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Douglas Yeo performs Stereogram No. 37 in recital at Indiana State University in Terra Haute

On Wednesday, September 22, 2010, Doug Yeo performed Stereogram No. 37 (”’Tis so Sweet to Trust in Jesus”), in a concert he shared with the Indiana State University (ISU) trombone choir.  While Stereograms Nos. 1-30 contain all original material, many of the Stereograms numbered from 31-50 are variations, etudes or arrangements based upon the music of other composers.  Stereogram No. 37 is based on the old hymn tune ”’Tis so Sweet to Trust in Jesus.”  This is the second stereogram dedicated to Mr. Yeo, the first, No. 31, is based upon the hymn tune “How Great Thou Art” and may be down-loaded for free from his website, and viewed on youtube.

Mr. Yeo writes of No. 37….

“I am in Terre Haute, and will be playing your “ ‘Tis So Sweet” tonight at my recital.  It is the perfect vehicle for a casual moment in the program while the piano is being rolled off stage to set up for a solo with trombone ensemble.”  Many performers who present Stereograms have used them as encores, or in ‘ad hoc’ suites of Stereograms. Doug Yeo writes of his innovative approach:  “Another idea is to play a recital and add one of your Stereograms between each of the larger pieces on the program.  I heard a J. J. Johnson album once that put short – 30 second to 1 minute – classical pieces (arranged in jazz mode) between longer songs.  Certainly there are many ways to use your pieces, most importantly as study materials.”

Mr. Yeo’s final post:

“Your Stereogram 37 was very well received this evening at my recital.  I had a great time playing it and will use it again in the future. It just worked out to have just the right way and place to play it today.  Thanks again for the piece.”

Try Stereogram No. 37A, as well!
https://davidbrubeck.com/2013/10/stereogram-no-37a-free-bass-trombone-music-a-reprint-from-the-trombonist-of-the-british-trombone-society/

At the invitation of Tony Brickens and Jon Bohls, I was privileged to perform as a bass trombone solo artist at the 2010 ITF.  My program focused on the performance of my compositions entitled “Stereograms”, and the musical journey they inspired-examining and re-imagining the bass trombone from different perspectives.
The program is available for download.

C. 2011 David William Brubeck      All Rights Reserved.      davidbrubeck.com

Arnold Jacobs claims to play two tubas at once, and does. As he says, he plays the tuba in his hands and the tuba in his head. Focusing the act of performance on the stimulus provided by the musical imagination is the key to the latter part of the famous Jacobs saying “Wind and Song.” To put it simply, he advocates that one sing a song in ones head while playing. “Make a statement!”, he would admonish his class, “Don’t ask questions!” Stating that brass instruments are “stupid”, he relates that one can only get out of a brass instrument what one puts into it. Unlike a piano-which one could approach with the question “What note is this?” then touch that key and receive a discrete and definitive answer-a brass instrument is liable to give any number of pitches depending on the input of the performer.

Of the three components of musical sound-vibration, motor activity, and resonance-a brass instrument provides only resonance, whereas a piano provides all but motor activity. Thus the tune (or vibration), must originate from the brain of the player in the form of pitch, and not just valve combination or slide position. Students can achieve this by practicing buzzing on a mouthpiece or by literally singing the melody they are about to perform. In addition to ones mind holding the goal of excellent musical performance, it must contain a sense of pitch which can overcome the inherent “stupidity” of a hunk of brass as well.

A study of the teaching and learning techniques of Arnold Jacobs finds them to be as innovative and inspiring as they are effective. Since much of his pedagogy deals with the process of acquiring new habits, Mr. Jacobs has utilized several psychological processes in altering stimuli to achieve desired responses. Believing that one can learn more rapidly and more comprehensively when as many of ones faculties are brought to bear as possible, Mr. Jacobs favors a multi-sensory approach to learning. Careful to direct the flow of multi-sensory input, Arnold Jacobs emphasizes that students should focus upon their performance rather than themselves, emphasizing product rather than process. Though exaggeration is a popular tool for many teachers, Mr. Jacobs uses it to his advantage to make clear distinctions between subtle variances. In addition to all of these insightful approaches, he applies his warm and caring manner, devoted attention, and considerable charisma to each student.

