Penn State
Trombone Studio
Handbook

Introduction

This handbook is designed to outline the minimum requirements of trombone study at Penn State University.  This handbook will be used in conjunction with the School of Music Undergraduate Handbook, the School of Music Graduate Handbook and the various required and suggested musical texts. 

The first inclusion will be a Course of Study for Applied Trombone Lessons in each of the degree programs offered at the School of Music.  These course outlines will be general.  The specifics of each individual's semester syllabus will be decided upon by consultation with Professor Lusk.

The Trombone Choir/Studio Class, Music 192 Section 3, will also be outlined.  As will Music 416, Graduate Repertoire, and Music 588, Graduate Pedagogy.

The appendix will include the various forms and lists a trombone student will need throughout the semester. 

Please read this handbook carefully, and feel free to ask questions if any aspect of this handbook is unclear. 

Fourth Edition, Revised Summer 2005  


 
Applied Trombone Lessons

This first section of the Trombone Studio Handbook will include:
"Applied Trombone General Requirements" 

"Course of Study"



Applied Trombone General Requirements

Grading Policy

There are eight levels available in primary and performance courses, each representing a successively higher level of performance on the trombone.  Satisfactory completion of each level is required as a prerequisite for the enrollment in the next higher level.  Satisfactory completion is determined by an overall grade for the course of "C" or better.  This grade will be calculated by specific consideration of the following four areas of applied study:

1) The Practice/Lesson Journal

 The student will be required to keep a journal of materials relating to the daily practice and weekly lessons of each semester of study.  This journal will be reviewed at each lesson.   Professor Lusk will make suggestions for improvement in practice technique and lesson preparation.  The practice/lesson journal in its final form will be submitted to Professor Lusk at the jury examination. (Please refer to the suggested “Practice Evaluation Form" included in the appendix.) 

2) The Lesson/Performance Evaluations

At specific points during the course of study, the student will be asked to perform the assigned lesson material.  This "recital, concert, audition-like performance" may be recorded by audio and/or video.  The recordings will then be discussed and evaluated by the student in conjunction with Professor Lusk.  Professor Lusk will complete a "lesson performance evaluation" that will be emailed to the student, who will then include the evaluation in the final form of the practice/lesson journal.  (Please refer to the "Lesson/Performance Evaluation Form" included in the appendix.)

3) Semester Proficiency Evaluations

Each student will be required to complete a proficiency evaluation by the twelfth week of the semester.  These evaluations will include specific scale/arpeggio requirements along with various technical and flexibility exercises.  Along with basic scale/arpeggio requirements, the 100 and 200 level proficiency evaluations will feature exercises from "The Complete Warm-Up Routine" by Professor Lusk included in the appendix.  There will be a scheduled opportunity to practice the proficiency exam before the sixth week of the semester.  This will allow for an assessment of the student’s preparation and provide ample time to prepare.  (Please refer to the "Scale/Arpeggio Requirements” included in the appendix.)

4) Jury Examination

Because performance ability is an essential part of the School of Music degree programs, the student is required to demonstrate performance ability before a faculty jury at the end of each semester of applied instruction.  The purpose of this examination is to assess the student's progress and to serve as the prerequisite for advancing to the next level of applied instruction. The student will prepare a “Jury Repertoire Form” upon consultation with Professor Lusk.  At the end of the semester, the student will be prepared to perform this list for the brass faculty.  The faculty will make comments and assign a suggested grade.  Professor Lusk will decide on a consensus grade for the jury performance.  The faculty's comments will be copied and kept in the students permanent file and will also be included in the final form of the practice/lesson journal along with a recording of the jury performance.  (Please refer to the "Jury Evaluation Form", the “Jury Repertoire Form” included in the appendix)

Failure to pass any one of these areas will result in an unsatisfactory overall grade for the course.

In general, grading is a subjective decision made by Professor Lusk, but whenever possible the following criteria will be used to assess a student's performance:

Preparation of Materials
It is not the amount of material prepared, but rather it is the quality of the preparation.

Comprehension
The student must display the ability to comprehend and incorporate what is being taught into his or her own playing.  Often, the teacher will demonstrate and/or lecture on a specific problem.  It is the task of the student to apply that information into his or her playing and musicianship.

Growth
The student, successfully implementing the desired goals of playing, will demonstrate growth and become a better player and musician. 

Instrument/Equipment Policy

The student is required to own an instrument appropriate to the course of study.  A tenor trombonist will study on a large bore tenor trombone with an "F" attachment.  In most cases it will be highly recommended of the tenor trombonists to own a small bore tenor trombone without an "F" attachment for use in the jazz and contemporary idioms.  A bass trombonist will study on an independent double valve bass trombone.  It is the student's responsibility to maintain these instruments at the highest possible level.  The student's instrument will be checked periodically as part of the "Lesson/Performance Evaluations".  (Please refer to the "Selected List of Instruments and Mouthpieces" in the appendix.) 

The student is also required to own appropriate recording equipment, an appropriate play-along/listening device and a quality metronome.  As technology is further incorporated into the course of study, the quality and dependability of these devices will become as critical as the instrument the student owns.  The student will have the required tapes and/or disks available at the assigned lesson times.  (Please refer to the "Selected List of Accessories" included in the appendix.)

