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The Trumpet Teacher's Handbook THE TRUMPET TEACHER’S HANDBOOK: A COMPREHENSIVE MUSICIANSHIP GUIDE by Andrew R. Boylan Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Andrew Mead, Research Director ______________________________________ John Rommel, Chair ______________________________________ Daniel Perantoni ______________________________________ Joey Tartell November 13, 2018 ii Acknowledgements I would like to express the deepest appreciation to my committee chair, Professor John Rommel, for his patience, guidance, and mentorship as I worked towards the completion of this degree. Without his help, I would not be the musician I am, nor have the focus nor aptitude to continue to grow. I would like to thank my research director, Professor Andrew Mead, for working so closely with me this past year, and for instilling in me an enthusiasm for the finer points of musical theory. I would also like to thank my committee members, Professor Carl Lenthe and Professor Daniel Perantoni, for their time and effort throughout this process, and Professor Joey Tartell, for stepping in at the last minute while Professor Lenthe was on sabbatical. Lastly, I would like to thank my family, friends, and loved ones for their unwavering support as I pursue this career. I never would have made it this far without you. iii Table of Contents Acknowledgments ........................................................................................................................................ iii Table of Contents .......................................................................................................................................... iv List of Examples ............................................................................................................................................ v List of Figures ............................................................................................................................................... vi List of Tables .............................................................................................................................................. vii List of Appendices ..................................................................................................................................... viii Chapter 1: Overview of Curriculum .............................................................................................................. 1 Chapter 2: History of the Trumpet ............................................................................................................... 11 Chapter 3: The Overtone Series ................................................................................................................... 30 Chapter 4: Literature .................................................................................................................................... 37 Chapter 5: Methods and Etudes ................................................................................................................... 57 Chapter 6: Repertoire ................................................................................................................................... 71 Bibliography .............................................................................................................................................. 149 iv List of Examples Example 1: Preferred scale pattern ............................................................................................................ 135 Example 2: Scale pattern for limited range ................................................................................................ 135 Example 3: Preferred arpeggio pattern ...................................................................................................... 135 Example 4: Arpeggio pattern for limited range ......................................................................................... 136 Example 5: Scale pattern for scales in thirds ............................................................................................. 136 Example 6: Scale pattern for scales in fourths ........................................................................................... 136 v List of Figures Figure 1. Roman tuba ................................................................................................................................... 12 Figure 2. Buccina ......................................................................................................................................... 12 Figure 3. Natural Trumpet ........................................................................................................................... 14 Figure 4. Keyed trumpet .............................................................................................................................. 18 Figure 5. English slide trumpet .................................................................................................................... 19 Figure 6. Stölzel valve ................................................................................................................................. 21 Figure 7. Box valve ...................................................................................................................................... 22 Figure 8. Vienna valves ............................................................................................................................... 23 Figure 9. Rotary valves ................................................................................................................................ 24 Figure 10. Berlin pump valves ..................................................................................................................... 25 Figure 11. Périnet piston valves ................................................................................................................... 26 Figure 12. Monochord with moveable bridge .............................................................................................. 30 Figure 13. Overtone series of the Bb trumpet .............................................................................................. 31 Figure 14. Sound waves of the first five harmonics within the trumpet ...................................................... 32 Figure 15. The trumpet achieves full chromaticism by switching between the seven overtone series, made possible by different combinations of the three valves ................................................................... 33 Figure 16. Alternate fingering chart for trumpet ......................................................................................... 34 Figure 17. Tuning tendency chart ................................................................................................................ 35 vi List of Tables Table 1: First Semester Assignments ............................................................................................................. 4 Table 2: Second Semester Assignments ........................................................................................................ 5 Table 3: Third Semester Assignments ........................................................................................................... 6 Table 4: Fourth Semester Assignments ......................................................................................................... 7 Table 5: Fifth Semester Assignments ............................................................................................................ 8 Table 6: Sixth Semester Assignments ............................................................................................................ 9 vii List of Appendices Appendix 1: Requirements for Scales and Assignments ........................................................................... 135 Appendix 2: Book Reports ......................................................................................................................... 137 Appendix 3: Appropriate Methods and Etudes for All Playing Levels ..................................................... 138 Appendix 4: Appropriate Solo Repertoire for All Playing Levels ............................................................ 142 Appendix 5: Appropriate Chamber Repertoire for All Playing Levels ..................................................... 145 Appendix 6: Appropriate Excerpts for All Playing Levels ........................................................................ 147 viii Chapter 1: Overview of Curriculum This curriculum is only a guideline and should be adjusted according to the needs of the individual. It is meant to provide a well-rounded education for every student in the studio, regardless of their major. By the end of study, each student will have a strong basis in fundamental technique, a broad knowledge of musical style, and a substantial list of prepared and performed solos, excerpts, etudes, and other repertoire that will be beneficial to a continued career or education in music. It is based on 15 week semesters, and assignments cover two weeks with the first being an introduction to the material and the second being a “test week”. Twice weekly
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