A survey of MODERN BRASS TEACHING PHILOSOPHIES of today's leading brass specialists including trumpet, cornet, horn, trombone, euphonium and tuba; also including jazz approaches to brass playing by the leading performers. by Joseph L. Bellamah B-283 SOUTHERN MUSIC COMPANY SAN ANTONIO, TEXAS 74292FOREWORD ‘There has never been one individual method book or one person's specific approach that has been accepted by tenchers, performers or students alike, as the universally accepted method for teaching trumpet, French horn, euphonium, trombone or tuba. There is, and always will be, voluminous method books and varied solutions to problems that beset the brass players on all instruments. We find many concepts seemingly eon- tradictor It is, in essence, this point which has prompted me to attempt to devise an approach to the problems of brass players as close to being authoritative as anything ever written on the subject, ‘One hundred of this country’s greatest teachers and brass performers were sent questionnaires involving factors pertinent to the controversial ‘and important aspects of brass playing techniques. The response to the ‘questionnaires was much better than I had ever hoped. Many took the time and trouble to send additional material to explain their theories, ideas and concepts, much more fully. Still others were most kind in wish- ing me success in this project and commenting on the worthwhile status of this research, I have made every attempt to be impartial and objective in reporting the findings of this project. In this new research I have incorporated a phase of the approaches to brass techniques by including some of this country’s greatest jazz brass players, which I did not do when writing my “Brass Facts.” Such giants of jazz as Maynard Ferguson, Eddie Kusby, Bob McCoy, Mike Vax, Eddie Bert, Paul Tanner, Clark Terry, and others. To me, this is a most impor- tant inclusion because these men perform on T.V., radio and recording sessions. ‘To all of these outstanding brass authorities who took the time and trouble to share their secrets of suecess with all of us, I thank you sin- cerely from the bottom of my heart. Joseph L. Bellamah PARTIAL LISTING OF CONTRIBUTING BRASS AUTHORITIES Vincent Bach Philip Farkas Dr, James Neilson Eddie Bert Maynard Ferguson William Sabatini Or. Thomas Beversdorf John Haynie Glenn Smith Ronald T, Bishop Dr. David L. Kuehn Dr. Leonard B. Smith Dr. Charles Colin Edward Kuzborski Louis J, Stout Dr. Carl Bowman Bob McCoy Or. Paul Tanner Leon F. Brown Hugh NeMi11an Clark Terry Dale Clevenger Walter Major Abe Torchinsky Louis Davidson E. E. Moore Mike Vax Dr. J. Frank Elsass Willard I. Musser Dr. Harold Walters Dr. Leonard Falcone Robert Nagel Dr. James H. WinterTABLE OF CONTENTS FOREWORD THE AUTHOR PREFACE CONTRIBUTORS. SURVEY LETTER SURVEY QUESTIONNAIRE CHAPTER CHAPTER CHAPTER, CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER, CHAPTER, CHAPTER CHAPTER CHAPTER CHAPTER, CHAPTER, CHAPTER, CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER, CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER CHAPTER 1, Embouchure II, Embouchure Characteristics IM, Warm Up IV, Registers 'V, Dynamic Levels of Practice VI, Sitting or Standing? VII, Importance of Buzzing Mouthpiece VII, Long Tones IX, Pedal Tones X, Flexibility Exereises XI, Practice Routine XII, Breathing Techniques XIIL, Simple Staccato XIV, Use of Syllables XV, Teaching Legato Tonguing XVI, Double and Triple Tonguing XVII, Increasing Range XVIII, Building Endurance XIX, Choice of Brass Tone Quality XX, Type of Vibrato XXI, Mouthpiece Preferences XXIL, Playing with the Student XXIII, Recommended Method Books XXIV, Instrument Bores XXVI, Critical Analysis of Today's Brass Teaching XXVIT, Most Obvious Weakness of Present-Day Brass Players Page B 15 16 ww 18 19 20 21 22, 23, 24 25 ar 29 30 31 32, 38 35 37 39 40 43, 48.THE AUTHOR Joseph L. Bellamah was born in Utica, New York and at an early age studied trumpet in New York City with the renowned Max Schlossbers, considered to be the greatest trumpet teacher of his day. Upon the death ot Mr. Schlossberg, he continued his trumpet study with Seblossberg’s fon-inlaw, Harry Freistadt, his most outstanding student at the time. Mz, Freistadt played Ist trumpet in the C.B.S. Symphony Orchestra as well as the Andre Kostelanetz Orchestra for 25 years. Bellamal’s professional career covered playing with radio station W.GY, asa studio musician, Capitol Theatre Orchestra in Washington, D.C, the Red Norvo Orchestra, San Antonio Symphony Orehestea and many others. "Kmome his professional affiliations, Dr. Bellamah is a member of Kappa Delta Pi, Kappa Kappa Psi, Phi Mu