Each student will own a straight mute, a cup mute, and a plunger.  Other suggested mutes are the practice mute, the bucket mute, and the Harmon mute.  (Please refer to the "Selected List of Accessories" in the appendix.)

It is the student's responsibility to own a personal copy of all the required music and related materials asked for in the student's semester syllabus.  Failure to do this will also be reflected in the "Lesson/Performance Evaluations". 

Lesson Attendance Policy

Lessons canceled by faculty will be rescheduled within a seven day period following the absence.  If a student gives prior notice of at least twenty-four hours that he or she cannot come to a lesson and if the absence is excused, every attempt will be made to make up the lesson.  If a student misses a lesson and does not notify Professor Lusk in advance, the lesson will not be made up.  Students are expected to be on time and warmed up for lessons.  If a student cannot come to a lesson then they must call Professor Lusk at 574-2155 or 863-4415.  It is further suggested that the student leave a message at both numbers and at the School of Music office, 865-0431.  One unexcused absence will result in the lowering of the overall lesson grade by one-third letter grade.  Further unexcused absences will result in a drop of a full letter grade per absence.  Lessons will only be excused in the case of a previously notified school absence, a doctor-verified illness, a death in the immediate family or extraordinary circumstances as determined by Professor Lusk.

Ensemble Policy

All BM/BMA and BS students are required to register for at least one ensemble each semester they are in residence at University Park.  They must also complete the minimum ensemble credits specified by their program.  The faculty cannot emphasize too strongly the need for students to meet with advisers regarding ensemble selection.  Issues such as a diversity of experience, degree requirements, and schedule commitments must be addressed to help ensure a satisfactory GPA and a timely graduation. (Please refer to the "School of Music Undergraduate Handbook".)

Recitals/Concerts/Common Hour Policy

Developing a familiarity with a broad repertory of music and acquiring skills in critical listening are important aspects in the training of a musician.  Therefore, students are expected to take advantage of every opportunity to attend performances of music, both on and off campus.  More than 100 performances are scheduled each year on the University Park Campus.  These include Center for the Performing Arts programs, Brice Jordan Center concerts, faculty and student recitals, concerts by School of Music ensembles, and special School-of-Music-sponsored programs.  In addition, there is a Common Hour each week in the Recital Hall.  These programs include student and faculty performances as well as demonstrations and lectures by faculty and guests of the School of Music.  Students are expected to attend Common Hour each week and a reasonable number of the many events sponsored by the School of Music each year. (Please refer to the "School of Music Undergraduate Handbook" )

Statement on the Environment of the Trombone Studio

This university, myself included, is committed to an open, sensitive, understanding, and responsive campus environment.  The single most important key to our success both as individuals and collectively is to create an environment in which everyone feels welcome and productive.  To do this, we all must do our share to eliminate intolerance and harassment within what should be an enlightened community.  Each one of us has a role in establishing a constructive, supportive environment, where we can interact and learn from one another.  Students who choose to act irresponsibly will be dealt with swiftly and aggressively.  Please remember, if you feel uncomfortable take action, do not ignore the problem.  Know your rights, and be familiar with the policies and resources that are designed to serve and protect you.

 

 

General Course of Study

Bachelor of Science
in
Music Education
(All disciplines)

Each student will spend 1/2 hour per day developing and practicing a warm-up routine that includes long tones, flexibility and technical exercises. 

The minimum practice time for the lesson assignments of the BS major is 1 hour per day.  It is suggested that the serious student's practice time be 1 1/2 hours per day for the lesson assignments. 

It is also required to spend a minimum of 5 hours per week listening and researching required musical materials.  It is suggested that the serious student spend 7 hours per week listening and researching the required musical materials. 

Course Format

The first six semesters of study will be structured under the use of an individual syllabus.  The syllabus will be prepared and finalized during the student's first lesson of each semester.  The syllabus will contain six two-week assignments.  A grade will be given for each of the two-week assignments utilizing the “Lesson/Performance Evaluation Form”.  The syllabus will also include the Jury Examination assignment.  The final lessons of the semester will be dedicated to this assignment.  The syllabus will include any special circumstances encountered within the semester such as a recital, competition or audition.  The syllabus will clearly state what is the minimum requirement for receiving a satisfactory grade of “C” in the course.

Freshman Level
Music 122/172

General Goals

 1) Emphasis on playing fundamentals
 2) Establishment of a warm-up procedure
 3) Establishment of good practice habits
 4) Introduction of tenor and alto clef (tenor trombonists)
     Introduction of tenor clef (bass trombonists)
 5) Introduction of the "F" attachment (tenor trombonists)
     Introduction of the independent double valve system (bass trombonists)

Sophomore Level
Music 222/272

General goals

 1) Continued emphasis on all playing fundamentals, warm-up and practice habits 
 2) Continued emphasis on clefs and valve technique
 3) Concentration on developing range, endurance and dynamics
 4) Introduction of jazz style and improvisation
 5) Introduction of orchestral performance technique

Junior Level
Music 322/372

General goals

 1) Continued emphasis on all playing fundamentals, warm-up and practice habits
 2) Continued development of jazz style and improvisation
 3) Continued development of orchestral technique
 4) Introduce advanced sight reading techniques
 5) Introduce contemporary trombone techniques

Senior Level
Music 422

General Goals

The last semester of applied study will not be structured like the first six semesters of study.  The musical needs of each student will indeed be different during this critical time of study.  In addition, the demands of preparing final performances and auditions need to be met during this final semester.  The “two-week assignment” format does not lend itself well to this final semester.  The preparation and execution of the “Recital Performance Requirement” will determine the student’s final applied lesson grade.

