Implementing New Orleans Brass Band Playing Into a Tuba and Euphonium Applied Lessons Course Item Type text; Electronic Dissertation Authors Rifkind, Justin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 26/09/2021 10:12:13 Link to Item http://hdl.handle.net/10150/621090 1 IMPLEMENTING NEW ORLEANS BRASS BAND PLAYING INTO A TUBA AND EUPHONIUM APPLIED LESSONS COURSE by Justin Rifkind _____________________________________ Copyright © Justin Rifkind 2016 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Justin Rifkind, titled “Implementing New Orleans Brass Playing Into a Tuba and Euphonium Applied Lessons Course” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: 7/20/2016 Matt Tropman _______________________________________________________________________ Date: 7/20/2016 Moisés Paiewonsky _______________________________________________________________________ Date: 7/20/2016 Edward Reid Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: 7/20/2016 Document Director: Matt Tropman 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Justin Sidney Rifkind 4 ACKNOWLEDGEMENTS There are numerous people that I would like to thank: To Rex Martin at Northwestern University, thank you for a great foundation and teaching me the art of storytelling through music. To John Stevens at the University of Wisconsin-Madison, thank you for daring me to take risks and just be myself. To Dr. Kelly Thomas, thank you for bringing me to the University of Arizona and for your mentorship. I miss you every day. To Dr. Matt Tropman, thank you for stepping up in a tough situation and helping to guide me for the finale of my degree. To Professor Moisés Paiewonsky, thank you for your guidance and your extensive musical knowledge. To Professor Edward Reid, thank you for being supportive and kind. To my parents, I could never have done this without you. Your unwavering support and guidance throughout my life has led me to where I am today. All of those trips when I was younger paid off. I love you! To Casey, You are my rock. It hasn’t always been easy, but we did it. Thank you. I love you! 5 DEDICATION To Dr. Kelly Thomas for being a mentor, a teacher, and a friend. We all miss you down here. 6 TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES ............................................................................................................... 7 ABSTRACT ..................................................................................................................................................... 8 CHAPTER 1: INTRODUCTION ............................................................................................................... 9 Intent and Scope of Study ................................................................................................................................. 9 Review of the Scholarly Literature ............................................................................................................ 14 History of New Orleans Brass Bands ........................................................................................................ 17 Thesis ...................................................................................................................................................................... 23 CHAPTER 2: IMPLEMENTATION ..................................................................................................... 24 Creation of the Supplement .......................................................................................................................... 27 Learning Goals .................................................................................................................................................... 29 Teaching and Learning Activities ............................................................................................................... 30 Feedback and Assessment ............................................................................................................................. 34 How Components Are Connected and Integrated ............................................................................... 37 CHAPTER 3: EXERCISES AND ASSIGNMENTS ............................................................................ 39 Exercises ................................................................................................................................................................ 39 Method Books ..................................................................................................................................................... 47 Listening Assignments .................................................................................................................................... 48 CONCLUSION ............................................................................................................................................. 53 APPENDIX: NEW ORLEANS BRASS BAND SUPPLEMENT ..................................................... 57 REFERENCES ............................................................................................................................................. 64 7 LIST OF MUSICAL EXAMPLES Musical Example 1. I-ii-V-I Arpeggios ............................................................................................ 41 Musical Example 2. i-iio-V-i Chord Progression ........................................................................ 42 Musical Example 3. Syncopated Bass Line from “Do Watcha Wanna” ............................. 43 Musical Example 4. Sousaphone Groove from “Feel Like Funkin’ It Up” ........................ 44 Musical Example 5. “When the Saints Go Marching In” Bass Line ..................................... 45 Musical Example 6. Twelve Bar Blues ............................................................................................ 46 LIST OF MUSICAL EXAMPLES 8 ABSTRACT The focus of this project is to examine current tuba and euphonium applied lessons syllabi and to create a New Orleans brass band curriculum supplement to enhance those existing courses. Through the addition of new method books, exercises, historical texts and articles, listening assignments, and performing experiences, collegiate tuba and euphonium students will be able to apply the knowledge gained in core academic music courses, such as music theory and music history, to mastering a new style of music. Emphasis has been placed on learning chord progressions, stylizations, and how to improvise and walk a bass line. 9 CHAPTER 1: INTRODUCTION Intent and Scope of Study “For such a large instrument the tuba is perhaps more agile than might be expected. Though there are definite limits to the speed and complexity of the parts it can play, double- and triple-tonguing are entirely feasible.”1 This sentiment, which primarily has to do with orchestration, puts limitations on the agility and technical facility of the tuba. It is not only the foundation of many instrumental ensembles, but also has the capability of virtuosic playing while still maintaining much of its foundational role. There are composers and performers bringing musical innovation to the tuba, including Nat McIntosh, who is the sousaphonist with the Youngblood Brass Band and formerly with the Dallas Brass. New Orleans sousaphonists, such as Kirk Joseph of Dirty Dozen Brass Band and Philip Frazier III of Rebirth Brass Band, are dazzling listeners with bass line grooves and melodies. There is a great deal that college tuba and euphonium students can learn from these great New Orleans brass band musicians. The words “sousaphone” and “tuba” will be used interchangeably throughout this document. Though the sousaphone is constructed differently than the contrabass tuba, it is still a member of the tuba family and has an identical range to 1 Donald Grantham and Kent Kennan, The Technique of Orchestration, 6th ed. (Upper Saddle River, New Jersey: Prentice Hall, 2002), 157. 10 the BBb concert contrabass tuba. The sousaphone wraps