Alpha, Tau Beta Sigma, Phi Beta Mu, College Band Directors National Association, Texas Music fucators Avsociation, Texas Bandmasters and National Association of 1 Educators. He also is a member of the prestigious American Band- masters Association. Dr. Bellamah is a brass clinician for the Selmer Company, a former President of the Texas Chapter of College Band Directors National Asso- ciation, and an author and composer. At the present time he is Vieo- President of the Southwestern Division of C.B.D.N.A. and listed in “Who's Who In the South and Southwest,” “Dictionary of International Bio; graphy,” “Band Eneyelopedia,” and “International Who's Who In Music.” Dr. Bellamah is presently Associate Professor of Music and Director of Bands at Texas A. and I. Univer J Please send and charge copies @ $5.00 CHARGE TO: ____1 potas —oORe = faa Srder Wi Ftiow ty Boe Rotter Ritorteation Rui SHIP TO: — = iy SOUTHERN MUSIC COMPANY 1100 BROADWAY * P.O. BOX 329 * SAN ANTONIO, TEXAS 78292 N alboo sTubenTs 7th ANNUAL SUL ROSS STATE COLLEGE BAND CLENIC 15 DiRgéTorS AUGUST 23-28, 1957 ALPINE, TEXAS WALTER Beeler & Toe Rel Laman, GonNDUCToRSminutes late while 2 few students properly "set the stage" forthe efficient rehearsal 2. Proper Lighting. This is extremely Important in an ensemble rehearsal, The ‘musicians should not compromise post land instrument position in order to $68 the ‘musle better by leaning forward, squinting, ote. 3. Ellminating Outside Distractions. Personally, | like a room without windows, fone that is completely enclosed. With windows uncovered, rehearsal efficiency can be atfocted by good or bad weather, visual activity on the other se. and ofcourse noise. Drapss or venetian blinds are # simple solution to the problem and in some cases ‘can improve the acoustical properties of the oom as wel. Placing the ensemble with their backs to the distracting areais also possible. 4. Ellminate the Visable Clock. oally “time should fly" in a rehearsal, Realistically this probably won't happen forall performers, al ff the time. Keep track ofthe time personally for have the concertmaster keep. the conductor Informed. Clack watching in rehearsals doos not help the musical product = Unless the clock is used as a metronome, 5. Designate Aress for Storage of Books, Coats, Instrument Cases, ete. During Rehearsals. This can be a problom in many physical plants - dependent, asitis, upon the availabilty of space. Do not permit mater ‘other than that necessary forthe rehearsal t0 'be taken to the chair in the rehearsal room, It is messy, distracting, and provides the means for some to concentrate on. matters lunmusical, Solving this problem in some facilities may be perplexing but itis important {enough to insist on a solution, 68, The Decorum of the Students Entering the Rehearsal Room, Musicians must be made to realize that they are “special people doing a “special job" requiring a “special room.” Dignity and seriousness of purpose should prevail in a rehearsal environment. The degree to which this can be accomplished is probably directly proportionate tothe pride of the participating Students and the aura of influence projectes by the conductor. Itis important and can set ‘me tone for thework about tobe undertaken. Fenearsal atmosphere can be ignored and, ‘of course, a “product” wil stil be possible, In ‘some cases it may even be a good one. If @ better one can be achieved with attention to Tohearsal room atmosphere, then that ‘atmosphere must be examined and properly adjusted. Just asa church uses carpeting and ‘soft lighting to aid aquiet, prayertutentry into the worship service = just as a factory uses background musicto provoke etficency-just a3 a football team uses crowd, marching band, and cheerleaders to motivate a compete effort, 80 does the conductor use the atmosphere of the rehearsal room t0 benefit the etficient renearsal (Part) noxt month) OM Joo Bellamah Dr. Joseph Bellaman Js Prof. of Music at Tox. ABI U. studied under Mi Schlossberg, is Pr of SW. DWv- of Col Band Dir. Nat ‘Assoc. and ls rum: pet elintclan for Sel- mer Co, oa Al ‘TODAY'S TRUMPET PLAYERS SHOULD BE {ABLE TO PLAY SIx OCTAVES The tiie of my article is not intended to be provocative or Intended to elicit the reader's attention so that his curiosity arouses him Into reading he remaincer ofthe article. This ‘pening statement was actualy intended to be an unequivacsl and determinative act that ean assure you may be attained without attice or treks of any kind, lean remember way back when Ifrstbegan the serious study of the trumpet. When 1 finally progressed to the point where I could play tho accopted natural range of the instrument from low