Matching Items (13)
Description
The normal playing range of a brass instrument includes a definitive stopping note in the instrument's low register. However, players have the ability to manipulate their lips to extend the low range beyond this point; notes sounding below an instrument's normal playing range are called pedal tones. The history of pedal tones in trumpet performance and pedagogy has long been a source of confusion and misinformation. Consequently, this paper also discusses the educational value of using pedal tones, includes a brief history of players and teachers who have formulated pedal tone exercise methods, and examines their use within the six most influential method books that promote the use of pedal tones. The six books are Original Louis Maggio System for Brass by Carlton MacBeth, Double High C in 37 Weeks by Roger Spaulding, Systematic Approach to Daily Practice by Claude Gordon, Trumpet Yoga by Jerome Callet, James Stamp Warm-Ups +Studies by Thomas Stevens, and The Balanced Embouchure by Jeff Smiley.
ContributorsRodriguez, Malachy Sean (Author) / Hickman, David (Thesis advisor) / Holbrook, Amy (Committee member) / Bailey, Wayne (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
Every year hundreds of aspiring musicians audition for positions with professional orchestras throughout the United States. This study is designed to provide a comprehensive look at professional orchestral auditions for trumpet. While other resources rely on the single opinion of their author, this study gathers information from a broad range of sources to develop its conclusions. This project was completed in three phases. In the first phase, lists of excerpts from trumpet auditions were compiled. In the second phase, an online survey of musicians who have served on a trumpet audition committee was conducted. In the final phase, four principal trumpet players of major orchestras and one conductor were interviewed to look further into the criteria and procedures used in orchestral trumpet auditions. The results of this study can be grouped into four categories: the desired qualities sought in a trumpet audition, common mistakes and concerns for those taking auditions, common mistakes and concerns for audition committees, and a discussion of the top fifteen excerpts asked in auditions. The data from this study can be used to consider two different perspectives: what does an aspiring trumpet player need to do to win an audition? And also, what should a committee want to hear? Although there is a broad range of opinion when considering trumpet auditions, certain standards remain. Also, while most of those involved in this study agree that the audition process is among the fairest ways to determine the winner of a job with an orchestra, they also agree that significant changes to the process still need to be made. This is especially true with reference to the types of excerpts asked and the audition procedures used.
ContributorsHunsicker, John David (Author) / Hickman, David (Thesis advisor) / Hackbarth, Glenn (Committee member) / Hill, Gary (Committee member) / Pilafian, J. Samuel (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres.
The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
ContributorsKlein, Garrett Lane (Author) / Hickman, David R (Thesis advisor) / Holbrook, Amy K (Committee member) / Hill, Gary W. (Committee member) / Arizona State University (Publisher)
Created2019
Description
Joseph Turrin’s compositions for trumpet are frequently performed, and have
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
ContributorsAlbrecht, Christopher (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
This thesis proposes an augmentation of the Complete Method for Trombone by Jean Baptiste Arban. Although it is widely considered one of the leading trombone method books in the world, a thorough consideration of the demands of most performed solo literature today reveals serious shortcomings in the Arban Method for preparing trombonists to encounter such demands as meter and rhythm, keys and tonalities, range and endurance, clefs and F-attachment usage. This thesis thus proposes additions for a new version of the Arban Method that better aligns with the playing demands of the most performed solo literature today, as compiled by the International Trombone Association Journal since 1972.
ContributorsDixon, Adam, Ph.D (Author) / Edwards, Brad (Thesis advisor) / Swoboda, Deanna L (Committee member) / Schmelz, Peter J (Committee member) / Arizona State University (Publisher)
Created2018
Description
Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.
The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension.
The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities.
The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work.