Recital/Performance Requirement
Bachelor of Science 
Music Education 
(All Disciplines)

It is required that a BS major perform two solo performances in a public forum.  This requirement will be fulfilled by the following options:

 1) The first installment will be completed by the end of the student’s fourth semester of study.  This performance of a major work appropriate to the freshman/sophomore level will be part of the school-wide “Common Hour”. 
 2) The second installment will be completed by the end of seventh semester of study by selecting one of the following options:

a) The student may perform one major work appropriate to the senior level as part of a "Common Hour".  For this, the best grade the student can receive for the course is a "C".
b) The student may choose to perform a “half recital”. This would include at least two major works appropriate to the senior level.  For this, the best grade the student can receive for the course is a “B”.
c) It is recommended that the student choose to perform a “full recital”.  This would include at least three major works appropriate to the senior level.  For this, the best grade the student can receive is an “A”.

 Failure to fulfill any of these requirements will result in unsatisfactory grade for the course. 

(Please refer to the “Proper Procedures for the Preparation and Execution of Recital/Performance Requirements” are included in the appendix.)

 

Bachelor of Music
and
Bachelor of Musical Arts
in 
Trombone Performance

Each student will spend 1/2 hour per day developing and practicing a warm-up routine that includes long tones, flexibility and technical exercises. 

The minimum practice time for the lesson assignments of the BM/BMA major is 1 1/2 hours per day.  It is suggested that the serious student's practice time be 2 hours per day for the lesson assignments. 

It is also required to spend a minimum of 7 hours per week listening and researching required musical materials.  It is suggested that the serious student spend 9 hours per week listening and researching the required musical materials.

Course Format

The first six semesters of study will be structured under the use of an individual syllabus.  The syllabus will be prepared and finalized during the student's first lesson of each semester.  The syllabus will contain six two-week assignments.  A grade will be given for each of the two-week assignments utilizing the “Lesson/Performance Evaluation Form”.  The syllabus will also include the Jury Examination assignment.  The final lessons of the semester will be dedicated to this assignment.  The syllabus will include any special circumstances encountered within the semester such as a recital, competition or audition.  The syllabus will clearly state what is the minimum requirement for receiving a satisfactory grade of “C” in the course.

Freshman Level
Music 129  /182

General Goals

 1) Emphasis on playing fundamentals
 2) Establishment of a warm-up procedure
 3) Establishment of good practice habits
 4) Introduction of tenor and alto clef (tenor trombonists)
     Introduction of tenor clef (bass trombonists)
 5) Introduction of the "F" attachment (tenor trombonists)
     Introduction of the independent double valve system (bass trombonists)

Sophomore Level
Music 232/282

General goals

 1) Continued emphasis on all playing fundamentals, warm-up and practice habits 
 2) Continued emphasis on clefs and valve technique
 3) Concentration on developing range, endurance and dynamics
 4) Introduction of jazz style and improvisation
 5) Introduction of orchestral performance technique

 Junior Level
Music 332/382

General goals

 1) Continued emphasis on all playing fundamentals, warm-up and practice habits
 2) Continued development of jazz style and improvisation
 3) Continued development of orchestral technique
 4) Introduce advanced sight reading techniques
 5) Introduce contemporary trombone techniques
 6) Introduce a doubling instrument:

 a) Tenor Trombonists will be introduced to the Alto Trombone, the Bass Trombone and/or the Euphonium
 b) Bass Trombonists will be introduced to the Tenor Trombone, the Euphonium and/or the Tuba

Senior Level
Music 432/482

General Goals

The last two semesters of applied study will not be structured like the first six semesters of study.  The musical needs of each student will indeed be different during this critical time of study.  In addition, the demands of preparing final performances and auditions need to be met during this final semester.  The “two-week assignment” format does not lend itself well to this final semester.  The preparation and execution of the “Recital Performance Requirement” will determine the student’s final applied lesson grade. 

Recital/Performance Requirement
Bachelor of Music
and 
Bachelor of Musical Arts
in 
Trombone Performance 

It is required that a BM/BMA major perform three solo performances in a public forum.  This requirement will be fulfilled by the following options:

 1) The first installment will be completed by the end of the student’s fourth semester of study.  This performance of a major work appropriate to the sophomore level will be part of the school-wide “Common Hour”. 
 2) The second installment will be completed by the end of sixth semester of study by selecting one of the following options:

a) The student may choose to perform a “half recital”. This would include at least two major works appropriate to the junior/senior level.  For this, the best grade the student can receive for the course is a "B”.
b) It is recommended that the student choose to perform a "full recital”.  This would include at least three major works appropriate to the senior level.  For this, the best grade the student can receive is an “A”.

3) The third installment will be completed by the end of the eighth semester of study.  This performance is a “full recital” and judged by three-member committee selected by the Undergraduate Committee.  A written evaluation is made available to the student and is placed in the student’s permanent file.  It is the responsibility of the student and Professor Lusk to notify the judges of a change in date.  If a judge has a conflict, a quality tape recording shall be submitted for adjudication.

