies contained in this method make “frequent use of the low register, partly in bass clef.”68 Dauverné also appreciated the challenges of the upper register in

64 François Georges Auguste Dauverné, Théorie ou Tablature de la Trompette à Pistons (Paris: Janet et Cotelle, ca. 1827/1828). 65 Friedrich Anzenberger, “Method Books for Valve Trumpet to 1850: An Annotated Bibliography.” Historic Brass Society Journal 9 (1997): 54. 66 Andreas Nemetz, Allgemeine Trompeten-Schule (Vienna: Ant. Diabelli & Comp., 1828). 67 Anzenberger, “Method Books for Valve Trumpet,” 59. 68 Anzenberger, “Method Books for Valve Trumpet,” 60. 31

developing students. In his Méthode de Trompette à Pistons69 from circa 1834-35, he wrote fifteen preparatory studies and twenty studies with various crooks. Anzberger states that

“Dauverné uses the low tunings first in order to facilitate development of the pupil’s embouchure.”70 He then includes a set of progressive duets and trios and ends with a virtuoso piece with variations. It is possible that the instrument Dauverné was writing for also had limits of range due to its infancy. In this same method he includes a fingering chart, giving a range from A to c’’’, commenting that the notes above g’’ are “nearly impossible to play.”71 Most likely the reason is a combination of the two, but in this method we see how the trumpet teacher finds it necessary to write etudes with an appropriate range for the students. In 1857

Dauverné published his Méthode pour la Trompette. This later method was more extensive and included 216 pages, four fifths of which were for the natural trumpet, in addition to a 50-page historical preface.72 Dauverné was the trumpet instructor at the Paris Conservatoire for thirty- five years, and although his method books are not in use today, he produced students who had a lasting effect on trumpet pedagogy, including Jean-Baptiste Arban (1825-1899) and Louis

Saint-Jacome (1830-1898).73

69 François Georges Auguste Dauverné, Méthode de Trompette à Pistons (Paris, ca. 1834-1835). 70 Anzenberger, “Method Books for Valve Trumpet,” 54. 71 Anzenberger, “Method Books for Valve Trumpet,” 53 72 Edward Tarr, The Art of Baroque Trumpet Playing: Exercises from the Schola Cantorum Basiliensis, Volume 1 (Mainz, Germany: Schott, 1999), 76. 73 François Dauverné, The Dauverné Solo Collection for Trumpet from Collection de VI Solos pour la Trompette Chromatique, ed. Ronnie Ingle (New York: Carl Fischer, 2012), 2. 32

In 1848, Arban gave a recital on cornet at the Paris Conservatoire that is widely regarded as a benchmark in the popular acceptance of this new instrument. Arban was only 23 years old at the time. During this performance, while playing Variations on a Swiss Air which he wrote himself, he notably became the first person to apply the technique of triple tonguing from the flute to the cornet.74 By mid- century “the cornet had become established in Europe as the leading soprano voice in wind bands and as an indispensable orchestral instrument besides.”75

Arban himself became the first professor of cornet at the Paris Conservatoire and taught there from 1869–1874 and 1880–1889.76 Arban wrote his method, Grande Méthod Complète de

Cornet à Pistons et de Saxhorn, in 1857 while he was teaching saxhorn at the Ecole Militaire, also located in Paris.77 The chronology of the publication of Arban’s method is one that has been debated by various scholars and is made difficult by the many editions of various lengths in both Europe and the United States of America. Trumpet historian Frank William Baird places the first publication of Arban’s method around 1859.78 The first known edition in the United

States is dated 187279 and can be found in the city library of Hartford, Connecticut.80 The

74 Edward Tarr, “The Romantic Trumpet,” Historic Brass Journal 5 (1993), 238. 75 Clyde Noble, The Psychology of Cornet and Trumpet Playing (Misoula, Montana: The Mountain Press, 1964), 16. 76 Edward Tarr, The Trumpet (Chandler, AZ: Hickman Music Editions, 2008), 168. 77 Jean-Pierre Mathez, “The Man Behind the Book Every Brass Player Uses,” Instrumentalist 48, no. 11 (June 1994), 17. 78 Jean-Baptiste Arban, Grande Méthode Complète de Cornet à Pistons et de Saxhorn (Paris: Léon Escudier, ca. 1859). 79 Jean-Baptiste Arban, Method for the Cornet and Saxhorn (Boston: J. White, 1872). 80 Frank William Baird, “A History and Annotated Bibliography of Tutors for Trumpet and Cornet,” (PhD diss., The University of Michigan, 1983), 20, https://search-proquest- 33

significance of this method cannot be overstated, as it is still the main method of choice for trumpet players and is an all-encompassing resource for developing the fundamentals needed for the modern student of the instrument, be it cornet or trumpet. Indeed, this was Arban’s very intention. The common edition students use today is the 1982 publication edited by Edwin

Franko Goldman and Walter M. Smith81, which includes translations of Arban’s texts. In the preface Arban explains that prior to his book noted performers were specialists in various aspects of playing but lacked an all-around technique.

Some excited admiration for their extreme agility; others were applauded for the expression with which they played; one was remarkable for lip; another for the high tone to which he ascended; others for the brilliancy and volume of their tone. In my opinion, it was the reign of specialists, but it does not appear that a single one of the players then in vogue ever thought of realizing or of obtaining the sum total of qualities which alone can constitute a great artist.82

It is a thorough and comprehensive collection of exercises in which, according to Arban, “will be found the solution of all difficulties and of all problems.”83 Further praise came from the Report of the Paris Conservatory’s Committee on Music Study Regarding Arban’s Cornet Method, stating that:

This work is rich in instructive advice, is based upon the best of fundamental principles, and omits not a single instructive

com.proxy.lib.ohio- state.edu/pqdtglobal/docview/303278455/30A7691C47854B74PQ/1?accountid=9783. 81 Edwin Franko Goldman and Walter M. Smith, eds. Arban’s Complete Conservatory Method for Trumpet (Cornet), Annotated by Claude Gordon (New York, NY: Carl Fischer, 1982). 82 Goldman and Smith, eds. Arban’s Complete Conservatory Method, iii. 83 Goldman and Smith, eds. Arban’s Complete Conservatory Method, iii. 34

point which might be needed for the development and gradual technical perfection of a player.84

Although the exercises within this method book are commonly used to help intermediate players develop various technical fundamentals, the fourteen characteristic studies at the end of the book present too much of a challenge for the intermediate demographic and can be considered etudes for advanced students. By his own admission Arban states that “in taking up these studies, he [the student] will doubtless be fatigued, especially at the outset, by those numbers requiring an unusual length of breath.”85 Many students even in advanced study at post-secondary music schools find these etudes to be challenging. Given they were written during the mid-nineteenth century, they do not provide the variety of musical styles that the modern trumpet player is faced with today. Once again, however, Arban’s method provides insight into the challenges of range development, saying that composers and arrangers often use the high register too frequently, placing extreme demands on the players. He concedes that not every student masters the range he has set out in his fingering chart, which extends from the low F# to C’’’. He notes that the “easiest portion of the cornet’s range begins at low C and ends at G above the staff.”86 Although Arban’s method is a good resource for trumpet players wishing to extend their proficiency on their instrument, it does not provide them with full length etudes to bridge the gap from beginning band books to advanced offerings.

84 Goldman and Smith, eds. Arban’s Complete Conservatory Method, vi. 85 Goldman and Smith, eds. Arban’s Complete Conservatory Method, 283. 86 Jean-Pierre Mathez, “The Man Behind the Book Every Brass Player Uses,” Instrumentalist 48, no. 11 (June 1994), 20. 35

The 1870 method of Louis Saint-Jacome rivals the size and scope of Arban’s method but is not as popular among teachers and students today. This is due in large part to the organization, or lack thereof, of the entire work. Whereas Arban’s method is relatively logically organized, Saint-Jacome’s book is difficult to navigate and does not have an apparent flow. To counteract this challenge, trumpeter and award-winning California based composer/arranger

Eric Bolvin published a companion entitled The Saint-Jacome Manual: A 63 Lesson Course that

Takes You Through the Entire Saint-Jacome Grand Method for Trumpet or Cornet in 2011. On his website, Bolvin notes that “the Arban is fairly well organized by type of exercise and study, while the Saint-Jacome is seemingly put together randomly. The fact that the book has never been edited properly doesn’t help either.”87 Saint-Jacome intended the beginning of the book for beginner trumpet players, but again it lacks a cohesive structure that is common today in many beginning band books. Bolvin states that “with the advances in trumpet pedagogy, Saint-

Jacome really falls short as a book for the absolute beginner. With that in mind, you should have some degree of proficiency on the instrument before embarking on this method.”88 This would seemingly make the Saint-Jacome an attractive method for the Intermediate trumpet player, however the lack of organization once again is a deterrent for both teacher and student.

Although relevant to the nineteenth century trumpet student, today’s developing trumpet players benefit from working from a variety of sources and learning from multiple pedagogical

87 Eric Bolvin, “The Saint Jacome Manual,” Bolvin Music, accessed February 22, 2019, https://bolvinmusic.com/wp-content/uploads/2014/08/bolvinmusic_saint-jacome-intro.pdf. 88 “The Saint Jacome Manual” 36

points of view simultaneously. To study purely from the Saint-Jacome book, as seems to be the author’s intention, is no longer a desirable use of a method book. It is much easier to find what the student and teacher are looking for in the Arban method. Hidden inside the Saint-Jacome are very beneficial studies, and as Bolvin states it would benefit from a proper revised edition to help trumpet players navigate those exercises.

Two elements that are included in Saint-Jacome’s method that are used with more frequency, however, are his duets and the 36 Celebrated Studies for Cornet by Narcisse

Bousquet (1800-1869). The duets stay in a reasonable range for intermediate players and provide musically interesting and technically challenging opportunities while working on intonation and blend with a second player. The Bousquet studies are included at the end of the method, revised in the 1915 edition of the Saint-Jacome method by Edwin Franko Goldman.

Presumably Saint-Jacome used these etudes in his own teaching, but little is known about

Bousquet himself. Bousquet was a composer and player of the French flageolet, a type of recorder that was popular with amateur musicians.89 A book from 1872 by J. Frédéric Giraud entitled Le Polycorde ou Nouveau traité théorique et pratique de musique vocale et de musique

89 Jeremy Montagu, “Flageolet,” in The Oxford Companion to Music, accessed February 22, 2019, http://www.oxfordreference.com.proxy.lib.ohio- state.edu/view/10.1093/acref/9780199579037.001.0001/acref-9780199579037-e- 2567?fromCrossSearch=true. 37

instrumentale90 describes a six-key French flageolet as the “Systéme Bousquet”91, so it is possible that in addition to writing for the instrument, Bousquet also aided its development.

