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ARTICLE TITLE: Planning a trumpet methods course: pedagogy with practicality.

ARTICLE AUTHOR: Libs, J. M.,

VOLUME: 19

ISSUE: 3

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YEAR: 19950101

PAGES: 47-53

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 Planning a Trumpet Methods Course:
Pedagogy with Practicality
Jean Moorehead Libs, Pedagogy Editor

C-^iversity-level methods courses are nothing new.

consider these methods classes the most important
They have been taught for decades to non-brass- responsibility I have at the university!
pla3dng music education majors. Graduate students It is important to then set the general tone of the
and yoimg teachers who themselves have no actual course at the onset with a written criteria of expecta­
or very little teaching experience, have also struggled tions, grading, attendance policies, and outside assign­
with them. ments (i.e. reading and practicing), and I start every
Developing a methods comrse that helps the non­ class after the first one with a review and discussion.
brass player acquire enough facility on the instru­
ment to then in tm"n teaches others is a major under­ Class 1
taking. While many of us play down the possibility of
working with beginners, using arguments such as, A. Parts of the instrument
“I don’t have time for such horrible sounds, embou­ B. Care and maintenance
chures, rhythm, and lack of technique,” I ask “W/iy C. Holding the instrument
do undergraduates have those very same problems'?” D. Proper breathing
The answer? Because someone didn’t address them E. Embouchure
initially. A ten-year old can play with a good sound, a F. First playing assignment,
great set-up, a sense of rhythm, and ultimately hun­ warm-up, and daily routine
ger for more if, and only if, we educators come full
circle with ourselves and consider teaching the range JML: I think readers need no explanation for parts
of students from beginner to graduate. Even if there’s A, B and C, but what specifically do you stress when
only time for one or two younger players, it keeps us discussing D - proper breathing?
honest, articulate, current, and aware of how major WP: I begin with a simple explanation. Take in a
pedagogical problems begin. deep breath. Inhale without restriction or sound from
William Pfund is no stranger to journal readers. the mouth or throat. Fill the bottom of the lungs so
He is professor of trumpet at the University of North­ that expansion is in the abdomen at the “belt line.”
ern Colorado as well as vice president of the Interna­ This expansion should be felt in the front and back
tional Trumpet Guild. The major portion of material and sides. Then, exhale by releasing the air and
for this article can be found in William Pfund’s text letting it all out freely. Let the air out from the
The Trumpeter’s Pedagogical Guide. His book is a bottom and do not let the chest fall till the very end of
highly practical course syllabus, and I will use it as the breath. I have the student practice this lying on
the basis of my questions as I address the various the floor on his or her back with one hand on the
aspects of a trumpet methods course. We must re­ lower abdomen and one hand on the chest. I watch
member that such courses serve us best if we learn to for problems with incomplete inhalation (shallow or
prevent problems first and troubleshoot after the fact. partial breath) and for the chest to fall or be tight­
ened on the exhalation. I only deal with these problems
JML: Your brass methods course meets twice a if I see them, and I only fix things that are wrong! I also
week for five weeks, with the final class reserved for assign supplemental reading that is very detailed and
a written and playing exam. Would you describe how specific about problems and solutions.
the classes are organized? JML: How do you explain the initial embouchure
WP: Before I answer that, I would like to say that set-up (part E of the first class)?
I begin every methods class with a few words about WP: Lips and aperture: Set the lips as when say­
how much I love the sound of the trumpet and how ing the word “dim” and roll the lips slightly inward.
important I think our work as artist trumpeters is to Wet the lips with the tongue, and blow air gently
om- troubled world. I think what we do with music is through them with no sound or buzz. Blow an entire
a primary part of the learning experience, and it is breath each time this is done. Next, use only the
our opportunity to share a most valuable gift and mouthpiece and do exactly the same thing. Begin the
legacy with others. I would also like to say that I process with the lips in position and wet. After the