Failure to fulfill any of these requirements will result in an unsatisfactory grade for the course.

(Please refer to the “Proper Procedures for the Preparation and Execution of Recital/Performance Requirements” are included in the appendix.) 

 

Bachelor of Arts
in
Music

Each student will spend 1/2 hour per day developing and practicing a warm-up routine that includes long tones, flexibility and technical exercises. 

The minimum practice time for the lesson assignments of the BA major is 3/4 hour per day.  It is suggested that the serious student's practice time be 1 1/4 hours per day for the lesson assignments. 

It is also required to spend a minimum of 3 hours per week listening and researching required musical materials.  It is suggested that the serious student spend 5 hours per week listening and researching the required musical materials. 

Course Format

Study will be structured under the use of an individual syllabus.  The syllabus will be prepared and finalized during the student's first lesson of each semester.  The syllabus will contain six two-week assignments.  A grade will be given for each of the two-week assignments utilizing the “Lesson/Performance Evaluation Form”.  The syllabus will also include the Jury Examination assignment.  The final lessons of the semester will be dedicated to this assignment.  The syllabus will include any special circumstances encountered within the semester such as a recital, competition or audition.   The syllabus will clearly state what is the minimum requirement for receiving a satisfactory grade of “C” in the course.

Freshman Level
Music 122/172

General Goals

 1) Emphasis on playing fundamentals
 2) Establishment of a warm-up procedure
 3) Establishment of good practice habits
 4) Introduction of tenor and alto clef (tenor trombonists)
     Introduction of tenor clef (bass trombonists)
 5) Introduction of the "F" attachment (tenor trombonists)
     Introduction of the independent double valve system (bass trombonists)

Sophomore Level
Music 222/272

General goals

 1) Continued emphasis on all playing fundamentals, warm-up and practice habits 
 2) Continued emphasis on clefs and valve technique
 3) Concentration on developing range, endurance and dynamics
 4) Introduction of jazz style and improvisation
 5) Introduction of orchestral performance technique

There is no solo performance requirement for the BA major.
Although it is highly recommended that a performance of a major work appropriate to the freshman/sophomore level be performed as part of the school-wide “Common Hour”, Music 101.

Master Of Music
in 
Trombone Performance

Each student will spend 1/2 hour per day developing and practicing a warm-up routine that includes long tones, flexibility and technical exercises. 

The minimum practice time for the lesson assignments of the MM major is 2 hours per day.  It is suggested that the serious student's practice time be 3 hours per day for the lesson assignments. 

It is also required to spend a minimum of 8 hours per week listening and researching required musical materials.  It is suggested that the serious student spend 10 hours per week listening and researching the required musical materials. 

Course Format

The first two semesters of study will be structured under the use of a syllabus.  The syllabus will be prepared and finalized during the first lesson of each semester.  The syllabus will contain six two-week assignments.  A grade will be given for each of the two-week assignments utilizing the “Lesson/Performance Evaluation Form”.  The syllabus will also include the Jury Examination assignment.  The final lessons of the semester will dedicated to this assignment.  The syllabus will include any special circumstances encountered within the semester such as a recital, competition or audition. 

The last two semesters of applied study will not be structured like the first six semesters of study.  The musical needs of each student will indeed be different during this critical time of study.  In addition, the demands of preparing final performances, degree requirements, and auditions need to be met during these final semesters.  The “two-week assignment” format does not lend itself well to this final semester.  The student’s final applied lesson grade will be determined by the preparation and execution of the degree requirements as outlined in the "Graduate Handbook". 

First Year of Study

General Goals

 1) Evaluation and refinement of all playing fundamentals
 2) Concentration on consistency and accuracy in all aspects of playing and 
     musicianship
 3) Development of pedagogical ideas

Second Year of Study

General Goals

 1) Continued refinement of all playing fundamentals
 2) Continued stress on consistency and accuracy in all aspects of playing and musicianship
 3) Continued development of pedagogical ideas
 4) Concentrate on the preparation of the Graduate Recital, the Graduate Lecture Recital and the 
     Graduate Oral Examinations
 5) Introduce a doubling instrument:

  1) Tenor Trombonists will be introduced to the Alto Trombone, the Bass Trombone and/or the Euphonium
  2) Bass Trombonists will be introduced to the Tenor Trombone, the Euphonium and/or the Tuba


Please refer to the Graduate Handbook for all details pertaining to the "Graduate Recital", the "Graduate Lecture Recital" and the "Graduate Oral Examination". 
 

Policy on Applied Lessons beyond the Basic Degree Requirements

A student may request applied lessons beyond the basic degree requirements.  It should be noted that Professor Lusk will not consider such a request if that student’s cumulative applied lesson grade is lower than “A-”.  For a large proportion of the music majors extending one’s applied study does become a factor.  Should a student be offered extended study this will be done under the auspices of Non-Major Applied Study, Music 122 or 522.  A syllabus similar to the final semesters of applied lessons will be employed.  No “Jury Examinations” or “Recital Performance Requirements” will be required.  The student will be reconsidered after each semester.

