1 implementing new orleans brass band...

Implementing New Orleans Brass Band PlayingInto a Tuba and Euphonium Applied Lessons Course

Item Type text; Electronic Dissertation

Authors Rifkind, Justin

Publisher The University of Arizona.

Rights Copyright © is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.

Download date 24/06/2018 18:08:26

Link to Item http://hdl.handle.net/10150/621090

http://hdl.handle.net/10150/621090

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IMPLEMENTINGNEWORLEANSBRASSBANDPLAYINGINTOATUBAAND

EUPHONIUMAPPLIEDLESSONSCOURSE

by

JustinRifkind

_____________________________________Copyright©JustinRifkind2016

ADocumentSubmittedtotheFacultyofthe

FREDFOXSCHOOLOFMUSIC

InPartialFulfillmentoftheRequirements

FortheDegreeof

DOCTOROFMUSICALARTS

IntheGraduateCollege

THEUNIVERSITYOFARIZONA

2016

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THEUNIVERSITYOFARIZONAGRADUATECOLLEGE

AsmembersoftheDocumentCommittee,wecertifythatwehavereadthedocumentpreparedbyJustinRifkind,titled“ImplementingNewOrleansBrassPlayingIntoaTubaandEuphoniumAppliedLessonsCourse”andrecommendthatitbeacceptedasfulfillingthedocumentrequirementfortheDegreeofDoctorofMusicalArts._______________________________________________________________________ Date:7/20/2016MattTropman _______________________________________________________________________ Date:7/20/2016MoisésPaiewonsky _______________________________________________________________________ Date:7/20/2016EdwardReid Finalapprovalandacceptanceofthisdocumentiscontingentuponthecandidate’ssubmissionofthefinalcopiesofthedocumenttotheGraduateCollege.IherebycertifythatIhavereadthisdocumentpreparedundermydirectionandrecommendthatitbeacceptedasfulfillingthedocumentrequirement.________________________________________________Date:7/20/2016DocumentDirector:MattTropman

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STATEMENTBYAUTHOR

Thisdocumenthasbeensubmittedinpartialfulfillmentoftherequirements

foranadvanceddegreeattheUniversityofArizonaandisdepositedintheUniversityLibrarytobemadeavailabletoborrowersunderrulesoftheLibrary.

Briefquotationsfromthisdocumentareallowablewithoutspecialpermission,providedthatanaccurateacknowledgementofthesourceismade.Requestsforpermissionforextendedquotationfromorreproductionofthismanuscriptinwholeorinpartmaybegrantedbythecopyrightholder.

SIGNED:JustinSidneyRifkind

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ACKNOWLEDGEMENTS

TherearenumerouspeoplethatIwouldliketothank:ToRexMartinatNorthwesternUniversity,thankyouforagreatfoundationandteachingmetheartofstorytellingthroughmusic.ToJohnStevensattheUniversityofWisconsin-Madison,thankyoufordaringmetotakerisksandjustbemyself.ToDr.KellyThomas,thankyouforbringingmetotheUniversityofArizonaandforyourmentorship.Imissyoueveryday.ToDr.MattTropman,thankyouforsteppingupinatoughsituationandhelpingtoguidemeforthefinaleofmydegree.ToProfessorMoisésPaiewonsky,thankyouforyourguidanceandyourextensivemusicalknowledge.ToProfessorEdwardReid,thankyouforbeingsupportiveandkind.Tomyparents,Icouldneverhavedonethiswithoutyou.YourunwaveringsupportandguidancethroughoutmylifehasledmetowhereIamtoday.AllofthosetripswhenIwasyoungerpaidoff.Iloveyou!ToCasey,Youaremyrock.Ithasn’talwaysbeeneasy,butwedidit.Thankyou.Iloveyou!

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DEDICATION

ToDr.KellyThomasforbeingamentor,ateacher,andafriend.Weallmissyou

downhere.

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TABLEOFCONTENTS

LISTOFMUSICALEXAMPLES...............................................................................................................7

ABSTRACT.....................................................................................................................................................8CHAPTER1:INTRODUCTION...............................................................................................................9IntentandScopeofStudy.................................................................................................................................9ReviewoftheScholarlyLiterature............................................................................................................14HistoryofNewOrleansBrassBands........................................................................................................17Thesis......................................................................................................................................................................23

CHAPTER2:IMPLEMENTATION.....................................................................................................24CreationoftheSupplement..........................................................................................................................27LearningGoals....................................................................................................................................................29TeachingandLearningActivities...............................................................................................................30FeedbackandAssessment.............................................................................................................................34HowComponentsAreConnectedandIntegrated...............................................................................37

CHAPTER3:EXERCISESANDASSIGNMENTS............................................................................39Exercises................................................................................................................................................................39MethodBooks.....................................................................................................................................................47ListeningAssignments....................................................................................................................................48

CONCLUSION.............................................................................................................................................53

APPENDIX:NEWORLEANSBRASSBANDSUPPLEMENT.....................................................57REFERENCES.............................................................................................................................................64

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LISTOFMUSICALEXAMPLESMusicalExample1.I-ii-V-IArpeggios............................................................................................41

MusicalExample2.i-iio-V-iChordProgression........................................................................42MusicalExample3.SyncopatedBassLinefrom“DoWatchaWanna”.............................43

MusicalExample4.SousaphoneGroovefrom“FeelLikeFunkin’ItUp”........................44

MusicalExample5.“WhentheSaintsGoMarchingIn”BassLine.....................................45MusicalExample6.TwelveBarBlues............................................................................................46

LISTOFMUSICALEXAMPLES

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ABSTRACT Thefocusofthisprojectistoexaminecurrenttubaandeuphoniumapplied

lessonssyllabiandtocreateaNewOrleansbrassbandcurriculumsupplementto

enhancethoseexistingcourses.Throughtheadditionofnewmethodbooks,

exercises,historicaltextsandarticles,listeningassignments,andperforming

experiences,collegiatetubaandeuphoniumstudentswillbeabletoapplythe

knowledgegainedincoreacademicmusiccourses,suchasmusictheoryandmusic

history,tomasteringanewstyleofmusic.Emphasishasbeenplacedonlearning

chordprogressions,stylizations,andhowtoimproviseandwalkabassline.

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CHAPTER1:INTRODUCTION

IntentandScopeofStudy

“Forsuchalargeinstrumentthetubaisperhapsmoreagilethanmightbe

expected.Thoughtherearedefinitelimitstothespeedandcomplexityofthepartsit

canplay,double-andtriple-tonguingareentirelyfeasible.”1Thissentiment,which

primarilyhastodowithorchestration,putslimitationsontheagilityandtechnical

facilityofthetuba.Itisnotonlythefoundationofmanyinstrumentalensembles,but

alsohasthecapabilityofvirtuosicplayingwhilestillmaintainingmuchofits

foundationalrole.Therearecomposersandperformersbringingmusicalinnovation

tothetuba,includingNatMcIntosh,whoisthesousaphonistwiththeYoungblood

BrassBandandformerlywiththeDallasBrass.NewOrleanssousaphonists,suchas

KirkJosephofDirtyDozenBrassBandandPhilipFrazierIIIofRebirthBrassBand,

aredazzlinglistenerswithbasslinegroovesandmelodies.Thereisagreatdealthat

collegetubaandeuphoniumstudentscanlearnfromthesegreatNewOrleansbrass

bandmusicians.

Thewords“sousaphone”and“tuba”willbeusedinterchangeablythroughout

thisdocument.Thoughthesousaphoneisconstructeddifferentlythanthe

contrabasstuba,itisstillamemberofthetubafamilyandhasanidenticalrangeto

1DonaldGranthamandKentKennan,TheTechniqueofOrchestration,6thed.(UpperSaddle

River,NewJersey:PrenticeHall,2002),157.

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theBBb concertcontrabasstuba.Thesousaphonewrapsaroundthemusician’sbody

andhasafront-facingbellthatisdetachable.Thisdesignallowsforgreatermobility

fortheplayer,especiallyduringmarchingbandorsecondlinesituations.Itshould

alsobenotedthattherearethreetypesoftubas:contrabasstubas,basstubas,and

tenortubas.Thisdocumentwillonlybedealingwiththecontrabassandbasstubas.

Thecontrabasstubahaslongertubingandhasalowerfundamentalpitchthanthe

basstuba.ContrabasstubasareinthekeysofCCorBBbandhaveacousticlengths

of16and18feet,respectively.BasstubasaregenerallypitchedinForEEbwith

acousticlengthsof12and14feetrespectivelyContrabasstubasareusually

consideredlargeensembleinstruments,whilebasstubasaregenerallyusedassolo

instrumentsoriftherangeofapieceisnotwellsuitedtothecontrabasstuba.2

When“NewOrleansbrassbands”ismentionedinthisdocument,“second

line”brassbandsaremostoftentheintendedsubjects.The“secondline”tradition

“referstopeoplefromtheneighborhoodwhowouldjoininthecelebrationasthe

bandmarchedaway.”3NatMcIntoshdescribesthetraditionalinstrumentationof

NewOrleansbrassbandsas“’…trumpets,trombones,saxophones,drums,and

tubas…’”4Thesebrassbandshavebeenassociatedwithparadesandfuneral

2BartonCummings,“ThoughtsOnTuba,”http://www.dwerden.com/tu-articles-thoughts.cfm

(accessedJuly9,2015).

3MatthewThomasDriscoll,“NewOrleansBrassBandTraditionsandPopularMusic:ElementsofStyleintheMusicofMamaDigdown’sBrassBandandYoungbloodBrassBand”(DMAdiss.,UniversityofIowa,2012),20.

4Ibid.

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marches,butthegenrehasexpandedandnowincludesmanygroupsthatfuse

differentstylesofmusictogether,suchasjazz,hiphop,andR&B.

TheNewOrleansbrassbandtraditionemergedfromtheearlybrassband

traditioninnineteenth-centuryAmerica.WilliamJ.Schafersays,“Againstthe

backgroundofthedevelopmentofthebrassbandorsilvercornetbandof

nineteenth-centuryAmericaistheparallelhistoryofbrassbandsinNewOrleans,

withtheirAfro-Americanadaptationofthetradition.”5Thereisalinkbetweenthis

earlyhistoryofthebrassbandandtheearlydevelopmentofjazz,butthetwoare

notnecessarilythesame.Manyofthebrassbandmusiciansattheturnofthe

centuryinNewOrleansmovedtodancebandsorjazzbands,but“thebrassband

servedasthetraininggroundformanyblackmusicians,andmanyofthesemen

preferredparadeworktoanyother.”6ThoughtheNewOrleansbrassbandsuse

someofthesametechniquesasjazzbands,suchasimprovisation,thetwotraditions

arenotoneandthesame.

TheNewOrleansbrassbandidiomfeaturesthetubaasitslowendinsteadof

theelectricordoublebassfoundinotherpopularstyles.InaNationalPublicRadio

articleof2011,GeoffreyHimesstatesthat,“becauseit’sawindinstrumentrather

thanastringinstrument,thetubagivesNewOrleansmusicabottomthatbubbles

5Driscoll,7.6Schafer,32.