February, 1995 / ITG Journal 47

air is going set the mouthpiece up to the lips (remem­ the embouchure unless it results in improvement in
ber that it is not important to get any sound) and playing! Remember also not to play into the music
sustain until the air is gone. Next, put the mouth­ rack or into the back of another player.
piece in the instrument and do exactly the same JML: You end the first class with a playing as­
thing. Get the embouchure right, begin the air flow, signment, a warm-up, and a daily routine. Can you
and then set the horn (with mouthpiece) to the lips. If give us some ideas for the initial playing assignment(s)
no sound is produced, don’t be surprised, and remem­ and explain this daily routine?
ber to use a long, sustained supply of air and repeat WP: The first assignment varies from student to
this process concentrating on wet lips and correct student. If the student is unable to make a sound, I
position of the embouchure. When this is all correct recommend short five-minute sessions four or five
and consistent, begin to firm up the lips and practice times each day as described above. If the student can
this for a number of short sessions each day (four or produce a sound I ask the student to concentrate on
five sessions of about five minutes) till the sound is clarity of sound and ease of production. Use long tones
produced. It may take several days before success is and the descending slur sequences from my book.
achieved and a sound is produced. (I remember some
of my early experiences as a beginning teacher when Recommended reading:
I was unable to co8ix any sound from some students - Baker, Buddy. Buddy Baker Tenor Trombone Method.
we were both confused and frustrated)! The most com­ Hialeah: CPP/Belwin, 1983 p. 5.
mon problem is that the student changes the embou­ Parkas, Philip. The Art ofBrass Playing. Bloomington,
chure just before the horn touches the Ups - the hps IN: Wind Music, Inc., 1962.
usually roll outward, and the sound is terrible! Haynie, John. How to Play High Notes, Low Notes,
Corners and chin: When checking or fixing the and All Those In Between. New York: Charles
corners (keeping them the same position in all regis­ Colin, p. 3.
ters) or the chin (keeping it flat in all registers) begin Rama, Swami. Science of Breath (Honesdale: The
on a note where the position is most correct. This is Himalayan International Institute of Yoga Sci­
usually the third space c or the second line g. Do ence and Philosophy, 1979).
expanding interval studies (slurred) from this note Sherman, Roger. The Trumpeter’s Handbook, Ath­
and expand by half steps. While doing these exagger­ ens, OH: Accura Music, pp. 12-18
ate the correction. This would normally mean to at­
tempt a slight smile when descending and attempt a Class 2
slight pucker when ascending. Use the mirror and
make sure the result is no movement. With the chin A. Daily routine
there should be no movement at any time. With some B. Use of the first and third valve slides
students, focusing on the corners will help to flatten C. Posture
the chin. With other students, working to flatten the D. Embouchure
chin will solve problems with smiling comers. Prob­ E. Breathing
lems with corners ^nd chin are frequently closely F. Harmonic series
rel&ted and resolved simultaneously.
Bead and neck position: Use a natural position of JML: We have discussed the daily routine previ­
the neck and head. Do not alter the head position in ously. What advice do you give regarding the use of
relationship to the body when changing registers— a the first and third valve slides? Do you recommend
slight pivot of the instrument is permissible. I recom­ incorporating their use right away?
mend the book The Alexander Technique by Sarah WP: Use the third valve slide right away. In many
Barker, published by Bantam Books, to help under­ cases this involves a quick trip to the repair shop to
stand this issue. get the slide to function! I teach the correct finger­
Trumpet position: The natural position of the trum­ ings for low c-sharp and low d to include the proper
pet will normally be with the bell slightly lower than extension of the third valve slide (approximately 3/4
the mouthpiece. This will sometimes be a problem in inch for low c-sharp and 1/2 inch for low D). If the
marching bands or for some concert band conductors. slide is not extended correctly I tell the student that
Do not hold the horn in an unnatural position simply he or she is using the wrong fingering! With begin­
to “get the bell up.” If the bell needs to be higher, ners, I do not discuss use of the first valve slide at this
bend the mouthpiece slightly at the shank where it is time because it is not fimctional on most student horns.
the narrowest (be careful with this, if bent too far it (I explain this as well as the correct use of the first
can break) or change the whole body angle (when valve shde to the methods class!)
seated) so the bell may be positioned higher. Do not JML: The last topic for discussion in class 2 is the
change the angle of the head to the body or the horn to harmonic series. This is where many non-brass play-

