Part One: A General Discussion of My Pedagogical and Musical Philosophy

I began my orchestral career as principal trombone of the Royal Opera of Turin, Italy which I
held for one season before winning the principal position in the Munich Philharmonic, which I
held for 13 years. In 1992 I accepted a professorship at the Musikhochschule Euregio Bodensee,
in Trossingen , Germany . I have worked as a Professor of Trombone for the last 14 years. I
first began seriously teaching when I founded the International Trombone Camp (ITC) in 1987.

I began teaching due to the serious need Italian and German students had for useful information
and good pedagogy. The low level of playing was appalling. It was heartbreaking to see young
people, many highly gifted, floundering without a clue about how to get better. The ITC drew a
wide range of idea-starved trombonists, from professionals already working in orchestras to
school-age students and amateurs. It was astounding by how many trombonists were looking for
good teaching.

Our original idea for the Camp was to attract top-level orchestral players to teach
while they were on tour in Europe . The idea caught on like wildfire and soon our
guests included Charlie Vernon, Jared Rodin, Joe Alessi, Stuart Dempster, Heinz
Fadle, Joe Burnam, Carsten Svanberg, Ron Baron, Bruce Nelson, Thomas Horch, Jay
Friedman, Michael Mulcahy, Jiggs Whigam, various Alexander Technique teachers,
and a well-known German actress and singer. We started an second trombone camp
in Italy , working closely with Joe Burnam and Jared Rodin, while we continued with
the original German Camp. In Italy too, the demand was overwhelming.

Many colleagues began to notice the success of our camps, and they began to start
their own Trombone Camps. After having spent over 10 years putting the ball in
motion, we put the German Trombone Camp to rest. Actually, the introduction of
great teaching by great players had had its profound effect. People saw the value of
good teaching in workshops like the trombone camp. We were no longer needed!

From an aesthetic point of view, my highest priority in playing and teaching is

expression. Expressive music is a combination of good sound and clear artistic
intention. Simply stated, the desire to express ourselves is why we are performing
artists and teachers. Of course there are other elements to playing the trombone, but
they all revolve around the impulse to say something with the trombone.

One difference between my philosophy of playing and teaching and many trombone
teachers is that I do not believe that a good or even great sound is enough. Sound, or
tone, is a good beginning, but not an end in itself. Sound is the medium or the carrier
of the musical intention and not the only end result of doing everything right.

The physical languages of gesture in dance and theater are analogous to musical
phrasing. A dancer must make a phrase with their whole body. An actor must speak
a phrase that is immediately graspable so that the audience can follow the plot. Even
if the presentation of text in a play is technical flawed, it must still be emotionally
perfect. That is the first priority. What is being said must be felt and experienced by
the actor, so that the audience can perceive and possibly share those feelings.

We trombonists must create phrases with our whole bodies as well. That doesnt
necessarily mean we literally move the whole body. It is more the idea that we
makemusic with our whole selves: body, mind, spirit. Total engagement. This cannot
be faked.

My teaching involves developing trombone technique without severing the complete

gesture of music from our being, the heart and soul. Technique separated from music
creates deadness in the player and deadness in the listener. It is our responsibility to
make sure our musical ideas are alive and coming from a deep, connected place in our
mind. Otherwise we not only disappoint and possibly harm the listener, we counterfeit
the power of music. This is something like a sin, or at least a pointless
transgression, in my way of thinking.

I also place a great deal of emphasis on developing the art of listening. The quality of
our ability to really listen is what integrates all of the elements needed for great
performance. If I deeply listen to my students they will deeply listen to themselves. If
they deeply listen when they perform, they will be deeply listened to. True
communication will happen.