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ratherthantwangs.”7Thesousaphoneaddsdepthandpowerthatonedoesnot

alwaysexperiencewiththestringbass.Theroleofthesousaphoneinthebrassband

istogenerateabasslinetoserveasaharmonicandrhythmicfoundationforthe

group.Anthony“TubaFats”Lacen,aNewOrleanssousaphonelegend,saidinan

interviewinOctober2002,“Iknowhowtoplayrhythmandblueschanges,aswell

astraditionalchanges…Iusedtolistentostringbassplayers–thatwasmything.”8

Thoughtheytakeontheroleofthestringbass,tubistsinNewOrleansbrassbands

maintainadifferentsoundconceptfromthebass,whichstemsfromthesheer

volumethatisproducedbyasousaphone.Thesoundthatiscreatedisgenerally

brightintimbre,whichisdifferentthanthewide,darksoundthatiscustomaryin

thewindbandorsymphonyorchestra.Thedirectnesscomesfromthebellfacing

forward,asopposedtothetraditionalconcertbandtubathatfacesskyward.Many

NewOrleansbrassbandsmarchinsecondlineparadesandjazzfunerals,sousinga

sousaphoneisthebestoption.

Overthepast10to15years,therehasbeenanemergenceofbrassbands

thatblendtheNewOrleansstylewithothermusicalstyles,suchaship-hop,rock,

andsoul.AccordingtoMickBurns,thereweremorebrassbandsinNewOrleansin

7GeoffreyHimes,“WhereTheTubaLives:5NewOrleansSongsFeaturingtheFatHorn,”ABlog

SupremefromNPRJazz,entrypostedApril,26,2011,http://www.npr.org/blogs/ablogsupreme/2011/04/29/135709278/where-the-tuba-lives-5-new-orleans-songs-featuring-the-fat-horn(accessedJanuary15,2015).

8MickBurns,KeepingtheBeatontheStreet:TheNewOrleansBrassBandRenaissance(Baton

Rouge,Louisiana:LouisianaStateUniversityPress,2006),33.

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2006thaneverbefore.9SousaphonistNatMcIntosh’s“masteryofnumerous

extendedtechniquesandtheinfusionofthesewithsimulatedD.J.cutsand

scratches,pseudo-electroniceffectsandtheimitationofinstrumentsrangingfrom

anelectricguitartoadidgeridoocreatedanentirelynewandinimitableapproachto

the(tuba).”10PhilipFrazierIIIandKirkJosepharealsowell-respectedtubaplayers

fromtheNewOrleansbrassbandstyle.

TheincorporationofdifferentstylesintoNewOrleansbrassbandmusiccan

befoundinthemusicofRebirthBrassBand,whichisledbyitssousaphoneplayer

PhillipFrazierIII,andTheDirtyDozenBrassBand.ReBirthBrassBandwasfounded

intheearly1980sbyNewOrleansnativesPhillipFrazierIII,KeithFrazier,andJohn

Gilbert.TheywereinspiredbythemusicofTheDirtyDozenBrassBand,generally

regardedasoneofthefirstNewOrleansbrassbandstointegratedifferentmusical

stylesintotheirsongs.RebirthBrassBandhada“fierceblendofhardsecondline

beats,‘70’sR&B/funkgroovesandgo-goswing…”11Thetubaisaprominentvoicein

bothgroups,andtheoverallbalanceofthetubawithinthegroupismirroredby

YoungbloodBrassBand.

Itisimportantforteacherstoinstructstudentsonthefundamentalsof

playing,butitisalsoimportantforteacherstopreparetheirstudentsforthehighly

9Ibid.,4.10Miraphone,“NatMcIntosh,”http://www.miraphone.de/en/artists/articles/nat-mcintosh-

457.html(accessedOctober2,2015).11TomTerrell,“ReBirthBrassBand,”JazzTimes,October1997,

http://jazztimes.com/articles/24768-rebirth-brass-band(accessedJuly30,2015).

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competitivejobmarket,whereversatilityandtheabilitytoperformindifferent

stylesarevaluable.LearningtheNewOrleansbrassbandstyleofplayingwouldadd

acompletelynewskillsetforstudentsinatubaandeuphoniumstudio.Knowing

howtowalkabasslineandplayinauniquestyleaddstostudents’technicalstudies

andhelpsthemtobebetteroverallmusicians.

ThisdocumentwillexplorehowNewOrleansbrassbandplayingcanbe

integratedintoatubaandeuphoniumstudiocurriculuminordertodevelop

essentialskillsontheinstrumentandtoaddanentirelynewskill-setforcollegiate

musicstudents.

ReviewoftheScholarlyLiterature

Primarysourcesaredesirablewhenonewantstogetatrueperspectiveona

timeperiodorevent.Severalsourceswerefoundthatcontaininterviewsandstories

toldbymusicianspertainingtotheNewOrleansbrassbandtradition.Thesesources

giveinsightintohowthebrassbandsfunctionandhowthemodernbandsformed

anddevelopedtheirsignaturesounds.Interviewsinthesesourcesarewith

membersoffamousbands,likeRebirthBrassBand,DirtyDozenBrassBand,andthe

TreméBrassBand.

RiverofSongbyElijahWaldandJohnJunkermancontainsprimarysources

fromculturalandmusicalleadersfromtheareaalongtheMississippiRiver.Wald

wasarootsmusicwriterfortheBostonGlobeformanyyears,inadditiontobeingan

avidbluesmusicianandmusichistorian.HealsowonaGrammyAwardin2002for

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thelinernotestoArhoolieRecords:40thAnniversaryBox.12JohnJunkermanisa

noteddocumentaryfilmmakerwhohasbeennominatedforanAcademyAwardfor

“BestDocumentaryFeature.”13Thisresourceprovidesprecisehistorical

backgroundonbrassbandmusicofNewOrleans.

KeepingtheBeatontheStreetsbyMickBurnsisanotherbookofprimary

accounts,anditalsocontainsaseriesofinterviewswithseveralprominentfigures

intheNewOrleansbrassbandscene,includinglegendarytubistAnthony“Tuba

Fats”Lacen.MickBurnswasanEnglish-bornjazzmusicianwhoisnotedforhis

expertiseintheNewOrleansstyleofjazz.Hemadeappearancesontromboneand

tubawithsuchfamousNewOrleansmusiciansas:TubaFats,MiltonBatiste,and

Dejan’sOlympiaBrassBand.14ThissourcegivesinsightintohowtheNewOrleans

brassbandsoperateandhowmusiciansperceivetheirrolewithintheensemble.

Therearefewscholarlyresourcesavailableaboutthenewerbrassbands,

suchasYoungbloodBrassBandandtheDirtyDozenBrassBand.Severalarticles

andblogpostshavebeenwrittenaboutthenewwaveofNewOrleans-inspired

brassbands,buttherearenobooksorpeer-reviewedarticlesonthesubjectmatter.

MatthewThomasDriscollwroteaDMAdissertationaboutthemodernAmerican

NewOrleansbrassbandmovement,butthereislittlementionofthetubaoritsrole

12ElijahWald,“Biography,”http://www.elijahwald.com/bio.html(accessedFebruary15,2015).

13ElijahWaldandJohnJunkerman,RiverofSong:AMusicalJourneyDowntheMississippi(New

York:SaintMartin’sPress,1998),352.14MickBurns,“MickBurns(17thFeb1942-13thFeb

2007),”http://www.mickburns.co.uk/home.htm”(accessedFebruary13,2015).

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withinthesebands.Thispaucityofscholarlyorotherresourcesdiscussingtherole

ofthetubainNewOrleansbrassbandsisperhapsareasonthatthestudyofthis

stylehasnotfounditswayintocollegetubaandeuphoniumstudiosalready.While

thestudyofthisstylecanhavemanybenefitsfortubists,itisastylethathasnot

beenwidelystudied,withmanytubistspossessingonlyavaguegeneralawareness

ofbrassbands.Musicologistsandotherscholarshavelargelyignoredspecific

investigationanddiscussionoftheroleofthetuba.

TherearemultiplesourcesusedinthisdocumentwrittenbyDr.Matt

Sakakeeny,aprofessorofmusicologyatTulaneUniversityinNewOrleanswho

specializesinNewOrleansmusic.HisbookRollWithIt:BrassBandsintheStreetsof

NewOrleanscontainsgreatinsightintothecontemporarybrassbandsceneinNew

Orleansandthecontinuationofthesecondlinetradition.Italsocontainsgood

detainabouttheroleofmemberswithinthebrassbandsandthestyleofmusicthat

theyplay.

Thereareafewvitallyimportantmusicbooksthatwillbediscussedinthis

project.ThefirstbookisbyJonSass,anAmericanjazztubaplayerandvirtuosowho

livesinVienna,Austria.Hisintroductorybook,TheJonSassBassLineBookforTuba,

couldplayanintegralpartinteachingatubaandeuphoniumstudiothebasicsof

playingajazzbassline.Thebookincludesaplay-alongC.D.

Afewjazzbassresourceshavebeenconsideredforuseinthestudio

curriculum.DavidBakerwasDistinguishedProfessorofMusic(JazzStudies)and

DirectorEmeritusoftheDepartmentofJazzStudiesatIndianaUniversity-

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Bloomington.HisbookJazzBassClefExpressionsandExplorations:ANewand

InnovativeSystemforLearningtoImproviseforBassClefInstrumentsandJazzCellois

anexcellentstep-by-stepresourceforanyinstrumentsthatplayinthebassclef.It

takesthestudentthrougheverykeyusingchordandscalestudiestohelpthe

studentbecomeintimatelyfamiliarwitheachkey.Thisresourcecanhelpto

strengthenstudents’musictheoryknowledge,aswellastheirabilitytoplayany

scaleorkeythattheycouldbecalledupontoplay.

HistoryofNewOrleansBrassBands

ThebeginningsofNewOrleansmusichasbeentracedbacktotheslave

cultureoftheDeepSouth.ManyareasoftheDeepSouthduringthetimeofslavery

didnotletslavescongregateduetoconcernsaboutapotentialrevoltagainstthe

slaveowners.Thiswasarealconcernduetotheoverwhelmingnumberofenslaved

peoplecomparedtothesmallnumberofplantationowners.NewOrleans,however,

tookadifferentapproach.MattSakakeenyexplains,“TheEuropeanCatholicswho

initiallygovernedNewOrleansestablishedaslavesocietythatwasdistinctfromthe

Anglo-ProtestantmodelthatprevailedelsewhereintheUnitedStates.Alarge

numberofslaveswereimportedfromasinglesource,Senegambia,andsharedan

unusuallyhighdegreeofculturalandlinguisticcommonalities.”15Scholarslinkthe

15MattSakakeeny,“NewOrleansMusicasaCirculatorySystem,”BlackMusicResearchJournal

31,no.2(Fall2011):6.

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percussive,polyrhythmicmusicmadein“CongoSquare”tothefuturejazzandbrass

bandtraditions.16

The“shoutring”usedatthefuneralsofAfricanslaveshasalsobeenlinkedto

thesecondlinetraditionthatiscarriedonbybrassbandsinNewOrleans.Thisform

ofgrievingalsoemployedcallandresponse,whichisfeaturedprevalentlyinNew

Orleansbrassbandmusic.Inasense,themournerswereescortingthesoulsofthe

deadtotheafterlife.SamuelA.Floyd,Jr.,inhisarticle“RingShout!LiteraryStudies,

HistoricalStudies,andBlackMusicInquiry,”describesthelinkofthe“ringshout”to

secondlinemusicinNewOrleans:

[F]romtheseburialceremonies,theringstraighteneditselftobecometheSecondLineofjazzfunerals,inwhichthemovementsoftheparticipantswereidenticaltothoseoftheparticipantsinthering---eventothepointofindividualcounterclockwisemovementsbySecondLineparticipants,wheretheringwasabsentbecauseofthenecessityoftheparticipantstomovetoaparticularremotedestination(thereturntothetownfromtheburialground).Andthedirge-to-jazzstructureofthejazzfuneralparallelsthewalk-to-shoutstructureoftheringshout17

ManyoftheNewOrleansbrassbandsoftodaywereformedthroughthetraditionof

secondlineparades.