48 ITG Journal / February, 1995

ers get lost in class. How do you explain the series? (Normally about 3/16 inch between the upper and
WP: First, remember that the harmonic series is lower teeth in the front of the mouth and open slightly
formed when any pitch is played. The relative more when descending to the low register. Long cen­
strengths of the different harmonics determine the tral incisors sometimes allow for the teeth to be a
characteristic color of the sound and can be used to little closer. Never allow the teeth to close when
differentiate between different instruments. Second, ascending!)
the trumpet uses the harmonic series to determine
what notes are available to any given length of tub­ Class 4
ing - determined by the valve combination used. I
then show the notes of the open (no valves depressed) Embouchure
harmonic series as written on the staff. I point out 1. Mouthpiece placement
how the intervals get smaller when ascending the 2. Mouthpiece pressure
notes of the harmonic series. Then I show how the 3. Moist or dry lip
various valve combinations add length by half steps
and how to calculate the fingerings of all the notes JML: Obviously the embouchure set-up is critical
using these two concepts together. I begin this on low to successful performance on any instrument and
c and progress down by half steps. Then I go the bears repetition. What specifically do you recommend
second line g and work down from there by half steps for mouthpiece placement, mouthpiece pressure, and
and then to the third space c etc. I ask that the the debate of moist versus dry lips?
student memorize the notes of the open harmonic WP: I advocate that most students should play
series and the valve sequence that adds length by with the lip very wet. It helps to form the embou­
half steps through the seven valve combinations. chure correctly and makes the sound more respon­
sive and clear. Mouthpiece placement should be about
Class 3 one-half upper and one-half lower lip. I use a series of
drawings and illustrations from my book to help de­
Breathing termine if the mouthpiece should be in the center or
1. Chest and abdomen slightly off to one side. The lip seems to vibrate more
2. Throat efficiently if it is centered near or over a protrusion,
3. Tongue point, or space between the teeth. Normally the
4. Mouth mouthpiece will be centered on one side or the other
5. Teeth of one of the central incisors. Both upper and lower
teeth should be studied to make this determination.
JML: Breathing has been a repeated topic for three Sometimes the mouthpiece will be centered over an
sessions in your syllabus and class 3 breaks off into five overlap or point in the lower teeth. After deciding
categories. Do you focus on different concepts each which placement is most likely to work, experiment
week or delve into specific areas as in class 3? to determine the best position. A slight vertical and/
WP: I usually work with individuals in the class or horizontal pivot can also be helpful. Remember to
during each session. The students who have prob­ keep the teeth apart when ascending and keep at
lems with correct breathing get personal attention in least 50% of the mouthpiece pressure on the bottom
class imtil their breathing is working correctly. Nor­ lip. Most players put too much pressure on the top
mally, I ask the other students to observe the prob­ lip. Use enough pressure to do what is necessary but
lems and comment on how they would solve them. I not more! Always work to be more efficient, with
spend as much class time as is necessary with breath­ easier production, more beautiful soimd and less work.
ing and with the individuals who have the problems.
During the first two classes, I work with the prob­ Class 5
lem students and try to get all the class members to
understand the basic concepts. In the third class I Articulation
talk about additional ways to correct basic concepts, 1. Slur
and I discuss some specific problem areas. I talk 2. Single tongue
about how to be less restrictive with the throat, both 3. Double and triple tongue
in inhalation and exhalation. We discuss the position 4. Technique
of the tongue and how it controls the air flow. I share
information about the general position of the mouth JML: Do you have students spend much time ac­
as it applies to tongue shape and position. We talk tually working on these concepts themselves so
about the teeth, the distance between them, and what they can truly get the feel for what a youngster might
to do to play in the extreme high and low register. encounter?

