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Foreword Keith Johnson xi
Preface xii
Embouchure
The Big Four: Embouchure 3
Do They Pivot in Peoria? 9
Endurance 13
The Low-Down on Pedal Tones 17
Smashing the Lips 21
High Notes 27
Breathing
The Big Four: Breath 31
Open Up-For Tone's Sake! 35
The Head Position and the Airway 39
How Long Is a Long Tone? 41
Tonguing
The Big Four: Tongue 43
Breath Attacks 47
Triple Tonguing Is as Simple as One, Tu, Three 51
Videofluorographic Research with Dr. Alexander M. Finlay 55
Fingering
The Big Four: Fingers 59
The Arch of the Fingers 63
Musicianship
On Stage-The Reason for Being 65
Who Says Playing from Memory Is Important? 73
I Could Hear Every Word You Played 77
Crescendo and Accelerando 81
How Loud Is Loud? 83
Vibrato 85
The Three C's-Continuity, Contrast, Climax 89
Intonation
Tune as You Play 93
Get Those Third Slides Out 97
Equipment
Haynie's Horns 101
Mouthpieces-The Holy Grail of Trumpeters 105
The Inside Story of Leadpipes 109
A Comparison of Cornets and Trumpets and the People Who Play Them: A Two-Part Story 111
The Metronome-My Friend 117
Habits
Warming Up and Down 121
Bad Habits-According to Whom? 125
Practice Makes Perfect-But What Is Perfect? 129
Trumpet Jaywalking 133
The "Go for It" Attitude 135
Rhythmic Entrances and Jump Rope 139
Man, I Know What I Need to Practice 143
Mental Discipline
John Dewey's Spirit of Change and Other Guiding Principles 145
Motivation 153
Stress 157
Sight Reading and Transposition 161
Miscellaneous
Developing a Trumpet Library 165
Writings, Recordings, Composers 173
The Audition for a Scholarship 183
Why Teach? 187
Girls and Trumpets 191
The Non-Jazzer, Found Out 195
Try Fly Fishing-It Is Easy 197
Golf-A Game for Trumpet Players 201
Autobiography
A Boy and His Horn 205
My Life with Robert Maddox 209
All-State Bands and Contests 213
Colonel Earl D. Irons-My Childhood Hero 219
War and Duty 223
Haskell Sexton-My Teacher 229
Leroy Kirsch-My Illinois Standmate 235
A Six-Week Audition 239
Listening and Learning in the 1950s 245
Marilyn, Melinda, Mark 249
Mark Hindsley-My Father-in-Law 255
The Grand Performance 261
Afterword Anne Hardin 265
Contributors 269
Index of Names 285
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Anguts Sadalak
reviewed Inside John Haynie's Studio: A Master Teacher's Lessons on Trumpet and Life on July 31, 2011
Inside John Haynie's Studio: A Master Teacher's Lessons on Trumpet and Life
I found this on one of my shelves at my parents house. I really liked the science of this book, but one star off because it primarily appealed to my nerdy ability to read highly technical text. If it wasn't that I was a math geek in real life, I think this book might be a bit unapproachable. It covers across instruments and in that regard it may be a bit much for the usual person. However, the idea of what sounds are about combined with the technology demonstrations are really quite fantastic.
In voice class, you often describe sound as larger or wide like a frequency band. Nowadays we use Garage band and the like to be able to see resonance. To think of singing or playing an instrument in those terms is an excellent way to really know the feel of things deeply.
I like the section on the piano that describes the four elements of what you can do to manipulate sound. In general, you can only really manipulate tempo and duration. The voice can do so much more. If you think about what the piano does with just these two things as the player, it's super cool. And then throw in the sustain pedal and you've got a third dimension, albeit limited relative to a super free instrument like voice. However, just think how much is possible with those constraints and then apply it to voice. Very very cool stuff.
I also love the chapter on creative sound vs. creative image or other forms of creativity. Really made me think about how that plays into other areas of work. We are - as humans - creative beings. We make tools and we shape our reality entirely unconstrained. I'd never meaningfully considered that creativity might also be divided into subgroups each with very in-depth training methodologies, e.g. you train visual creativity by drawing, painting, tracing, imagining actively, you train interactive creativity, by acting, role playing, etc, you train auditory creativity by listening to music hearing differences. Fascinating.
What does it mean as we take the arts out of school and force a STEM approach to learning? It is too obvious that this will be an HR issue for the future.
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