Steve Gamble
Tucson Symphony trombonist, Steve Gamble initially went to Arnold Jacobs to get some assistance with a lip injury. Jacobs didn’t spend much time focusing on the injury, though, but instead had Gamble play music helping him to re-direct his thoughts away from thinking about the injury. Jacobs worked with Gamble to place his attention on the music, to develop new habits. Hindemith Sonata. Gamble said he learned from Jacobs how to put his mind on a positive outcome. Imitation of others live or in the memory. Put the focus on what you CAN do, not what you cannot. Then let the positive outcomes influence/teach the less good aspects of your playing. Do what you can do. Mahler 3, training Gamble’s brain. Jacobs’s repetitive arm movement. Jacobs had Gamble do several other activities for several minutes, often associated with Jacobs unfurling his right arm. They returned to the Mahler and when Gamble got to the “D” Jacobs moved his arm which resulted in a visceral improvement in the “D”. Positive associations. Imagination. ‘How good is your imagination today?” You can’t play what you cannot imagine. How do you know if you did it well if you have no concept in your mind as to what is good? It’s really just art. Your experience is critical to your art-making and improvement. You should rely on your mind’s artistry. Make it a clear picture. Be an artist from the first note! The brain works on percentages. Keep your focus and attention strong while playing. Make your search in playing focused on excellence, not on obeying rules. Growing old gracefully in the profession. Charlie Vernon. Imitation. Do it like something. Imitation. Playing by the numbers rather than how things should sound. Beginning band. Imitation – action thoughts rather question thoughts.
Leslie Grimm
Chicago freelance clarinetist, and Northwestern University Senior Lecturer of Clarinet, Leslie Grimm, gives insight into her studies with Arnold Jacobs. Jacobs helped to free up her breathing, both the inhalation and exhalation. Grimm had previously studied respiration from other teachers but remained very unsure about what was the correct path to pursue. She began to realize that how we function as humans was where she should focus, which is what Jacobs did for her. Using anthesia bags, spirometers in Jacobs’ studio helped Grimm to realize that she was actually capable breathing more fully AND more freely. Watching the bag become smaller and larger simulated having a lung outside of the body. It’s important to get air to the front of the mouth (reed). Jacobs’ nuance for Grimm (as a clarinetist) was not that she needed to use massive amounts of air, but it was always about how free the air could be when it gets to the clarinet. Jacobs got Grimm to exhale more freely. He taught her to exhale freely from the mouth and then apply that activity to the clarinet. Blowing out the candle variation from Jacobs was “bend the flame” rather than blowing out the flame. Air thickness and speed, vowel sounds. Woodwind players lip buzzing. Tight gut method and its dangers. Long-term tension is not good. Jacobs worked with Grimm on changing course away from the tight gut, compression battle.
Chris Hall
Metropolitan Opera principal tubist, Chris Hall, describes his experiences with Arnold Jacobs both directly and through his teachers, who were also students of Mr. Jacobs. At his first lesson Mr. Jacobs stopped Chris after about six notes and talked about utilizing more vowel to help develop a better tone. Jacobs had Hall verbalize “Kee…Kee Hoo…Kee Kee Kee…Hoo.” The use of different vowels – Ahh, Ooh, Uhh – is discussed. In order to give a visual reference to his sound, Jacobs demonstrated for Chris on Chris’ tuba and instructed him to watch the oscilloscope waves on the monitor in the studio. Hall remarked at how much more robust Jacobs’ wave was than his own, which was highly instructional. Another of Hall’s favorite Jacobs moments was when Jacobs would have Chris put his hand on Jacobs sternum and stomach areas while Jacobs would breathe deeply to encourage Chris to learn to use both regions of the breathing apparatus…a universal breath rather than a regional breath. Hall kept returning for lessons because each lesson he experienced vast improvement and was inspiring to him. Also, it was not lost on him that the 2,000 to 3,000 other students of Jacobs couldn’t be wrong. Jacobs worked to make Chris’ mechanics more efficient, basic things were covered in his lessons. Jacobs taught to the student and not to a method. … Breathe in the character of what you are going to play. Don’t lock up before making your entrance. Keep the air moving both in and out. No hesitation. Jacobs encouraged Hall to think less actively. Be dumb. Use your intelligence for the art of communication rather than trying to control the body. Hall describes Jacobs’ use of the technique of distraction in order to affect change in the student, to help the student achieve improvement. When asked to encapsulate his study with Jacobs in one thought, Chris said, “Air past the lips.” Think long? Think long. In other words, don’t think too much. Don’t analyze while while playing. Lew Soloff said quoting Jacobs, “When you’re playing, you’re the teacher. When you’re playing, you’re not the student.” React to pressure with flow. Don’t react to pressure with more pressure. Hall said Jacobs told him, “Low notes are slower air but more of it. Higher notes are faster air but less of it.” High notes should not be an Olympic event.
