A COMPARATIVE EXAMINATION OF SIX AMERICAN MASTER TRUMPET TEACHERS AND THE REGIONAL SCHOOLS OF PLAYING THAT THEY REPRESENT Laura L. Bloss, B.M.E, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Keith Johnson, Major Professor David Schwarz, Related Field Professor John Holt, Committee Member and Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Bloss, Laura L. A Comparative Examination of Six American Master Trumpet Teachers and the Regional Schools of Playing that They Represent. Doctor of Musical Arts (Performance), August 2014, 150 pp., 2 tables, 31 figures, bibliography, 79 titles. Jet travel and the widespread availability of recordings are factors that have led to an increasingly homogenous sound concept in American trumpet playing; this is a stark contrast to the unique regional sounds that existed in the United States in the middle of the twentieth century. Despite the growing dissipation of these regional sound concepts from the mid- century, it is important to understand the styles and pedagogy associated with these schools. In this paper, six player/teachers are associated with specific regional playing styles: Vincent Cichowicz in Chicago, Louis Davidson in Cleveland, Armando Ghitalla in Boston, John Haynie in the Southwest, James Stamp on the West Coast, and William Vacchiano in New York City. Each of these players made a notable impact on the trumpet world through their performances, recordings, and unprecedented legacy of students. It would be difficult for many modern American trumpet players to trace their “trumpet lineage” without one of these individuals in the picture. Not only are these players an important part of the modern trumpeter’s heritage, but the vast success of their students warrants that their pedagogical methods are still relevant today. This study is unique due to this comprehensive and categorical comparison of pedagogical techniques, and this paper additionally examines the distinct sounds of each player’s regional style through the use of spectrograms. Ultimately this paper provides a myriad of teaching strategies from some of the most influential American trumpet players, which will aid trumpet teachers in negotiating the diverse needs of their students. Copyright 2014 by Laura L. Bloss ii ACKNOWLEDGEMENTS Upon completion of this paper, I am greatly indebted to my parents, Jim and LuAnn Bloss, for their constant support throughout my academic career. I am also grateful for all of the encouragement and advice that Keith Johnson has provided, and I will always remember our trumpet lessons fondly. My thanks go out to Prof. Johnson for constantly reminding me to sing in whatever I play, and for fueling my bizarre passion for trumpet scholarship. I am also indebted to Scott Johnston, who made me realize I was working too hard to play the trumpet! Thanks for helping me with the high notes, Scott! And finally, I am very thankful for my role- model both in trumpet playing and in life, Jack Brndiar. You would be hard pressed to find a more encouraging, patient, and humble man. I cannot say “thank you,” enough to these individuals! iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF TABLES AND FIGURES ................................................................................................. vi Chapters 1. INTRODUCTION ............................................................................................................ 1 Purpose ............................................................................................................ 1 Method............................................................................................................. 2 Significance and State of Research .................................................................. 4 Challenges and Disclaimers.............................................................................. 6 2. EARLY ROOTS .............................................................................................................. 8 The First Trends in America ............................................................................. 8 Formation of American Orchestral Style ....................................................... 13 Max Schlossberg ............................................................................................ 16 Harry Glantz ................................................................................................... 22 3. IDENTITIES EMERGE: THE PLAYERS THAT SHAPED REGIONAL SCHOOLS ................. 25 Vincent Cichowicz .......................................................................................... 25 Louis Davidson ............................................................................................... 29 Armando Ghitalla ........................................................................................... 33 John J. Haynie................................................................................................. 40 James Stamp .................................................................................................. 45 William Vacchiano.......................................................................................... 46 iv 4. TOOLS IN THE TOOLBOX ........................................................................................... 52 Breathing ........................................................................................................ 52 Embouchure ................................................................................................... 59 Sound Concept and Tone Production ............................................................ 71 Articulation..................................................................................................... 77 Technique....................................................................................................... 87 Lesson Structure and Materials ..................................................................... 94 5. DISSIPATION OF THE REGIONAL SCHOOLS ............................................................. 104 Defining the Regional Sounds ...................................................................... 104 Why Did the Regional Sounds and Pedagogy Disappear? ........................... 130 Final Thoughts .............................................................................................. 135 APPENDICES ......................................................................................................................... 138 BIBLIOGRAPHY ..................................................................................................................... 146 v LIST OF TABLES AND FIGURES Tables 2.1: Exercises commonly used by Schlossberg ..............................................................................20 3.1: Trumpeters included in Trumpet Profiles ...............................................................................31 Figures 3.1: Five note notation in Stravinsky’s L’Histoire du Soldat...........................................................36 3.2: “Wavy line” notation in Ghitalla’s edition of Hummel’s Trumpet Concerto..........................38 4.1: VC 1 long tone study ...............................................................................................................73 4.2: Davidson’s exercise for developing multiple tonguing...........................................................81 4.3: Vacchiano’s triple tonguing on sixteenth-eighth patterns .....................................................86 4.4: Vacchiano’s triple tonguing on fast sixteenths .......................................................................86 4.5: Excerpt from Stamp’s buzzing exercise ..................................................................................98 4.6: Excerpt from Stamp’s warm-up exercise #3 ...........................................................................99 4.7: Excerpt from Stamp’s warm-up exercise #6 ...........................................................................99 4.8: Clarke’s study #2 ...................................................................................................................100 4.9: Stamp’s version of Clarke’s study #2 ....................................................................................100 4.10: Clarke’s study #3 .................................................................................................................100 4.11: Stamp’s version of Clarke’s study #3 ..................................................................................101 5.1: Spectrogram of William Vacchiano playing Pictures at an Exhibition ..................................111 5.2: Spectrogram of Adolph Herseth playing Pictures at an Exhibition.......................................112 5.3: Vacchiano’s spectrogram of Pictures with guide lines .........................................................113 vi 5.4: Herseth’s spectrogram of Pictures with guide lines .............................................................114 5.5: Spectrogram of Vacchiano playing the opening of Mahler’s Fifth Symphony .....................116 5.6: Spectrogram of Herseth playing the opening of Mahler’s Fifth Symphony .........................117 5.7: Spectrogram