The studies found in the Saint-Jacome book were originally written for that instrument and were published in 185192. In order for them to be playable on cornet each etude has been written down an octave, some retain their original key while others differ by a whole tone. It is possible that the arrangement for cornet was written by Bousquet himself in 1864–1865.93

These etudes provide a good source for intermediate players, although not all of them are idiomatic for the trumpet. They generally do not go above an a’’ and present an adequate technical challenge, although the later etudes will be beyond the technique of most intermediate players. Notable, however, is the lack of any changing time signatures. The inscription under the title as it appears in the Saint-Jacome method states that “these studies will be an excellent practice, especially for the lower register of the cornet, which is somewhat neglected in other instruction books.”94 This is a valid point, although today’s developing

90 Frédéric Giraud, Le Polycorde ou Nouveau traité théorique et pratique de musique vocale et de musique instrumentale (Paris: Maison Schott, 1872). 91 “Biographies of Famous Flageolet Players, Composers and Makers,” The Pleasant Companion: The Flageolet Site, Jacob Head, accessed February 22, 2019, http://www.flageolets.com/biographies/index.php#Bousquet. 92 Narcisse Bousquet, 36 Etudes pour le Flageolet (Paris: Narcisse Bousquet, 1851). 93 “36 Etudes pour le Flageolet (Bousquet, Narcisse),” IMSLP Petrucci Music Library, accessed February 22, 2019, https://imslp.org/wiki/36_Etudes_pour_le_flageolet_(Bousquet%2C_Narcisse). 94 Louis Saint-Jacome, Grand Method for Trumpet or Cornet (New York: Carl Fischer, 1915), 329. 38

trumpet players need to familiarize themselves with a wider variety of musical styles and changing meters.

There were, of course, other notable method books during the nineteenth century.

Joseph Gehardt Kresser, the professor of trumpet at the Gymnase de Musique Militaire in Paris until his death during a cholera epidemic in 1849,95 published Méthode Complète pour la

Trompette d’Harmonie Suivie d’une Notice sur le Cornet ca.1836.96 Raniero Cacciamani, an

Italian trumpet player who was a member of the Duke of Parma’s orchestra beginning in 1835 and was appointed professor of trumpet at the Royal Conservatory of Parma in 1859,97 published Metodo d’istruzione per tromba a macchina in 1853.98 These method books and others, however, are not in common use today as the Arban and Saint-Jacome are, and therefore cannot be counted among accessible intermediate etude books. As will be discussed in the next chapter, the most readily accessible etude books for intermediate players are somewhat dated but there are new books being written for this ability level that deserve more attention from teachers and students of the trumpet.

95 Elisa Koehler, Dictionary for the Modern Trumpet Player (Lanham, MD: Rowman & Littlefield, 2015), 98. 96 Joseph Gebhardt Kresser, Méthode Complète pour la Trompette d’Harmonie Suivie d’une Notice sur le Cornet (Paris: E. Troupenas, 1836–1838). 97 Koehler, Dictionary, 33. 98 Raniero Cacciamani, Metodo d’Istruzione per Tromba a Macchina (Milano: Giovanni Ricordi, 1853). 39

Chapter 4: Etude Books in Use Today

There are fewer commonly used intermediate method books compared to advanced books; one must look closer to find etudes that have the potential to be staples of trumpet pedagogy. There are many method books for this demographic that include short exercises, but few books that provide etudes that challenge the developing trumpet player’s musicality and technique without prematurely stretching the player’s range, while exposing the student to a variety of styles. For the beginning trumpet player there are a number of great books to start from, most likely in the setting of the elementary school band room. Band methods such as

Accent on Achievement,99 Essential Elements 2000,100 and Best in Class101 provide the student with a systematic, multi-volume introduction to reading music and playing the trumpet, but once these books have been completed it is usually up to the private teacher to piece together exercises and etudes from a variety of sources.

99 John O’Reilly and Mark Williams, Accent on Achievement: A Comprehensive Band Method that Develops Creativity and Musicianship, 2 vols., Trumpet Books (Van Nuys, CA: Alfred Publishing Co., Inc., 2001–2003). 100 Tim Lautzenheiser, Essential Elements 2000: Comprehensive Band Method, 2 vols., Trumpet Books (Milwaukee, WI: Hal Leonard, 1999–2000). 101 Bruce Pearson, Best in Class: Comprehensive Band Method, ed. Gerald Anderson and Charles Forque, 2 vols., Trumpet Books (San Diego, CA: Kjos West, 1982–1983). 40

Two books by Robert Getchell are popular. Appropriately entitled the First Book of

Practical Studies for Cornet and Trumpet102 and Second Book of Practical Studies for Cornet and

Trumpet,103 these books from the mid-1980s include short etudes of 3-4 lines of music and progressively challenge the young trumpet player beyond the short melodies of the aforementioned band books. They offer a good resource for private trumpet instructors, but the students tire easily of the redundant style and simple time signatures throughout both books.

One of the best examples of popular intermediate trumpet etude books currently in use are those of Sigmund Hering (1899–1986). Hering was born in Poland and studied at the Royal

Academy of Music in Vienna before being invited to play principal trumpet with the Cleveland

Symphony by then music director Nikolai Sokoloff, in 1923.104 In 1925 Leopold Stowkowski then asked Hering to audition for the Philadelphia Orchestra, and won a position with the orchestra that he would hold for thirty-nine years. In addition to performing with the Philadelphia

Orchestra, Hering was on faculty at the Granoff School of Music from 1934–1939, and the

Settlement Music School in Philadelphia from 1945–1981. He also taught part time at the Hartt

102 Robert W. Getchell, First Book of Practical Studies for Cornet and Trumpet, ed. Nilo W. Hovey (New York: Belwin, 1976). 103 Robert W. Getchell, Second Book of Practical Studies for Cornet and Trumpet, ed. Nilo W. Hovey (New York: Belwin, 1976). 104 Thomas Ross Erdmann, “The Twentieth Century Topics of Trumpet Pedagogy and and Analysis of the Trumpet Pedagogy of Sigmund Hering,” (D.M.A. dissertation, University of Illinois at Urbana-Champaign, 1991), 6–10, https://search-proquest-com.proxy.lib.ohio- state.edu/pqdtglobal/docview/303989573/3F457575C1E74129PQ/1?accountid=9783. 41

School of Music in Hartford, Connecticut, from 1948–1954.105 As a trumpet teacher his motivation behind composing his own etudes closely reflects one of the main objectives in 20

Interesting Etudes for the Developing Trumpet Player. Hering observes in the Forward to his four-volume trumpet course that “through over thirty years of teaching experience I have found that students progress best when study material is pleasing and interesting to play.”106

Hering was well liked by his students and was a dedicated teacher. In his 1991 doctoral dissertation, The Twentieth Century Topics of Trumpet Pedagogy and an Analysis of the

Trumpet Pedagogy of Sigmund Hering, Thomas Ross Erdmann interviewed a number of Hering’s colleagues and former students. In one such interview with Moshe Paranov, co-founder of the

Hartt School of Music with Julius Hartt and director of the school from 1938 to 1957 and president from 1957 to 1971 after the school merged with the University of Hartford,107 had the following praise for Hering:

In many ways he was one of the finest pedagogues anywhere. He knew his own instrument thoroughly, and he wrote many textbooks, developing the technique. I mean he ate and slept and drank the trumpet. He knew the literature, and then he composed and wrote many exercises that would help trumpeters develop a first-class technique that they need to be able to play everything from Beethoven to modern composers, Stravinsky and Shostakovich, and men who are living today.108

105 Erdmann, “The Twentieth Century Topics,” 7–9. 106 Sigmund Hering, The Progressing Trumpeter (New York: Carl Fischer, 1959), 2. 107 Erdmann, “The Twentieth Century Topics,” 22. 108 Erdmann, “The Twentieth Century Topics,” 25. 42

His output of published etude books is impressive and spans a period of over three decades.

Below is a list of Hering’s etude books and their publishing dates.

1943 – Thirty-two Etudes 1945 – Forty Progressive Etudes 1947 – Twenty-four Advanced Etudes 1948 – Fifteen Characteristic Etudes 1957 – Twenty-eight Melodious and Technical Etudes

The Sigmund Hering Trumpet Course (Four Volumes) 1958 Book 1 – The Beginning Trumpeter 1959 Book 2 – The Advancing Trumpeter 1959 Book 3 – The Progressing Trumpeter 1961 Book 4 – The Achieving Trumpeter

1965 – Sixty Rambles for Trumpet (by Leon Lester, adapted by Sigmund Hering) 1969 – Classic Pieces for the Advancing Trumpeter 1969 – From the Classics: Easy Pieces for the Young Trumpeter 1970 – The Orchestra Trumpeter: A Method for Transposition 1970 – Fifty Recreational Studies for the Young Trumpeter 1974 – Thirty-eight Recreational Studies for the Progressing Trumpeter 1975 – Etudes in All the Major and Minor Keys 1977 – Twenty-three Orchestral Etudes for the Advancing Trumpeter 1992 – Thirty Etudes 109

Hering’s books are a good pedagogical source for teachers of intermediate trumpet players, as they rarely go beyond a’’, although he does progress to c’’’ in the final volume of his four-part trumpet course, The Achieving Trumpeter. He uses a number of time signatures both in simple and compound meter and his first book, Thirty-two Etudes, uses key signatures of up to four flats and four sharps. The rhythms are challenging, however musically speaking they lack the captivation that Hering seemed to be going for. In an interview with Seymour Rosenfeld, a

109 Erdmann, “The Twentieth Century Topics,” 10. 43

colleague of Sigmund Hering’s who played in the Philadelphia Orchestra from 1946-1988,

Rosenfeld criticized Hering’s melodic attempts in his etudes.

Whatever he wrote in etude books he would bring to me and I would sight-read it for him. I didn’t particularly like them, the etudes, because I don’t think they’re as musical as they could be... [they] were just rhythms and notes stuck together. For my personal liking, although I enjoyed his company and liked him as a man, I didn’t particularly like the studies... although I do know that they’re very popular.110

It is the opinion of this author that any one of Hering’s etude books are some of the finest for the intended level, however they seldom vary in style and therefore cause the student to lose interest. A student studying only from Hering’s books would find it challenging to maintain enthusiasm and interest, although they are a valuable tool. Also given that these books are now more than forty to seventy-five years old, they do not carry the same stylistic relevance for the student as they once may have. They lack the diversity of characters needed of a modern trumpet player. Despite being somewhat dated, Hering was motivated by an obvious need for etudes to carry the student forward after beginning band books, bridging the gap to more advanced methods. In his own words, “these studies have been prepared with the idea of supplying an urgent need for pleasant and melodic material supplementary to the usual method in the earlier grades.”111 Hering wrote these words in 1945, and more than seventy years later this need seems no less urgent.

110 Erdmann, “The Twentieth Century Topics,” 28. 111 Sigmund Hering, Forty Progressive Etudes for Trumpet (New York: Carl Fischer, 1945), 2. 44

There are twentieth century intermediate method books dating even earlier than those of Sigmund Hering that are still in use today. Two examples are the Rubank method (1937) and

Belwin series (1947). For obvious reasons, these books are not as relevant to today’s trumpet players and fail to give the student practice in the styles that they will most likely be performing for today’s audiences. The Rubank Intermediate Method112 is intended as a follow up course for either individual instruction or like-instrument class instruction. The etudes are short but do offer a source for teachers looking for material beyond beginner band books. With styles varying from the waltz to march to polka, an attempt is made to place the student into different musical situations. The exercises also vary articulations and time signatures, but do not offer significant challenges as far as key or accidentals. The fact that this method is still being used today is less a testament to the quality of the material, as is the case with Arban’s method, than tradition and availability. The same can be said for the Belwin Intermediate Band Method,113 in which it is acknowledged that “after studying an Elementary Method, the students’ playing abilities undoubtedly will be at various stages of development.”114 This need to dilute the material in intermediate method books results in private teachers having to create a piecemeal offering of exercises and etudes spread across a number of sources. It is rare to find an etude

112 J. E. Skornicka, Rubank Intermediate Method: Cornet or Trumpet (Miami, FL: Rubank, Inc., 1937). 113 Fred Weber, Belwin Intermediate Band Method (Long Island, New York: Belwin Inc., 1947). 114 Weber, Belwin, 2. 45

book for this demographic in local music stores that can be used from beginning to end, as in the case of many advanced etude books.