TheNewOrleansbrassbandtraditionalsoemergedfromtheAmericanbrass

bandtraditionofthenineteenthcenturyandmilitarybandtraditionofthe

16MaryEllison,“Dr.MichaelWhiteandNewOrleansJazz:PushingBackBoundariesWhile

MaintainingtheTradition,”PopularMusicandSociety28,no.5(December2005):619.17SamuelA.FloydJr.,“RingShout!LiteraryStudies,HistoricalStudies,andBlackMusic

Inquiry,”BlackMusicResearchJournal22,Supplement(2002):51.

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nineteenthandtwentiethcenturies.ThebrassbandtraditioninNewOrleansdates

backtothetimeoftheCivilWar.MaryEllisonwrites:

AfricanAmericanSoldiershelpedtousherthebrassbandmovementintoNewOrleans…TheExcelsiorBrassBandandmostoftheCivilWareraNewOrleansbrassbandswereascomfortablewithsyncopationandimprovisationastheywerewiththemoreconventionallystructuredmarches…Everypublicritualorceremonywasusuallyaccompaniedbyabrassband…AlongwiththattraditionwentoneofthequintessentialhallmarksofNewOrleansmusic–thesecondline.Justasalternativerhythmswereseatupbythosewhofollowedthemournersatafuneral,somusicalyouthsfollowedthearmybandsandestablishedharmoniouslydiscordantsecondlinerhythmsoftheirown.18

ThetraditionsoftheseCivilWarbrassbandshaveevolved,butthebrassband

traditioninpresentdayNewOrleansmirrorsmuchoftheolder,traditionalsecond

lineplaying.

ThedevelopmentofmilitarybandmusicintheUnitedStatesalsocoincided

withthedevelopmentoftheNewOrleansbrassbandscene.Manyoftheprominent

brassbandmusiciansinNewOrleansgottheirstartplayingmilitarybandmusic.

PhilipFrazierIII,tubaplayerandleaderofRebirthBrassBand,says,“Iplayedthe

usualhighschoolstuff.MarchinginMardiGrasparades,footballgames,stufflike

that.Wewouldplayregularmilitarymarchesforthemostpart.”19Countlessother

brassbandmusiciansgottheirstartinschoolbandsorwerebanddirectors

themselves.

18MaryEllison,“African-AmericanMusicandMusketsinCivilWarNewOrleans,”Louisiana

History:TheJournaloftheLouisianaHistoricalAssociation35,no.3(July1994):316–317.19Burns,KeepingtheBeatontheStreet:TheNewOrleansBrassBandRenaissance,108.

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SecondlineparadesinNewOrleanshaveoccurredregularlythroughoutthe

cityforthebetterpartofthelastonehundredyears.Atraditionalparadeisbroken

upintotwodifferentlines:“Thebandandclubmembersmakeupwhatisknownas

thefirstline,whiletherestofusmarchingbehind,andalongthesides,makeupthe

secondline.”20Peopleonthestreetjointhesecondlineduringjazzfuneralstodance

andcelebratethelifeofthepersonwhohasdied.Thepeoplepartakinginthe

paradearecelebratingthesoulofthedeadmovingontotheafterlife.WilliamJ.

SchafersetsthesceneofanearlyNewOrleansparade:

ToenvisionaNewOrleansparade,onadayinanyyearfrom1900–1960,imagineasunnyforenooninNewOrleans,aholiday.Onasidestreetabandformsforaparade.Thebandsmenareblack;mostareintheirfiftiesorsixties.Dressedinwhiteshirts,darktiesandtrousers,blackshoes,eachwearsadarkuniformcap,likeapoliceman’sorbusdriver’s,withagrandnamestitchedacrossitingoldthread…Thereareacoupleoftrombones,aclarinetist…analtosax,atenorsax,abulkysousaphone,abassdrumwithonesmallcymbalmountedatopitandtheband’snamepaintedinboldblocklettersontheleft-handhead.Thereisasnaredrummer,withashallowdance-banddrumhitchedhighonhisbelly,andtherearethreetrumpets.21

Thisvividdescriptionpaintsapictureofwhatanearly,traditionalsecondlineNew

Orleansbrassbandwouldhavebeenlike.BandslikeRebirthBrassBand,Dirty

DozenBrassBand,andtheHot8BrassBandhavestrayedsomewhatfromthestrict

traditionthatwascommoninthefirsthalfofthetwentiethcentury.

Brassbandsoverthepast30yearshavebeguntoincorporateR&B,hip-hop,

funk,andotherpopularmusicintotheirrepertoire.BandslikeDirtyDozenBrass

20MattSakakeeny,RollWithIt:BrassBandsintheStreetsofNewOrleans(Durham:Duke

UniversityPress,2013),x.21Schafer,52.

21

Band,RebirthBrassBand,andHot8BrassBandhavestrayedsomewhatfromthe

traditionalNewOrleansbrassbandsoundandparadestyle.Forexample,Hot8

BrassBandreleasedaversionof“SexualHealing”byMarvinGaye.22Theirnew

versionblendstheirownNewOrleansstylewiththeR&Bstyleoftheoriginalartist.

MattSakakeenydescribesastarklydifferentsecondlineparadefromtheone

mentionedbySchafer:

MyeyesarefixedoneightmenintheirtwentiesandthirtiesleaningagainstthebrickwalloftheRockBottom,inastripofshadeunderneaththeroofoverhang.Theymillabout,innoparticularhurry,untilthetallestofthempicksupastreet-worntubafromthesidewalkandtheothersgatheraroundhimwiththeirinstruments:twotrumpets,twotrombones,asaxophone,bassdrumandsnaredrum…Togetherwemovethroughthebackstreets,maneuveringthroughparkedcars.Rovingvendorswheelicechestsandyell“Icecoldbeer.Getyourwater,”whileotherssetup“carbars”ontheroofsofpickuptrucksparkedatdesignatedstops.Plumesofmarijuanasmokefilltheair.23

Thedressed-up,properbandsmenoftheearlieraccounthave,forthemostpart,

givenwaytodressed-down,lessformalperformances.Bandsarenowplayingin

clubsandatticketedevents.SometraditionalbrassbandsstilloperateinNew

Orleans,suchastheTreméBrassBandandtheLibertyBrassBand.

TheinfluenceofNewOrleansbrassbandshasbeenfeltfaroutsideofthecity

limitsofNewOrleans.InMadison,Wisconsin,agroupofhighschoolstudents

formedabrassbandthateventuallybecameknownasYoungbloodBrassBand.Nat

McIntosh,thesousaphonistofthegroup,says,“Thebandstartedduringmy

sophomoreyearofhighschoolatOregonHigh.MybrotherandIwereitchingtoput

22Hot8BrassBand,RockWiththeHot8,TruThoughtsRecordsTRUCD141,2007,CD.23Sakakeeny,RollWithIt:BrassBandsintheStreetsofNewOrleans,x.

22

togethersomekindofgroupandwe’dbothbeenlisteningtoalotofDirtyDozenand

Rebirth,soabrassbandseemedtheobviouswaytogo.”24Nathasbecome

somewhatofacultherotomanyyoungtubaplayers.Hehasevenperformedasa

soloistwiththeUniversityofWisconsin-Madison’s(hisalmamater)marching

band.25Hehasshownyoungtubaplayersawholenewworldofpossibilities.

OnecannotdiscussthehistoryofanymusicinNewOrleanswithout

discussingtheimpactofHurricaneKatrinain2005.Whenthestormhit,New

OrleansmusiciansweresentscatteringacrosstheUnitedStates.Inthewakeofthe

storm,manypeoplewereconcernedthatthecitywouldloseitsidentitybecauseof

themassivenumbersofpeoplethatwereunabletoreturntotheirhomesduetothe

devastatingdamagethestormleftinitswake.JohnAutin,pianistandownerof

RabadashRecords,vocalizedthesefears:

Theblackneighborhoodsaretheincubatorneighborhoods.That’swherethereareneighborhoodbandsandneighborhoodbars.That’swherethechurchesare.Thosearetheplaceswherethefeelofthemusicistaughtfromgenerationtogeneration.That’swherethebrassbandsandtherappersandtheR&BsingerscomefrominNewOrleans.GreatmusicianswhoreallyhaveagrooveandafeelkeepcomingoutofNewOrleans.26

Manyfearedthatthetraditionwouldnotsurvivethestorm,duetomanymusicians

fleeingthecityaheadofthestorm.Thiswaschronicledinthe2006documentary

24Driscoll,106.25David,“UWVarsityBandSpringConcert:WatchtheExcitement”

http://wptschedule.org/bemoretunedin/uw-varsity-band-spring-concert-watch-the-excitement/(accessedJanuary,192016).

26GarthAlper,“NewOrleansMusicandKatrina,”PopularMusicandSociety29,no.4

(10/2006):461.

23

entitledNewOrleansMusicinExile,whichincludesfootageofNewOrleans

musiciansinvariouscitiesacrossthecountrydirectlyafterthestorm.Luckily,the

musichassurvivedandisthriving.

Thesis

IncorporatingNewOrleansbrassbandmusiccancomplementtheclassical

tubaandeuphoniumcurriculumfoundinmanyuniversities.Throughstudyofits

stylisticapproaches,improvisatorynature,andbasslineconstruction,tubaand

euphoniumplayerscanacquireskills,includinggreatermusictheoryandhistory

knowledge,theabilitytowalkabassline,andanunderstandingofastyleofmusic

theywouldnotbeexposedtoinanappliedlessonscurriculum.

24

CHAPTER2:IMPLEMENTATION

Constructingacurriculumisalengthyanddetailedprocess.Instructors

spendhourscarefullycraftingtheirsyllabiandcoursematerials,whichtheychange

andrefineovermanyyearsusingnewtechniques,scholarship,andinsightintheir

respectivefieldstocreateaclassthatwillhelpstudentstobesuccessful.Upon

analysisofcurrenttubaandeuphoniumsyllabi,ithasbeenrevealedthattheyshare

muchincommon.Thefocusoftheappliedtubaandeuphoniumcoursestendstobe

onsymphonicmusicstyle,whichturnsouttobemostlyEuropeanandAmerican

music.ThisprojectissettingforthasupplementforstudyingNewOrleansbrass

bandmusicthatcanbeaddedtoacurriculumthatiscurrentlyinuseandcanbe

easilyadaptedtoanyschoolsetting.Itdoesnotmatteriftheinstructorteachesata

communitycollegeorafour-yearuniversity;thesupplementalmaterialcanhelpan

instructortoaddanewdimensiontowhattheirstudentsarelearning.Thismaterial

canbeusedbyinstructorsthatdonothaveexperienceplayinginaNewOrleans

stylebrassband.NewOrleansbrassbandmusicemploysskillsthatcanbeused

acrossmanydifferentareas,suchaslearningtocreateabassline,improvisingover

chordchanges,andmusictheoryknowledge.

Severalappliedtubaandeuphoniumlessonssyllabiweresurveyedinthe

processofthecreationofthissupplement.Studiosofvarioussizesandpedigree

wereinvestigatedinordertocoverawidespectrumoftubaandeuphoniumcourses

25

offeredthroughouttheUnitedStates.ThesyllabusofProfessorDavidZerkel,

ProfessorofTubaandEuphoniumattheUniversityofGeorgia,wasusedbasedon

thesuccessfulstudentshehastaughtsincehejoinedthefacultyin2000.27TheFall

2014syllabusofDr.DeannaSwoboda,AssistantProfessorofTubaandEuphonium

atArizonaStateUniversity,wasusedduetoheroutputofcommerciallyreleased

soloalbumsandhertenurewiththeDallasBrass.Dr.SwobodaisalsoaPast

PresidentoftheInternationalTubaandEuphoniumAssociation(ITEA).28The

syllabusofDr.ChrisDickey,ClinicalAssistantProfessorofMusic,Tuba,Euphonium,

andMusicTheoryatWashingtonStateUniversity,waschosenbecauseheteaches

musictheoryinadditiontoappliedlessons.Dr.ChristianCarichner,Assistant

DirectorofBandsandInstructorofTubaandEuphoniumatIowaStateUniversity,

bringsanotherperspectivethatisunique.Alargepartofhisjobisasanassistant

banddirector.ThesyllabusofProfessorFritzKaenzig,ArthurF.ThurnauProfessor

ofTubaandEuphoniumattheUniversityofMichigan,wasalsoused.