“Once something is learned, it is learned forever,”  is a concept that Mr. Jacobs uses to begin his explanation of alternate learning habits. Citing that it is better to form a new correct habit than try to alter an old, bad one, Mr. Jacobs says that a previously conditioned response will persist unless the stimulus which elicits it is altered. “Strangeness is good,” is the beginning of the process in which a student is made unsure by something different in approach, sensation or activity. It is this strangeness, or altered stimulus, which is then used to elicit the desired response, sidestepping the previously conditioned incorrect response.

For example, in order to change the preconditioned responses elicited in a student when playing his or her instrument, Mr. Jacobs will simply remove the musical instrument and have the student blow on the back of the hand, buzz on a mouthpiece, or breathe into a strange apparatus. By conditioning the correct response away from the horn, it is then transferable to the instrument. This offers the additional benefits of keeping exercises from dulling musical passion, enhancing strangeness, allowing a multi-sensoral approach, and avoiding previously conditioned baggage. Most importantly, this additive approach keeps players from having to go back to square one on their instruments-particularly valuable for professional players who must maintain a busy schedule. Thus instead of altering a bad behavior, Mr Jacobs advocates that one simply learn a new correct behavior to supplant it by changing stimuli and eventually transferring the response back to the horn. Meanwhile, the old, undesired behavior will extinguish itself from lack of use.

A key element here is Mr. Jacobs multi-sensory approach. Stated simply, this is the theory that by experiencing something with more than one sensory capacity, or in more than one way, one will achieve greater understanding. Mr. Jacobs directs his students to see the effects of their air as it suspends a ping-pong ball in a tube, or as it inflates a breathing bag. They are encouraged to feel their breath as wind passing over their lips, or as air blown on the back of their hand. He inspires them to hear the particular sound of proper inhalation. In addition, Mr. Jacobs often encourages a kind of artificial “proprioception”.   Since one cannot actually feel ones air after it has left the body, Mr. Jacobs has many students move a hand in and out as if it were being sucked in and out by the breathing-as if it were the air itself. Similarly, since one can not actually feel ones diaphragm within the body (though it is possible to feel its effect by internal displacement, or by the use of sensory nerves around it but not within it) he might have a student move a hand up and down under the sternum, thus simulating the movement of the diaphragm inside. This surrogate moves in sympathy with its original. As in the previous multi-sensory approaches, this allows an additional perspective and experience which enhances the speed and depth of comprehension. It is important to remember that these approaches are merely tools, and that Mr. Jacobs soon refocuses the student upon musical thought.

Mr. Jacobs seems to view exaggeration as particularly valuable in the applied studio, where a slight change can have a tremendous effect. When dealing with the subtle aspect of pedagogy, he often finds it necessary to polarize two shades of grey until they are black and white extremes. Often the difference between the right way to do something and the student’s current attempt is very slight, but the student is unable to recognize the difference. In one particular instance, Mr. Jacobs instructed a student to pronounce ‘Kee-Tee-Yee’, and then take a breath, followed by ‘Oh-Ah-Ooh’ and a breath. This illustrates the two extremes of oral cavity resistance. The slight difference between the A sound as in “day”, is difficult to distinguish from the syllable ‘Ah’, though it marks a significant contrast in ones tone on a brass instrument. However, one can easily feel and hear the vast distinction between ‘Eee’ and ‘Ooh’.

Part 3 of Song and Wind: The Pedagogy of Arnold Jacobs, by David William Brubeck

“When David Brubeck’s ‘The Pedagogy of Arnold Jacobs’ first came out, I was at Mr. Jacobs’ home.  He was very impressed about it and had me read it on the spot.  As usual, Mr. Jacobs was correct, it was an outstanding article that I eventually quoted half a dozen times in ˜Arnold Jacobs: Song and Wind”.  David Brubeck did a fantastic job and this is a must-read for anyone interested in the teachings of Arnold Jacobs.” Brian Frederiksen

Originally published in the TUBA Journal, Fall 1991 Volume 19, Number 1.