The
Appendix

This appendix contains various forms and lists needed by the student for the successful completion of this course of study.  Including:

“Proper Procedures for the Preparation and Execution of Recital/Performance Requirements”
"The Complete Warm-up"
"Selected List of Instruments and Mouthpieces"
"Selected List of Accessories"
“Practice Evaluation Form"
"Lesson/Performance Evaluation Form"
"Scale/Arpeggio Requirements"
Important Web Links

Proper Procedures for the Preparation and Execution of Recital/Performance Requirements

The following are the timetables and requirements for the preparation and execution of recitals and performances.  These deadlines must be met for a recital to be considered.  The student should discuss this schedule with Professor Lusk as soon as there is an interest in performing.

 - The student must begin planning for a performance in the semester before the actual performance. 
 - The student will preliminarily discuss the performance with Professor Lusk so to decide upon an appropriate date, confirm literature, and define primary objectives.
 - Secure a date and location for performance with dress rehearsal time.
 - The student must be enrolled for applied lessons during the semester of the performance. 
 - During the preparation of the recital, the student should have original and working copies of the scores, parts, available recordings, and sequenced accompaniments to all the works involved.  These will be kept as part of the practice/lesson journal, and made available at every lesson and evaluation.
 - The accompanists must be contacted and secured no later than twelve weeks prior to the performance.  For student accompanists please use the "Piano Ensemble Contract".  It is the student's responsibility to secure a copy of the accompanist's schedule so that lessons can be schedule during an appropriate time.
 - There will be scheduled lesson/performance evaluations throughout the semester of the performance.  The last of which will occur no later than three weeks prior to the performance.  This final evaluation will determine whether the performance will be allowed.
 - The student must prepare all press release, publicity, and program information no later than three weeks prior to the performance.
 - The student should secure a recording engineer no later than three weeks in advance.  The student should follow up this initial contact with a reminder one week prior to the performance. 
 - In the final weeks, the student should perform in a variety of performance situations.  These performances should be recorded for evaluation.
 - The student should be completely aware of the fatigue factors involved for the performance, and plan accordingly. 
 - A recital or performance is not an excuse for missing a scheduled class. 
 - As a performer, the student is expected to have the highest presentation standards possible. 
 - It is the student's responsibility to pay any fees at the performance.  It is recommended that the student respond promptly with an appreciative note of thanks to all parties involved.

Important Concepts

  •  Remember, this performance is not about you.  It is about the MUSIC.
  •  Nervousness is directly proportional to preparedness.
  • Don't keep score!!
  •  Great music deserves a great performance; lesser music demands a great performance.
  •  Music is must at very least be an expression of pride in oneself.
  • Downplay nothing; EXAGGERATE everything.
  •  Enjoy the moment.  You have worked hard.


 

The 
Complete 
Warm-Up Routine

Mark L. Lusk
Professor of Trombone 
at
Penn State
University

Revised August, 2005

Introduction

Why Is A Warm-Up Routine Important?

As brass players, we often hear discussion about doing a warm-up routine.  To often the warm-up routine is a gray area in the brass player’s practice vocabulary.  For some a warm-up routine means a brief set of exercises, while for others a warm-up routine is an integral and extensive ritual of preparing to play our instrument competently.  Regardless of what a warm-up routine consists of the benefits are numerous.  Here is a selected list of four of the important positive benefits one can acquire from developing a consistent warm-up routine. 

1) A warm-up routine helps to build consistency in a player’s practice  habits. 

In the sports world, for example, a world-class sprinter practices the same routines and exercises daily, hoping to improve his or her performance each  time - if only by .001 of a second.  One cannot expect to perform  consistently if one does not practice and prepare in a consistent fashion.

2) A warm-up routine develops control over the physical attributes of  playing a brass instrument. 

It is important to realize that brass playing is a physical activity involving  many muscles of the body.  Some of these muscle groups are delicate and some of them are difficult to understand and control.  Regardless, it is  necessary to train the muscles that form the embouchure and sustain the breathing mechanism.  We must develop this muscle memory to a level that is automatic; much the same way we are able to ride a bicycle after years of not performing the activity.

3) A musically healthy warm-up routine will transform us mentally from  an amusical being into a brass 
      player/musician who is actively ready to  focus on the musical task at hand. 

This transformation must occur physically (as mentioned above) and mentally.  The mental aspect of a solid warm-up routine helps us control our internal rhythm, develop good aural skills, and prepare ourselves to be  musically adaptable.

4) A warm-up routine, if followed regularly, can help with our natural  progression to the performance arena. 

As with any discipline, effective practice leads to positive results in performance settings.  The confidence we gain, and the lessons we learn  about ourselves during the process of developing a solid warm-up routine  will be invaluable when it is time to perform.

When Should We Warm-Up?

Unfortunately, there is not a single answer to this question.  The importance of a well developed and flexible warm-up routine can not be over-emphasized.  The elements of a warm-up routine could be the only material you play on some days.  In other situations, such as performances, a different version of your routine may be appropriate.  Be prepared!  Have several versions of a warm-up routine prepared and whatever your situation is, stay focused in the execution of the warm-up routine to increase its effectiveness.

What If There Is Not Enough Time To Do A Warm-Up Routine?