InordertointegrateNewOrleansbrassbandmusicintoanappliedtubaand

euphoniumlessonscurriculum,itisimportanttodiscusswhatisincludedin

existingcourses.Manyprofessorsinthecountry,includingProfessorDavidZerkel

oftheUniversityofGeorgiaandDr.DeannaSwobodaofArizonaStateUniversity,

27UniversityofGeorgiaTuba/EuphoniumStudio,“AbouttheStudio,”“Student

Accomplishments,”http://www.ugatubaeuph.com/#!about-the-studio(accessedMarch27,2016).

28DeannaSwoboda,“AboutMe,”http://deannaswoboda.com/about-me/(accessedJuly12,2016).

26

includemanysimilarelementsintheirsyllabi.InhisFall2015syllabus,David

Zerkeldescribeshiscourseasthefollowing:

Thebasicprinciplebehindappliedlessonsistoteachyouasmuchabouttheperformanceofyourinstrumentthatthetimewehavetogetherwillpermit.WhileIwillstrivetoteachyouallaspectsofmusicperformancetoincludetechnique,toneproduction,tonguing,articulation,andphrasing,myemphasisinteachingwillbebasedlargelyoncoaxingthemostmusicalperformanceoutofyouaspossible.Musicisacommunicativeartform,notjustnotesandtechnique.Sincemanyofyouwillgooutintothebigwideworldtoteachyoungerstudentsaboutmusic,itismygoaltoincorporateconceptsthatwediscussintosituationsthatyouwillundoubtedlyencounterasabanddirector.29

Whilethestudiosdiscussedhaveproducedmanystudentsemployedinthefieldof

tubaandeuphonium,thesyllabidonotmakereferencetonon-classicalstyles.This

projectwillseektoinjectNewOrleansbrassbandmusicintocoursenarrativesin

ordertoenhanceacoursethatisalreadyimpactful.

Dr.ChristianCarichnerlistshis“coursetopics,”whichincludemanystandard

topicscoveredinprivatetubaandeuphoniumlessons:

Allmajorandminor(allforms)scalesaswellasallarpeggiosintwooctaves.Developmentofbreathing,embouchure,toneproduction,dailyroutine,tonguingtechnique,sight-reading,flexibility,intonation,legatostudy,technicalfacility,phrasing,interpretation,performanceskills,rhythm,andvibrato.Requiredlisteningthroughoutentirecourseofstudytoestablishfamiliaritywithstandardtubaliteratureinallmediaandrepresentativeperformers.Aproportionalamountofstandardliteraturewillbechoseninaccordancewitheachstudent(‘)scurrentlevelofachievement.Thedevelopmentofevaluativeskillswillbestressedsoawarenessofself-improvementwillleadtowardsself-teaching.30

29UniversityofGeorgiaTuba/EuphoniumStudio,“DocumentLibrary,”“SyllabusF15,”

http://www.ugatubaeuph.com/#!document-library(accessedJanuary23,2016).30IowaStateUniversitySchoolofMusic,“TubaEuphSyllabus,”

http://www.music.iastate.edu/courses/119/g/Tuba%20Euph%20Syllabus.pdf(accessedJanuary31,2016).

27

Asetofcoursetopics,suchastheonessetforthbyDr.Carichner,canbereadily

adaptedtoincludeaNewOrleansbrassbandsupplement.Thenewsetofskills,such

aswalkingabasslineorimprovisingabassgroove,willbeaddedtothelonglistof

technicalandmusicalskillsgainedthroughprivatelessonswithoutchangingthe

overallobjectivesofthecourse.

CreationoftheSupplement

Itisimportanttousemodernscholarlymaterialswhenattemptingto

determinehowcertainsupplementscanfitintoanexistingcurriculum.Thereare

twosourcesthathavebeenusedinthisprojecttoidentifyhowcertainmaterialscan

beusedwithinacourse.ToolsforTeachingbyBarbaraGrossDaviscontainsa

valuablesectiononwritingasyllabusandwhatsortsofareasitshouldaddress.She

describesthesyllabus:

Expertshaveidentifiedvariouspurposesasyllabuscanserve:animplicitteaching-learningcontract,outlining,thereciprocalrolesandresponsibilitiesofstudentsandtheinstructor;adiagnostictool,helpingstudentsassesstheirreadinessforacoursebyidentifyingprerequisitesandrequiredlevelsofacademicpreparationanddescribingworkloadandcoursechallenges;andunambiguoussourceofpoliciesandproceduresofcourseoperations;alearningtool,piquingstudents’interestandprovidingthemwiththeinformation,resources,andlinkstheywillneedtosucceedinthecourse;andasetofpromises–whattheinstructorpromisesstudentswilllearnandtheactivitiesstudentswillundertaketofulfillthesepromises.31

31BarbaraGrossDavis,ToolsforTeaching(SanFrancisco:Jossey-Bass,2009),21.

28

Thoughthisprojectisnotseekingtocompletelyrewritecoursesyllabi,itis

importanttoknowhowsyllabiareconstructedtoseehowaNewOrleansbrass

bandsupplementcanbeinsertedintoanexistingcoursesyllabus.

CreatingSignificantLearningExperiences:AnIntegratedApproachtoDesigning

CollegeCoursesbyL.DeeFinkproposesfivequestionsthatcanbeaddressedwhen

craftingacourse.Fink’sworkiswidelyusedinhighereducationasaguidetocourse

design.Hisfivequestionsinclude:

1. Whatarethesituationalfactorsinaparticularcourseorlearningsituation?2. Whatshouldourfullsetoflearninggoalsbe?3. Whatkindsoffeedbackandassessmentshouldweprovide?4. Whatkindsofteachingandlearningactivitieswillsuffice,intermsof

achievingthefullsetoflearninggoalsweset?5. Areallthecomponentsconnectedandintegrated,thatis,arethey

consistentwithandsupportiveofeachother?32FourofthesequestionsareespeciallypertinenttotheNewOrleansbrassband

supplement.Theorderofthequestionshasbeenrearrangedandadaptedtofitthe

purposesofthisproject.Thefollowingorderwillbeused:

1. Whatshouldourfullsetoflearninggoalsbe?2. Whatkindsofteachingandlearningactivitieswillsuffice,intermsof

achievingthefullsetoflearninggoalsweset?3. Whatkindsoffeedbackandassessmentshouldweprovide?4. Areallthecomponentsconnectedandintegrated,thatis,arethey

consistentandsupportiveofeachother?Thesequestionswillbeappliedtocurrentsyllabiwrittenbytubaandeuphonium

instructorsacrossthecountry.TheywillbeexaminedtoshowhowNewOrleans

32L.DeeFink,SignificantLearningExperiences:AnIntegratedApproachtoDesigningCollege

Courses(SanFrancisco:Jossey-Bass,2013),67.

29

brassbandplayingcanbeaddedasasupplementinallofdifferentareasofacourse

curriculum.

LearningGoals

L.DeeFink’ssecondquestionfromhisIntegratedCourseDesignModelasks

aboutthelearninggoalsforthecourse.DavidZerkellaysoutobjectivesforhis

studentsthattakehisappliedtubaandeuphoniumlessonsclass.UponreadingDr.

DeannaSwoboda’sFall2014syllabus,manyoftheirobjectivesreflectsimilar

expectations.Shelaysoutwhatshethinkseachstudentshouldbeableto

demonstrateattheendofthecourse:

• Anevolvingtechnicalabilityontheinstrument.• Knowledgeandfacilitationofallmajorandminorscaleforms.• Anunderstandingofmusicalphrasingandartisticinterpretation.• Theabilitytoevaluateperformancescriticallyandcoherently–verbal

andwrittenformat.• Takeanactiveinterestintheircraft(readaboutit,listentorecordings,

attendrelatedevents,etc.)• Developapositiveattitudeandacommitmenttowardimprovement

andexcellence.• Supportyourpeersandcolleaguesinanactivelearningenvironment,

includingattendingpeerrecitals.33ItiswithinsimilarobjectivesthatinstructorscanaddNewOrleansbrassband

playingintotheircourses.Addinganewelementintoanexistingcurriculumdoes

notchangetheexistingobjectives.Itservestoenhancetheobjectivesofthecourse

thatalreadyexistandallowsinstructorstoaddnewdimensionstothelearning

33ArizonaStateUniversitySchoolofMusic,“Tuba/EuphoniumStudioAppliedLessons

SyllabusFall2014,”http://tuba-euphonium.faculty.asu.edu/wp-content/uploads/2012/07/ASU-syllabus-applied-fall-20141.pdf(accessedFebruary20,2016).

30

experiencesoftheirstudents.Thepurposeofthisprojectistoenhancecurrent

curriculaandisnotmeanttobeacritiqueoradialogueonshortcomingsor

shortfallsofexistingcurricula.

LearningobjectivescanbeadaptedtoincludeNewOrleansbrassbandmusic.

Someoftheseobjectivescaninclude:

• Applymusictheoryandeartrainingknowledgetolearningtowalkabasslineandimproviseabassgroove.

• GainknowledgeofcommonchordprogressionsinNewOrleansbrassbandmusic.

• ListentorecordingstogainabetterunderstandingofNewOrleansBrassBandmusic.

Thespecificsoftheimplementationoftheseobjectiveswillbeincludedinthe

attachedsupplementarymaterial.

TeachingandLearningActivities

Fink’sfourthquestiondealswithwhatteachingandlearningactivitieswillbe

includedinacourse.Numerousteachingandlearningactivitiesareusedby

instructorsacrosstheUnitedStatestohelptheirstudentsreachtheobjectivesthat

aresetforthfortheirappliedlessonscourses.

LearninghowtoplayNewOrleansbrassbandmusicwillbecarriedoverinto

privatelessons.Instructorscanassigncertainexercisesforaweeklylessonthatwill

begiveninadditiontoetudes,technicalexercises,orsolosthataregenerallygiven

onaweeklybasis.Theseexercisescantakemereminutestocoverandwillnot

sacrificetimethatisalreadybeingusedforotherareasoftechnicalandmusical

proficiency.Thespecificsoftheseexerciseswillbecoveredintheexercisessection.

31

Allappliedtubaandeuphoniumlessonscurriculasurveyedinthisproject

includeexclusivelycomposedmusic,whichisatermfor“worksbyasingularmind,

fixedandpromulgatedinwrittenform.”34ANewOrleansbrassbandsupplement

willincludeactivitiesthattakestudentsawayfromtraditionaletudebooksor

methodbooks.Forinstance,anactivitythatwouldbebeneficialforstudentsisto

havethemlistentoabrassbandrecordingandinstructthemtoplaythebassline

backtotheinstructor.Thekeyandgeneralformwouldbegiven,buttheeartraining

aspectoftheassignmentwillbeleftuptothestudent.AlthoughaNewOrleansbrass

supplementincludesmanywrittenexercisesandbooks,animportantfeatureofitis

activitiesthatarenotwrittendowninmusicnotation.

Manycurriculaincludeetudeandmethodbooksthatarestylisticallysimilar.