Photo of Arnold Jacobs courtesy of www.windsongpress.com

C. 1991 David William Brubeck  All Rights Reserved.  www.davidbrubeck.com

Author’s note (1991)
It is impossible to capture the essence of such a powerful and influential teacher as Arnold Jacobs in print, let alone in the limited space available here. However, insight into the techniques and philosophies of this great teacher can prove a valuable complement to the precious few texts written by or about Mr. Jacobs. As with any teaching method, there is a danger of misinterpretation by those who would seek to superficially garner a nugget here and there without understanding the underlying principles and objectives. Perhaps that fear is what has kept the eloquent Mr. Jacobs from publishing a text of his own. Despite this risk, I feel that the tremendous value of this information, and its scarcity in print, justify this outline of his pedagogy. The contents of this paper are based upon my participation in two separate master-classes with Mr. Jacobs (one in South Florida, and another one at Norhtwestern University); reading of nearly everything available about or by him; attending Northwestern University for three years when he was a faculty member, and subsequently a retired faculty member; and discussions of his teaching techniques with many of his students and other musicians both in and out of the Chicago area. This article is dedicated to the memory of Arnold Jacobs.

Arnold Jacobs is primarily known as an excellent performer. In his long and illustrious performing and recording career with the Chicago Symphony Orchestra, with its brass quintet, and as a soloist, he has touched millions of listeners over several generations. Others may know Mr. Jacobs chiefly through his theories on breathing and pulmonary function. To medical supply companies, professionals in medicine, and scholars alike, he is a gifted investigator and knowledgeable scientist. Despite these impressive credentials, it could be said that his greatest achievement has been through his teaching? With unparalleled success, and encompassing all types of wind instruments, Arnold Jacobs’ students are some of the finest wind players in the world. Many attribute all or a large part of their success to Mr. Jacobs, a man many consider to be the greatest brass teacher of all time.

Though most widely known for his breathing expertise, Mr. Jacobs is quick to point out that music comes first, last, and always. He commonly draws one conclusion from his experience teaching students from all over the world,: “They lack artistry.”  He believes that training a musician should not merely be the training of an instrumentalist, but the training of a great artist as well. Emphasizing to students that sound is their medium, Mr. Jacobs encourages them to become expressive and interpretative or to become “story tellers of sound.”   By providing them with goals of excellence, creative imagery and an excellent set of ears, he sets for his students the highest standards possible. Perhaps the most important musical concept is the latter part of his famous phrase “Wind and Song”, where students are encouraged to sing the music in their heads while they are playing, as they would like to hear it played.

Close your eyes and imagine the greatest tuba sound in the world. As you describe it, words such as “full”, “warm”, “dark”, “round”, or “clear”, may come to mind. Now imagine this “world’s greatest tubist” playing the phrase that sits on the music stand before you. Continue to hear this player’s version as you play it, concentrating on that version, rather than yours. This, in a nutshell, emphasizes Mr. Jacobs’ belief that musical thought and tone should be the impetus for performance, and that methodology and technique are, of necessity, their by-product. Thus by providing an excellent musical stimulus of the ideal performer, many other aspects of playing will fall into place.

Advocating that the finest quality is what one should intend, Mr. Jacobs insists that habits should be formed based upon excellence. By using imitation, and the creative imagination of excellence, these high goals are established. “Play it like Bud Herseth would”, is a common command Jacobs gives to trumpet students. This begs them not only to recall an excellent example, but also to apply their imagination of it to the piece of music at hand. By flooding their mind with this excellent example, they cannot help but improve what comes out of the bell.  “Is that the best note you can play?”,  he sincerely asks another student. Then he urges them to pretend that every note is worth one hundred dollars, and instructs them not to play any more ten-cent notes.

Noting that the middle of a trumpeter’s long tone is excellent, Mr. Jacobs encourages the student to imagine and then achieve that excellence at the beginning of the tone as well. Thus, he emphasizes the sound and not the attack noise, saying that a short note should be just like a slice out of the middle of a long tone. Insisting that extra MUSICAL attention be given to the notes at the beginning of phrases, Mr. Jacobs deals in terms of the ideal sound and imagined goals rather than tongue placement or function. Always speaking in terms of quality tones, and not long tones, Mr. Jacobs espouses creating excellence in the middle register and expanding it to other registers of the horn.