In the time since the methods that have become standard by Arban, Saint-Jacome, and

Hering there have been etude books that recognize the need to reflect modern musical tastes and a variety of styles. Two such examples from the nineteen-seventies are Robert Kase’s 21

Studies in Style and Interpretation (1975)115 and Robert Nagel’s Trumpet Studies in

Contemporary Music (1977).116 In his Preface, Robert Kase states that by playing his etudes “the performer will learn many different styles and concepts, therefore broadening his musical language. This collection covers most styles of music that are found in trumpet solo literature today. My hope is that the following pages will give you a great deal of enjoyment as well as a greater insight into music.”117 He then brings some original ideas to his compositions by writing a march using a twelve-tone row, a jig in constantly changing compound meters, and an entire etude “Alla Cadenza.”118 The range in his book, however, will make its inclusion in the intermediate level repertoire a challenge as it ascends to d’’’, and to c’’’ with some frequency.

There are several etudes that have a more limited range and would therefore be more suitable.

Robert Nagel’s etude book focusses more on twentieth century music and never goes above a’’.

These etudes are more difficult than those found in 20 Interesting Etudes, but would provide a

115 Robert Kase, 21 Studies in Style and Interpretation (San Antonio, TX: Southern Music Company, 1975). 116 Robert Nagel, Trumpet Studies in Contemporary Music (New York: Belwin-Mills, 1977). 117 Kase, 21 Studies, 1. 118 Kase, 21 Studies, 12. 46

good next step, if the focus was put on twentieth century music, with influences from

Impressionism, twelve-tone rows, and pointillism. A section of Nagel’s book explains several extended techniques as well as how to read spatial notation and aleatoric music, which is a good resource for the developing trumpet player. Nagel cautions the student to be well- grounded in conventional styles of trumpet playing before attempting this book, while acknowledging that the “need for such a volume has increased with the greater demands put upon the performer in playing the contemporary solo, chamber music and orchestral repertoire.”119

Jazz specific etude books also exist as a resource for private trumpet instructors to expose their students to this specific genre. Although musicians can specialize in classical or jazz styles, trumpet players are often called upon to cross between the two. Some professional trumpet players have made a good living out of being able to excel in both the jazz and classical worlds, most notably Wynton Marsalis. Trumpet students at the high school level often play in the jazz bands at school in addition to concert band and orchestra, a fact that should not be ignored by the private teacher. Many jazz etude books base their studies on existing jazz standards. One such book that could be used by intermediate players is the first volume of

Contemporary Jazz Studies120 by David Berger. Berger’s book uses the chord progressions from such standards as “I Got Rhythm,” “Perdido,” and “Take the ‘A’ Train.” Once again, the upper

119 Robert Nagel, Trumpet Studies in Contemporary Music (New York: Belwin-Mills, 1977), 2. 120 David Berger, Contemporary Jazz Studies: Volume 1, ed. James Maxwell (New York, NY: Charles Colin, 1983). 47

range of the instrument is tested beyond what may be possible for the intermediate trumpet player, but Berger does allow for this by indicating the option to take certain sections down the octave. More suitable for this level of trumpet player, however, are the etude books by saxophonist Jim Snidero. They use a similar range as 20 Interesting Etudes and include a CD with a background track for each etude, both with and without the trumpet solo line. The four etude books for trumpet by Jim Snidero are listed below with their respective publishing dates.

1996 - Jazz Conception: 21 Solo Etudes for Jazz Phrasing, Interpretation, and Improvisation 2002 - Easy Jazz Conception: 15 Solo Etudes for Jazz Phrasing, Interpretation, and Improvisation 2005 - Intermediate Jazz Conception: 15 Great Solo Etudes for Jazz Style and Improvisation 2018 - The Essence of the Blues: 10 Great Etudes for Playing and Improvising on the Blues

If a teacher decides to have the student playing etudes of multiple styles using multiple books, the Snidero jazz etudes are a great source for the intermediate level trumpet player.

Another trumpet player who has made a successful career out of performing across multiple styles is Allen Vizzutti. Vizzutti, a Yamaha Performing Artist, performed on over one hundred motion picture soundtracks and has an impressive list of artists and orchestras around the world with whom he has collaborated and appeared as soloist performing, as his website states, “as a classical and jazz artist, often in the same evening.”121 Vizzutti, like the soloist

Arban, has published a trumpet method. The Allen Vizzutti Method122 is divided into three

121 “Allen’s Bio,” Vizzutti.com, accessed April 10, 2019, http://www.vizzutti.com/AllenBio.html. 122 Allen Vizzutti, The Allen Vizzutti Method, 3 vols. (Van Nuys, CA: Alfred Publishing, 1991). 48

separate books, the first two dealing with technique and the fundamentals required to play the trumpet and the third book providing Intermediate Etudes, Concert Duets, and Advanced

Etudes. Vizzutti’s intermediate level etudes only seldomly extend to a’’, although the last etude extends as high as c’’’. They are, however, a modern example of etudes found within a larger method book. The fact that the three volumes are sold as separate books allows the student the ability to purchase the etude and duet section only should they not wish to work out of the first two volumes, devoted to developing specific fundamentals.

There are other etude books that seek to address the same challenges of intermediate level trumpet players by including etudes of various musical styles that are technically and musically challenging while recognizing the limitations of range at this stage. Three such books from the twenty-first century include Rob Hudson’s 30 Modern Studies (2006),123 Charles

Reskin’s Intermediate Trumpet Outings: 12 Etudes and 12 Duets (2011),124 and Howard Hilliard’s

Intermediate Studies for Developing Artists on the Trumpet (2013).125 All three of these books expose the student to a variety of musical styles, from Funk to Blues and Mozart to

Shostakovich. Hilliard’s book is the easiest of the three and would be ideal as the next step after beginning band methods, or for students soon after getting braces. He acknowledges this particular challenge to the student’s range development in the introduction to his book.

123 Rob Hudson, 30 Modern Studies for Trumpet (New York: Universal Edition, 2006). 124 Charles Reskin, Intermediate Trumpet Outings: 12 Etudes and 12 Duets (Vuarmarens: Switzerland: Editions-Bim, 2011). 125 Howard Hilliard, Intermediate Studies for Developing Artists on the Trumpet (Delray Beach, FL: Meredith Music Publications, 2013). 49

With the advent of braces, many of the older method books are not feasible because of the high range. Particular attention has been made to give the student with braces gratifying and challenging music in a comfortable range. The goal of using good music is to entice as many students as possible into the beauty of making great music and to make practicing feel as effortless and as enriching as possible. A secondary byproduct of this book is to give the teacher something, with which to teach phrasing and, to escape the monotony of hearing the same mundane exercises over and over.126

These sentiments closely echo the inspiration for writing 20 Interesting Etudes for the

Developing Trumpet Player. Reskin is motivated by a similar desire to expose students to a variety of musical styles, molding the young trumpet player into a well-rounded musician for today’s eclectic tastes. He approximates the age of the intermediate player to be between twelve and sixteen years old.127 Hudson’s etudes are arranged to progressively challenge the student from the first etude through the thirtieth. He states that “each study forms a complete musical statement, encompassing classical music, jazz, funk, rock, and other traditional and popular world musical styles.”128 All three of these books are welcome additions to address the need for etudes that seek to aid in the development of intermediate players in a fun, interesting, and realistic way within the context of today’s music scene.

126 Howard Hilliard, Intermediate Studies for Developing Artists on the Trumpet (Delray Beach, FL: Meredith Music Publications, 2013), 3. 127 Charles Reskin, Intermediate Trumpet Outings: 12 Etudes and 12 Duets (Vuarmarens: Switzerland: Editions-Bim, 2011), 3. 128 Rob Hudson, 30 Modern Studies for Trumpet (New York: Universal Edition, 2006), 2. 50

One of the challenges to the trumpet teacher and student alike is the availability of these newer etude books. Despite their innovation, change can be slow. Music stores tend to stock the types of method and exercise books that are in the highest demand. Books like those by Arban and Hering will always be popular because they have been well established as staples of the trumpet repertoire. Teachers will use their own experiences from developing as intermediate players and pass those traditions on to their students. If they take the initiative and recognize that the demands and challenges faced by developing trumpet players today are different than several decades ago, new traditions with additions to the standard repertoire can result in a proliferation of etudes for this often-neglected level of trumpet playing. If these books cannot be found at the local music store, they can most likely be purchased online. As an alternative to buying these books, they are also available through the library, thanks to inter- library loan.

Although many recent intermediate etude books are more difficult to find at the local music store, there is a wide selection of popular music books transcribed for trumpet, these books should not be ignored as purely recreational. The student can have fun and develop as a musician at the same time, a fact that should be impressed upon the developing player. The publishing company Hal Leonard is one of the leaders in providing popular instrumental transcriptions, including TV Favorites,129 The Best of the Beatles,130 and The Big Book of Trumpet

129 TV Favorites (Milwaukee, WI: Hal Leonard, 2004). 130 The Best of the Beatles (Milwaukee, WI: Hal Leonard, 1994). 51

Songs.131 The latter book includes 130 songs from Pop, Rock, movie themes, musicals, and jazz standards. The most popular Hollywood films of the day are also likely to have instrumental books at the local music store and can often add a fun element to the student’s daily practicing.

Warner Brothers Publications offers a trumpet collection entitled The Very Best of John

Williams: Instrumental Solos132. The music of John Williams has inspired multiple generations of brass musicians and often provide beneficial challenges for trumpet players. Tests of the student’s technique in music from Harry Potter, Star Wars, and Superman can be good jumping- off points for the private teacher to assign exercises to improve the student’s playing. Putting the various fundamentals in context of these popular tunes also helps to legitimize the exercises by placing them in a context outside of the practice room that a student can relate to the outside world.

If a student enjoys the material they are working on, it stands to reason that they will be more likely to practice it. Some may consider this a “dumbing down” of lesson materials, but in reality some of the most difficult pieces a trumpet player will play in their career will be on Pops programs, not Classics. What every teacher should strive for in their student’s repertoire is variety and balance. If the student is being engaged and challenged then they will improve.