Thesetextsareused,generally,tohelpstudentstodevelopbasicphrasing,musical,

andtechnicalskills.However,aNewOrleansbrassbandsupplementwilladdanew

dimensiontothataspectoftheprivatelessonsprocess.Thereareafewbooksthat

canhelpinstructorsteachtheirstudentsaboutchordprogressions,walkingbass

lines,andimprovisation.AlthoughtheyarenotspecificallytailoredtoNewOrleans

brassbandmusic,theycanbereadilyadaptedtothatstyleofplaying.Agood

exampleofalistofrequiredmaterialsincludesmanyofthebooksrequiredbyDr.

ChrisDickeyofWashingtonStateUniversity:

Arban’sCompleteMethodforTromboneandEuphoniumeditedbyAlessiandBowman

34CraigHavighurst,Medium,https://medium.com/cuepoint/classical-music-needs-a-new-name-

2e07b084f4a3#.4gbuepk6m(accessedMay2,2016).

32

MelodiousEtudesforTrombonebyRochut,volume1TechnicalStudiesforBassClefInstrumentsbyClarkeParesScalesforTromboneorEuphoniumbyPares36StudiesforTrombonebyBlume40ProgressiveStudiesbyTyrellSelectedStudieseditedbyVoxmanAdvancedBandMethodbyHalLeonard(withSpecialStudiesbyArnoldJacobs)66BasicStudiesbySlama43BelCantoStudiesbyBordogni60SelectedStudiesbyKoppraschEuphoniumExcerptsfromtheStandardBandandOrchestraLibrarybyPayne70StudiesbyBlazhevichDailyDrillsandTechnicalStudiesforTrumpetbySchlossbergSixSuitesbyJ.S.BachLegatoEtudesforTubaeditedbyW.JacobsTheOneHundredbyW.Jacobs35

TheNewOrleansbrassbandsupplementincludesmaterialsthatarenotseeninany

ofthesyllabithatweresurveyed.Theobjectiveofthecourseisstillthesame,but

thenewmaterialspullthestudentsawayfromtheEuropeanmethodandetude

booksthatdominatethebookslistsformanyappliedtubaandeuphoniumlessons

courses.

Inadditiontocommonlyusedetudeandmethodbooksthatareusedintuba

andeuphoniumstudios,thisprojectproposesthatthereareadditionaltextsthat

willbeaddedtoasyllabusthatcanhelpstudentsworkonskillsthatareusedby

musiciansinNewOrleansbrassbands.TheJonSassBassLineBookisavaluable

resourcethatisutilizedbystudentsandinstructorstoimprovetheirskillsfor

improvisingbasslines.Itisagoalofthisprojecttohelpprofessorstoenhancetheir

curriculawithwaystodiscoverhowtubascanbeusedasafunctionalbassinaNew

35Dr.ChrisDickey,“Spring2016Tuba-EuphoniumStudioSyllabus,”WashingtonState

UniversitySchoolofMusic.

33

Orleansbrassbandsetting.Thisinvolvesusingsourcesthatmayalsobecategorized

as“jazz”sourcestohelpstudentsachievethedesiredskillsetforplayingNew

Orleansbrassbandmusic.

DavidBakerwasaDistinguishedProfessorofMusic(JazzStudies)intheJacobs

SchoolofMusicatIndianaUniversityinBloomington.36HisJazzBassClef

ExpressionsandExplorations:ANewandInnovativeSystemforLearningtoImprovise

forBassClefInstrumentsandJazzCelloisalsoagreateducationaltoolforteaching

studentshowtoimprovisebasslinesandimprovisationingeneral.Bakerdescribes

theuseofhisbook:

Whiletheinformationinthisbook–ifunderstood,useddiligentlyandintelligently,andappliedpractically–guaranteestheprospectiveplayeracertainmeasureofsuccess,itisbynomeansintendedtoreplacethewealthofexcellentavailablestringmaterialsaimedprimarilyatproducingaclassicalplayer.Thematerialsfromclassicalstudiesshouldworkinconjunctionwiththematerialsandinformationpresentedinthisbook.37

Baker’ssentimentechoesthatoftheauthorofthisproject.TheadditionofNew

Orleansbrassbandmusicismeanttoaccenttheexistingappliedcurriculaandnot

toreplaceit.Eachsectionofthebookgoesthroughadifferentscaleandallowsthe

studenttomasterthescaletheyaretryingtoimprovisethrough.Thebookalso

offersashortindexofjazzsymbolsandterms.

36DavidBaker,“Faculty,”“DavidBaker,”

http://info.music.indiana.edu/faculty/current/baker-david-n.shtml(accessedFebruary22,2016).37DavidN.Baker,JazzBassClefExpressionsandExplorations:ANewandInnovativeSystemfor

LearningtoImproviseforBassClefInstrumentsandJazzCello(NewAlbany,IN:JameyAebersoldJazz,Inc.,1995),Preface.

34

FeedbackandAssessment

ThethirdquestionproposedbyFinkpertainstothetypesoffeedbackand

assessmentthattheinstructorcanuse.Thisquestiondealswithhowstudentswill

beevaluatedandgradedbasedontheirknowledgeofthesubject.Tubaand

euphoniumstudiosusedifferentformsofgrading,withdifferentareasofstudy

weightedatdifferentpercentages.Forinstance,atIowaStateUniversity,theweekly

lessongradeaccountsfor70%ofthefinalgrade,whilereading

discussions/participation/assignmentsaccountsfor20%.Afinaljuryaccountsfor

10%ofthefinalgrade.38TheArizonaStateUniversitytubaandeuphoniumstudio

syllabuslistsweeklylessonpreparationat60%ofthefinalgrade,Studioclassis

20%,andASUTubaEuphoniumEnsembleis20%.39Althoughprivatelessonsmake

upamajorityofthefinalgrade,thereareotherareasthatvaryfromstudiotostudio

thatareasmallerpercentageofthegrade.

Thereareseveraldifferentapproachestoassessingthelearningofstudents

indifferentcourses.Appliedlessonscoursestendnottousethetraditionalmidterm

andfinalexaminfavorofweeklyassessmentsinprivatelessonsandmasterclasses,

whichfallsintowhatFinkcalls“educativeassessment.”Finkidentifiesfourbasic

components:

38IowaStateUniversitySchoolofMusic,“TubaEuphSyllabus,”


39ArizonaStateUniversityTuba-EuphoniumFaculty,“SyllabusAppliedFall2015,”

http://tuba-euphonium.faculty.asu.edu/wp-content/uploads/2012/07/ASU-syllabus-applied-fall-2015-1.pdf(accessedJanuary31,2016).

35

• Createforward-lookingassessmentquestionsandproblems.• Developclearandappropriatecriteriaandstandardsforevaluating

studentperformance.• Createopportunitiesforstudentstoengageinself-assessment.• ProvideFIDeLityfeedback:feedbackthatisfrequent,immediate,

discriminating,anddonelovingly.40Thisapproachstandsinstarkcontrasttowhatisknownasabackward-looking

assessment,whichstrictlytestswhatislearnedinclass.Forward-looking

assessmentservestofindwaysforstudentstoapplyknowledgethattheyhave

learnedinclasstonewactivities.ANewOrleansbrassbandsupplementwillbe

utilizedbyinstructorsinaforward-lookingmannerbycreatinghelpfulassignments

sothatstudentswillapplytheirskillsinawaythatdoesnotinvolvejusttakinga

test.

“EducativeAssessment”iseasilymanipulatedtoincludeanassessmentof

howstudentsaredevelopingtheirskillsforNewOrleansbrassbandplaying.For

instance,theinstructorhastheoptiontoaddalinediscussingimprovementofthe

student’sabilitytowalkabasslineoverasimplechordchangeonaweeklyor

biweeklybasis.Thegoalistocreateastandardofimprovementinallareasfortuba

andeuphoniumstudents.Thissupplementwillnotoutlinestandardsforgradesfor

privatelessonsandotherassignments.Itisbestthatthisaspectbeleftupto

individualinstructors.

40Fink,111.

36

ProfessorDavidZerkelrequireshisstudentstocompleteaweeklyassignment

titled“TuneoftheWeek.”Hegivesathoroughdescriptionoftheassignmentinhis

syllabus:

Youwillberequiredtolistentotenofthefollowingpiecesthissemester.Followingyourlistening,youarerequiredtowriteacritiqueoftheworkandtheperformance.Whatdidyoulikeaboutit?Whatdidn’tyoulikeaboutit?Thisisstrictlyanopinion/observationassignment.Yourcritiquedoesnotnecessarilyneedtobescholarly;howeveritdoesneedtobeintelligentandthoughtful.Inyourcritiquebesuretoincludethenameoftheorchestraandtheconductoroftherecordingthatyoulistenedto.41

Thisassignmentservestofulfillhisobjectivepertainingtotheabilitytoevaluate

performancescriticallyandcoherently.Similarassignmentswillhelpother

instructorswhohavealearningobjectivethatconcernscriticallistening.Developing

aneducatedearformusicisessentialforallmusicstudentsandcanbeutilizedin

anyappliedtubaandeuphoniumstudiocurriculum.

AlisteningactivitycanbeeasilyadaptedtoincludeNewOrleansbrassband

music.Aninstructorcanincludeimportanttunes,albums,orbrassbandsthatwill

helpstudentstobetterunderstandthestyle.Appliedlessonsteachersalreadyhave

studentsreferencerecordingsforcertainsolosororchestralandbandmusicthat

theymaybeworkingon.Ifaninstructoralreadyhaslisteningassignmentsbuiltinto

theirsyllabus,theycanaddasmallnumberofrecordingsofNewOrleansbrass

bandstohelpstudentsacclimatethemselvestohowthebrassbandssound.Those

recordingscanrangefromthetraditionaltothemorefunkandhip-hopbands.

TreméBrassBandandtheLibertyBrassBandaregoodexamplesofmore

41UniversityofGeorgiaTuba/EuphoniumStudio,Fall2015Syllabus.

37

traditionalbrassbands,whilebandssuchasRebirthBrassBandandDirtyDozen

BrassBandaregoodexamplesoffunkierbrassbands.

HowComponentsAreConnectedandIntegrated

Thefinalquestionthathasbeenproposeddealswithhowallofthedifferentaspects

ofacurriculumworktogether.Finksays,“Thelearninggoals,theteachingand

learningactivities,andthefeedbackandassessmentproceduresallneedtosupport

eachother.”42Inthecaseofthesyllabithathavebeeninvestigatedoverthecourse

ofthisproject,allofthemhavecomponentsthatsupportthemainobjectivesoftheir

courses.Forinstance,manyofthesyllabidiscussoneoftheirmainobjectivesas

beingfortheirstudentstolearntheirmajorandminorscales.Inordertoachieve

thisobjective,theyhavescaletestsand/orincludescalesontheirjuriesattheendof

eachsemesterand/orschoolyear.Similaractivitiescanbeaddedtoacurriculumto

reinforcetheNewOrleansbrassbandsupplementalmaterial.

AllofthequestionssetforthbyFinkarelinked.Thefeedbackandassessment

isbaseduponthelearningactivities,whicharegenerallydictatedbytheobjectives

ofthecourselaidoutbytheinstructor.Therefore,professorsdeterminetheweight

ofcertainassignmentsbasedupontheirimportancetotheoveralllearning

objectives.Forinstance,ChristianCarichnerofIowaStateUniversityplaces70%of

thefinalgradeinweeklylessons.Thattellsthereaderofhissyllabusthatheplacesa

greatdealofimportanceontimespentinlessons.

42Fink,139.

38

ANewOrleansbrassbandsupplementcanbeincorporatedintocurrenttuba

andeuphoniumstudioteachingusingthemethodsdiscussedabove.Thespecificsof

thesupplement’scontentsaredescribedinthefollowingsection,whichfeatures

musicalexamplesandspecificideasforlearningactivities.