Toby Hanks
Toby Hanks first heard about Arnold Jacobs from Bill McNeiland in 1960 or 1961 while living in Texas. Jacobs was described as a teacher who was able to make astounding progress with his students. Hanks was persuaded to seek out studies with Jacobs. His first lesson was filled several compliments and a “but”; Hanks was working too hard. Jacobs used a few tools to show Hanks how he was using unneeded pressure/states of strength. Jacobs knew of Hanks’ financial distress so he ended up supplying some of the etude books and did not charge Hanks for those first couple of lessons. Jacobs explained to Hanks the basic respiration function, including diaphragmatic use. The most memorable aspect of those early lessons for Hanks was what one is thinking of while playing. Go to the control panel rather than the component level of thinking. Think about what you want to sound like instead of how to make your body function. Use imitation as a tool for learning. Have clear thoughts of what you want to sound like, what you are trying to accomplish. Be somewhat unconscious of the body use. Hanks was able to improve immediately when he would imitate Jacobs, but less successful when he thought on the body component level. Hanks observed over his time of study with Jacobs that his pedagogical approach evolved over the years. Jacobs was “a learning person.” Jacobs expertise in the psychology of playing was equal to that of his respiratory knowledge. Ease off on the physical effort and you’ll see a better musical result. One cannot self analyze while playing. Jacobs studied some of the best players in the world, including his colleagues in the Chicago Symphony. Jacobs used different devices to create situations of incentive with the idea of taking attention off of the body and placing it on the goal. Get away from the instrument, accomplish several different tasks and then apply those procedure memories to the tuba, resulting in maximizing results while minimizing physical efforts. Isometric contractions. Unnecessary effort, which has no helpful result. After his first summer of study with Jacobs, Hanks experienced very positive feedback from his Lamar College colleagues who were very complimentary of his playing. Singing, mouthpiece playing were integral parts of his lesson. Get a better picture in your mind. It’s not your lip, it’s what you are doing with your mind. Hanks described a couple of post-CSO concert, and LA Philharmonic during which Jacobs would become very excited to share his knowledge of respiration. Focal dystonia. Jacobs was not able help Hanks with dystonia, though it was not yet assigned that label/diagnosis. Jacobs was a blend of a scientist, a musician, and a nice older man. Jacobs never coached Hanks on music except when trying to get Hanks to imitate in order to get a better product. Jacobs believed that Hanks’ playing problems stemmed from Jacobs’ perception that Hanks played too much in the high register, as related to his time spent in the middle and lower registers, thereby increasing air-pressures leading to increased tension states. Hanks didn’t think Jacobs’ assessment was correct as it related to his dystonic situation. Jacobs’ approach as a teacher was to apply individualized curriculum based upon his assessment of the individual. He did not teach in a cookie-cutter manner. Hanks offered his observations of Bobo and Jacobs and their playing.
Val Hayworth
The original Milwaukee Symphony principal tubist, Val Hayworth sheds some light on studying with Arnold Jacobs during the 1960s.