Deeply listening to ones sound will develop that sound. Deeply listening to ones articulation
will clarify ones articulation, and so on. Through mindful repetition we develop
proficiency. The imagination holds the desired result in the minds ear and constantly compares
it to what is actually produced outside of us. Each repetition brings us closer to the ideal we
already hear inside. It is this musical imagination that actually does the work for us. It is our
constant guide, singing the way forward in our ear.
Even if it helps clarify our ideas, pedagogical theory is always reductive. There is
nothing cut and dried about my teaching. I respond to the sounds I hear and the total
physical/mental/emotional/spiritual constellation of that human, the student, beside
me.

Regardless of my students abilities, I try to let them know I believe in their humanity,
and their desire to express themselves. This form of respect and acknowledgment
often helps them realize their musical goals. In a sense, I attempt to embody their
future physical/mental/emotional/ spiritual integration as it pertains to playing the
trombone and being a true musician.
As a teacher, I try to prepare the student for a life of teaching themselves. I remind
students not to fall into the confining role of the braver Schueler. It is a barrier to
taking on the responsibility of getting oneself truly educated. For real learning,
students need to develop their own initiative, their own critical faculties, and healthy
self-respect. If they are overly self-critical I help them focus on the positive. If they
are somewhat deluded about their abilities, I put them in situations where they can
compare themselves to others and raise their own standards.

Due to variances in personality, background, culture, and talent, each student

inevitably follows an individual path toward proficiency. Even though students must
strive to master accepted styles, teachers must also help students reach their highest
potential as trombonists without sacrificing the integrity of the true instrument, the
human being.

Part Two: A General Overview of My Four-Year Plan of University-Level Study

The four-year plan below is a guide that presupposes the perfect trombone
student. As we all know, no such human exists. More often than not a student has
clear strengths and weaknesses in their playing and approach to the instrument. The
path of each student is individual.

The core of my teaching involves the use of method and etude books that are time-
tested standards. No matter which direction in the field of music the student chooses,
the basics must be thoroughly covered. I do not hesitate to modify, omit or
supplement exercises or literature with material that supports a students particular
personality, inclinations or musical interests.

The orchestral excerpts in this study plan are listed more or less according to
difficulty.
Not all the important ones are listed. They are only meant as examples for a more
thorough study of the entire relevant literature. The solos are examples of literature
for a particular level of playing, but are not meant to be hard and fast rules

First Year:

Legato Studies, Sound Development:

Bordogni/Rochut Book I

Technique and Articulation:

Ability to perform all major and minor scales and arpeggios in at least 2 octaves.
Kopprasch, Vol. I
 Arban, Complete Method for Trombone
Gaetke, 32 Tgliche Lippen-und Zungenuebungen
Schlossberg, Daily Drills and Technical Studies
Tyrell, 40 Progressive Studies for Trombone in Bass Clef
Mueller, Technical Studies
Sightreading preparation, orchestral prep:
Blahzevich Clef Studies
Bordogni/Rochut in clefs

Range building:
Charles Vernon, The Singing Approach to the Trombone
Donald Hunsberger, Remington Warm-up Studies
Blume/Fink, 36 Studies for Trombone

Flexibility:
Charles Colin, Flexibility Studies in 3 vol.
Branimir Slokar, Flexibilities

Orchestral Excerpts:
Mozart: Tuba Mirum solo
Rossini: La Gazza Ladra
Berlioz: Hungarian March
Wagner: Ride of the Valkyries, 3. Act Lohengrin, Tannhaeuser,
Saint-Saens: 3.Symphony
Rimsky-Korsakoff: Russian Easter Overture

Solos: Morceau Symphonique, Gulimant ; Elegy fuer Mippy II, Bernstein ;

Romance, Ewald; Andante et Allegro, Barat; In a Reflective Mood, Nestico; La
Femme a Barbe, Bergmans; Hommage a Bach, Bozza; Sonatas by Marcello,
Vivaldi, Haendel, Galliard.