F#, three lines below the {reble clet, to high C, two lines above this same clot, and could accomplish thisfeat with ‘ease and consistency, | felt | was ready for ‘anything, Some years later, it was necessary {or the trumpet player to have command of the Eb above high C in order to play studio work and play with “name bands." In the ensuing years the range began to increase steadily and the demands ofthe professional, playing radio and TV, as well as recordings, required the player to play to adouble high C ‘which isan octave above the high C of the natural range of the instrument. And this is precisely where we are today. Howaver, this. leaves an additional two and one-half to be dovoloped as the tile of this article implies. The remaining two and one-half octaves must bbe developed in the pedal rango of the horn This phase Is absolutely necessary because In developing the pedal tones lies the key to Concert Confusior Famed violinist Jascha Heltetz gave a concert in Boston one wintr. It was a imiserabie snowy night and, as a result, the big concert hal, which normally seats 2500 poopie, had 12 in the audience. Heitetz came onstage and said, "m deeply ‘appreciative that you folks turned out, but under th circumstances, ware cancaling the show. Your monoy will be refunded at the box office. Evoryone started o leave, but one man walkedtoward the stage and shouted, “ust 1a minut, Mr. Helfetz. Vm @ musie lover. | put chains on my ear and drove 20 miles {through this snow to see you. Won't you sing just ‘one’ song?” —Contributed by Mary Lou Givens from Reader's Digest developing the extrome high register. At this point itis necessary to call attention tothe factthatthe teumpetis the most affcult ‘ofall brasses to produce the iow pedal tones. His much more difficult to produce low tones onthe trumpet thanitis on its counterpart the cornet, because I it less conical, ‘Any notes played on the trumpet below the lowest note o its natural range (F4), become: pedal tones for the instrument. So many Aanicles nave been written by teachers and Authorities on the instrument that attack ang Critcize players who spend practice time on the pedal notes with statements tothe effect {hat litle oF nothing is gained by those who practice the pedal tones on trumpet. I, on the ‘other hand, have seta strict regimen for my students to the daly practice to pedal tones. In my teaching, when working with stugents who lack range, my approach and. my philosophy isthattheroad to the high egister Is through the low register. Practicing pedal tones utilizes the strengthening and development ofthe facial ‘muscles that have heretofore had ite it any, ‘exercitation or stimulation. The longer and wider the pedal register becomes, the mare ‘new muscles are boing affecteg, stimulated ‘and activated. Through practice and usage these newly developed muscles become ‘gradually stronger and eventually aid and abet the embouchure both in increasing range and consistency in the production of the extrome high register. It le truly heart- ‘warming tohear students who previously had ‘exiromo ditficulty in playing high C, now ‘eapabla of hitting @ double high G with ‘amazing regula, Developing the pedal tones is analogous to the training of @ person who aspires to become weight lifer, He starts out very caratully In the Beginning to avoid any strain by lifting with caution and eireumspection those weights he ie certain he can easily handle without stress. Then, as his strength increases, s0 00 the gradual increase in ‘weights, So itis with the development of the pedal note. | must at this time warn you that eveloping the low tones requires patience ‘and determination. Another very important factor is the problem of intonation on the notes and you must concentrate seriously on this phase. Beware of “scooping” the pte. Focus your sound because attaining contro! will boa constant challenge. Do not expect the sound in the pedal register to have the ‘quality that comes in the natural playing ange. However, there will be some Improvement in this category. Returning to the controland intonation tact harmonic series in the pedal rt Incalculably close together and you will soon siscover that your pitch tendencies will be strongly directed toward playing on thesharp side of the pitch, I can reassure you however, that with slow and methodic practice these ‘obstacles will disappear. Asthe pedal register begins to dovolop and the notes begin to respond, consistency will then assert ise. "Now its time for the player to begin work on Increasing his high register. These should be done a half step at a time and slurred, not tongued. Work at this slowly and deliberately