February, 1995 / ITG Journal 49

 WP: I spend a lot of class time with
the students playing their instru­ Guide to the Data Base File
ments and working with only the most
basic of these problems. For example, This data base includes only works 1 am familiar with or have performed. I'm
I am happy when the student can be­ sure there are works that are of extremely good quality that are not listed. As
gin the note clearly and sustain the 1 find more of these pieces this list will be updated.
tone until the next note begins with
another clear note front. I work on 1. Composer
2. Title
the most basic problems and, as you
3. Arranger
can see, I discuss these as well as 4. P or Publisher - Code is the same as in the King, Brass Players Guide.
problems that more advanced stu­ 5. Range - small letter from third space c to b above the top of the staff,
dents will face. I do have the better capital letter from C above the staff to double high C, double capital letter for
players in the class work with the double C to triple C, triple capital letter for triple C and the next octave.
players who are having a difficult 6. Q or Quality - 1 poor, 2 fair, 3 good, 4 excellent
time. I also spend time showing the 7. D or Difficulty -1 elementary or beginning level, 2 junior high or 2nd or
class how I would deal with some of 3rd year of study, 3 high school or 4th or 5th year of study, 4 outstanding
college student or moderate professional level, 5th most difficult level.
these specific problems. I also bring 8. Areas - these initials indicate primary areas of difficulty~I began with
younger players in from time to time what 1 perceived to be the most important issue and listed up to three areas.
to demonstrate certain problems and AT—articulation
solutions. EN--endurance
JA —jazz style
Recommended reading: ME—meter
Baker, Buddy. Buddy Baker Tenor MO—modes
Trombone Method. Hialeah: CPP/ Mil-musicianship
OE—orchestral excerpt
Belwin, 1983, pp. 9-11. PH—phrasing
Sherman, Roger. Trumpeter’s Hand­ PT—pedal tones
book, Athens, OH: Accura Music, RA—range
1979, pp. 23-28; 28-33; 82-88. RH or RY—rhythm
SC—scales
Class 6 SL—slurs
SR—sight reading
A. Range ST-style
B. Endurance TE-technique
TO-tongue
C. Tone Quality TR—transposition
D. Adjustment for VA—variety of the above
change of volume WU—warm up
9. Notes - This is a summary of my notes—sometimes abbreviated.
JML: Your philosophy on range 10. A - Accompanied or in combination with other instruments. N indicates
and upper register is quite broadly no instruments other than trumpet. Y indicates there are other instruments.
based and seems applicable to all ages. 11. # - The number of trumpet parts are listed in this category.
WP: Yes, I feel that the upper reg­
ister will develop normally with cor­ Key for using the listing of literature (following page)
rect fundamentals and regular rea­ from The Trumpeter's Pedagogical Guide.
sonable attention. Work in the high
register should be accompanied with a balanced work every player will be able to play in the “stratosphere.”
out in the low register. There should be adequate rest I also advocate a concept of thinking of pushing the
and frequent short sequences into the high register sound further from the bell and downward when
throughout the day. If the high register is not im­ ascending. This will free-up the high register and
proving, first check fundamentals. Next, be certain help relax the throat.
that the total practice/playing time for the day is not JML: What advice do you stress for the young
too great as this will tend to pull down the range. The student (or teacher) attempting to build endurance?
short sequences throughout the day should include WP: Practice in gradually longer sessions while
some long tones and lip slur patterns, diatonic scales, being aware of what happens to range and general
chromatic scales, arpeggios, and other patterns. Re­ facility. If range decreases or facility diminishes, back
member also that there is a reasonable limit for most off from the longer sessions. Be aware of the quality
players, and even when everything is correct not of sound and the efficiency of tone production. Con-

50 ITG Journal / February,1995

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February, 1995 / ITG Journal 51

centrate on correctness of fundamentals and particu­ Class 7
larly breathing. Inhale and deliver the air in the
character of the music played: efficiently, easily and A. Study and solo literature
without restriction. Don’t be afraid to experiment B. Cornet vs. trumpet
and try some new things. As fundamentals improve,
judgment will improve about those things that help JML: The great debate continues on comet vs.
and those things that hurt. Long tones and descend­ trumpet for beginners. What is your opinion on the
ing slur sequences have traditionsdly been helpful. matter, and what other information on the two do
Practice what the job requires! Players must play you present for the methods course?
through those things they will be expected to play. WP: The modem trumpet and comet are both
Study information on physical conditioning and about two-thirds conical bore. (The piston valve tmm-
muscle building. Try a routine that is strenuous only pet was approximately two-thirds cylindrical bore
every other day. until about the year 1935.) For the beginner who is
JML: Everyone agrees good tone quality is vital at young and physically immature, the comet has sev­
any age, but what if the student has a poor tone? eral advantages. The comet is easier to hold in the
WP: First, determine if the student can recognize normal pla5dng position than the trumpet because it
a good tone. If the student can recognize a good tone is about five inches shorter in length from the mouth­
quality, then it is only a matter of correct fundamen­ piece to the end of the bell. Tthe comet is about 16
tals and imitating a good soimd. If not, work to de­ inches long and the trumpet about 21 inches - of
velop the concept first then fundamentals will make course the total tubing length of these B-flat instm-
it possible for a good quality. Play for and with the ments is the same. For the same reason, the sound of
student frequently so he can imitate a beautiful sound the instrament is closer to the player’s ears and easier
from the start! to hear. Generally the cornet has more resistance
Several concepts here must not be overlooked. The and is physically easier to blow for the student with
sound must be produced easily and with a clear and underdeveloped breathing. This can also be a disad­
resonant tone. The sound must be produced where vantage in that it can permit a student to play incor­
the most resonant tone can be produced on each note rectly or not develop correct breathing as quickly. I
of the instrument. This is called the center of the also think many cornets are less flexible and more
pitch. The quality of the tone must remain the same restrictive as far as allowing contrasts of quality of
in all registers of the instrument. To facilitate this I tone and contrasts with dynamics. I think the teacher
recommend the student think “low” when playing must consider each individual student and weigh the
high, as the tone sometimes gets “bright” in the high advantages and disadvantages of the comet in that
register. particular situation!
When ascending to the high register it is also JML: Your book has an excellent listing of meth­
helpful to visualize the sound being produced just ods and literature that is graded and pedagogically
beyond the bell and on a plane slightly below the coded with specific problems identified. Is this list
instrument. As the player ascends, visualize this graded more for the teacher or do you encourage the
sound moving farther away and even lower. students to use it as well?
JML: With regard to adjustments for volume I as­ WP: This list is intended for the use of all tnunpet
sume you are referring to the aperture development? students as well as those who will teach and are
WP: Aperture development as well as awareness enrolled in the methods classes. It is a fairly com­
of pitch and quality of tone as the volume changes. plete listing of all the very best materials including
Remember to begin on a beautifully resonant pitch method books and solo literature at all levels. I en­
and work outward from that pitch with expanding courage the students to learn to use this list, since it
intervals or arpeggios and carry that beautiful sound gives them many choices. They can select pieces they
to the extremes of the range while changing volume think would suit them. I like to make suggestions as
through crescendos or diminuendos. to what students should practice and learn but allow
them to play anything else they wish! Many times
Recommended reading: they surprise me by finding and playing good things I
Haynie, John. How to Play High Notes, Low Notes had overlooked!
and All those Notes Between, p. 4.
Robinson, Jack. Musical Tuba Playing. Troy: Encore
Music Publishers, 1992, pp. 31-32,114,116.
Sherman, Roger. The Trumpeter’s Handbook, pp. 19-
22.
Stamp, James. Warm-ups and Studies, p. 21.

