Files
Abstract
ABSTRACT
Throughout the field of brass pedagogy there proves to be a wide array of teaching and performing techniques to facilitate the individual needs of performers.
David Hickman, in his text Trumpet Pedagogy, describes tone production on the trumpet as an equilibrium between the “4Ps”: pucker (of the embouchure), pressure (of the mouthpiece against the lips), placement (or the tongue inside the mouth), and push (of the air). Within his text he asserts that the balance between the “4Ps” is essential to proper development of a brass musician.
While all four areas are inarguably essential to the development of efficient performance on the trumpet, is apparent that many players lose balance between the “4Ps” by focusing too strongly on pucker/embouchure strength to accommodate the demands of
trumpet performance. This technique often results in students producing a stressed, pinched, and thin tone which is more susceptible to chipping and muscular fatigue. The goal of this research is to develop and implement a tactilely based method of performance by utilizing and adapting the existing pedagogical techniques of William Adam, Carmine Caruso, Vincent Chicowicz, Louis Maggio, Max Schlossberg, Richard Shuebruk, and James Stamp. These exercises isolate and work to develop a deeper awareness of the air and compression throughout all registers and dynamics when performing on a brass instrument.
INDEX WORDS: Pedagogy, Trumpet, Air, Lecture Recital, William Adam, Carmine Caruso, Herbert L. Clarke, Max Schlossberg, James Stamp, Richard Shuebruk, David Hickman, Compression, Articulation, Embouchure, Air Attack, Brass, Teaching, Method, Pedal Tones
Throughout the field of brass pedagogy there proves to be a wide array of teaching and performing techniques to facilitate the individual needs of performers.
David Hickman, in his text Trumpet Pedagogy, describes tone production on the trumpet as an equilibrium between the “4Ps”: pucker (of the embouchure), pressure (of the mouthpiece against the lips), placement (or the tongue inside the mouth), and push (of the air). Within his text he asserts that the balance between the “4Ps” is essential to proper development of a brass musician.
While all four areas are inarguably essential to the development of efficient performance on the trumpet, is apparent that many players lose balance between the “4Ps” by focusing too strongly on pucker/embouchure strength to accommodate the demands of
trumpet performance. This technique often results in students producing a stressed, pinched, and thin tone which is more susceptible to chipping and muscular fatigue. The goal of this research is to develop and implement a tactilely based method of performance by utilizing and adapting the existing pedagogical techniques of William Adam, Carmine Caruso, Vincent Chicowicz, Louis Maggio, Max Schlossberg, Richard Shuebruk, and James Stamp. These exercises isolate and work to develop a deeper awareness of the air and compression throughout all registers and dynamics when performing on a brass instrument.
INDEX WORDS: Pedagogy, Trumpet, Air, Lecture Recital, William Adam, Carmine Caruso, Herbert L. Clarke, Max Schlossberg, James Stamp, Richard Shuebruk, David Hickman, Compression, Articulation, Embouchure, Air Attack, Brass, Teaching, Method, Pedal Tones