Many of Arnold Jacobs’ students recount similar stories of spending an entire lesson perfecting a single phrase, with the explanation that a performer must pay attention to every note in a phrase as well as the big picture. Though the listener senses the phrase direction, the performer must attend to every note to shape this. By setting this high standard, elevating the students’ expectations and helping them focus on the stimulus of the goal in their brain, Mr. Jacobs inspires them to excellence in the brain even if There is mediocrity in the lips. With his guidance, the two will eventually match.

Part 2 Song and Wind: The Pedagogy of Arnold Jacobs, by David William Brubeck

“When David Brubeck’s, ˜The Pedagogy of Arnold Jacobs’ first came out, I was at Mr. Jacobs’ home.  He was very impressed about it and had me read it on the spot. As usual, Mr. Jacobs was correct, it was an outstanding article that I eventually quoted half a dozen times in ˜Arnold Jacobs: Song and Wind”.  David Brubeck did a fantastic job and this is a must-read for anyone interested in the teachings of Arnold Jacobs.”  Brian Frederiksen

Originally published in the TUBA Journal, Fall 1991 Volume 19, Number 1.

Photo of Arnold Jacobs courtesy of www.windsongpress.com

C. 1991 David William Brubeck  All Rights Reserved. davidbrubeck.com

A. What are the three principal types of harmony discussed?

B. What is their historical order?

C. Define, provide a diagram and an example for each.

D. Discuss the beginnings of opera.

E. What is recitative?

F. What is word-painting?

G. Why was Palestrina so significant

1.  “Amazing Grace” 

2.  “Frere Jacques”, traditional

3.  “Little Fugue in g minor”, by Johann Sebastian Bach

4.  “Good Vibrations” by Brian Wilson and Mike Love

5.  Scotland the Brave

6.  “Norwegian Wood”, John Lennon and Paul McCartney

7.  “Take the ‘A’ Train” Billy Strayhorn and Duke Ellington

8.  Gregorian Chant, Santa Domingo de Silos

9.  Medieval Polyphony
Leonin, Organum Duplum

10.  Perotin, Organum Triplum

11.  Machaut, “Messe de Notre Dame”

12.  Renaissance Madrigal
Thomas Weelkes, As Vesta Was Ascending

13.  Renaissance Motet
Giovanni Palestrina, Mass for Pope Marcellus

14.  Andrea Gabrieli, “Ricecare del Duodecima Toni”

15.  Hymn from the Renaissance
Martin Luther, A Mighty Fortress is Our God

16.   Baroque Oratorio in English, by the German Master HandelGeorge Frederic Handel, “Hallelujah” from The Messiah

17.  Baroque Cantata
Johann Sebastian Bach, Cantata 140

18.  Romantic Art Song
Gretchen and the Spinning Wheell, by Franz Schubert

The Erlking

19.  From Turandot by Giacomo Puccini, “Nessun Dorma”

20.  Benjamin Britten’s “Young Person’s Guide to the Orchestra”

21.  Romantic Opera Aria
Georges Bizet, “Habanera” from Carmen

Romantic Opera Overture
Georges Bizet, Overture to Carmen

1. Brass Quintet: Trumpet 1, Trumpet 2, French Horn, Trombone and Tuba

2. Woodwind Quintet: Flute, Oboe, Clarinet, French Horn, Bassoon.

3. String Quartet: Violin 1, Violin 2, Viola & ‘cello.

4. Piano Trio: Piano, Violin & ‘cello.

5. Piano Sonata, “Moonlight”.

6. Violin Concerto: Mendelssohn in E minor, 3rd movement.

7. The Swan.

8. The Aviary.

9. Elephants.

10. The Aquarium.

11. Soprano aria.

12. Mezzo soprano aria.

13. Alto aria.

14. Tenor aria.

15. Baritone aria.

16. Bass

17. Another Baritone of note.

18.  An Opera overture of note.

1. Austrian “Papa” Haydn wrote a theme and variation on what would become the German National Anthem.
Please begin listening at 5 minutes in…

2. B. B. King, a master of the blues, explains why “The Thrill Is Gone“..

3. Mozart moved from Salzburg to Vienna, the city of musicians, to pursue his musical fortune and challenge the rules of patronage. A gifted violinist, virtuoso pianist, and brilliant composer, Mozart’s piano sonatas are delightful.