It should be noted that no single warm-up routine is effective for all brass players.  The following exercises and ideas are designed to give an outline of the elements of a musically healthy, physically sound and technically proficient warm-up routine.  These exercises should be abbreviated or supplemented to fit each individuals strengths and weaknesses.  A serious brass player/musician spends approximately 1/2 hour executing his or her routine.  Often time restraints are a factor in the warm-up routine that you choose, but a quick, well planned warm-up routine is still better than no warm-up routine at all.

How Should I Develop A Warm-Up Routine?

The following pages will attempt to give a suggested warm-up routine that has worked well for the author over the years.  The inclusion of the word “complete” in the title of this work refers to the overall goal of activating both the technical and the musical tools needed to perform music at the highest level possible.. 

It is important to realize that we are human and as such our development as musicians is as unique as our fingerprint.  The following warm-up routine is a suggestion made and intended to be used in conjunction with the following list of related material:

Baker                                Tenor Trombone Method
Davis                                15 Minute Warm-Up Routine 
Fink                                  The Trombonist's Handbook
Jacobs/Frederiksen          Song and Wind
Hall                                  The Balanced Trombonist
Remington/Hunsberger    Warm-Up Studies
Schlossberg                      Daily Drills
Marsteller                        Basic Daily Routines
White                               Long Tone Accompaniment

Constructive analyzation is critical to success in developing a productive warm-up routine.  The player should execute the warm-up routine in front of a mirror and/or record whenever possible.  This will greatly enhance the player's ability to evaluate a routine's effectiveness. 

Air Stream

Arnold Jacobs (former tubist for the Chicago Symphony) is quoted as saying “As brass players, our first job is to produce wind. . . our second job is to turn wind into song.”  Often, problems with pitch, intonation, range and dynamics are actually symptoms of a larger problem with the understanding and control of the air stream.  Therefore, the air-stream is the first area to address in a comprehensive warm-up routine.  The attitudes toward the air stream have been wide ranging.  On one end of the spectrum, Emory Remington, the famed teacher of trombone at the Eastman School of Music, believed that trombone could be played on a "conversational" breath.  While on the other end of the spectrum, we find Mr. Jacobs and his conviction that one must expand and utilize the full air capacity at all times.  A reasonable compromise can be made that incorporates the positive aspects of both these extremes. 

Anatomy of the Air Stream

As a way of dealing with the complex issues of the air stream it is helpful to categorize the different elements.  This will allow the player to organize the warm-up routine in such a way as to develop consistency, control and an understanding of the air stream.  The author has chosen the concept of the "anatomy of the air stream".  In this system the air stream consists of three major components:

 1) Volume - The amount of air taken into the body.
 2) Velocity - The speed and control of the air.
 3) Direction- The focus and completion of the air stream. 

Exercises to Develop Volume

The goal of these exercises are to maximize the efficiency of the player's capacity to take in air.  It should be stressed that all of the physical exercises listed should be done gradually and with great care to avoid strain or tension. 

1) Chest Cavity Stretches 

The chest cavity exercises are intended to expand the rib cage and surrounding structure.  These are isometric exercises.  For the expansion of the frontal area of the chest cavity make a 90-degree angle with the arms and gently push back with elbows.  This should be a very small motion.  Do not over extend.  At this point one should begin to feel some expansion across the front of the rib cage near the sternum.  By moving the elbows higher or lower, one can change the focus of the stretching. 

To find the same results for the back area, one should imagine holding a large ball with your elbows.  Now gently and deliberately squeeze the ball.  Again do not over extend, and remember this is an isometric exercise.  At this point one should be aware of a pulling and expansion across the back.  As before, the raising and lowering of the elbows will change the focus of the stretching.

Remember, these are subtle exercises - be very conscious of the effects on the body as it undergoes a physical transformation in preparation to play the instrument.

2) Lung Tissue Stretches

The lungs are made of expandable tissue that functions like a balloon. In much the same way an ordinary balloon’s elasticity is increased by stretching it before inflating, the lung tissue needs to be stretched before it can perform at its highest level.  Before beginning this exercise, try to eliminate all tension from the body.  Tension will impede the development of a healthy breath and cause further tone production problems.

Gently exhale all air from the body, do not block the airway with tension in the throat or the tongue.  Inhale deeply, to the maximum capacity, filling   from the bottom of the lungs while being careful not to interrupt the breath with any blockage or tension in the airway.  At the end of the inhalation, cap off the air by simply closing your mouth.  While holding the breath, gently stretch front to back and side to side.  This should be a very subtle motion.  It is not necessary to bend over 90 degrees to make this exercise effective.  After a stretch of 5 to 10 seconds, exhale slowly in a relaxed manner.

3) Inhalation Exercise

In order to make all breathing exercises more efficient, it is important to have a solid concept or image of how to take a good breath.  Music demands a variety of inhalations.  Sometimes we are given the opportunity to inhale slowly and but often we are required to inhale quickly.  Whether extended or short, we now need to focus on getting air to the bottom of the lungs and maximizing capacity.

One image that has proven to be very effective is the ‘Poe’ breath.  The player begins by simply saying ‘Poe’ aloud several times (pronounced   the same as the famous poet, Edgar Allen Poe).  Next, the player whispers ‘Poe’ several times.  It is important that the individual allows the throat and jaw to open quickly and speaks with ‘warm, wet air’.  The breath should be capable of fogging a mirror.  The next step is to say ‘Poe’ while inhaling.  It is crucial that the jaw drops and the throat opens in this process.  If done properly a player can feel and hear immediate results of taking a deep, dark breath.