131 The Big Book of Trumpet Songs (Milwaukee, WI: Hal Leonard, 2007). 132 Bill Galliford, Ethan Neuburg, and Tod Edmondson, arr. The Very Best of John Williams: Instrumental Solos (Miami, FL: Warner Bros. Publications, 2004). 52

Chapter 5: Dental Considerations and Embouchure Challenges

Most people have dento-facial irregularities of some sort: over- or under-sized lower jaw, teeth which are crowded, protruding, or spaced far apart, teeth which are extremely large or small, lips which are extremely small, thick, or thin, and lip textures which are unusually weak and flabby.133

The Oxford English Dictionary defines sound as “the sensation produced in the organs of hearing when the surrounding air is set in vibration.”134 When it comes to producing this vibration, brass musicians share a unique commonality with singers in that it is an actual physical part of the musician that creates this vibration. A violist vibrates the string with the bow, a clarinetist uses air to vibrate a reed attached to the instrument, a pianist depresses a key that in turn causes a hammer to strike a string inside of the instrument. A trumpet player uses their lips to vibrate the airstream that then enters the instrument and is amplified out of the bell. That airstream vibrates at frequencies of roughly 60 to 2400 cycles per second.135 That physical connection between the trumpet player and their instrument is known as the

133 Delbert Dale, Trumpet Technique (London: Oxford University Press, 1973), 15–16. 134 “Sound,” Oxford English Dictionary, accessed March 3, 2019, http://www.oed.com.proxy.lib.ohio- state.edu/view/Entry/185124?rskey=gStcwm&result=3#eid. 135 A. Keith Amstutz and Bruce H. Kinnie, “Orthodontics and the Trumpeter’s Embouchure – A Practical Solution,” ITG Journal 7, no. 4 (May 1983): 19. 53

embouchure. An article in Medical Problems of Performing Artists from 2016 suggests that the term embouchure has never been clearly defined. Indeed, trumpet players talk about embouchure in relation to their lips, but there is more to it than that. The article offers the following as a new definition:

Embouchure is the process needed to adjust the amount, pressure, and direction of the air flow (generated by the breath support) as it travels through the mouth cavity and between the lips, by the position and/or movements of the tongue, teeth, jaws, cheeks, and lips, to produce a tone in a wind instrument.136

The velocity of the air is controlled by the embouchure and respiratory system, opening and closing the aperture in the lips changes the pitch higher or lower, while the loudness or softness is controlled by the glottis.137 The glottis is the opening between the vocal folds of the larynx and does not need to be consciously controlled by the player. Frank Campos in his book,

Trumpet Technique, notes that “players who believe they must consciously open the throat wider when they inhale... are actually creating tension and closing the glottis to some degree.”138 The lips tend to favor an inward motion when playing high notes and outward when playing low notes, and although most trumpet teachers do not like to speak of pressure; it has been well documented that the pressure of the lips on the mouthpiece does increase as the

136 Kees H. Woldendorp et al., “Fundamentals of Embouchure in Brass Players,” Medical Problems of Performing Artists 31, no. 4 (December 2016): 232. 137 Katherine Kula et al., “The Association of Malocclusion and Trumpet Performance,” The Angle Orthodontist 86, no. 1 (January 2016): 108. 138 Frank Gabriel Campos, Trumpet Technique (New York: Oxford University Press, 2005), 45. 54

player goes higher. One study, published in The Angle Orthodontist, involving 70 university trumpet students found that higher notes require more muscle tension, and therefore more pressure on the teeth, whereas low notes required less.139 The tensing of the lips requires muscle participation. The problem, however, is when students push the mouthpiece into their lips, artificially creating more pressure than is necessary to play the trumpet. This is a negative result of compensating for embouchure muscles that have not yet developed sufficiently to do the job themselves, or the student does not recognize the difference between lip tension and mouthpiece pressure. The same study mentioned above also found that highly proficient trumpet players used significantly less force than medium proficient players.140 Efficient use of air is developed over time, and as the embouchure strengthens the student can use less pressure on the mouthpiece. This is another reason to allow the student to acquire an increasing range at their own rate. As Dr. Erika Schafer from the University of Tennessee at

Chattanooga puts it, “It’s almost like the right way to develop high range on trumpet is to not try to develop high range on trumpet.”141 Dr. Will Strieder, Professor of Music at Texas Tech

University, accurately describes trumpet players as “small muscle athletes.”142 Like any athletic

139 Katherine Kula, “The Association of Malocclusion and Trumpet Performance,” 108. 140 Kula, “The Association of Malocclusion,” 112. 141 Chad Criswell, “Developing Range in Trumpet Players the Right Way.” Teaching Music 25, no. 2 (October 2017): 49. 142 Will Strieder, “Trumpet Fundamentals: A Comprehensive Guide to Starting Them Right and Keeping Them Right,” ITG Journal 37, no. 4 (June 2013): 48. 55

endeavor, only time and patience will build the muscles required to endure the demands of the modern trumpet player.

The teeth are an important component of the trumpet player’s embouchure. Teeth support the lips, cheeks, and tongue and therefore provide a necessary function to make trumpet playing possible. In addition to the natural challenges of range in younger trumpet students, the study of an instrument often coincides with another adolescent right-of-passage; braces. According to David Hickman, “today, nearly one-third of all students are fitted with braces.”143 The regularity of a trumpet teacher having to deal with a student who gets braces was another main motivation behind Twenty Interesting Etudes for the Developing Trumpet

Player. Every aspect of trumpet playing is affected by braces; the student will experience diminished endurance, tone quality, flexibility, and, of course, range.144 Essentially, the student has to be prepared to start from the beginning. This can be extremely daunting and exceedingly frustrating. One of the most beneficial elements of overcoming these challenges is a patient and sympathetic teacher. It is important for the teacher and student to understand that this is both a physical and an emotional challenge. Depending on a student’s level before the application of braces, the idea of starting over can be particularly unpleasant. Those who had been playing for a few years are mentally ready for new musical challenges, but now they find themselves in a situation where they are back playing simple melodies from the beginner band

143 David Hickman, Trumpet Pedagogy (Chandler, AZ: Hickman Music Editions, 2006), 40. 144 Logan Place, “How to Help Students with Braces,” ITG Journal 41, no. 2 (January 2017): 43. 56

books. The need for an etude book to meet the needs of students who are advancing in their musical development, while staying within a comfortable range is very noticeable in the current repertoire.

Not only do the brackets of the braces dig into the lip when any mouthpiece pressure is applied, the braces also represent foreign objects for muscle memory.145 There is now a lump in the lips due to the protrusion of the brackets. A certain amount of lateral mouthpiece pressure is required to contain the vibrations described earlier, and also provides a seal to prevent air from leaking.146 The addition of braces can cause irritation, pain, and compromise this seal. For this reason, it is important that the student should have both the bottom and top braces applied at the same time. This has to be discussed with the orthodontist, and the fact the patient is a trumpet player should be under consideration. A survey of 160 orthodontists in

Washington State showed that only 23% inquired as to whether their new patients currently play or are considering playing a wind instrument.147 The same study found that 78% of orthodontists say that the understanding of the relationship between the mouthpiece and dental and skeletal structures is inadequate.148 A greater understanding and communication between patient and doctor would help in the difficult transition of orthodontic appliances.

145 Place, “How to Help Students with Braces,” 43. 146 Amstutz and Kinnie, “Orthodontics and the Trumpeter’s Embouchure – A Practical Solution,” 19. 147 F.N. Van der Weijden et al., “Influence of Tooth Position on Wind Instrumentalists’ Performance and Embouchure Comfort,” Journal of Orofacial Orthopedics 79, no. 3 (May 2018): 206. 148 F.N. Van der Weijden et al., “Influence of Tooth Position,” 206. 57

Since the majority of trumpet players play with a mouthpiece ratio of one-third lower lip, two- thirds upper lip149, it is important to have both sets of braces applied at the same time in order to not put undue pressure on one lip more than the other based on a contorted embouchure caused by the lip pushed out by the brackets. Older methods, such as Altenburg, Arban, and

Saint-Jacome, actually advocated for a one-third upper, two-thirds lower division of the mouthpiece to achieve greater brilliance in the tone to contrast with the mellow timbre of the horn.150 Later methods advocated for half upper and half lower lip as the ideal embouchure, based on the erroneous belief that both lips vibrated, while others like Rafael Méndez believed that vertical mouthpiece placement was simply an individual preference.151 In Philip Farkas’s book, The Art of Brass Playing,152 an embouchure comparison of the Chicago Symphony trumpet section found that two were using slightly less upper lip than lower, one was half and half, while one used more upper lip than lower in the mouthpiece.153 There is no set rule for vertical mouthpiece placement, as long as it is not extreme in either direction and the red tissue of the upper lip is not above the inner edge of the mouthpiece cup. It is also recommended that the student have braces applied during the summer, or at least a time of year when there

149 M. Schumacher et al., “Motor Functions in Trumpet Playing – A Real Time MRI Analysis,” Neuroradiology 55, no. 9 (September 2013): 1171–1174. 150 Clyde Noble, The Psychology of Cornet and Trumpet Playing: Scientific Principles of Artistic Performance (Misoula, MT: The Mountain Press, 1964), 57. 151 Noble, The Psychology, 57. 152 Philip Farkas, The Art of Brass Playing: A Treatise on the Formation and Use of the Brass Player’s Embouchure (Bloomington, IN: Brass Publications, 1962). 153 Frank Gabriel Campos, Trumpet Technique (New York: Oxford University Press, 2005), 72. 58

are no significant performing obligations. It will be the teacher’s responsibility to encourage the student and make music fun, meaning finding appropriate repertoire that will not frustrate the student but also keep their interest through this difficult period in their playing career.

Orthodontic braces were developed in the mid-nineteenth century154 and have been a challenge for trumpet players ever since. Modern students of the trumpet, however, benefit from the invention of several devices to counteract the negative effects of attempting to play directly on the braces, a painful and tension forming proposition. Dr. Grant Manhart, Associate

Professor of High Brass at Northern State University in South Dakota, collaborated with Dr.

Thomas Dust from the University of Alberta to explore some of these aids to playing with braces. In a 2006 article published in the International Trumpet Guild Journal, their criteria for the ideal aid to playing with braces would 1) cause a minimal loss of range, technique, and sound, 2) still allow the student to experience the intended benefits of the braces that their parents are paying for, and 3) allow for continued muscular and musical development on the trumpet, which would be retained after the braces were removed.155 In their research to find an aid that would meet all of these goals, they looked at the Morgan Lip Bumper, Jet Tone Lip

Protector, Brace Guard, Manhart’s Brace Base (polysiloxane dental impression), Teflon pipe tape, and Infolab’s “Brace Relief” kit. Traditionally, students are given wax to cover the brackets

154 Brian Walker, “Invisalign – A Viable Alternative to Traditional Braces, Part 1.” ITG Journal 38, no. 4 (June 2014): 66. 155 Grant Manhart and Thomas Dust, “So You Got Braces... Now What??” The South Dakota Musician (Spring 2006): 17. 59

if they are irritating the lip, but the wax is uncomfortable to play on and by the end of the rehearsal the braces have cut through the wax anyway, leaving the musician with a mess of broken and embedded wax to clean up.156

Manhart and Dust found that the Morgan Lip Bumper and Jet Tone Lip Protector, thin and flexible plastic shields which fit over the brackets and wire, created too pronounced of a bump between the front teeth and lip, although they did smooth out the sharp edges of the braces. The Teflon pipe tape was not a feasible option because it proved difficult to get on and keep in place while playing. Also, given the nature of the tape, the trumpeter would be in danger of unintentionally inhaling it. When Dr. Manhart tried the polysiloxane dental impression putty with Brace Guard and Brace Base products, however, it “formed a smooth base on top of the teeth, brackets and wire for my embouchure. It seemed the harder I pushed the mouthpiece into the relaxed top lip with the smooth base under the lip, the more the lip relaxed and played with my pre-braces sound quality, volume and range.”157 This research shows that there are alternatives to “going natural” and playing through the pain, which results in irritation, bleeding, and increases unwanted tension in the embouchure.