Second Year

Legato Studies, Sound Development:

Bordogni/Rochut, Book II

Technique and Articulation:

Major and Minor scales and arpeggios in two and three octaves, legato, staccato.
Whole tone scales, modal scales, chromatic scales
 Kopprasch, Vol. II
Arban, Complete Method for Trombone, (incuding double/triple tonguing)
Schlossberg, Daily Drills and Technical Studies
Sightreading preparation, orchestral prep
Blahzevich, Clef Studies
Bordogni/Rochut in clefs
Blahzevich Sequences (Rhythm, clefs, concentration)

Range building:
Charles Vernon, The Singing Approach to the Trombone
Tom Ervin, Rangebuliding on the Trombone
Bordogni/Rochut in tenor and alto clef

Flexibility:
Charles Colin, Flexibility Studies in 3 vol.
Branimir Slokar, Flexibilities

Orchestral Excerpts:
Strauss, Till Eulenspiegel, Ein Heldenleben,
Brahms, 1. Symphonie, Symphonic Metamorphosis,
Hindemith, Mathis der Maler
Tchaikowsky, 4, 5, 6 Symphonies
Mahler, 3., 5, 6 Symphonies
Bruckner, 3, 4, 5 Symphonies
Stravinsky, Firebird
Verdie, Othello

Solos:
Serocki Sonatine; Hindemith Sonata; David Concertino; Weber Romance; Sulek
Sonata Vox Gabrieli; Rimsky-Korsakoff Concerto; Blahzevich Concert Sketch
No. 5 and Concerto No. 2; Prior, Bluebells of Scotland, and Thoughts of Love;
Bozza Ballade; Frescobaldi Canzonas; Haendel Sonata in a-moll; Wagenseil
Concerto

Third Year

Secondary Instruments:
Alto trombone, Bass Trumpet, Tenor Tuba and/or Bass Trombone or Contrabass
Trombone may be introduced according to talent and abilities of student.
 Legato Studies, Sound Development:
Bordogni/Rochut Book II, III

Technique and Articulation:

Major and Minor scales and arpeggios in two and three octaves, legato, staccato.
Whole tone scales, modal scales, chromatic scales
Bitsch, 15 Etudes de Rhythme
Bach, Cello Suites
Telemann, Solo Sonatas
Schlossberg, Daily Drills and Technical Studies
Sightreading Preparation, Rhythm, Orchestral Prep:
Changing Meter Studies
Bordogni/Rochut in clefs
Bona, Rhythmical Articulation

Range building:
Charles Vernon, The Singing Approach to the Trombone
Tom Ervin, Rangebuliding on the Trombone
Bordogni/Rochut in tenor and alto clef

Flexibilities:
Charles Colin, Flexibility Studies in 3 vol.
Branimir Slokar, Flexibilities

Orchestral Excerpts:
Strauss Till Eulenspiegel, Ein Heldenleben,
Brahms 1. Symphonic Metamorphosis,
Mathis der Maler, Tchaikowsky 4, 5, 6
Mahler 3., 5, 6, Bruckner 3, 4, 5, Stravinsky Firebird,
Verdi Othello, Rossini William Tell,

Solos: Serocki Sonatine, Hindemith Sonata, David Concertino

Weber Romance, Sulek Sonata Vox Gabrieli, Rimsky-Korsakoff Concerto,
Blahzevich Concert Sketch No.5, and Concerto No. 2, Bluebells of Scotland,
Thoughts of Love, Bozza Ballade, Frescobaldi Canzonas, Wagenseil Concerto,
Persichetti Parable

Fourth Year
 Legato Studies, Sound Development:
Bordogni/Rochut Book II, III
Schubert, Schumann, Mahler, Brahms, etc. Lieder

Technique and Articulation:

Bitsch 15 Etudes de Rhythme
Bach Cello Suites
Telemann Solo Sonatas
SchlossbergDaily Drills and Technical Studies

Sightreading preparation, Rhythm, Orchestral prep:

Changing Meter Studies
Bordogni/Rochut in clefs
Bona Rhythmical Articulation
Clef Studies Ralph Sauer

Range building:
The Singing Approach to the TromboneCharlie Vernon
Bordogni/Rochut in tenor and alto clef
High Range Exercises Norman Bolter

Flexibilities:
Lip Flexibilities--David Wilkin

Orchestral Excerpts:
Ravel Bolero, LEnfant et les Sortileges,
Berg, Wozzeck, Lulu, Orchestra works, 2, 3, 4. Brahms, complete
Bruckner Symphonies, Mahler, Berlioz Symphonie Fantastique,
Verdi Operas, Pfitzner Operas, Bartok Miraculous Mandarin,
Stravinsky Pulcinella, Rite of Spring, Shostakovich, Prokofieff Symphonies,etc.