4) Suction Exercise 

This exercise is designed to emphasize the intake of air.  Often we open the passageway for a healthy breath but we don't actually inhale to our maximum.  Immediately after beginning to take the ‘Poe’ breath, cup the hand over the mouth.  Tightly seal the entire mouth with the palm.   Continue inhaling against the resistance.  After only a few seconds break the vacuum by simply removing the hand and feel the air rush to the bottom of the lungs.

As a reminder, stay relaxed throughout the above breathing exercises.  Always listen to the sound of the breath.  The richer and more relaxed the breath, the richer and more relaxed the sound. 

Exercises to Develop Velocity

This area deals with support of the brass player’s sound.  The following exercises are designed to create imagery to help control the muscles that control the air stream.  They are also designed to help us learn which muscles actually are responsible for this task.

1) Exercises to Help Identify the Diaphragmatic Muscle

The first exercise is to simply exhale aggressively with no shoulder or chest movement.  Imagine the diaphragm climbing up the chest. (Actually the diaphragm is relaxing during the exhale.)  Continue to exhale until the air is completely gone to maximize the effectiveness of this imagery.  To enhance this picture, use the hand to trace the progress of the diaphragm. 

The second exercise is to lightly cough, as if clearing the throat.  Place the hand on middle of the torso at the base of the sternum.  The contraction felt is the diaphragm at work. 

Once you establish where the diaphragm is located, practice flexing this muscle.  If controlled correctly, one should be able to talk comfortably with the diaphragm firmly in place.

If a player can control this muscle effectively, the air stream will begin with the proper support and control that we need to play music effectively on a brass instrument.  The author considers the initial point of diaphragmatic support as "first point of interest ".

2) Exercises to Develop Direction

Our next concern as brass players needs to be the delivery of sound.  The work spent developing volume and velocity will undoubtedly improve the sound.  Nevertheless, it is the direction, or projection of one's sound that is critical in the communication of one's musical ideas. 

This is an exercise to create the "Second Point of Interest."  If the initial "point of interest" is the diaphragmatic support, then we must create a "second point of interest" to complete the flow of the air stream.   To do this, select a target ranging from 5 to 25 feet away.  This target should be relatively small (i.e. a doorknob, a light switch etc.).  Stare intensely at the target.  One must establish a conceptual contact with this   target, so that even when the player looks away at the music or the conductor, the target is still secure.  Utilize the concept of "volume and velocity" skills to take a good breath, support and project a full rich sound at the desired target.  The player must then be able to transfer this imagery to different environments.  The player should pick out this "second point of interest’ as soon as he or she enters a new playing area.  The difference in the quality of the sound will be immediately evident.

At this point, the player may refer to the “15 Minute Warm-Up Routine” 
Of 
Michael Davis 

Available from Hip Bone Music 
 


 

Music 416
Brass Pedagogy
Trombone Emphasis
Fall Semester 2000
Professor Mark L. Lusk
Room 216 Music Building II

Ben Miles
Charles Ramsey
And
Dan Weiner

Course Description

Observation Assignment 

  •  Observe lessons taught by Professor Lusk. (7 total)
  • Observe lessons taught by each of the following faculty members: Professor   Bontrager (3), Professor Murrell (3), and Professor Erickson (3).  (9 total)
      • These observations should be dispersed throughout the first 11 weeks of the semester.
      It is the student’s responsibility to secure a lesson observation with the teacher no later than the week before.
      It is the student’s responsibility to adhere to whatever guidelines the teacher sets forth for protocol in a lesson observation.    
      These observations should emphasize the following:
         1) What elements of the lesson are consistent with your experience as a trombone student?
         2) What elements of the lesson are not consistent with your experience, but rather are idiomatic to instrument being observed?
         3) From a pedagogical viewpoint, does the study of different instruments seem to emphasize different musical attributes?
      At the completion of all your observations a five to ten page summary will be written.

Written Assignment

  •   Each student will be given five written assignments:
      1) A selected course of study for the euphonium, horn, trumpet and the  tuba.  These assignments will be discussed with and graded by the
        appropriate instructor.
      2) An extensive course of study for the trombone.  This assignment will be    discussed with and graded by Professor Lusk.
   
  
 
 

Music 588
Low Brass Literature
Spring Semester 2000
Professor Mark L. Lusk
Room 216 Music Building II

Matthew Barlow
Ben Miles
David Sonnenberg
Dan Weiner

Course Description

This course is divided into two primary areas: 

  • First, the course is designed to introduce the concepts required in the performing, study, and teaching of the orchestral repertoire.  These concepts will be developed by the thorough preparation of a list of assigned orchestral excerpts.  These excerpts will then be presented and performed in class.  There will also be a collective effort in creating an extensive bibliography of related materials.
  • Second, the students will be assigned an area of low brass literature, and will be asked to create a bibliography that will be presented in class.
The students will be required to share their work with the other members of the class, so that all will benefit from one another’s efforts. 