Even more recent than Manhart and Dust’s research outlining several aids to playing with braces is Dr. Brian Walker’s 2014 article describing an even more attractive alternative to

156 Amstutz and Kinnie, “Orthodontics and the Trumpeter’s Embouchure – A Practical Solution,” 19. 157 Grant Manhart and Thomas Dust, “So You Got Braces... Now What??” The South Dakota Musician (Spring 2006): 17. 60

traditional braces: Invisalign. Despite being more expensive than traditional braces, Invisalign may be a better alternative because it is removable and can be taken out for playing. Invented less than twenty years ago, Invisalign represents the first viable alternative to braces. It is a treatment for tooth irregularity (crooked teeth), improper bite, and/or the improper alignment of top and bottom teeth.158 The patient is given a set of numbered trays to put over their teeth, each tray is replaced every two weeks. Doctors typically see the patient every six weeks, when they are then given their next set of trays. Dr. James Ackely, Professor of Trumpet at the

University of South Carolina, is also an advocate of Invisalign, saying that “I believe that if a student has dental issues that go beyond the front teeth, he or she may need traditional braces.

However, if a student needs adjustment in the front, I cannot see a better solution than

Invisalign.”159 The only negative aspect of Invisalign, Ackely notes, is that there would be an adjustment period every time a new tray was put in. Still, this appears to be a preferable method to traditional braces where the brackets and wire will be present while playing for up to several years, whereas with Invisalign the trumpet player can still play without an altered embouchure to compensate for foreign objects on the teeth.

Braces, although admittedly a short-term hassle for trumpet players, can actually have a lasting positive influence on the musician’s career. In addition to requiring the student to play

158 Brian Walker, “Invisalign – A Viable Alternative to Traditional Braces, Part 1.” ITG Journal 38, no. 4 (June 2014): 66. 159 Brian Walker, “Invisalign – A Viable Alternative to Traditional Braces, Part 2,” ITG Journal 39, no. 1 (October 2014): 71. 61

without using unnecessary mouthpiece pressure, braces can legitimately correct poor tooth positioning and result in a more comfortable embouchure. A 1986 article in Cleveland Clinic

Quarterly notes that “prolonged compression of the lips against the teeth may be painful and even cause ulceration. This is a common complaint where sharp edges or points of teeth, spaces between teeth (diastema), and unevenness from malposition or rotation of teeth are present.”160 As brass players know, a comfortable embouchure is necessary for efficient performance. Since wind musicians instinctively choose a mouthpiece position that allows for the optimal air column between the lips and the maximum amount of dental comfort,161 the dental structure of each trumpet player will help dictate the success of that embouchure.

Several terms require clarification to understand the various classes of occlusion, the position of the upper and lower jaw in relation to each other, as well as other dental issues that can affect trumpet playing. A misalignment of the teeth and bite is known as Malocclusion.162 Open

Bite is where the front teeth do not overlap the lower teeth,163 allowing a space between each set of teeth. Overbite and Overjet are two terms that are often confused with one another. In the simplest terms, overjet is a horizontal issue, while overbite is vertical. Overjet occurs when the upper front teeth protrude beyond the lower front teeth. Overbite is present if the upper

160 Louis Fine, “Dental Problems in the Wind Instrumentalist,” Cleveland Clinic Quarterly 53 (January 1986): 5. 161 Van der Weijden et al., “Influence of Tooth Position on Wind Instrumentalists’ Performance and Embouchure Comfort,” 206. 162 “Different Types of Malocclusions,” Total Orthodontics, last updated March, 2019, http://www.totalorthodontics.co.uk/different-types-of-malocclusions/. 163 “Different Types of Malocclusions.” 62

front teeth cover one-third of the lower front teeth (incisors) while closed.164 Dental occlusion has been categorized into three different classes, seen here:

Figure 3 Dental occlusion. Class I (neutroclusion), Class II (distoclusion), and Class III (mesoclusion)

Class I is also known as neutroclusion and shows a desired harmony between the teeth of the upper and lower jaws.165 In a closed position a small overbite and overjet are present. In Class

II, also known as distoclusion, there is a larger overbite and overjet, usually due to the protrusion of the upper anterior (front) teeth.166 Finally in Class III, or mesoclusion, the lower anterior teeth protrude beyond the upper teeth,167 and is often referred to as an underbite.

164 “Overbite vs Overjet: Understanding the Difference,” Dr. Degel, Astoria Dental Group, updated May 23, 2018, https://www.cosmeticdentistrynewyork.com/blog/2018/05/23/overbite-vs-overjet- understanding-the-191103. 165 Louis Fine, “Dental Problems in the Wind Instrumentalist,” Cleveland Clinic Quarterly 53 (January 1986): 4. 166 Fine, “Dental Problems,” 4. 167 Fine, “Dental Problems,” 4. 63

One study of twenty professional orchestral wind instrumentalists found that 50% had Class I,

30% had some form of Class II, and 20% had a Class III bite.168

The study by F.N. Van der Weijden et al., published in 2018 by the Journal of Orofacial

Orthopedics, found that the trumpet players with a Class II malocclusion experienced the most frequent embouchure difficulties, and while an overbite has no effect on trumpet performance, an extreme open bite negatively interferes with the brass musician’s embouchure. Tooth irregularity of the front teeth in the lower jaw was found to negatively impact flexibility and double tonguing, while diastemas can result in the disturbance of the lip vibration. A Class I bite was found to be the most appropriate for every type of wind instrument.169 Many of the issues stated above can be fixed with orthodontics and can therefore have a long-term positive effect on trumpet performance. As the transition to playing with braces involves a long period of adjustment, so too does the transition back to playing naturally once the braces are removed.

The student cannot expect their playing to automatically return to normal, but instead have to undergo what amounts to yet another embouchure change. Although the student needs to be prepared to retrain their muscles to adapt to their new permanent embouchure,170 this

168 F.N. Van der Weijden et al, “Influence of Tooth Position on Wind Instrumentalists’ Performance and Embouchure Comfort,” 212. 169 F.N. Van der Weijden et al., “Influence of Tooth Position on Wind Instrumentalists’ Performance and Embouchure Comfort,” Journal of Orofacial Orthopedics 79, no. 3 (May 2018): 211–217. 170 Logan Place, “How to Help Students with Braces,” ITG Journal 41, no. 2 (January 2017): 52. 64

transition is significantly shorter than when the braces were first put on. In his book, Buzz to

Brilliance, Adrian Griffin describes this process:

With your braces removed, you will now have a smooth, flat surface on which to comfortably place your mouthpiece. You’ll need to get used to the mouthpiece being closer to your teeth – and, since your lips are more responsive again, you will probably discover you are over-blowing. Back off slightly, using only the air you need to achieve your sound.171

To compare the experience of having braces put on or taken off with an embouchure change reflects the serious transition that the student is put through. The most effective way a teacher can guide the student through this challenge is to be positive, offer support, and encourage the student to continue at a comfortable pace. A key component to make that possible is to choose suitable repertoire. The student needs to be challenged in some areas of playing while allowed to develop slower in others. This need for a special kind of etude book was central to the composition of Twenty Interesting Etudes for the Developing Trumpet Player.

Embouchure changes represent one of the most difficult decisions a trumpet teacher can make with their students. A 2013 study found that 59% of brass players have experienced embouchure problems,172 which can include overuse, misuse (improper technique), medical complications, and dental problems as described above. If a teacher is considering an embouchure change due to irregular tooth contours, there is another solution besides braces

171 Adrian Griffin, Buzz to Brilliance: A Beginning and Intermediate Guide to Trumpet Playing, (New York: Carl Fischer, 1982), 145. 172 Kees Woldendorp et al, “Fundamentals of Embouchure in Brass Players,” Medical Problems of Performing Artists 31, no. 4 (December 2016): 232. 65

and Invisalign; dental bonding. Since the teeth provide the anchoring point for the embouchure173 and support the lips as they tighten for the upper register, they directly affect the position of the mouthpiece on the lips. Although minimal variations of horizontal placement on either side of center have been found to have little effect on trumpet performance,174 drastic positions away from center in order to avoid the pain caused by irregular tooth angles may cause a more rapid tiring of the embouchure while playing.175 To counteract the receded surfaces on either side of a protruding tooth, dental bonding uses a putty to fill in the receded area, resulting in a smoother surface across the teeth.176 Ned Gardner found that the effects of a broader, more even tooth surface was immediately apparent in terms of range, endurance, sound quality, and ease of playing.177 Some adult players choose to use dental bonding to improve their comfort while playing instead of braces, as bonding is less intrusive and does not involve an often years-long process of pain and adjustment. Dental bonding is also significantly cheaper than other orthodontic options.

Teachers who encounter intermediate trumpet players limited by irregular embouchures often face a moral dilemma when it comes to an embouchure change. As

173 Woldendorp et al, “Fundamentals,” 237. 174 Frank Gabriel Campos, Trumpet Technique (New York: Oxford University Press, 2005), 73. 175 F.N. Van der Weijden et al., “Influence of Tooth Position on Wind Instrumentalists’ Performance and Embouchure Comfort,” Journal of Orofacial Orthopedics 79, no. 3 (May 2018): 216. 176 Ned Gardner, “Dental Bonding: An Aid for the Embouchure,” ITG Journal (February 1986): 19. 177 Gardner, “Dental Bonding,” 19. 66

changing an embouchure can often require the student to start over again, is it worth the time investment if they are younger players who do not have an inclination to continue with trumpet playing beyond high school? This, of course, has to be considered on a case-by-case basis. Some students may lose interest altogether if they need to start from the beginning again, knowing they will only be playing trumpet for a few more years. If a student seems interested in pursuing music beyond high school or is willing to put in the time and dedication required to change their embouchure, Twenty Interesting Etudes for the Developing Trumpet Player can be part of their repertoire as they gain back their previous range. Trumpet teachers are not only creating the next generation of trumpet players, but also citizens of various occupations who appreciate, and hopefully consume, the art of music. If the teacher and student decide an embouchure change will result in the student completely losing interest in the trumpet and music, perhaps it is better to accept the limitations and enjoy the level of playing that the student has accomplished. In this scenario, as well, the student will need repertoire that does not extend into the upper register, but still captivates their interest.

While physical and mental barriers (such as dystonia) are legitimate concerns, there are still students who find range on the trumpet and embouchure building a challenge because they lack the dedication it takes to achieve these fundamentals. There is no substitute for practice. If the student is willing to put in the time and have the guidance of a responsible teacher, they will see improvements in all aspects of their playing. Some students, when faced with having to play high notes in jazz band too early, will switch to shallow “lead” mouthpieces

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or other equipment to try and give them a fast track on range, however in the words of Keith

Johnson, “quick fixes, gimmicks, and short cuts to range development can lead to serious embouchure problems and should be eschewed.”178 There is also the belief that marching band puts too much stress on the embouchure when it is still in the process of forming, causing the young player to rely more on lip pressure and strength to produce the sound because they have yet to develop the proper air support.179 The student should instead focus on sound and air instead of the obsession with playing higher, faster, and louder. Maurice André, renowned for his high playing, wisely advises:

Most pupils think only of succeeding high notes as fast as possible and usually do so without the indispensable preparation, causing embouchure damage and depriving the following exercises of the necessary flexibility. Aiming for beautiful sound is decisive for acquiring ease. If the sound is good, the high notes are easy to play.180

With a good sound the student can focus on playing with a musical intent, often solving many of their technical issues. Vincent Cichowicz wrote that “without a musical image in your mind, the difficulties of performing on an instrument are magnified greatly.”181 Many students

178 Keith Johnson, Brass Performance and Pedagogy (Upper Saddle River, NJ: Prentice Hall, 2002), 34. 179 Kenneth Laudermilch, “More Air, Less Lip, and Good Tone.” Instrumentalist 56, no. 11 (June 2002): 40. 180 Maurice André, Daily Exercises for Trumpet (Paris: Gérard Billaudot, 1997), 1. 181 Vincent Cichowicz, “Teaching the Concepts of Trumpet Playing,” The Instrumentalist 50, no. 6 (January 1996): 27. 68

overthink their embouchure, when they should be concentrating on the musical story they want to tell and let the embouchure do its job naturally.

