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. ii 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, iii 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. iv 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 v 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 vi 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 vii Figure 16: Etude No. 13................................................................................................................98 Figure 17: Etude No. 14................................................................................................................99 Figure 18: Etude No. 15..............................................................................................................101 Figure 19: Etude No. 16..............................................................................................................102