39

CHAPTER3:EXERCISESANDASSIGNMENTS

Animportantpartofthisprojectistoofferexercisesandassignmentsfor

instructorstoaddintotheirrespectivecurriculatoincludeNewOrleansbrassband

playing.Theexercisesincludeavarietyofdifferentdrillsdesignedtoteachcollege

tubaandeuphoniumstudentsaboutplayinginaNewOrleansbrassband.Thiswill

includeimprovisingabassline,improvisingsolos,andlearningcommonchord

progressionsfoundinNewOrleansbrassbandmusic.Listeningassignmentsare

designedtohelpstudentslearnthestyleandpossibleoptionsforbasslinesthat

theycanincludeintheirownplaying.Thisprojectwillshowpossiblepathsthat

instructorscantakewiththeseassignments,includingpromptsandfocused

questionsforstudentstoconsider.

Exercises

Thereareawidevarietyofexercisesthatinstructorsofappliedtubaand

euphoniumcanassigntohelptheirstudentslearnskillsthatwouldbeneededwhen

playingNewOrleansbrassbandmusic.Professorsatschoolsaroundthecountry

alreadyassigndailydrillsandtechnicalexercisesthatcanbereadilyadaptedfor

brassbandplaying.Forexample,arpeggiosandscalesinallkeysaredesignatedas

partofessentialdrillsinmanyappliedlessonscurricula.Manyexercisesthatcanbe

addedtoincludeNewOrleansbrassbandplayingcanalsohelpstudentstoapply

40

theirmusictheoryandmusichistoryknowledgethattheyhavelearnedseparately

intheircoremusicclasses.Inadditiontobeingexplainedinthissection,the

exercisessetforthbythisprojectwillbeincludedinthesupplementwritteninthe

appendixofthisdocument.

Arpeggiatedexercisescanbemanipulatedbyhavingstudentsplaychord

progressionsthatarecommoninNewOrleansbrassbandmusic.Aninstructor

couldhaveastudentprepareaI-ii-V-Ichordprogression,whichiscommoninNew

Orleansmusic,andhavethemplaythroughitineverykey.Thesamecouldbedone

inaminorkey,aswell.TheauthorbecameawareofthisexercisebyTomHoltz,

formertubistintheUnitedStatesMarineBandandcurrentfreelanceheliconplayer

inWashingtonD.C.Theheliconissimilartoasousaphone,butthebellfacesoverthe

musician’sleftshoulderratherthanforwardandcannotberemoved.Musical

Examples1and2demonstratethearpeggioexercisethatwasdiscussedbyTom

HoltzinamasterclassatArizonaStateUniversityinNovemberof2015.Example1

takesthestudentthroughallofthemajorkeysinacircleof4thsprogression

beginninginthekeyofCMajor.Theseexercisesaretobepracticedinavarietyof

articulationsandtempi.Astudent,forexample,couldbeaskedbytheinstructorto

playallofthearpeggiosinalonger,legatostyle,ortheycouldbeaskedtoplayina

moredetachedstyle.Thestudentcaninitiallyplaytheexerciseatafairlyslow

tempoandgraduallyincreasethebeatsperminuteastheybegintomasterthe

progression.

41

MusicalExample1.I-ii-V-IArpeggios

42

MusicalExample2.i-iio-V-iChordProgression

43

Thesameexercisecanbedoneinnaturalminorkeys.Thiswillhelpstudentsto

becomefamiliarwiththesekeyssotheywillbeabletoplaymusicandchord

progressionsinminor.

AcommontrendinmanyNewOrleansbrassbandstunesistheuseof

syncopationinthebassline.Anexampleofthisis“DoWatchaWanna”byRebirth

BrassBand,whichisdemonstratedinMusicalExample3.Thesongbeginswitha

syncopatedbasslinethatservesasthefoundationalgrooveofthewholetuneandis

inthekeyofEb Major.“TheTreméSong,”performedbyTreméBrassBandstarts

withamoretraditionaldrumintroduction,butthebasslinethroughoutisa

syncopatedrhythmicgroovealternatingbetweenIandIV.ItisalsointhekeyofEb

Major.Thiscouldbepracticedineverymajorandminorkeytopreparestudentsto

playstandardNewOrleansbrassbandmusic.

MusicalExample3.SyncopatedBassLinefrom“DoWatchaWanna”

Students,inmanycases,donotstrayfromwhattheyreadonthepagewhen

theyperformorpracticethroughouttheircollegiatemusiccareer.Animportant

partofthefunkandhip-hopNewOrleansbrassbandsisthetubagroovethatbegins

thesongtosetupthestructureofthesong.Therearenumerousexamplesofthis,

including“NewOrleans(AftertheCity)”butHot8BrassBandand“FeelLike

Funkin’ItUp”byRebirthBrassBand.MusicalExample4isadictationofthebass

linegroovefrom“FeelLikeFunkin’ItUp.”Althoughitissyncopatedlike“DoWatcha

44

Wanna,”ithasamuchmorefunkgroovefeel.Anassignmentthataninstructorof

appliedtubaandeuphoniumlessonscouldgivetoastudentistohavethemwrite

and/orcreatetheirownbasslinegroove.Thestudentcandrawinspirationfromthe

albumsandsongthattheylistentoaspartofthelisteningassignmentspartofthe

coursecurriculum.

MusicalExample4.SousaphoneGroovefrom“FeelLikeFunkin’ItUp”

Thesamesyncopatedrhythmsthatarefeaturedintheexercisethatmimics

thepatternof“DoWatchaWanna”and“TheTreméSong”canbeusedasan

auxiliaryclappingorsingingexercise,aswell.Brassbandsplaythesetunesina

varietyoftempi,sohavingthestudentsclaporsingthroughthesyncopated

rhythmscouldhelpthemtofeelthegroovebeforeplayingthesamethingontheir

instrumentwithchordchanges.Anotherstepbeforeaddingthechordchangescould

alsoincludethestudentplayingastringofsyncopatedrhythmsonthesamenote.

SyncopatedrhythmsareabigpartofNewOrleansbrassbandmusic,sothisstudy

shouldbeanessentialpartofaninstructor’sbrassbandcurriculum.

AstandardoftheNewOrleansbrassbandrepertoireis“WhentheSaintsGo

MarchingIn.”Thechordstructureisfairlysimpleandstraightforward,makingitan

idealchartforbeginnerstobeabletofollow.Itisalsohelpfulthatthetuneiswell

knownandcanhelpguidethestudentsthroughthechordstructureofthesong.An

assignmentforatubaoreuphoniumstudentwouldbetohavethemtranscribea

45

basslinethatwillbeusedwhenplayingthetune.Hereisanexampleofapossible

basslineforthechorusof“WhentheSaintsGoMarchingIn”:

MusicalExample5.“WhentheSaintsGoMarchingIn”BassLine

Thisassignmentwillbeassignedinconjunctionwiththelisteningassignmentsthat

thestudentscompleteduringthecourse.Itistheintentofthissupplementthat

studentsbecomeexposedtodifferentapproachestothesamesongssothattheycan

developtheirownideasforplayingeachtune.Theycantakebitsandpiecesofbass

linesfromrecordingsthattheyheartocrafttheirowninterpretation.

AcommonchordprogressionthataNewOrleansbrassbandmusicianmay

encounteristwelvebarblues.Althoughatwelvebarbluesvaries,thestandard

progressionis:I-I-I-I-IV-IV-I-I-V-IV-I-V.RebirthBrassBandplaysatunecalled“You

Can’tFlyIfYou’reTooHigh,”which,uponlisteningtoit,isinatraditionaltwelvebar

46

blues.Afterasurveyofseveralrecordingsoftheprogression,anexercisewas

createdthatcanbeadaptedtoallkeysthatwillhelpstudentsbecomemore

acquaintedwiththechordsandstyle.MusicalExample6isapossiblebasslineina

twelvebarbluesprogression.

MusicalExample6.TwelveBarBlues

Anotherdailydrillthatiscommoninteachingthroughoutthecountryisthe

practiceofscales.Majorandminorscalesserveasmajorcomponentsofmany

appliedtubaandeuphoniumlessonscurricula.FritzKaenzig,theArthurF.Thurnau

ProfessorofTubaandEuphoniumattheUniversityofMichigan,includes

“Satisfactionofthescalerequirementsduringanylessonchosenbyeachindividual

student.”43asthethirditemonhisstudiosyllabus.Manymusicprograms

throughoutthecountryhaveendofthesemesterand/orendoftheyearjuriesthat

commonlyincludethesescales.Scalescanbeusedinpracticalapplicationinmany

43UniversityofMichiganTubaandEuphoniumStudio,“Syllabus”,http://www-

personal.umich.edu/~fak/syllabus.html(accessedMarch19,2016).

47

musicalareas,buttheyareespeciallyhelpfulwhenplayingNewOrleansbrassband

music.Itisimportanttoknowscaleswellinordertowalkabassline.Awaytomake

thestudyofscalesrelatabletobrassbandmusicistoaddjazzscalesandchurch

modes.DavidBaker’sJazzExpressionsandExplorations:ANewandInnovative

SystemforLearningtoImproviseforBassClefInstrumentsandJazzCellooffersa

comprehensivemethodforlearningscalesthatmaynotbelearnedbymostcollege

musicstudents.

MethodBooks

Inadditiontocommonlyusedetudeandmethodbooksthatareutilizedintuba

andeuphoniumstudios,thisprojectproposesthatthereareadditionaltextsthat

canbeaddedtoasyllabusthatwillhelpstudentsworkonskillsthatareusedby

musiciansinNewOrleansbrassbands.TheJonSassBassLineBookisavaluable

resourcethatcanbeutilizedbystudentsandinstructorstoimprovetheirskillsfor

improvisingbasslines.Intheintroductiontohisbasslinebook,JonSassassertsthe

following:

Outsideoforchestral,classicalchambermusicandsoloplaying,therearemanyotherpossibilitiesforlowbrassmusicians.Oneoftheseisusingtheirinstrumentasafunctionalbassinrock,jazz,funkandotherpopularmusicgenres.Thetubaisabassinstrumentanditsabilitytosustain,articulateandcolorsoundisdifferentfromstring,electricorkeyboardbass.Thesoundcharacteristicsoflowbrassinstrumentsgiveacuttingedgeadvantagealongsidethesearchfornewsounds.44

44JonSass,TheJonSassBassLineBookforTuba(orEuphonium,Sousaphone,BassTrombone)

(Vuarmarens,Switzerland:EditionsBim,2007),2.

48

Itisagoalofthisprojecttohelpprofessorstoenhancetheircurriculawithwaysto

discoverhowtubascanbeusedasafunctionalbassinaNewOrleansbrassband

setting.

Studentsalsoneedtohaveabasicknowledgeofstandardsignsandsymbols

thatareusedinNewOrleansbrassbandmusicinordertoreadachartifitisplaced

infrontofthem.JonSass,inTheJonSassBassLineBook,listssignsandsymbolsthat

areusedfrequentlyinthenotationofjazzchartsthatarealsocommonlyusedby

NewOrleansbrassbands.Thesesymbolsincludethoseformajor,minor,dominant

seventh,andthesymbolforaraisedhalfstep.45ThesamesectionofSass’bookalso

discussescommonlyfoundchords,scales,andmodesthatarefoundfrequently.His

bookalsocontainsaC.D.,whichisahelpfultoolforstudentstousewhenlearningto

playNewOrleansbrassbandmusic.Eachexerciseallowsthestudenttoreadabass

lineexamplegivenbySass,afterwhichtheyareencouragedtowritetheirownand

playitalongwiththerecording.Creatingabasslineisanimportantpartofplaying

brassbandmusic,andaddingsongsfromSass’booktotheotheretudesandsolos

thatareassignedforprivatelessonsbycollegiatetubaandeuphoniuminstructors

wouldallowthemtopracticethisimportantskill.