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Chapter 6: 20 Interesting Etudes for the Developing Trumpet Player by Ted Clark

During my career as a player and a teacher, I feel I have experienced many kinds of difficulties that I always formulated into appropriate exercises. I have written them down for my own use as well as to aid my students. They have been found useful enough by many of my friends and previous students that this publication has resulted.182 - Théo Charlier

It is clear that developing the high register takes time for trumpet players, and every student progresses at a different rate. 20 Interesting Etudes for the Developing Trumpet Player was written based on the challenges faced by trumpet students between the ages of ten and eighteen over a ten-year period teaching private trumpet lessons in Toronto, Ontario, Canada.

As previously stated, many beginner band books, often containing multiple volumes, provide a good base for young students to learn from, but once these books have been exhausted it is difficult for the trumpet teacher to find etude books that can challenge the student both musically and technically while exposing them to a variety of musical styles, which will more accurately prepare them for the diverse tastes of modern audiences than the “intermediate”

182 Stephen Glover, ed., Thirty-Six Transcendental Studies for Trumpet, Cornet or Flugel Horn in B-flat by Théo Charlier, trans. Dr. Michel Laplace and Cliff Waren, Supplement to the ITG Newsletter, 1979, 1. 70

books already available. The term “intermediate” is one that is difficult to define. A beginner is someone who is new to something, in the preliminary stages of learning the fundamentals of whichever endeavor they are choosing to learn. Someone who is “advanced” has, through repetition and study, mastered many of the fundamentals of their desired activity and are looking to hone those fundamentals on more difficult material. In terms of trumpet players, there is a clear implication of a beginner versus an advanced student, but an intermediate player is more difficult to classify. In his book, Buzz to Brilliance: A Beginning and Intermediate

Guide to Trumpet Playing, Adrian Griffin suggests that a beginner’s high range is g’ to c’’, while an intermediate player’s high range is c’’ to g’’. This book aims to bridge the gap that has been largely ignored by composers of trumpet etudes. Its target demographic are trumpet players who have generally been playing for 3-4 years, but do not have the proficiency to move on to repertoire such as the Characteristic Studies found in Arban’s method; or have had a set-back in their range due to orthodontics. With one exception, an a’’ in Etude No. 9, the highest note is g’’. These etudes are designed to challenge, but not frustrate the student.

The personal satisfaction of successfully completing a substantive task will likely stimulate the student to pursue additional goals rather than discourage him from continuing. Many more students are lost to apathy than to excellence.183

20 Interesting Etudes for the Developing Trumpet Player was not conceived as a progressive method. The etudes can be played in any order; they were simply published in chronological

183 Keith Johnson, The Art of Trumpet Playing (Ames, Iowa: The Iowa State University Press, 1981), 113. 71

order of when they were written to aid in the development of my students as I saw issues arise in their playing. Nor does the limited range of this book suggest that g’’ should be the limit, or any kind of ceiling for trumpet players in this stage of their development; separate exercises whose purpose is to extend the player’s range should be part of the student’s regular practice routine in addition to these etudes. As with most etude books, I have sought to incorporate many of the fundamentals a trumpet player would be working on at this stage, and to give them the length that will help build endurance but not intimidate the student. Keith Johnson states, “the best teaching is that which challenges and encourages the student by setting high

(but not unrealistic) goals and that builds confidence, dependability, and the desire to continue to advance.”184

184 Keith Johnson, Brass Performance and Pedagogy (Upper Saddle River, NJ: Prentice Hall, 2002), 7. 72

Figure 4 Etude No. 1 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing 73

The first etude in Twenty Interesting Etudes for the Developing Trumpet Player was written in 2008 for a student who, despite enjoying playing the trumpet, did not devote a lot of practice time into their weekly schedule. Not every student is going to pursue music as a career, so the teacher must make a decision about how to proceed with the student. Private lessons will at least teach the student the value of long-term work on a specific goal and will hopefully give them a life-long appreciation and love of music. The result of not spending enough time playing the trumpet means that they will be limited in how far they can progress with range and endurance, although their technique and musicality can grow at a faster rate. This is reflected in the first etude. The choice of D Major as the key signature is a calculated one to combat the common problem of “B-flat Concert Scale Syndrome.”185 For the majority of students, B-flat

Concert, or C Major on the B-flat trumpet, is the first scale they will learn. Some school music teachers, however, will linger on this scale far too long before introducing the students to new keys. This creates two problems; they perceive that keys beyond that of C Major are inherently more difficult and a mental block is created between the c’’ and d’’, where the student suddenly uses excessive pressure and force to try to get the D to speak than they do the C. In my own teaching, I start off with the major scales of Bb, C, and D in order to combat this mental hang-up. This etude begins with an octave jump from the low D and should be played without a noticeable embouchure pivot. In addition to scales, trumpet players often learn arpeggios in band class, but they should be encouraged to learn larger intervals as well, played with the

185 This is a phrase created by the author. 74

same ease as smaller interval distances. In order for the student to execute a clean octave, they can practice the arpeggio, showing they can easily play the two Ds, and then remove the third, and finally the fifth.

The highest notes of the first etude are f#’’ and g’’ and are both approached by step, in order to allow the student to gradually speed up the airstream and increase the probability of success. In measure 7 there is a leap of a minor seventh, ending up a whole tone higher than the opening octave. This should trick the student into playing the e’’ with ease, as it is also in the middle of a musical phrase. Hopefully the student will be thinking musically instead of technically. The f#’’ then follows in the next measure and only occurs for the duration of a sixteenth note. The one g’’ that appears in this etude happens at measure 17 and is also designed to encourage the student to approach the highest note with ease. At measure 11 the articulation changes from staccato to legato, a stylistic change that should be apparent when it is performed, and it is within this more connected style that the g’’ is approached by step using the first four notes of the D Major scale.

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Figure 5 Etude No. 2 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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In working to develop the upper register the player must first have a basic approach to playing that is sound oriented rather than muscularly or analytically oriented. Such an approach must be thoroughly developed in the middle register before extended attempts are made at playing higher. The sound must be full, rich, and flowing. Lines must sing beautifully and intonation must be secure. Then, and only then, should the gradual extension of the upper register be undertaken.186

The above quote by Keith Johnson eloquently describes the ideals that were the inspiration for the second etude. Etude No. 2 is the first of the lyrical etudes in the book and is written to reflect the style of a folk song being sung. In this etude the student should focus on sound production, breath control, phrasing and intonation. The key of Eb Major addresses the challenge of coordinating the third finger, the slowest of the three fingers used to operate the valves of the trumpet. Within the first two measures the student is called upon to smoothly change the valves from 2-3 combinations to first valve, open, and 1-3, all while maintaining a lyrical style (which often results in slow finger technique). A beautiful, singing style, is the goal and can be achieved by actually having the student sing the etude, buzz it on the mouthpiece, and keep the same phrasing when playing it on the trumpet.

Whole rests are included at measures 10 and 25 to provide the student with a break in which the blood can flow back to the embouchure and a new fresh breath can be taken in case the student has mistakenly ‘stacked’ their air. They are also an opportunity for the teacher to check the student’s counting and see if they can stay focused through the silence. The ties at

186 Keith Johnson, Brass Performance and Pedagogy (Upper Saddle River, NJ: Prentice Hall, 2002),59. 77

measures 27 and 28 as well as 36 through to the end are often cut short by younger students.

Care should be taken by the student to count through these rhythms, while also phrasing in a way to keep the longer notes interesting and part of the musical line.

Dynamics also play an important role in this etude. The pianissimo at measure 30 should sound like an echo to the previous two measures. The long final note, marked with a decrescendo, represents the ending of a large number of works that require the player to sustain the note without varying the pitch or losing it altogether while continuing to get softer from an already soft dynamic. Often students will slow down their air as they decrescendo, resulting in the player ‘falling off’ the note. This final Eb allows the student to practice this in a safe range.

The trumpet player would benefit from the words of Vincent Cichowicz regarding their air: “The breath should flow naturally; it should resemble a sigh or a yawn and be free of any

‘hissy sound’; the process should remain consistent regardless of register.”187

187 Vincent Cichowicz, “Teaching the Concepts of Trumpet Playing,” The Instrumentalist 50, no. 6 (January 1996): 26. 78

Figure 6 Etude No. 3 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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One of the elements of trumpet playing that complicates the air the most is articulation.

On a subconscious or conscious level students often think it is the tongue that starts the note, but they need to be convinced that it is in fact the air. The tongue gives the definition to the start of the note. A crisp articulation on the trumpet is important in order to be heard clearly out in large concert halls and Etude No. 3 helps work on this technique. So far this is the loudest etude in the book. The fortissimo level should be used to help the student play full and with a lot of air moving passed the tongue. The same clarity that is achieved in the first four measures should then be continued in measure 5, only at a softer dynamic. The rhythm of the first four measures is far less complicated than it looks, but once the student grasps how it sounds it becomes easy to play, which is why it returns throughout the etude. This etude also explores a hemiola rhythm and presents it in two forms between measures 11 and 12. It is a good opportunity to point out to the student that although the note values are different, the articulation of the note provides the same rhythm. This cross rhythm appears yet again with the placement of accents on constant eighth notes in measures 18, 23, 35, and 38.

The intensity of the style of this etude should remind the student of an action scene from a movie and will make it fun to play while learning all of these intricate rhythms. The 6/8 time signature is one students often struggle with at first if they are not exposed to compound meters until late in their musical development. In addition to running eighth notes and hemiolas, two combinations of quarter-eighth groupings are practiced here; eighth-quarter- quarter-eighth such as in measure 6, and quarter-eighth-eighth-quarter, as found in measure

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28. The variety of rhythms in this etude combined with a wide dynamic spectrum with accented articulation all in the natural form of e minor make this etude a favorite.

Figure 7 Etude No. 4 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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From the cross rhythms of Etude No. 3 comes the beginning of Etude No. 4, this time in a triple time signature. The first ten measures could have been easily written in 6/8 time but counting this through in three will help their sense of time. It should be pointed out to the student that the first articulation of each group happens at the same moment in the measure, the offbeat of two, until the change happens in measure 11. Rhythm is the biggest component of this etude and is often a challenge for younger players. Measure 17 is another example that looks more complicated than it actually is. By figuring out these seemingly complicated rhythms confidence in their ability to play difficult rhythms is being fostered.

Etude No. 5 is in the key of A Major, which I have found to be one of the most difficult scales for young trumpet players. It not only involves a lot of third valve work, but the coordination of the third valve slide. The low D and C-sharp on the trumpet are both sharp and need to be flattened by extending the third valve slide. The C-sharp needs even more extension than the D. A Major is a good key to practice this coordination in because both of those notes occur if the piece is written for the low register of the trumpet. Measures 17 through 20 require precise right- and left-hand coordination. The student will also need to be attentive at measure

11 due to the skips of a third that make it more challenging than running eighth notes in step. In addition to these intervals, it is important for the student to also begin to understand and recognize when scale fragments or chords are being outlined. Understanding the compositional elements of a piece can make it easier to hear where the line is going, instead of guessing at

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pitches. Examples of this occur at measure 32, the A Major 7 chord, and again in the third last measure where it is now the A Major chord being played.