ContributorsBrand, Spencer Paul (Author) / DeMars, James (Thesis advisor) / Rockmaker, Jody (Committee member) / Rodney, Rogers (Committee member) / Arizona State University (Publisher)
Created2018
Description
Witching Hours is the debut studio album of Chicago-born, Phoenix-residing trumpet player John Michael Sherman. It is a consummation of his work in the Arizona State University jazz studies program both as a performer and composer. Featured on the album are several other musicians who John Michael played alongside throughout his tenure at ASU, including Chaz Martineau on tenor saxophone, Evan Rees on piano, Reid Riddiough on guitar, Vince Thiefain on bass, Matt McClintock on drums, and Dan Meadows on baritone saxophone. The album features seven pieces, all original compositions or arrangements. The first track, "Workin' My Nerves", is a blues shuffle in the key of F. This is followed by "Scarborough Fair", an arrangement of the classic English folk tune in a rock style. The title track, "Witching Hours", is an cadaverous linear composition in 7/4 which is followed by "Goliath", a pseudo-tone poem about the biblical giant. "I Should Have Known" is a pensive ballad featuring an a capella intro and cadenza, followed by the most recent composition, a minor blues-esque piece entitled "Who Said That?" The final track, "Don't Change A Thing", is an upbeat samba which was written in John Michael's first year of college. These pieces demonstrate an understanding of the jazz tradition and exhibit influences from such musicians as Clifford Brown, Freddie Hubbard, Wayne Shorter, and Snarky Puppy. The album was recorded at Tempest Recording in Tempe and produced by Clarke Rigsby. Clarke is a veteran recording engineer and is the first choice of many of Phoenix's finest jazz musicians, including thesis director and head of the ASU jazz department Michael Kocour. The pieces were composed and recorded under the guidance of Mike Kocour and Jeff Libman. Witching Hours represents a culmination of John Michael's course in the Arizona State University jazz department and his endeavors as a trumpet player and composer.
ContributorsSherman, John Michael (Author) / Kocour, Michael (Thesis director) / Libman, Jeffrey (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
Since 1913, some of the world’s finest trumpeters have utilized the advantages of
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
ContributorsEwing, Bryan Christopher (Author) / Hickman, David (Thesis advisor) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2016
Description
ABSTRACT:
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
The research for this paper is intended to introduce the reader to many of the influential trumpet performers and pedagogues in East Asian countries and territories along the Western Pacific Ocean Rim, including China, Hong Kong, Japan, the Philippines, Singapore, South Korea, Taiwan (R.O.C.), Thailand, and Vietnam.
Shao-Chun Tsai, the author of this research paper, finds it important for musicians to recognize that they are often influenced by other musicians in addition to their own efforts and self-discovery of who they are as artists. The author is a trumpeter and pianist from Taiwan, and would like to acknowledge the many outstanding trumpet players from Asia that have made important contributions to the discipline of trumpet playing. Unfortunately, there are very limited English resources available for the recognition of these pioneers, and as such they are often unknown to the general public and even to aspiring musicians. By gathering a collection of biographies, the author’s goal is to shed greater light on the rich trumpet playing and pedagogy heritage and influence in this region.
The research information contained within was primarily gathered through personal interviews conducted by the author in order to ensure that the most up-to-date and accurate information was collected for the project. This project studies nine regions and includes thirty-seven trumpeters deemed to be influential by the author, who has invested her best efforts to acquire the most in-depth and current facts obtainable. The author hopes that the stories behind each of these successful musicians will stimulate trumpeters of all ages and inspire them to pursue their own development and goals in music.
ContributorsTsai, Shao-Chun (Author) / Hickman, David R. (Thesis advisor) / Rogers, Rodney (Committee member) / Swoboda, Deanna (Committee member) / Arizona State University (Publisher)
Created2016
Description
The combination of soprano, trumpet, strings and continuo was used with much frequency by Baroque composers in their cantatas, oratorios and operas of the time, giving the trumpet a very important place as a solo instrument from 1600 to 1750. The discovery of two pieces by Neapolitan Baroque composers Domenico Sarro (1679-1744) and Gennaro Manna (1715-1779) enlarges the already important body of known works for this instrumentation. Presenting them in performance editions is a valuable contribution to this repertory. Making performance editions available to performers is always an important and exciting task, especially if they exhibit features that have rarely been seen in this combination of instruments and voices. This is specifically the case with Manna's Tuba Sonora Exclama, which shows many interesting features of the Early Classical style. Both works were discovered by the author in a digital archive sponsored by the Ministry of Heritage and Culture for the Italian Government. The original copies of these works are held at two Neapolitan libraries: Biblioteca Statale Oratoriana del Monumento Nazionale del Girolamini (Manna's piece), and Biblioteca del Conservatorio di musica San Pietro a Majella (Sarro's Per abbattere il mio core, from his opera Partenope.) The manuscripts, obtained in digital format, are well preserved and easy to understand. Along with the scores prepared for this document, some historical background about each composer, a discussion of the use of the trumpet as a solo instrument in arias with voice, and descriptions of the pieces are presented. Other important information, such as editorial procedures and critical notes, is also given.
ContributorsAraya, Luis Miguel (Author) / Hickman, David R (Thesis advisor) / Pilafian, Samuel (Committee member) / Hill, Gary W. (Committee member) / Rogers, Rodney (Committee member) / Bailey, Wayne A (Committee member) / Arizona State University (Publisher)
Created2011