ListeningAssignments

Thegoaloflisteningassignmentsistohelpstudentstolistencriticallyto

musicandtoencouragestudentstoputwhattheyhearintowords.Benefitsof

45Ibid.,9.

49

listeningassignmentsincludelearningtoevaluatethequalityofarecording,gaining

knowledgeofacertainstyleorgenre,andtheabilitytoformulatecoherentthoughts

onwhatthestudenthearsinarecording.Therearemanyformsthatlistening

assignmentscantake.Manyappliedlessonscoursesalreadyincludesomesortof

listeningcurriculum.Insomecases,listeningassignmentscanbeinformal

suggestionsgivenduringprivatelessons,whileinothercasestheycanbemadea

formalassignmentthataccumulatesintoacertainpercentageofthefinalgrade.For

instance,Dr.ChrisDickey,ClinicalAssistantProfessorofMusic,Tuba,Euphonium,

andMusicTheory,assignsapieceperweekforhisstudentstoassessandmakesit

tenpercentofthestudents’finalgrade.46Thisprojectproposesamoreformal

approachthatissimilartothatofDr.Dickey,whereitcanfactorasapercentageofa

finalgradeandwillrequireawrittensubmission.Aninstructorcanputfortha

seriesofquestionsforstudentstoanswerortheycansimplyaskthestudenttogive

ageneralreactiontotherecording.

Therearemanypromptsthatteacherscanuseforlisteningassignments

dependingontheirgoalsforthehomework.Ifaninstructorwouldlikeforstudents

tousethelisteningassignmentasawayforstudentstodevelopanearforthesound

conceptsofaNewOrleansbrassband,theymayask:

• HowwouldyoudescribethesoundofthesousaphonewithintheNewOrleansbrassbandcontextinthisrecording?Isitbright?Isitdark?

46Dr.ChrisDickey,“Spring2016Tuba-EuphoniumStudioSyllabus,”WashingtonState

UniversitySchoolofMusic.

50

• Whatistheroleofthesousaphonewithinthegroup?Isitsimilarordifferenttoitsrolewithinanorchestraorconcertband?

• Howwouldyoudescribethestylethatthegroupplaysin?• Whatrhythmicinflectionsandornamentsdidthesousaphonistadd?

Howcouldyoucreatesimilarstylizationsinyourownplaying?

Thesearemerelysuggestions,butasimilarlineofquestioningwouldbebeneficial

withinthelisteningassignmentspartoftheappliedlessonscurriculum.

Thesameapproachcanbeusedforlisteningassignmentsrelatedtofinding

historicalcontextofdifferentrecordings.Amoretraditionalbrassband,suchas

TreméBrassBandorLibertyBrassBand,wouldhaveaslightlydifferentoverall

sound,andtherepertoirewouldbesomewhatdifferentfromamorefunk/pop/hip-

hopstylebrassband.GroupslikeDirtyDozenBrassBandandRebirthBrassBand,

thoughtheydoplaytraditionalsecondlinetunes,aregoingtohaveaudible

differencesfromthemoretraditionalbands,suchasTreméBrassBandorLiberty

BrassBand.MattSakakeenywrites:

ManyoftheDirtyDozen’stransformationsoftraditionaredetectableontheirdebutrecording,a45rpmrecordreleasedin1981…In‘FeetCan’tFailMeNow’andothernew-schoolbrassstandards,thetubaplaysacompact,virtuosicriffthatrepeatstheentiresong.ItwasKirkJoseph,alongwithAnthony‘TubaFats’Lacen,whosetthisnewstandardofcyclicaltubamelodies,supplantingthetuba’spreviousroleofprovidingtheharmonicfoundationbyoutliningthechangingchordprogressions.47

Thisisn’ttosaythatthose“new-schoolbrassband”tubaplayersdonotplayakey

harmonicfunction,butitisimportantforstudentstobeabletodifferentiate

betweenthetwostylesofbrassbandplaying.Itisalsoimportanttonotethatmany

47Sakakeeny,RollWithIt:BrassBandsintheStreetsofNewOrleans,120.

51

ofthetraditionaltunesstartwithadrumrhythm,whilethenewerbrassband

groupsusuallybeginwithatubagroove.

Aninstructorcanmakeuphis/herownchoiceofwhatsongsoralbumsthey

canusefortheirlisteningassignments.Theycanassignaspecificrecording,orthey

canassignacertaintuneandaskthestudenttoseekoutcertainrecordingsofsongs.

Ateachercanaskastudenttofindandlistentoacertainnumberofrecordingsofa

certaintuneandaskthestudenttowritethesimilaritiesanddifferencesbetween

them.Thiswillhelppupilstobegintoformulatetheirideasaboutwhattheylikeand

dislikeaboutcertainapproachestoplayingNewOrleansbrassbandmusic.

Developingacriticalearwhenlisteningtomusicisimportanttodevelopinan

appliedlessonscurriculum.

Anotherpossiblelisteningassignmentinvolveshavingstudentslistento

recordingsandhavethemidentifythechordprogression.Itisimportantwhen

playingNewOrleansbrassbandthatthetubistknowsthekeyofthetuneandupon

whatchordsthebasslineshouldbebased.Studentscouldpossiblytranscribeabass

linebasedonarecordingtoenhancehowtheylistentorecordingsandtopractice

developingaprocessforthemimprovisingtheirownbasslines.Studentscould,for

example,listentoarecordingof“WhentheSaintsGoMarchingIn”andidentifythe

chordprogression.Aftertheyhaveidentifiedthechordprogression,theycan

transcribethebasslinethatthetubaplayerintherecordingimprovisesonapiece

ofmanuscriptpaperorinacomputernotationprogram,suchasSibeliusorFinale.

PhilipFrazierofRebirthBrassBandwilllikelyplayaslightlydifferentbasslineon

52

“WhentheSaintsGoMarchingIn”thanJonGrossofTreméBrassBand.Thiswould

alsoserveasasupplementtotheirmusictheoryandeartrainingcourses.

Exercisesandassignmentsareanessentialpartofanycollegecourse.They

aremeanttohelpinstructorsguidetheirstudentsandhelpthemtoachievethe

greatestsuccesstheycanwithinthecourseandbeyond.Itisthegoalofthisproject

tohelpinstructorsofappliedtubaandeuphoniumlessonsthroughoutthecountry

tosupplementtheircurrentcurriculumwithNewOrleansbrassbandmusicin

ordertoenhancetheircurrentcourses.

53

CONCLUSION

ANewOrleansbrassbandsupplementwilladdanewskillsetforstudentsto

utilize.Althoughcoursesinmusictheoryandmusichistoryarecoreelementsofa

schoolofmusiccurriculum,itisimportantthatwhatislearnedinthosecoursesis

appliedinprivatelessons,masterclasses,performances,andchambermusicstudies.

Astudent’sbasicmusictheoryknowledgecanbeputtousewithinthecontextof

NewOrleansbrassbandplaying.Thechordprogressionsusedinthatstyleare

comparabletothesimplechordprogressionstaughtinacollegefreshmantheory

class,suchasaI-IV-V-IorI-ii-V-Iprogression.ThedevelopmentoftheNewOrleans

brassbandalsofollowsasimilarchronologytothebrassbandmovementinthe

UnitedStates,aswellastheearlyjazzpioneersoftheearlytwentiethcentury.

Helpingtoputtunesandfacestotopicsthatmayhavebeenonlydiscussedbrieflyin

amusichistorysurveycoursecanhelptoenhanceastudent’soverallmusical

knowledge.

ThesupplementisimportanttothesuccessofintegratingNewOrleansbrass

bandmusicintoanappliedtubaandeuphoniumlessonscurriculum.Itallows

instructorstohavearesourcethatisalreadyconstructedforthemandisadaptable

totheirindividualneeds.Thesupplementisnotrendereduselessifitisnotusedin

itsentirety.Itisappropriateforaninstructortopickcertainsectionsofitto

highlightwiththeirownstudentswithoutsacrificingtheoverallbenefitsofthe

54

supplement.Instructorswillbemoresuitedtopreparetheirstudentsforan

evolvingmusicalworldthatawaitsthemupongraduation.

ANewOrleansbrassbandcurriculumsupplementwillhelpinstructorsof

appliedtubaandeuphoniumlessonstoteachtheirstudentstheskillsneededtoplay

inabrassbandandwillintroducethemtorecordingsandmaterialsthatwillallow

studentstointegrateanewdimensionintotheirprofessionalprofile.Onenever

knowswhentheywillreceiveacallforaNewOrleansbrassbandorDixielandgig.If

themusiciandoesnothavetheskillsnecessarytoperformthatmusicoris

uncomfortablewithimprovisatorymusic,theymissanopportunitytoaddnew

experiencestotheirresumé.Ifanothergigcomesupthatneedsatubaplayertoplay

thatstyleofmusic,itisimportantforthemusiciantobethoughtofinapositive

light.

Themusicindustryisbecomingmoreandmorecompetitiveeveryyear.The

DepartmentofLabor’sprojectionformusiciansandsingersfor2016–2017seems

fairlygrim.Underthesectionentitled“JobProspects,”theemploymentforecastwas

wordedthusly:“Therewillbetoughcompetitionforjobsbecauseofthelarge

numberofpeoplewhoareinterestedinbecomingmusiciansandsingers.Many

musiciansandsingersexperienceperiodsofunemployment,andtherewilllikelybe

considerablecompetitionforfull-timepositions.”48Full-timepositions,suchas

tenuredorchestralpositionsoruniversityteachingpositions,mentionedinthis

48BureauofLaborStatistics,U.S.DepartmentofLabor,OccupationalOutlookHandbook,2016–

17Edition,MusiciansandSingers,http://www.bls.gov/ooh/entertainment-and-sports/musicians-and-singers.htm#tab-6(accessedApril6,2016).

55

projectionaredifficulttoobtain.Itisusefulforstudentsgraduatingfromcollegiate

musicprogramstodemonstrateawidearrayofskillstoaidetheirpursuitofmaking

alivingasamusicperformer.Theaimofthesupplementputforthbythisprojectis

tohelpstudentstoaddasetofskillstomakethemabettermusicianand

professionalinthefuture,butitalsohasthesidebenefitofhelpingtomakethem

moremarketableinthefieldofmusic.

Anexampleofagroupofclassmatesformingtheirowngroupis“JonBatiste

andStayHuman.”Theirleaderandnamesake,apianistandnativeofNewOrleans,

describeshowheviewedhiseducation:

Batistewantedtoexploreamusicalcareerbeyondsharpeninghischopsatschool.‘Ialwaysthought,man,ifwe’reworkingonallthisstuff,weshouldactuallyputitintopracticeandgooutthere.Ineverforgetthedeanofthejazzdepartment(atJuilliard)toldmebeforeIleft,oncethingshadbecomemoreclearthatIwasn’tjustsomecrazykidwhodismissedmyauthority,theywerelike.‘Ohmanyoualwayshadaplandidn’tyou?’Itwaskindatrue,youknow.Ireallydidhaveaplanforgoingtoschool–itwasn’tjusttogotoschool.49

Batisteandhisbandmatestookwhattheylearnedinschoolandformeditintotheir

ownstyle.TheNewOrleansbrassbandsupplementsetforthbythisprojecthasthe

intentionofprovidingcollegiatetubaandeuphoniumplayerswiththeskillsto

createtheirownbrassbandsandtocreatetheirownperformanceexperiences.