Figure 8 Etude No. 5 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing 83

Figure 9 Etude No. 6 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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Etude No. 6 also challenges the coordination of valve combinations involving the third finger, especially at measure 13. The exercise of the third finger is an important technique to master. Théo Charlier (1868-1944) devoted an etude to it in his own book, Thirty-Six

Transcendent Studies for Trumpet, Cornet or Flugelhorn. What a composer writes for the trumpet may not always be idiomatic for the instrument, so it is important to practice even music that may feel awkward. Charlier acknowledges this in the Forward to his book, published in 1926 and revised in 1946.

Today, in the orchestra, the trumpeters need great technique as well as good musicianship. Contemporary composers do not think of the difficulties they write. They create it, it pleases them; the performer must play it!188

The demands placed on the modern trumpet player are even greater as far as the variety of styles they are expected to perform. The upbeat style of this etude, however, is intended to mask any difficulties in technique. It reflects a lot of high school band music that is written for trumpet players at this level. The syncopation throughout will come naturally if they are adhering to the style of the piece. As Keith Johnson describes: “A great problem for many brass students is that so much emphasis is placed on mechanical aspects of performance that the student fails to grasp the larger musical goal to which these physical efforts are directed.”189 If the student finds the etude interesting and enjoyable to play, they will not be focused on the

188 Stephen Glover, ed., 1. 189 Keith Johnson, Brass Performance and Pedagogy (Upper Saddle River, NJ: Prentice Hall, 2002),8. 85

technique that they are gaining and cause them to overthink it. Excitement can be added by mastering the forte-pianos throughout, having the student overdo it to show how far they can exaggerate these markings.

Figure 10 Etude No. 7 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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Technique is commonly thought of as speed pure and simple. And we often hear it said of some player who can play a fast scale or who can double- or triple-tongue rapidly: ‘My, listen to that “technique”.’ But if that player, even though he does have a fast tongue and rapid finger reflexes, cannot play a pretty and simple melody musically, he does not have technique.190

This etude offers a simple melody to the developing trumpet player and should be played with a rich tone. The long phrases encourage the student to keep their air in motion and have good connection between notes. The unusual time signature of five-four may initially cause some difficulty but must be felt in the long notes throughout the etude. Full value on rhythms like that of measure 32 is important for the student’s sense of pulse. The steadiness of the pulse grows out of the opening phrases where quarter notes begin the etude and then change to eighth notes at measure 9 and on to sixteenths at measure 19. One of the most difficult fundamentals on the trumpet are harmonic slurs, or what are commonly referred to as

“lips slurs”. These turn up in Etude No. 7 and will show the teacher if the student needs specific work on this skill.

Many younger students neglect their lowest register (from the C down to low F#) in favor of wanting to play higher, however if they can learn to play with a focused sound with the relaxed embouchure required of the lower register, this will make upper register playing much more secure. If the student lacks the proper focus and connection, the low G in measure 15 simply will not speak.

190 Dale Delbert, Trumpet Technique (London: Oxford University Press, 1973), 59–60. 87

Figure 11 Etude No. 8 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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Students should be constantly challenged and pushed outside of their comfort zones so that their comfort zone is always expanding. They need to have a balance between challenge and comfort. Etude No. 8 uses the time signature of 3/8, one which many young students are not often exposed to. Since the time signature is one that may be new the etude is in one of the most comfortable keys for the trumpet, F Major. Although the key is comfortable for the fingers, the f’’ is a sharp note and should be played with a full sound, not with thin stretched- out lips. The three Fs starting at measure 17 are approached from the octave below, first traveling in thirds as far as the dominant and then by step to the top octave. The crescendo aids in keeping the air moving as the supporting factor for the success of the top octaves. The student then gets a full measure to get a full breath before carrying on.

The eighth notes at the beginning should be felt in one and care should be taken not to accent the second eighth of each bar just because it is higher. Often students try to play short notes too short and they become more about the tongue than the body of the note. As Dr.

Michael Barth states in the Canadian Musician magazine:

Don’t forget to play with great tone and lots of air support. It is often the case that perceived tonging problems are a result of poor tone production. Take care of your sound and your articulation will often improve.191

Etude No. 8 also contains hemiolas created by slurs at measures 29 and 68 and is the main rhythm at measure 41. Rhythmic diminution is used at measure 49, it should be pointed

191 Michael Barth, “Strengthening the Tongue for Better Articulation,” Canadian Musician 35, no. 3 (May/June 2013): 30. 89

out that each note gets one eight-note shorter. Etude No. 8 should have a light and bouncy feel throughout.

Figure 12 Etude No. 9 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing. 90

In his 1964 book, The Psychology of Cornet and Trumpet Playing: Scientific Principles of

Artistic Performance, Dr. Clyde Noble, Professor of Psychology at Montana State University wrote:

Regardless of how much theoretical knowledge and practical skill [they] may possess, the ultimate test of an all-around cornetist or trumpeter is measured by the extent to which [they] can read [their] score accurately at sight and perform it in the correct musical style on the first rehearsal.192

If etude books are always stuck in one musical style it is to the detriment of the student.

Today’s trumpet player is required to play in a number of styles, even the biggest orchestras have their Pops series concerts. One of the goals of this book is to expose students to these different styles without having to change books. Etude No. 9 is the most jazz influenced etude in the book. It has a funk feel and the eighth notes are swung, something not found in other etude books unless they are jazz specific. The student should play this etude in a two feel, noting the alla breve time signature, and learn to play on the back side of the beat. This is especially important for the style when playing the syncopations, such as the figure starting at measure 23. Rather than over-analyze the technique of playing a jazz piece, there is a ‘feel’ that will be developed through this etude, involving swing articulation that will especially be evident in continuous eighth notes, such as measures 35-36. This etude also includes the only A above the staff in the entire book but is approached stepwise starting at the C# in measure 21. The

192 Clyde Noble, The Psychology of Cornet and Trumpet Playing (Missoula, Montana: The Mountain Press, 1981), 85. 91

challenge of playing in four sharps will be balanced by the excitement to play in this style, paying special attention to the accidentals, such as the ‘blue notes’ in the opening eight measures.

Figure 13 Etude No. 10 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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From swung eighth notes Etude No. 10 now moves to the very metronomic and rhythmically precise style of ragtime. A metronome will be of great benefit when practicing this etude to keep the sixteenth notes even, but also to achieve the half-time feel that occurs at measure 17. It should be pointed out to the student that the rhythm of eighth-quarter-eighth is merely an augmented form of the sixteenth-eighth-sixteenth rhythm from the opening measure. For accuracy and clarity of the articulation, the fingers and tongue must be synchronized. Air patterns (without buzzing) into the trumpet while using the correct fingerings will show whether this clarity is being achieved. If there is any ‘pop’ sound to the front of the note, the tongue may be too low in the mouth and articulating between the top and bottom teeth as opposed to the back of the top teeth. This is a common articulation mistake among young trumpet players. The student, however, does not need to overthink where the tongue should be striking, it is the same place where they would pronounce the letter ‘t’. Cichowicz once again simplifies the task of articulation, pointing out that it is just language and should not be overthought; like how children learn to speak without any idea of how they are manipulating their tongue or lips.193 Staccato should not be thought of as short, but an illusion the player can create at the front of the note with precise clarity.

There are more opportunities in Etude No. 10 to explore the harmonies being outlined.

Grouping those notes together takes the intimidation factor out of seeing a string of fast

193 Vincent Cichowicz, “Teaching the Concepts of Trumpet Playing,” The Instrumentalist 50, no. 6 (January 1996): 28. 93

individual notes. On the first beat of measure 13 there is a G Major chord followed by a D7 in the second beat. It is important for the development of the student’s ear to begin to recognize these chordal moments. Lastly, the figure at measure 41 should be played with as little embouchure pivot as possible, if the student is playing properly.

Figure 14 Etude No. 11 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing. 94

The time signature of 7/8 is introduced in Etude No. 11 and all three divisions of the meter (2+2+3, 2+3+2, 3+2+2) are used in the first eight measures while only using the middle register of the instrument. The harmonic form of e minor is clearly outlined within these opening measures as well. It is beneficial for the student to play the scale when working on the etude to get the sonority in their heads and let that help them decide the character they want to portray in the music. Dale Delbert writes in Trumpet Technique that the student should simultaneously develop both the high and low registers using exercises revolving around the middle register so that they can move smoothly from one part of the range to another without having to reset the embouchure.194 This is also the goal in measures 17 to 19 where the student needs to negotiate dropping over two octaves to the very lowest note on the trumpet without having the opportunity to change their embouchure. If this is difficult for the student to achieve, they will need to work on their flexibility away from the etude in order to master this fundamental and beneficial skill.

Etude No. 11 also has a stylistic change after the meter change to 4/4. The marking of misterioso could have easily been added to measure 25, but it is more beneficial for the student to come to that or a similar conclusion after they hear how the music sounds. They are then in control of the accelerando beginning in measure 31 back to the original tempo at measure 33.

These types of artistic decisions should be entrusted to younger players in order to develop not just trumpet players, but well-rounded musicians.

194 Dale Delbert, Trumpet Technique (London: Oxford University Press, 1973), 24. 95

Figure 15 Etude No. 12 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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After the intensity of Etude No. 11, Etude No. 12 has a relaxed song-like quality that flows along despite being in the odd numbered 5/8 meter. Phrasing at the beginning appears at first to be every four measures, but there is also a larger arc that covers the first sixteen measures. This is important for the student’s pacing of a longer phrase, and not letting the breath (most likely needed after one of the four measure phrases) interrupt the flow of the larger shape. This etude also includes rests that should be counted properly and not just an opportunity to let the student’s attention wander. Meter changes between 7/8, 6/8, 4/4, and

5/8 help the student understand the relationship of compound and simple meters. The eighth notes should make it obvious how the beats are divided in each meter and while they stay constant the larger pulse expands and contracts. The key of Eb again provides an opportunity to work the third finger, especially beginning at measure 39.

Etude No. 13 is another energetic piece, which will be easier to accomplish in the sixteenth notes and use of fortepianos than it will be in the sustained notes. Composers often use trumpets in the most majestic parts of a work, but in the long notes the energy needs to keep moving forward. Keith Johnson says that “good air is always moving. It is either moving in or it is moving out. If it is static, it is bad air and will most certainly lead to an increase in tension in the body and constriction in the sound.”195 Remembering that tension is the enemy of the air and good trumpet playing, the student should stay as relaxed as possible at measure 29, which

195Keith Johnson, Brass Performance and Pedagogy (Upper Saddle River, NJ: Prentice Hall, 2002), 25–26. 97

will be counterintuitive at a mezzo-piano dynamic. Students often slow the air down to play softer and end up having to squeeze to get the pitches out to compensate for the slower vibration. The quarter note triplets both here and at measure 15 should be played long and connected to help the phrasing.

Figure 16 Etude No. 13 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing. 98

Figure 17 Etude No. 14 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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Etude No. 14 is all about air flow and forward momentum. It could easily be described as an active long tone exercise. The changing intervals under slurs require the student to keep the air active and be thinking through the phrases, finger agility will ensure the clarity of the notes. This etude has very few rests, so it is also a test of endurance. Deciding where to breath, even writing in the breaths, will take the question out of how to get through this etude. From the a tempo to the end there is not a single rest, so it raises the question of where to breathe.

Unfortunately, this is a dilemma that wind players come across often in the music they play because not all composers are sympathetic to the need to get a healthy breath. The ending can be done in one breath but, if not, a decision will need to be made when to take the breath so that it will not interrupt the musical line. The low first notes of the descending figure beginning at measure 14 will only speak if the student has managed to stay relaxed up until that point.