52 ITG Journal / February,1995

 Class 8 Class 9
A. Vibrato A. Instrument brands and costs
B. Mouthpiece selection B. How to select an instrument
C. Mutes C. High pitched trumpet - use and study
D. General review
JML: Do you have a system for teaching vibrato?
Would you discuss mouthpiece and mute selection? JML: Instrument brands and costs are faiii.
WP: I recommend the exercises in my book for straightforward, however, I would think that the pro­
learning vibrato, where the player moves from three cess of selecting an instrument is the main focus for
to four to five pulses per second. These particular this class. What specifics do you give?
exercises are to develop control of the speed of the WP: I like to recommend medium-large bore in
vibrato. I suggest using the lip or jaw rather than the general. If possible begin with a used instrument and
hand to produce the vibrato. Begin by moving the jaw if the student progresses well, move to a professional
or lip as if saying “Wa-Wa-Wa” while playing each model. Look for a good even response in all registers
note indicated in the pattern. Practice two distinct and check out the intonation on the fifth partials. If
t5T)es of vibrato on each pattern. One of these should at all possible ask a good trumpet player to try the
be very “wide” and obvious while the other should be instrument. Instruments can be inconsistent, and
very subtle and almost inaudible. This practice should even the best manufacturers can make a lemon!
develop the control to imitate any vibrato that is JML: Since more and more wind ensemble music
desired. accessible to music educators calls for higher-pitched
The Bach 7C mouthpiece is recommended gener­ trumpet, what advice do you offer at this point?
ally for beginners or as an all-around mouthpiece. WP: Begin hy selecting a primary instrument that
When changing to different mouthpieces for different is as perfect as possible in every way. Then select the
styles of playing, select equipment that is compatible smaller trumpets (and mouthpieces) so they feel and
and has no “limiting” effect on the other mouthpieces play like the primary instrument. This way any
used. Frequently this kind of change may result in changes from instrument to instrument may be made
the player being confused as to what is really work­ quickly and easily. Less practice time will be spent
ing and may slow progress significantly. When se­ getting used to a strange-feeling instrument. Some
lecting a mouthpiece for playing in the high register, players are more sensitive to the resistance of the
remember that mouthpieces designed for this pur­ instrument and some seem to be more sensitive to
pose are for players who need to play high notes. This the feel of the mouthpiece. Each player must discover
does not take into account the possibility that funda­ what works best. I would also suggest as little chang­
mental development or development of concept of ing of the mouthpiece as is possible. If the mouth­
tone and correctness may be adversely effected in piece must be changed, use the same system as on
immature players. the trumpets and find mouthpieces that feel and play
Select mutes that play well in tune and have con­ the same.
sistent response in all registers. I suggest Joral, Den­
nis Wick and Tom Crown straight mutes. The best
cup mute seems to be the Stone Lined made by Humes William Pfund’s The Trumpeter’s Pedagogical
and Berg. I like the Joral Bubble Mute for a Wa-Wa Guide is available from Robert King Music Sales and
or Harmon mute. Sheet Music Service of Portland.

Recommended reading:
Johnson, Keith. The Art of Trumpet Playing, pp. 81-
87; 121-125
Sherman, Roger. The Trumpeter’s Handbook pp. 72-
74.

February, 1995 / ITG Journal 53