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Keith Johnson retired in 2014 from the University of North Texas, where he was Regents Professor of Trumpet and was honored with the Distinguished Teaching Professor award. Acclaimed for his pedagogy, Johnson wrote more than thirty articles, two pedagogical texts, and two method books. During his career, he presented masterclasses at universities and conservatories throughout the United States, as well as in Europe, Canada, Mexico, Brazil, and South Africa. Johnson’s former students hold positions in universities, orchestras, and military ensembles in over a dozen countries. He would modestly say, “I just pick the right people and they make me look good,” but his students tell a different story. In The Art of Trumpet Teaching, Johnson’s former students from his early years at the University of Northern Iowa to his last student after retirement from the University of North Texas describe his teaching approach and tireless work to help each person succeed. These stories also highlight the warm and humorous side of his nature and provide an insight into what Johnson called “the art of teaching.” Along with Johnson’s biography and studio stories, Leigh Anne Hunsaker presents an extensive collection of pedagogical concepts from Johnson’s six decades of teaching. Also included are some of his later expositions on the value of music in education, motivation, and the idea of “music as metaphor.” Johnson’s hallmark pedagogical tenets, along with much practical advice given to his UNT students, provide a teaching and reference handbook for a new generation of teachers and players.
In the last forty years, many elite performers in the arts have gleaned valuable lessons and techniques from research and advances in sport science, psychomotor research, learning theory, and psychology. Numerous "peak performance" books have made these tools and insights available to athletes. Now, professor and performer Frank Gabriel Campos has translated this concept for trumpet players and other brass and wind instrumentalists, creating an accessible and comprehensive guide to performance skill. Trumpet Technique combines the newest research on skill acquisition and peak performance with the time-honored and proven techniques of master teachers and performers. All aspects of brass technique are discussed in detail, including the breath, embouchure, oral cavity, tongue, jaw, and proper body use, as well as information on performance psychology, practice techniques, musicians' occupational injuries, and much more. Comprehensive and detailed, Trumpet Technique is an invaluable resource for performers, teachers, and students at all levels seeking to move to the highest level of skill with their instrument.
The Second Book of Practical Studies is designed to logically extend the techniques already presented in the First Book and also to introduce and develop new techniques and rhythms that will offer a challenge to the intermediate student. Through the use of slightly more difficult and more extended studies, it is hoped that the material included in this book may more fully develop general musicianship and more feeling for style and interpretation and thus act as a foundation for solo literature.
This First Book of Practical Studies is designed to develop chord consciousness and to provide additional experience in the fundamental rhythms, key signatures and articulations and to improve accuracy in reading through the use of interesting and melodic studies. It may be used either to supplement or to follow any beginning method book.
The Art of Trumpet Playing emphasizes the importance of the psychological aspects of performance and the manner in which mental attitudes direct or influence muscular response rather than dealing with the more physiological approach.
William Vacchiano (1912-2005) was principal trumpet with the New York Philharmonic from 1942 to 1973, and taught at Juilliard, the Manhattan School of Music, and the Mannes College of Music. While at the Philharmonic, Vacchiano performed under the batons of Arturo Toscanini, Bruno Walter, and Leonard Bernstein and played in the world premieres of pieces by such composers as Vaughan Williams, Copland, and Barber.