When the lips get too tight in the upper register they are no longer supple enough to make notes below the low C speak.

If the student can feel the groove in Etude No. 15, then the rhythms should not be a huge challenge. The style and feel should be set up by the first three notes, the accents to be played as short as possible as in jazz music as opposed to the indication of marcato found in the classical repertoire. This first section has an almost pop feel to it and should sound easy and fun as opposed to dark and heavy. The middle section, where the articulated sixteenth notes give way to long slurred quarter note triplets is another place where the air needs to lead the sound.

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If the air flow is relaxed and constant, then the lips won’t have to work as hard. This section should not be a test of endurance if the student is thinking musically and relaxed.

Figure 18 Etude No. 15 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing. 101

Figure 19 Etude No. 16 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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The pulse in Etude No. 16 is the eighth note, as opposed to a quarter note beat. This is not an uncommon occurrence, and many trumpet players will encounter this for the first time in the second movement of Neruda’s Concerto in E-flat. What seasoned trumpet players would take for granted, however, is actually a complicated way of counting at first, yet few method books allow students to practice this technique. The large groupings of notes, such as the thirty-second note runs and sextuplets will inevitably be approached as a difficult, rushed mess of notes. The student should be encouraged to separate these into smaller groupings that make more sense in the tempo and will show that, when thought of in smaller subdivisions, are not actually that technically challenging. Nor do these figures need to be played strictly in time. The thirty-second notes at measure 9, for instance, could start slower with an accelerando through the second group of four and then pulling back again into the downbeat. The rubato can be decided by the student with the teacher’s guidance. Finger agility is obviously an important factor for the success of these runs.

Due to the slow tempo of this etude, there are a number of long notes such as the dotted half notes that are often followed by a rest. Younger students rarely think of how to end a note, they have spent so much time and energy on concentrating on the beginning of the note. They should count through the note and practice good releases, a skill that is very important in section playing.

It is much more difficult for students to comprehend how a note should be ended than it is for them to understand the beginning. Poor releases, particularly those that are clipped, represent one of the most serious

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musical errors a student can commit and it is a difficult habit to change.196

Figure 20 Etude No. 17 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

196 Roger Sherman, The Trumpeter’s Handbook: A Comprehensive Guide to Playing and Teaching the Trumpet (Athens, OH: Accura Music, 1979), 25. 104

Etude No. 17 centers around rapid meter changes and eighth-note rhythms. In order to reinforce the idea of a short, articulated note still having a full tone and beautiful quality of sound, the opening should be practiced long and legato at first, then having established the center of each pitch they can play as written and will have a much better sound. The tendency will be for the student to play the last three notes of the 6/8 measures too fast. A metronome on eighth notes would also be helpful. The octaves at measure 34 again test the student’s flexibility, air control, and the ability to change octaves without changing the embouchure or extreme pivot of the mouthpiece on the lips.

The trumpet, when played correctly, can be very resonant and that resonance can be used to the player’s advantage. The downbeats of Etude No. 18 should be played with this resonance; they should bounce to keep the rhythm moving forward, as opposed to feeling like they are not active and pull the tempo back. Measures 8 through 15 once again put the third finger to the test because of the E-flats. Starting at measure 22, the student should note the chords they are playing and pay close attention to their sonorities. In order they are: E-flat

Major (m. 22), D minor 7 (m. 23), C minor 7 (m. 24), B-flat Major (m. 26), and F dominant 7 (m.

28).

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Figure 21 Etude No. 18 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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Figure 22 Etude No. 19 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing. 107

Etude No. 19 is unique; it is written in the style of a contemporary unaccompanied trumpet solo. It allows for a large amount of musical interpretation and freedom for the performer. Most students are first introduced to this type of piece through Otto Ketting’s

Intrada, a great piece for any trumpet player to learn, but Etude No. 19 is more accessible to the intermediate level trumpet player. Although it is an etude, it could be performed separately as a concert piece. One of the biggest challenges of an unaccompanied piece is being comfortable with silence as part of the music. This etude has many opportunities to incorporate silence. One of the best ways a student can learn phrasing is from modeling others. Having a positive trumpet role model as a teacher is very important, having that ideal sound in their head as a goal will help their playing more than just hearing and copying what they hear around them at school.197 The teacher should play through this entire etude to help the student understand the pacing of this genre.

This etude contains large intervals, starting with the octave at measure 8. The success of the upper note comes from how they play the lower note before it, the approach is what is important. If the student tenses in anticipation of the higher note, the odds of success are limited. The largest interval in the entire book, a tone away from two octaves, happens from measure 13 into 14. The quality of the two sixteenth notes should not be sacrificed for the upper G; the student must stay in the moment. Intonation is also important throughout this

197 Fred Sautter, “What to do for a Student Who Plays Tight,” ITG Journal 32, no. 1 (October 2007): 55. 108

etude, especially with many of the unfamiliar intervals. Using the third valve slide for the D-flats in measure 25 is crucial, while making sure not to play the low G in measure 26 too flat.

Figure 23 Etude No. 20 from Twenty Interesting Etudes for the Developing Trumpet Player, by Ted Clark. Reproduced with permission from qPress Music Publishing.

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Ultimately the goal of this etude book is for the student to enjoy playing the etudes, while also working on important fundamentals of trumpet playing. Not every trumpet student is going to become a professional someday, but they can become great patrons of the arts. If a student enjoys the music they are working on they are more than likely to practice it more, which in turn will build their embouchure and allow them to progress to more challenging music, which in turn will make playing the trumpet more enjoyable. It is a snowball effect that requires the proper repertoire at every stage of development to keep the momentum. Etude

No. 20 is a triumphant piece that is fitting as an ending to the book as it is similar to the type of piece one may find at the end of a concert.

The etude’s upbeat tempo and rhythms should ensure the student does not get frustrated by the key of B Major, while working on the speed of their single tongue. Often it is not the actual striking of the tongue that is the challenge for trumpet players but getting the tongue out of the way to allow the airstream through. When a student’s articulation is muddy the solution can be to have them think about dropping the tongue out of the way on each stroke, rather than obsessing over the strike of the tongue. Maurice André writes about this in his method book, saying

it is not the tongue touching the teeth that enables emitting a note; on the contrary, withdrawing the tongue allows the air to pass and makes the lips vibrate... attacks should be instantaneous and immediate... constantly sustain the air-column, as if one was playing a long note.198

198 Maurice André, Daily Exercises for Trumpet (Paris: Gérard Billaudot Éditeur, 1997), 13. 110

By not stressing the student’s upper register, by the end of this etude book they have had the opportunity to work on efficient airflow, clear articulation, as well as mastering complex rhythms, multiple meters, and challenging keys. In addition to developing their range outside of this book, they should be on the right path to approaching more advanced repertoire.

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Chapter 7: Conclusion

Some students develop their skills on the trumpet at an even pace and have the necessary upper register to be able to play advanced etudes. Others, however, take longer to develop the upper register or experience set-backs due to dental work. Regardless of the reason, ever since musicians began to study the trumpet they have needed the appropriate repertoire to progress. The demands trumpet players place on their embouchure requires that playing is efficient and their development is natural and not rushed. Just as an athlete needs to find the balance between fatigue and recovery, so must the trumpet student build their embouchure muscles in a mindful way. The longevity of their career depends on it. Many students overextend their embouchure due to the desire to progress faster than they should.

Etudes that will capture their interest and significantly challenge them in other aspects of their playing while not pushing them beyond their range limits are in high demand.

20 Interesting Etudes for the Developing Trumpet Player is one attempt to offer balanced intermediate etudes that check all of these boxes while also making it fun to play the trumpet. A student that enjoys what they have to practice is a student who is more likely to devote the time in their busy schedules to do so. Interesting etudes are ones that are musically rewarding and provide a variety of styles that trumpet players need to be familiar with today.

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The ultimate goal is to create well rounded musicians instead of technically obsessed, mechanical players. Technique can be gained while playing music the student enjoys. It is the hope of this author that, with the help of this etude book, young trumpet players will look forward to practicing as an enjoyable experience rather than a chore.

Writing this document has revealed the need for further research into existing etude books that accomplish these same goals. In an ideal world teachers and students would utilize the library system more often and do extensive research into the most appropriate etude books for the specific challenges they are working on at the time. Practically speaking, the majority of private teachers of high school level trumpet players are busy freelance musicians and may lack the expertise to search WorldCat or utilize Library of Congress Subject Headings. An extensive annotated bibliography of intermediate etudes would be a great resource for what can be an overlooked stage of development when it comes to pedagogical repertoire. The challenge would be how to disseminate this information outside of the academic world so that it is accessible to young players. A publication through the International Trumpet Guild or national music teacher associations could be viable options. It is my hope that trumpet players will continue to write fun and productive etude books for intermediate players in order to continue exposing young people to the love of music and the joys of playing the trumpet.

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Appendix A: Foreward from Twenty Interesting Etudes for the Developing Trumpet Player by Ted Clark

There is seemingly no shortage of method books for the beginner trumpet player available in music stores today. Many of them do a very good job of getting a student started on the trumpet, sometimes for even the first few years of playing. Once these books have been exhausted however, I have found that the next level of instruction often takes a larger step than the student is prepared for, specifically when it comes to range.

Finding etudes that do fit into a player’s developing range can sometimes be at the expense of challenging technique and musicality. The same is true for trumpet players who have been playing for years and then need to get braces. Mentally they are ready for new challenges, but physically they are temporarily limited by range and endurance. Furthermore, many intermediate level etudes fail to interest young trumpet players and stick only to one style.

It was for these reasons that I began composing my own etudes for my students. In an attempt to help fill this void in the repertoire, the etudes in this book address specific challenges I saw my own students facing while learning the instrument. Rhythm, phrasing, breath control, flexibility, agility, and musicality are all put to the test without going into a range that may not

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be developed yet. This is not to say that range should not continue to be developed at whatever pace is comfortable for the student, but it is not the purpose of this book.

Each etude is purposely written in a different style to reflect the demands of being a musician in today’s world. One must be flexible and comfortable in a variety of styles. The student (and teacher) should feel free to play these etudes in any order they wish, as they are meant as an addition to, not a replacement of, a well-rounded practice routine.

I hope you find these etudes interesting and challenging to play. I would like to thank my own students for being the guinea pigs during the creation of this book.

Enjoy!

Ted Clark

“Ted Clark’s 20 Interesting Etudes is a refreshing and welcome addition to the trumpet repertoire. Trumpet students of all ages and abilities face many challenges on the path to creating a strong foundation based on healthy sound production. Too often, repertoire can be a hindrance to building fundamental concepts. The etudes in this book are facilitators to building a strong, solid foundation due to the simple fact that they don’t get in the way. The music is pleasant with a huge variety of styles, and most importantly the bases are covered in terms of articulation, common keys, phrasing and slurring options, dynamics, time signatures, rhythmic interest, and a range that is any student’s ‘bread and butter.’ Thanks Ted, for sharing these fun etudes.”

Merrie Klazek, MMus, BMus, Assistant Professor of Trumpet, University of Victoria

“20 Interesting Etudes for the Developing Trumpet Player is a much needed resource to bridge the gap with younger students who need a slower approach to range development but then need challenges in their development of musicality, style variation, and rhythm. Highly recommended!”

Dr. Amy Gilreath, Professor of Trumpet, Illinois State University (Stiletto Brass) 115

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