Learningorchestralandbandexcerptsiscriticalforcollegiatemusic

students,butitisalsoimportanttosupplementthatwithotherstylesofmusicto

49ChristopherR.Weingarten,RollingStone,“MeetJonBatiste,StephenColbert’sCrowd-

ThrillingRebelBandLeader,”August5,2015,http://www.rollingstone.com/music/news/meet-jon-batiste-stephen-colberts-crowd-thrilling-rebel-bandleader-20150805(accessedApril6,2016).

56

roundoutwhattheyareabletoplay.AngelaMylesBeechingputsforthaninsightful

ideaaboutnon-traditionalmusiccareers:

[T]hesehighlycompetitivetraditionaljobsareonlyafractionoftheworkactuallyavailabletomusicians.TheU.S.musicindustryisvastandincludesahugevarietyofworkopportunities.Andbecausemusiciansaregenerallymulti-talented,theyoftenhavemarketableskillsinmorethanonearea.Themajorityoftoday’sprofessionalmusicianscreatesatisfying‘portfolio’careers,braidingtogetherpart-timeworkandentrepreneurialventurestocapitalizeontheirtalents,interests,andexperiences.50

StudentswillhavetheopportunitytoaddNewOrleansbrassbandplayingtotheir

“portfolio”tohelpthemtobuildcareerskillsthatwillhelpthembesuccessfulinthe

competitiveprofessionalmusicmarket.Creatingdiverseteachingandlearning

experiencesinthestudioenvironmenthelpsstudentsseetheoptionsopentothem

beyondtraditionalcareerpaths.

50AngelaMylesBeeching,BeyondTalent:CreatingaSuccessfulCareerInMusic,2nded.

(Oxford:OxfordUniversityPress,2010),7.

57

APPENDIX:NEWORLEANSBRASSBANDSUPPLEMENT

NewOrleansBrassBandSupplementaryMaterialTubaandEuphoniumAppliedLessons

ThegoalofthissupplementistoallowinstructorsofappliedtubaandeuphoniumlessonscoursestointroducetheirstudentstotheskillsandstylesassociatedwithNewOrleansbrassbandmusictoimprovetheoverallmusicianshipandtechniqueleveloftheirstudiomembers.Thismaterialisintendedtobeadaptabletotheneedsoftheinstructor.SuggestedMethodBooks:JonSass:TheJonSassBassLineBookforTubaorOtherLowBrassInstruments,Vuarmarens,Switzerland:EditionsBim,2007.Sass’textoffersstep-by-stepinstructionabouthowtoconstructabasslinethroughtheuseofdifferentscalesthatarecommonlyfoundinimprovisatorymusic,suchasjazzorNewOrleansbrassbandmusic.Thebookcomeswithaplay-alongCDthatallowsthestudenttolearnbyplayingalongwithabackingtrack.Eachetudeallowsthestudenttolearnarhythmicexercise,aharmonicstudy,performwithaplay-alongtrack,andthereisaspaceforthestudenttocomposetheirownbasslineandplayitalongwiththetrack.ThisbookwillprovideagoodfoundationfortheimprovisatoryskillsnecessaryforplayingNewOrleansbrassbandmusic.DavidN.Baker:JazzBassClefExpressionsandExplorations:ANewandInnovativeSystemforLearningtoImproviseforBassClefInstrumentsandJazzCello,NewAlbany,IN:JameyAebersoldJazz,Inc.,1995.DavidN.Baker,formerDistinguishedProfessorofJazzStudiesintheJacobsSchoolofMusicatIndianaUniversity,wasaninternationallyregardedjazzpedagoguewhocontributedanumberoftextsfortheeducationofstudentsofalllevels.Thisspecifictextwalksthereaderthroughbuildingbasslinesthroughtheuseofscales.Thereareseparatesectionsthatdealwithaspecifickeyorscale.Thereisalsoanindexthatteachescommonjazzsymbolsthatproveinvaluable.

58

SuggestedArticlesandBooks:MattSakakeeny:RollWithIt:BrassBandsontheStreetsofNewOrleans,Durham:DukeUniversityPress,2013.SakakeenyhaswrittenmanyarticlesandbooksonthesubjectofbrassbandsinNewOrleans.Thisbook,afirsthandaccountofRebirthBrassBand,SoulRebelsBrassBand,andHot8BrassBand,givesinsightintothedailylivesofprofessionalmusiciansinNewOrleans.Hegoesintogreatdepthaboutwhathappensduringajazzfuneralandsecondlineparade,whicharealargepartofwhatbrassbandsarepaidtodoinNewOrleans.Thethreegroupsthataredocumentedalsohaveextensivediscographies,whicharealsodiscussed.ArticlesbyMattSakakeeny:“NewOrleansMusicasaCirculatorySystem,”BlackMusicResearchJournal31,no.2(Fall2011):291–325.“’UndertheBridge’:AnOrientationtoSoundscapesInNewOrleans,”Ethnomusicology54,no.1(Winter2010):1–27.MickBurns:KeepingtheBeatontheStreet:TheNewOrleansBrassBandRenaissance,BatonRouge:LouisianaStateUniversityPress,2006.ThistextcontainsnumerousfirsthandaccountsfromsomeofthebiggestnamesinNewOrleansbrassbandhistory,includingAnthony“TubaFats”Lacen,PhilipFrazierIIIofRebirthBrassBand,and“Uncle”LionelBatisteofTreméBrassBand.Eachmusicianthatisprofileddiscusseshowtheywereexposedtobrassbandmusicandhowtheybecameeducatedinthestyle.SamuelA.FloydJr.:“RingShout!LiteraryStudies,HistoricalStudies,andBlackMusicInquiry,”BlackMusicResearchJournal22,Supplement(2002),51.Floyd’sarticlegivehistoricalcontexttohowthesecondlineandjazzfuneralscametobeandtracestheirheritagetothe“ringshout”ceremoniesperformedbyslavesinthedeepsouth.ItgivesstudentsalookintomusichistorythattheymaynotlearnaboutinatraditionalmusichistorysurveycourseandwillgivethemabetterunderstandingofthemodernNewOrleansbrassbands.WilliamJ.SchaferandRichardB.Allen:BrassBandsandNewOrleansJazz,BatonRouge:LouisianaStateUniversityPress,1977.SchaferandAllen’sbooktracesthehistoryofthebrassbandstomilitaryandtraditionalbrassbandsthatexistedattheendofthenineteenthcenturyanddiscusseshowthestyleevolvedovertimeintothemusicthatitisknownforinthe

59

present.TheauthorsdoanexcellentjobofdifferentiatingNewOrleansbrassbandmusicfromthegeneralizedtermof“jazz.”ThisbookishighlyregardedasahistoricalreferenceforbrassbandmusicinNewOrleansExercises:SomebasicexerciseshavebeenincludedinthisNewOrleansbrassbandsupplement.Theyareintendedtoexposestudentstocommonchordprogressionsandstylesthatarefoundinbrassbandmusic.Exercise1:I-ii-V-IArpeggiosThisexerciseisintendedtohelpstudentsfindtheirwaythroughabasicchordprogression.Avarietyofarticulationscanbeused,includingstaccato,legato,andmarcato,toemulatedifferentstylesthatcanbefoundinNewOrleansbrassbandmusic.ThisandthefollowingexerciseweresuggestedbyTomHoltz,formertubistwiththeUnitedStatesMarineBandandcurrentfreelancetubaplayerintheWashington,D.C.area.Exercise2:i-iio-V-IArpeggiosThisexercisesisthesameasExercise1,butitiswrittenoutinaminorkey.Avarietyofarticulationsshouldalsobeusedwhenpracticingthistechnique.Exercise3:TwelveBarBluesThisexerciseisintendedtoallowthestudenttolearntoplayabasslineforatwelvebarbluesprogression.Itshouldbedoneinasmanykeysaspossibleandwithavarietyofarticulations.Thewrittenexampleisoneofmanywaysthatatubaplayercouldstylizethebassline.Therecanalsobesyncopationinthebasslineifthemusiciandesiresthat.Exercise4:CreatingaBassGrooveThisexercisewillallowastudenttoseeorhearachordprogressionandcreateabasslinegroovethatwillmatchthatprogression.Twoexampleshavebeenincludedasademonstrationforwhatabassgroovecouldlooklike.

60

EXERCISE1:

61

EXERCISE2:

62

Exercise3Example:

Exercise4,ExampleA:BassGroovefrom“DoWatchaWanna”byRebirthBrassBand

Exercise4,ExampleB:BassGroovefrom“FeelLikeFunkin’ItUp”byRebirthBrassBand

SelectedDiscography:ThislistisnotmeanttobeadefinitiveNewOrleansbrassbanddiscography.ItismeanttosuggestrecordingsthatinstructorscangivetheirstudentstodemonstratedifferentNewOrleansbrassbandsandtheirvaryingstyles.Theserecommendedrecordingsserveasareferencelistforinstructorstoaddtoanypreviouslisteningassignmentliststhattheymayhave.

63

TraditionalNewOrleansBrassBands:Dejan’sOlympiaBrassBand:HereComeDaGreatOlympiaBandSmithsonianFolkways:ClassicSoundsofNewOrleansfromSmithsonianFolkwaysNewOrleansBrassBands:ThroughtheStreetsoftheCityTreméBrassBand:TheTreméBrassBandIGotABigFatWomanPaulBarbarin’sOnwardBrassBand:PaulBarbarin’sOnwardBrassBandinConcert1968ModernNewOrleansBrassBands:DirtyDozenBrassBand:MyFeetCan’tFailMeNowFuneralforaFriendWhat’sGoingOnHot8BrassBand:RockWiththeHot8RebirthBrassBand:DoWatchaWannaHotVenomFeelLikeFunkin’ItUp YoungbloodBrassBand:center.level.roar.PaxVolumi

64

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Alper,Garth.“NewOrleansMusicandKatrina.”PopularMusicandSociety29,no.4

(10/2006):461.ArizonaStateUniversitySchoolofMusicTuba/EuphoniumStudio.“AppliedLessons

SyllabusFall2014,http://tuba-euphonium.faculty.asu.edu/wp-content/uploads/2012/07/ASU-syllabus-applied-fall-20141.pdf(accessedFebruary20,2016).

Baker,DavidN.JazzBassClefExplorations:ANewandInnovativeSystemfor

LearningtoImproviseforBassClefInstrumentsandJazzCello.NewAlbany,IN:JameyAebersoldJazz,Inc.,1995.

Battisti,Frank.TheWindsofChange:TheEvolutionoftheContemporaryAmerican

WindBand/EnsembleanditsConductor.Galesville,Maryland:MeredithMusicPublications,2002.

Beeching,AngelaMyles.BeyondTalent:CreatingaSuccessfulCareerinMusic.2nded.

Oxford:OxfordUniversityPress,2010.Burns,Mick.KeepingtheBeatontheStreet:theNewOrleansBrassBandRenaissance.

BatonRouge:LouisianaStateUniversityPress,2006.Chase,Claire.EntrepeneursinMusic–andDon’tForgetAboutMozart!

Polyphonic.org:TheOrchestraMusicianForum,March24,2008.http://www.polyphonic.org/discussion_panel/entrepreneurs-in-music-and-dont-forget-about-mozart-4/(accessedApril6,2016).

Chinen,Nate.“Jazzfest:TubasOutnumberRappers.”ArtsBeatfromTheNewYork

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Cummings,Barton.“ThoughtsonTuba.”http://www.dwerden.com/tu-articles-

thoughts.cfm(accessedJuly9,2015).Davis,BarbaraGross.ToolsforTeaching.SanFrancisco:Jossey-Bass,2009.

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