Solos: Tomasi Concerto, Grondahl Concerto, Martin Ballade,

Albrechtsberger Concerto, Bourgeois Concerto, Creston Fantasy,
Leopold Mozart Concerto, Berio Sequenza V, Crespo Improvisation
Nordheim Hunting of the Snark, Brahms Vier Ernste Lieder, Rabe Basta
Scelsi Tre Pezzi

Part Three: Cures for the Young Trombonist

In this section, I list my approaches to specific problems students often have. Instead
of listing a sequential plan of study, this part of my pedagogical philosophy is devoted
to specific issues. These include sound, legato, intonation, breath support, technique,
rhythm, musical expression, tension, stage fright, and auditioning.

Sound:
1.Breathing exercises such as Breathing Gym, breathing tube work, Jacobs
machines such as the Breath Builder (w/pingpong ball inside), the Inspiron (the
little white ball inside) and the Voldyne.
2. Mouthpiece solfeggioexactly in tune, gentle buzzing of music without use of
tongue.
3. Alexander Techniqueregular lessons help free up ability to learn new things
and not fall into same old fruitless patterns of body/mind endgaining
4. Voice lessons
5. Sometimes playing a little bass trombone, euphonium or even dijeridoo can
rewire the circuits so that the student can then return to the trombone with a
slightly different approach and perspective
6. Listening to great singers
7. Playing in octaves with tuba and/or just playing duets with a good tubist

Legato:
1. Glissando scales such as in Arban. Then adding a very light dah/doh tongue to that.
2. Singing the pitches but moving the slide in such a way that the sung legato is
preserved. ( Ex. 1st Pos. f to 4th Pos. g and back). Timing is made visible. The g is
reached on time or not and so forth.
3. Singing everything before and between playing it.
4. Slow, soft, meditative legato scales
5. Think of blowing a bit more between the note change
6. Remember that the slide must move as quickly as the legato tongue can say
dah.
7. Yes, it is possible to move the slide too fast. Slide must be coordinated with air and
tongue.
8. Yes, it is possible to move the slide too slowly. Move the slide so as not to disturb the
sound in any way.
9. Pretty much same cures for legato as for sound.

Intonation:
1. Faulty intonation is almost always related to inferior sound so anything that will foster
better listening will help. The student may need to practice recalling and imagining
sound in general.
2. Student must study a precise slide position chart
3. Mouthpiece buzzing solfeggioright on pitch, perfectly centered, in unison with piano if
necessary
 4. Tune Upcd program
5. Alexander Technique can help student let go of slide arm tension which is often a factor
6. Singing everything
7. Tuning Bflat with piano by glissando-ing to and from 5th pos. like a string player then
comparing found note to 1st pos. Bflat. Must be done with slide, not lips!

Breath Support:
1. Same as sound development
2. Aerobic exercise very helpfuljogging, swimming, biking, tennis, etc.
3. Yoga and its particular breathing disciplines
4. Denis Wick Practice Mute workBlack Medicine Denis Wicks cure for weak
blowing is to have student put mute in and play as loud, long, centered and stable as
possible low G, Gflat and F several times each. When the resistance of the mute is
removed, voilaa big sound is effortlessly achieved.
5. Take almost any etude and put in sudden, extreme dynamic changes

Technique:
1. Student must play in slow motion so that the brain can be aligned with the slide
movement. If the student can play a passage perfectly slowly then they can play it faster
with very little trouble.
2. Getting a nice flow to scales, arpeggios
3. Playing easy etudes and scales with metronome at an relaxed pace
4. Understanding the theory of what is being attempted: ex. C Major chord going to G major
then to etc., etc.
5. Dont play from the shoulder but lead the slide with the fingers. Again, Alexander
Technique is very helpful with body awareness and movement efficiency.

