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Ptratographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are availat>le for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMI' UNIVERSITE OF OKLAHOMA GRADUATE COLLEGE THE ART OP TENOR/HASS TROMBONE DOUBLING: AN EXAMINATION OF THE PERFORMANCE PHILOSOPHIES AND PRACTICES OF THREE SELECTED TROMBONISTS A DOCUMENT SUBMITTED TO THE GRADUATE FACULTE in partial fulfillment of fiie requirements for the degree of DOCTOR OF MUSICAL ARTS By LAWRENCE JOHN PEARCE Lawton, Oklahoma 2002 UMI Number; 3040844 UMI UMI Microform 3040844 Copyright 2002 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 c Copyright by Lawrence John Pearce 2002 All Rights Reserved THE ART OF TENOR/BASS TROMBONE DOUBLING: AN EXAMINATION OF THE PERFORMANCE PHILOSOPHIES AND PRACTICES OF THREE SELECTED TROMBONISTS A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY Dr. Irvin Wagner, Msyor Professor Dr. Eugene Enrico Yy] Dr. ^chael Rogers Dr. Karl Si Dr. ACKNOWLEDGEMENTS Tbe author would like to thank Mr. Charles Vernon, Dr. Donald Hildebrandt, and Mr. Brian Rogers who participated in this study. It is hoped that this study will illustrate in some way the talent, knowledge, and dedication brought to the profession by these musicians. Thanks are also due to the members of my doctoral committee Dr. Irvin Wagner, Dr. Eugene Enrico, Dr. Michael Rogers, Dr. Karl Sievers, and Dr. AlAed Striz who provided guidance, support, and encouragement during the dissertation process. Special recognition is given to Dr. K arl Sievers who fi*eely gave of his time and expertise to make thia a quality document. Thanks are also extended to Dr. Gail Hall, who was willing to share information pertaining to the art of woodwinddoubling. Greatest thanks and appreciation go the individuals who contributed most to my college career, and to the completion of this document. Dr. Irvin Wagner who served as my teacher and mentor while at The University of Oklahoma. His knowledge and kindness were always a source of inspiration. This project would have never become a reality without the unwavering encouragement and support of my wife Sharon, children Adam, Becca, Collin, and my mother Elsie Pearce. Their love and understanding during this project is most deeply appreciated. It is to them that I dedicate this work. IV TABLE OF CONTENTS ACKNOWLEDGEMENTS......................................................................... iv ABSTRACT..................................................................................................vi C hapter 1. INTRODUCTION.....................................................................1 2. PROFILE OF THE PARTICIPANTS MUSICAL EXPERIENCE/EQUIPMENT USAGE................................. 4 3. PERFORMANCE PHILOSOPHIES AND PRACTICES RELATED TO EMBOUCHURE....................9 4. PERFORMANCE PHILOSOPHIES AND PRACTICES RELATED TO WARM-UP............................17 5. PERFORMANCE PHILOSOPHIES AND PRACTICES RELATED TO BREATHING.......................19 6. PERFORMANCE PHILOSOPHIES AND PRACTICES RELATED TO TONE PRODUCTION 23 7. PERFORMANCE PHILOSOPHIES AND PRACTICES RELATED TO TECHNICAL DEVELOPMENT...............28 8. PERFORMANCE PHILOSOPHIES AND PRACTICES RELATED TO INTONATION......................31 9. PERFORMANCE PHILOSOPHIES AND PRACTICES RELATED TO DOUBLING......................... 33 10. CHARLIE VERNON’S DOUBLE VALVE TENORTROMBONE..........................................................36 11. SUMMARY AND CONCLUSIONS..................................... 38 BIBLIOGRAPHY........................................................................................40 ^xpendix 1. TEIE INTERVIEW QUESTIONNAIRE...............................41 2. THE INTERVIEW WITH CHARLIE VERNON................ 51 3. THE INTERVIEW WITH DONALD HILDEBRANDT.. 89 4. THE INTERVIEW WITH BRIAN ROGERS.................... 124 5. INFORMED CONSENTPORMS.......................................149 VI ABSTRACT H ie purpose of this study was two<fold. First, it ca m m ed th e performance philosophies utilized hy three musicians who practice the art of tenor/hass trombone doubling. Hie second purpose of this study was to identify the performance practices of these three musicians. Hie three musicians who were interviewed for this study were Mr. Charles Vernon, bass trombonist with the Chicago Symphony, Dr. Donald Hildebrandt, low brass professor at Hie University of Delaware, and Mr. Brian Rogers, bass trombonist with the Rockford Symphony. Hie study involved interviewing three prominent musicians who perform professionally on both the tenor and bass trombones. Hie principal method of acquiring this information was through a personal interview. Hie questionnaire asked the participant to address the topics of his musical mrperience, equipment usage, embouchure, warm-up, breathing, tone production, technical development, intonation, and their relationship to tenor/bass trombone doubling. Hie questionnaire responses were then examined to determine if the participants used similar or dissimilar performance philosophies^ractices. In conclusion, each of the participants interviewed had his own unique and individual approach to the art of tenor/bass trombone doubling. Responses to the questionnaire ranged fiom almost complete agreement with all three participants on one subject, to completely different responses and approaches on another subject. Hie author discovered there are many avenues a musician may use in learning a new instrument. R^ardlessofthe differing or similar performance VI practices and philosophies employed hy the study's participants, they all had the same goal in mind to perform successfully on hodi the tenor and hass trombones. vu C H A PTER l INTRODUCTION Tlie art of doubling on any instrument may be inteipreted by musicians in different fashions. For the trombonist, it may mean having the ability to perform on multiple members of the trombone family such as the alto, tenor, bass, or contrabass trombone. In other instrumental families, doubling may refor to having the ability to perform in a symphony orchestra as well as an improvisatory jazz setting. For some musicians, the term doublingmay bring to mind the phrase 'jack of all trades, m aster of none” and all the associated negative connotations. However, there are musicians who perform professionally on multiple instruments. This study examined the performance practices and philosophies utilized by three musicians who successfully practice the art of tenor/ bass trombone doubling. The participants in this study included Mr. Charles Vernon of the Chicago Symphony, Dr. Donald Ifildebrandt of The University of Delaware, and Mr. Brian Rogers of the Rockford Symphony. Currently there are no published method books or trombone instruction manuals that exclusively address the art of tenor/bass trombone doubling. In further researching this subject, I found no articles thoroughly addressing the topic in the Tntemational Trombone Association Journal Brass. Rollatin' or TheInstnitnantalist.^ There ' Vem Kagarice, Ed., International Trombone Assodation Journal. (Datas: International Trombone Association). 'Jean-Pierre Mattiez. Ed.. Brass Bulletin. (Bulle: Brass Bulletin). * Catherine Sew Lenzini. Ed., The Instrumentalist. (Northfield: The Instrumentalist Company). are no essays or substantial discussions in published books including The Trombone- An Annotated Bibliography* by G 3 . Lane and Brass Bibliography- Sources on the History. Literature. Pedagogy Performance, and Acoustics of Brass InstruTnenta^ by k&u*k J. Fasman. The interviews were approximately two to three hours in length and were conducted in person. A questionnaire devised for the study (q.v. appendix one) was given to each participant. The interview began with the participant being asked to describe his musical experience and equipment usage. During this time, the participants were also allowed the freedom to discuss any aspect of tenoribass trombone doubling he wished. This was done in the spirit of providing documentation of the participants’ performance practices and philosophies. Quite often, the participant would answer additional questions friom the questionnaire during