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trumpet_bob_silver
Heavyweight Member
Joined: 08 Jan 2005
Posts: 1155
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 Posted: Tue May 24, 2005 5:53 pm Post subject: What is the Chicago School? |
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| What is it? What are the other ones? What's the difference? |
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_Don Herman
'Chicago School' Forum Moderator
Joined: 11 Nov 2001
Posts: 3344
Location: Monument, CO, USA
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| Posted: Tue May 24, 2005 9:15 pm Post subject: Re: What is the Chicago School? |
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| trumpet_bob_silver wrote: | | What is it? What are the other ones? What's the difference? |
There are many threads here discussing this, so I'll just give the quick over view, as usual in my opinion:
1. "What is it?"
A playing and teaching method based upon sound. A sound-based teaching methodology, if you will. The basic premise is that, if we let sound be our guide, then the physics (mechanics) will follow. Start with a mental sound model; then, play to that sound. Details are left to the teacher; the student's job is to copy the sound model presented by the teacher. In this manner, we guide development of the mechanics by guiding the development of good sound.
This works for us as players, too... We teach ourselves to pay to the sound in our head. "Hear" the music, play the music... Scary how well it can work!
The other leg is air support, with the idea that what we need to play is air in motion -- wind. Arnold Jacobs, former tubist with the Chicago Symphony Orchestra (CSO) and recently deceased, describes the approach succinctly as "song and wind". Get the song in your mind, and provide the wind to play.
Arnold Jacobs is perhaps the "founder", or at least the best-known teacher/author on the subject, but there are many, many players using this approach.
2. "What are the other ones?"
Numerous, way more than I could mention -- Adam, Balanced Embouchure (Smiley), Callet, Caruso, Claude Gordon, Hunt, Johnson, Maggio, Minear, Odneal, Reinhardt, Stamp, Stephens, Van Cleave, etc. etc. etc. See the other dedicated forums for a few other approaches. Note that there is a lot of overlap, and some significant differences, among various teaching methods. It's worth noting that all of the ones I know about do focus on good sound -- they differ in how to get there. You have to find the one which works best for you.
3. "What's the difference?"
Too much for me, or this forum! Takes a lifetime to fully answer that one... Some, such as the philosophy presented in the Bill Adam Forum, are nearly identical. Others, such as the Callet Forum, take a far different starting path. One is not better than another; they are different paths to the same goal -- great sound made easy. You have to find the one which will resonate with you.
Others will chime in, I'm sure, but hopefully I've provided a start.
HTH - Don
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Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley |
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XrRydr
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Joined: 16 Feb 2005
Posts: 112
Location: GA
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| Posted: Tue May 24, 2005 11:32 pm Post subject: |
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I think that the best thing to do is not to worry about what's the best method, but just find the best teacher you can find and be dedicated to do everything that he or she says. I'm doing webcam lessons with a 10 year student of Claude Gordon (Jeff Purtle) and I'm getting great results. Online lessons can be a good way to go if you can find a better teacher than way that locally. Honestly, even with the best method books it's very hard to self-teach. Some of the greats were able to do that, but your chances are much better with a great teacher. But just know that just because they are a good player doesn't mean that they are a great teacher.
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"Hit it hard, and wish it well"
-Claude Gordon |
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jfmaulding
Regular Member
Joined: 15 Feb 2005
Posts: 53
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| Posted: Tue May 31, 2005 5:42 pm Post subject: Growing Up with "The Chicago Style" |
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Growing up in Chicago and attending Northwestern University when I did, (I'm 52 now). What seems to be reffered to as the Chicago Style was called the German Style when you lived in Chicago. Your goal was a big fat sound supported with an unlimited amount of air. When I was taking lessons we would sing the parts we were about to practice and the goal when singing was to produce a large vocal sound like an opera singer. Then open your throat up as far as possible and imitate singing opera through your instrument. The major focus was your air support.
I wouldn't suprise me if the real influence for this type of playing was the conductor of the CSO right after World War II Fritz Reiner. Many of the players associated with this style began playing with the CSO shortly after WWII.
John Maulding
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Bflat - Yamaha YTR 431T
C - Bach Model 229
D & Eflat - YTR 761
D is my main horn
Trombone- King 3B with F
Holton TR150 with F |
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trumpet_bob_silver
Heavyweight Member
Joined: 08 Jan 2005
Posts: 1155
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| Posted: Sun Jun 05, 2005 4:54 pm Post subject: Re: Growing Up with "The Chicago Style" |
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| jfmaulding wrote: | Your goal was a big fat sound supported with an unlimited amount of air. When I was taking lessons we would sing the parts we were about to practice and the goal when singing was to produce a large vocal sound like an opera singer. Then open your throat up as far as possible and imitate singing opera through your instrument. The major focus was your air support.
John Maulding |
What other ways are there? I thought this was the standard way of playing. What else is there? |
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mexiCAN
Veteran Member
Joined: 18 Oct 2004
Posts: 111
Location: USA
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| Posted: Sun Jun 05, 2005 5:35 pm Post subject: |
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Last edited by mexiCAN on Sun Feb 26, 2006 1:25 pm; edited 1 time in total |
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poochie
Heavyweight Member
Joined: 15 Nov 2004
Posts: 1456
Location: New Jersey,so what!
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| Posted: Sun Jun 05, 2005 6:38 pm Post subject: chicago school |
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Don Herman put it as succinctly as I've ever heard it explained , singing sound and style supported by good air, and well thought out MUSICAL INTENT.
The quote from Herseth " I just think it" is very telling. It illuminates a musical approach unfettered by overanalysis and mechanical paralysis. |
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shagnscooob
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Joined: 21 Nov 2004
Posts: 333
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| Posted: Mon Sep 19, 2005 9:13 pm Post subject: |
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sounds just like bill adam approach.... not trying to create a hostile argument, but perhaps someone would like to tell me why they are different/how they can be used together?
(reason i ask is because I'm trying to develop a good sound concept, seeing as im pretty much a beginner, and i could work on that....) |
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jfmaulding
Regular Member
Joined: 15 Feb 2005
Posts: 53
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| Posted: Tue Sep 20, 2005 5:08 am Post subject: There is a Way to Easily Develop Your Sound |
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To develop the sound you want to create on your trumpet...you need to practice it.
This involves practicing simple exercises mentally focusing on the sound coming out of your horn. Some of the beginning exercises in the Arbans book say page 14. It is quarter notes. You focus on your sound and (for me) the attacks I create for each note.
You don't play them fast...but play them slow.
Now...this is real boring! Most players won't do this...including me. So, start teaching!
For my sound development, teaching beginning students provided me the opportunity to work on my "sound exercises" by playing along with my students.
As you get better, take on students that are farther along in their trumpet development. Play along with them!
Who learns more? The teacher or the student? I probably learned more by teaching others.
If you don't think that this helps the students as much as it will you...one of my long term students ended up becoming a member of the Knoxville Symphony Orchestra.
_________________
Bflat - Yamaha YTR 431T
C - Bach Model 229
D & Eflat - YTR 761
D is my main horn
Trombone- King 3B with F
Holton TR150 with F |
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