My Trombone Teaching Philosophy

By Prof. Abbie Conant

January 15, 2007

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

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

Part Three: Cures for the Young Trombonist

This webpage is also available in German and Italian.

In this article, I discuss my pedagogical and musical philosophy for the trombone in three parts.  The first is a general description of my philosophy.  The second is a four-year plan outlining the general concepts, etudes, methods, and literature I often use to educate university-level trombone students.  The third part, “Cures for the Young Trombonist”, outlines some of the literature and concepts I used to approach specific problems students often experience.

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 doesn’t necessarily mean we literally move the whole body.  It is more the idea that we make music 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 one’s sound will develop that sound.  Deeply listening to one’s articulation will clarify one’s articulation, and so on.  Through mindful repetition we develop proficiency.  The imagination holds the desired result in the mind’s 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 student’s 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 Tägliche 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

Schlossberg—Daily 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 Trombone—Charlie Vernon

Bordogni/Rochut in tenor and alto clef

High Range Exercises Norman Bolter

Flexibilities:

Lip Flexibilities--David Wilkin

Orchestral Excerpts:

Ravel Bolero,  L’Enfant 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, Jacob’s “machines” such as the Breath Builder (w/pingpong ball inside), the Inspiron (the little white ball inside) and the Voldyne.

2. Mouthpiece solfeggio—exactly in tune, gentle buzzing of music without use of tongue.

3. Alexander Technique—regular 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. 1^st Pos. f  to 4^th 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 solfeggio—right on pitch, perfectly centered, in unison with piano if necessary
4. Tune Up—cd 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 5^th pos. like a string player then comparing “found” note to 1^st pos. Bflat.  Must be done with slide, not lips!

Breath Support:

1. Same as sound development
2. Aerobic exercise very helpful—jogging, swimming, biking, tennis, etc.
3. Yoga and its particular breathing disciplines
4. Denis Wick Practice Mute work—“Black Medicine”  Denis Wick’s 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, voila—a 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. Don’t 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 is—have 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 won’t have time to get nervous
9. Don’t confuse excitement about performing with stage fright.  If you don’t feel your heart beat a bit faster, you hands get cooler and butterflies in your stomach then you are probably already dead and shouldn’t 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. Don’t 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.