Teaching trumpet would be relatively easy if all students possessed the same physical characteristics, musical background, mental capabilities, and enthusiasm. However, it is these differences that make trumpet pedagogy important if each student is to become a successful performer.
I have often been amazed at the various manners in which the world’s leading trumpet artists play the instrument. In many cases, playing methods vary greatly, yet the artists are perfect examples of how well these methods work.
An artist-teacher is the product of his or her unique background of experiences. From these experiences, certain philosophies are adopted as personal “truths,” many times with other concepts and methods being sub-consciously declared “non-truths.” When working with students, it is logical for the teacher to profess his or her most successful ideas. However, not all students are able to play the trumpet with the same manner of embouchure, articulation, or other specific physical actions as directed or used by their teachers. Therefore, teachers must understand that methods and approaches other than their own may be more successful with certain students.
While studying trumpet with Dr. Frank W. Baird and earning a Bachelor of Music degree at the University of Colorado-Boulder (1972), I was intrigued and inspired by the work he did for his doctoral dissertation, A History and Annotated Bibliography of Tutors for Trumpet and Cornet. Frank and I had many discussions concerning several sometimes opposing playing methods. This was my first realization that each method has its place but may not be successful with all people.
The present book, Trumpet Pedagogy, is a compendium of many of the leading thoughts and methods of trumpet playing. It would be virtually impossible to detail all of the ideas that exist—thus, I have included only the ones that have gained some popularity. I have attempted to present all views from a neutral standpoint even though certain ideas and statements are contrary to my own. Many of my personal teaching ideas and techniques are stated, but only in context with other pertinent philosophies or generally accepted principles. Therefore, Trumpet Pedagogy is offered as a general text and reference to hundreds of leading texts, articles, websites, and other useful information sources.
Rather than using footnotes or endnotes, each source is cited within its appropriate paragraph. This is done to help readers locate works quickly that are associated with the various topics discussed. In addition, I incorporate a somewhat outdated system of citation that underscores titles of books and journals rather than italicizes them. This is done merely for visual clarity because there are many italicized quotes placed throughout the book.
Trumpet Pedagogy: A Compendium of Modern Teaching Techniques is meant to be a useful reference for all players and teachers of the trumpet. It is my hope that the information, photographs, illustrations, and music examples provided assist teachers and students in becoming more effective and successful artists.