Rhythm:
1. Play in a jazz ensemble.

2. March or dance around the room singing the music

3. Know that you are creating the rhythm not following along some memory of it
4. Clap out the rhythm while singing
5. Subdivide everything, even warm-ups
6. Play with metronome for the first hour or so of practice

Lack of Musical Expression:

1. Sing it
2. Make gestures that follow the line of the music or even better, dance to it.
3. Voice lessons
4. Ask student what their absolute favorite music ishave them play it, sing it
5. Playing melodies by heart
6. Free improvisation
Tension:
1. Develop a mental ritual just before taking a breath and starting to play
2. Regular exercise, yoga, Alexander Technique, Autogenes Training, meditation
3. Tense up whole body as much as possible and hold for 10 sec. then suddenly release all
tension and shake it out
4. Breathing exercises, use of breathing machines as mentioned above
5. Get enough sleep, stop drinking coffee, tea, cocoa, cola and chocolate and see if it helps
6. Try being more organized, plan ahead, allow time for walks and adventures
Stage Fright/Audition Angst:
1. Do as many mock auditions as possible
2. Play in public as much as possible or at least for friends, colleages, family. Play in
church, play for the elderly, play outdoors on the street. Also play for scary people,
enemies and the utterly disinterested. This will really toughen you up.
3. Record yourself often. Listen to the recording when you are in a good mood and pretend
you are listening to someone else. That way you can be more objective.
4. Ask for honest feedback whenever you play from all kinds of people. Sometimes a
complete stranger or non-musician can give you a great gift of insight on your playing.
5. Be over-prepared. Do everything you think you need to do in order to be ready. Know
the music deeply. Memorize it if possible. With excerpts, know the whole piece, study
the scores, play along with cds. Be able to play through your whole program at least
twice a day without getting tired.
6. Slow down your breathing. Count to 8 while inhaling and 8 exhaling. Be sure you are
emptying your lungs out. Just concentrating on inhalation can cause hyperventilation,
lightheadedness and weakness.
7. Mentally create the entire process of going to the audition, warming up, waiting for your
turn, hearing yourself play great, etc. Remember to be in your body while visualizing
this and to bring in all the senses: sense of air temperature and humidity, smell, touch
(ex.how does the instrument feel in your hands?), hearing, where you are going to focus
your eyes if you are playing by memory, or if you will close them, i.e. pre-experience the
audition as often as you can and by the time you actually play it, it will feel familiar and
routined because the brain cannot distinguish the vividly imagined from the real. It is all
real to the brain.
8. Get into the music, sing your audition and you wont have time to get nervous
9. Dont confuse excitement about performing with stage fright. If you dont feel your heart
beat a bit faster, you hands get cooler and butterflies in your stomach then you are
probably already dead and shouldnt be playing anyway. Just make sure that the energy
gathering in your body is welcomed and that it is channeled into the absolute best you can
do.
10. Dont let mistakes or chipped notes throw you. How you handle these situations will tell
the jury or the audience what your priorities are. If you are unfazed then they will know
your intention is to take them with you on your musical journey. If you lose you
concentration, get angry or show inappropriate emotional reaction, they will know it is all
about you and not the music and certainly not about them, the listener.
11. Have clear goals before going on stage. Keep it simple. For example: I am going to
show them how beautiful this Mahler solo is and how it will sound when I am playing
with them in their orchestra. Inwardly scan your body for tension and gently release
it. Keep your neck free, your shoulders widening and your breath free, rhythmic and
deep. Make sure your feet and toes are relaxed and not grabbing the floor. Stay focused
on the music and the joy it will create.