4. Beethoven’s life is an inspiring testimony to human potential and the determination of a single individual to face adversity and respond with beauty. His 5th symphony is a fantastic demonstration of motivic development.

5. A modern composer, Sergei Prokofiev, created a musical masterpiece based on the literary masterpiece “Romeo and Juliet” by William Shakespeare.

6. Could this be the most passionate sonata ever?

7. In this Symphony No. 40, Mozart utilizes the FSDF organization of movements, and prominently features Sonata form throughout. Classical Symphony

8. “The Moldau” is a Romantic Program Symphony, which is also referential.

9. Through-composed form is quite rare, but filled with variety.

Please note: no endorsement is made of any advertisements associated with any video.

10. Please be able to explain and give examples of each of the following:
AAA, AABB, AABA, ABCD, ABACADA, A A1 A2 A3

BONUS—Mouret’s Rondo/Rondeau/Rondeaux as performed by the world famous Canadian Brass.

11. What is basso continuo? Why do you think the addition of the second instrument was helpful? What makes this ‘cello so unusual?

12. Moonlight in Vermont.

13. Viola da gamba???

Timbres of Interest
A. The bass clarinet is a larger, deeper clarinet which plays a lower solo than the Bb clarinet solo which follows. Other interesting instruments include the keyboard introduction, a celeste, and an oboe solo. The bass clarinet has a metal bell attached and usually rests on the floor.

B. J. S. Bach played the clavier, harpsichord and organ, but did not care for piano. Harpsichord gives his Well Tempered Clavier a very different sound than does piano.

C. The organ, is known as the “king of instruments”, and sustains pitches by use of air forced through different types of pipes (or by electronic imitation of these sounds). “Pulling out all the stops” may refer to an organist actuating all his pipes. How many keyboards are there?

Jazz Music Appreciation

Videos of Interest III, Three, 3!

1.  Cool Jazz and West Coast jazz were similar developments in jazz. While the West Coast jazz musicians sought to imitate Bebop more directly, Cool Jazz Music often featured darker timbres, more arrangements, less frantic tempos, and greater use of space than did Bebop.  There is more than a little similarity between Cool Jazz musicians imitating Charlie Parker and Bebop and the Chicago School imitating Louis Armstrong and his contemporaries.  Many Cool players seem to imply some formal structure in their solos, and their efforts are sometimes described as telling a story. Frankie Trumbauer, of the Chicago School, was among the earliest cool style players. It was Trumbauer who inspired the “President” (Prez.) of Saxophone players-Lester Young.

Frankie Trumbauer and his band play “Riverboat Shuffle”, featuring cool style trumpeter Bix Beiderbecke.

2.  Remember Lester Young’s version of “She’s Funny That Way”, that was used by Kurt Elling to inspire one of his vocalise?  (Remember Kurt Elling’s two favorites?  Lester Young and Paul Desmond.)  Here’s Lester with the Oscar Peterson Trio playing the classic from the American Song Book-“On the Sunny Side of the Street”

3.   Bix, Lester and Frankie are not from the Cool period, 1949-  , but they certainly served to inspire the sound of the era.  Important Cool/West Coast players include genius trumpeter Miles Davis, pianist Dave Brubeck, alto saxophonist Paul Desmond, bari sax player Gerry Mulligan and valve trombonist Bob Brookmeyer.  Dave Brubeck scored the number one single in jazz history with “Take Five”, which was written by Paul Desmond and Dave’s wife, Iola Brubeck.  This hit featured a drum solo by Joe Morello which was ACCOMPANIED by the other musicians, and a fantastic solo by Desmond on alto.  

https://www.youtube.com/watch?v=QsHc2IGmk60

4.  Brubeck’s masterpiece may well be his composition “Blue Rondo a la Turk”, where he regroups nine beats from 12 12 12 123 to 123 123 123 and switches to the blues in the middle.  Brubeck’s piano solo features block chords, or solo with up to all ten fingers at once!  This is reminiscent of John Pizarelli’s chordal guitar solo on “I Got Rhythm” with his brother Martin, as well as the shout choruses of Duke Ellington, Glen Miller and Benny Goodman.  Dave and Iola Brubeck introduced jazz to colleges by writing to activities directors at numerous universities and encouraging them to hire the DBQ. For many, this was the first time jazz was allowed on campus, and paved the way for others to follow. It also helped to reinvigorate the popularity of jazz.