Excerpt Assignments

Please prepare a complete bibliography of scores, parts, recordings, and related materials available from the University Library and the studio.  Then collect a copy of the score, parts, and an appropriate recording.

Prepare a written presentation for class that includes a brief history of the work, an identification of the important excerpts, and a description of the difficulties and concerns when performing these particular excerpts.  You will be asked to present these excerpts in class, and perform the excerpts with the other members of the class.

Dan Weiner
Ravel    Bolero*
Mahler   Symphony No. 3*
Brahms   Symphony No. 1
Hindemith  Symphonic Metamorphosis
Bruckner  Symphony No. 4
Strauss   Also Sprach Zarathustra

David Sonnenberg
Mozart   Requiem*
Rimsky-Korsakov Russian Easter Overture*
Strauss   Til Eulinspiegel
Wagner  Die Walküre ( The Ride)
Mahler   Symphony No. 2
Brahms   Symphony No. 2 

Matthew Barlow
Bartok   The Miraculous Manderine*
Kodaly   Háry János*
Strauss   Ein Heldenleben
Berlioz   Damnation of Faust (Hungarian March)
Holst    The Planets
Franck   Symphony in D Minor

Ben Miles
Stravinsky  Petrouchka*
Mahler   Symphony No. 1* 
Wagner  Die Meistersinger
Berlioz   Symphony Fantastique
Prokofiev  Symphony No. 5
Tchaikovsky  Symphony No. 6

*solo excerpts

Please prepare extensive bibliographies in the following areas including a written description of the important findings.  This work will be presented in class.

Dan Weiner                 Internet Information
David Sonnenberg      Literature Catalogs ( Robert King, Kalwas, Schwann, ect.)
Matthew Barlow         Excerpt Collections
Ben Miles                    Orchestras
Literature Assignments

Please prepare a brief discussion of this literature and it’s history.  Prepare a selected list of recordings, literature and related materials.

Dan Weiner                Jazz Improvisation 
David Sonnenberg     Brass Quintets
Matthew Barlow        Trombone Ensemble
Ben Miles                   Tuba/Euphonium Ensemble
 
You must prepare four copies of your work by last day of finals week.
 


 

Trombone Choir/Studio Class
Music 192 Section 4

Students studying applied /trombone are strongly encouraged to participate in the Trombone Choir/Studio Class, Music 192 Section 3.  This class is designed to be an extension of the applied lessons.  The course is structured by syllabus to include trombone choir rehearsal, masterclasses, and performances by students.

Course Format

The trombone choir offers an excellent opportunity to explore the most defining qualities of the trombone.  The ensemble emphasizes the highest standards of technique and musicality possible.  Traditionally, the trombone choir has afforded the students with a chance to play for and hear some of the world's premiere musicians.  Functions such as the Eastern Trombone Workshop, the New York Brass Conference, the MENC National Convention, the MENC All-Eastern Conference, the PMEA conference, and the annual "Frühling Posaunen" Festival have heard this ensemble perform with such outstanding artist's as Joseph Alessi, Jim Pugh, Dave Taylor, Mark Kellogg, and Scott Hartman.  School of Music faculty members, Lisa Bontrager, John Daniel, Martin Erickson, and Dan Yoder have also performed with the trombone choir along with faculty members from the Ithaca School of Music and the Eastman School of Music.

The trombone choir/studio class format also allows Professor Lusk an opportunity to address issues that pertain to the general studio.  These masterclasses deal with all aspects of trombone performance and musicianship.  The class time is often used to present other guest artists in various masterclass settings.

The studio class aspect gives the students a chance to perform for and with one another in a more chamber-like setting.  This invaluable experience allows for the constructive criticism and additional performance opportunities every musician needs to improve.

This format will on occasion be used to incorporate trombone chamber music ensembles, orchestral section playing, and/or trombone jazz ensembles into curriculum of the students.   



Syllabus
For
Trombone Choir/Studio Class
Fall Semester 2000

September 11  4:00-10:00 Recital/Introduction/Reception
September 18  6:00-8:00 Rehearsal
September 25  4:00-6:00 Rehearsal
October 2  4:00-6:00 Rehearsal
October 9  4:00-6:00 Rehearsal
October 16  4:00-6:00 Rehearsal
October 23  6:00-8:00 Dress Rehearsal
October 24  8:00 Concert at PSU
October 30  4:00-6:00 Rehearsal
November 6  6:00-8:00 Rehearsal
November 13  6:00-8:00 Rehearsal
November 20  6:00-8:00 Rehearsal
December 4  Studio Recital at PSU
December 8  12:00-12-30 Bach’ Lunch

Event in bold type are required, and considered as exams.

  • All rehearsals will be in Room 128 in Music Building II.
  • Concert dress is tuxedo for the men, or dress black for the ladies.
  • You are expected to be prepared and ready to play at the scheduled time.
  • That includes a pencil, mutes, or additional instruments as they are required.
  • If you are not going to be at a rehearsal for any reason you are to let Professor Lusk know before the scheduled rehearsal.  Professor Lusk may be reached at 574-2155,863-4415 or marklusk@psu.edu.
  • Unaccounted for absences will substantially affect your grade.  Unexcused absences will result in automatic lowering of your grade.
  • You are expected to perform to the best of your ability, and to transfer from week to week the progress and lessons learned during the course of each rehearsal.