Dave Brubeck Quartet’s “Blue Rondo a la Turk”.

5.  Bob Brookmeyer and Gerry Mulligan team up COOL JAZZ

https://www.youtube.com/watch?v=Q61iMnoKkTs

6.  Hard Boppers (1952-    ), led by Art Blakey and Horace Silver, tried to broaden the appeal of Bebop by incorporating elements of Blues, Gospel, Swing and Latin Jazz with amazing soloists like Clifford Brown, Freddie Hubbard, Lee Morgan and Tom Harrell on Trumpet, Curtis Fuller and J J Johnson on Trombone and Wayne Shorter and Bob Berg on Saxophone. They attracted the attention of many jazz and fans.  

Art Blakey’s “Moanin”.

7.  Horace Silver’s group live!

8.  Local South Florida legends Julian “Cannonball” Adderly and Nat Adderly were amongst the greatest!  Check them out with legendary singer Nancy Wilson:

9.  Brazilian Jazz (1959-     ), is inspired by the both Bossa Nova beat invented by Joao Giberto and the traditional Samba grooves of the Yoruba tribe of the Baia region of Brazil.  The compositions of guitarist Antonio Carlos Jobim are considered a national treasure in his native Brazil, and are every bit as beautiful and well constructed as those from the American Song Book.  Jobim’s classic was brought to life by Astrud Gilberto and cool-style tenor-sax man Stan Getz, a major innovator and popularizer of the Bossa Nova & Brazilian Jazz.  https://www.youtube.com/watch?v=sVdaFQhS86E

10.  Rio de Janeiro ids the musical capital of Brazil, and the home of Jobim.  

Ivan Lins and Oscar Castro Nieves sing the praises here of Rio de Janeiro here:

11.  Hermeto Pasquale takes Brazilian jazz in new directions each time he records.  https://www.youtube.com/watch?v=wv9DzwyQacY

12.  The Black eyed Peas have repopularized  Sergo Mendes “Mas Que Nada”

Brazil 66

The original

13.  Motown also began in 1959-       ), and featured young Detroit singers who were polished in finishing school and trained to aspire to nobility.  Founder Barry Gordy recruited Detroit’s finest jazz and blues musicians to form the most successful pop band of all time-“The Funk Brothers” (Motown’s Backing Band).  Throw in a formula based on Henry Ford’s automotive assembly line and, well-welcome to “Hitsville USA”!

14.  More Motown

“Papa was a Rolling Stone” by The Temptations

The Four Tops, “Bernadette”

The Supremes, “Baby Love”

Marvin Gaye with bassist James Jamerson

15.  A different view of black American music making, Funk, was posited by James Brown in 1967-     , with his groundbreaking recording, Cold Sweat”. With a new beat (ONE two three four). and as few chord as one, Funk made up for reduced emphasis on harmony and even melody with incredible rhythmic complexity; every funk instrument became a drum!

13.  If  James Brown represented the Soulful Southerner in Funk, Sly and the Family Stone represented the psychedelic San Franciscans.  Check out Sly’s bassist, Larry Graham, who invented “slap bass”.

BBC’s “One Nation Under Funk”:

16.  Fusion represented rock and roll instruments and beats with jazz harmonies and an increased emphasis on improvisation.  Fort Lauderdale Bassist Jaco Pastorius was part of  the Fusion band Weather Report, after a Latin Jazz intro they play “Teen Town”.

and their hit, “Bridland”

Jaco played “The Chicken”, with his own band. This melded many influences present in Miami from the Caribbean to musicians from New York and seemed to assemble a palette of sounds that would influence the great big band leader of the 80’s, Bob Mintzer.