During the mid-90s, Bryan Heath began studying with Mr. Jacobs after an initial lesson with Edward Kleinhammer during which Kleinhammer suggested seeking him out. During his transit to Chicago, Bryan read Philip Farkas’s book The Art of Brass Playing. When he arrived at Mr. Jacobs’s studio Bryan told Mr. Jacobs that he had just finished reading the Farkas book. To which Jacobs replied, “Philip Farkas was amazing. You should lock that in a drawer.” Jacobs paused and continued, “But if I write a book, you should also lock that in a drawer.” Shortly afterward, Heath began to play for Jacobs. Heath was not breathing very deeply while playing. Jacobs measured Heath’s lung capacity. Due to unwanted tension related to poor respiration, Jacobs told Heath that it was worse for him to NOT use his capacity than a smaller person who has to breathe much more often. Jacobs noted that Heath was keeping his body rigid while breathing, by not allowing his shoulders and chest to move during the breathing process. Jacobs worked with Heath to expand while breathing, sucking air from the lips. Wind is air in motion. Anything behind the lips doesn’t matter: Blow from the lips and breathe from the lips. Stay in the top two-thirds of the lung capacity. The air “falls out” in the top half of the lung capacity. No muscle contractions are needed. Thick air vs. thin air. Motor nerves, sensory nerves. Playing by “feel” well is not adequately supported by the nervous system. The song should be the dominant thought in your brain. The song is the entire picture that you want to convey to your audience. It is the pitch, the note, the dynamic, the musicianship, the tone. It is your story. Song is dominant and wind is less so. Occasionally there may be a slight reversal of that. The psychology of what motivates function does not lie in the operation of individual body parts. Rather it is the desired outcome, or product that serves as the most efficient and primary motivator. Pencil toss. Heath’s playing improved greatly. His sound “volumized” right away after thickening up his air flow. Jacobs also used the concept of conceiving and copying players much better than himself. Charlie Vernon was Bryan’s model. Star Trek was often on in the Jacobs house. Jacobs encouraged Heath to develop his artistry. “Limited challenges produce a limited musician.” Relaxation yes, but not flaccidness. Jacobs sometimes offered contrary advice from one student to the next because he was focused on what motivated the person. He was masterful in his use of psychology. Jacobs was often working in the background of the student’s mind, without the student being aware of it. Valsalva. “Tah” vs. “tAH”. 1984 International Brass Congress II video tapes of Jacobs. Heath’s DMA project. The Dick Erb interview helped Heath’s Valsalva issue. Air articulations. YouTube TubaPeopleTV Arnold Jacobs: In His Own Words.
Porter Wyatt Henderson III
Kansas City Symphony trombonist, Wyatt Henderson shares how his initial lessons with Jacobs were completely opposite of what he was expecting. Jacobs focused on the connection of the musician’s brain to the lip, the mental aspects and mental stimulus. Jacobs used specific repertoire and musical styles to teach Henderson how to improve his embouchure and skills on the trombone. But what surprised Henderson was that Jacobs did not focus on breathing at all, but rather music. The relationship between air flow and air pressure was discussed in lessons, as well as letting Henderson’s “good notes teach the bad notes.” His studies with Frank Crisafulli and how they compared and contrasted to Jacobs’ teaching is explored in this interview. How Jacobs and Crisafulli developed their highly projective tone colors is also discussed. Henderson reveals how his study of the martial art, Aikido, complements what he learned from Jacobs about controlling ones thoughts and focus. In the epilogue, more is explored about the methods that Jacobs used to get Henderson to increase his air-flow while lowering the air-pressure, thereby helping to create a greater ease in playing.
Boyde Hood
Retired Los Angeles Philharmonic trumpeter and USC trumpet professor, Boyde Hood discusses his studies with Arnold Jacobs, which were from1967-1970. At his initial lesson with Jacobs, Hood was convinced that he was studying with someone who knew what he was talking about with regard to respiration, psychology and physiology. Breathing is simple. Take a breath and blow. Hoh (or hO). Ah (or aH). The body should be relaxed. Tension in the body is counter-productive to playing well with good sound. Sternal/sternum collapse…bellows activity. Universal breath rather than a regional breath. Breathing tube…3/4-inch inner diameter. Breathe unimpeded. Air is always in motion. The natural connection of inward and outward air, similar to talking and breathing. Between relaxed air movement and hO, his first lesson completely changed Mr. Hood’s way of thinking. He was also reminded of the benefits of mouthpiece playing. Get a dental impression made just in case you have an accident involving your teeth. Lesson # 1 – breathe and blow and practice the mouthpiece. Hood returned to Jacobs’ studio because he was so taken by what he had learned in the initial hour that he couldn’t wait to get back. During his third or fourth lesson with Jacobs, Hood asked Jacobs a question centered on a respiratory issue he had noticed with many of his female students at Ball State University. In the interview, Hood explains that in that era, brass players (both male and female) were taught to keep the shoulders and sternum lowered and to breath from the abdominal region. Using male and female medical anatomical charts, Jacobs showed Hood why it is so critical for especially females to take a full (bellows/universal) breath due to some of the reproductive organs that take up space below the diaphragmatic region, which in turn limits the amount of diaphragmatic descent possible during an inhalation, which in turn reduces the total amount of air possible to be inhaled. Hood went back to Ball State and explained this to his female students and subsequently worked with them to free up their breathing apparatus by allowing inter-costal expansion (chest expansion) as a result of breathing, helping to minimize or eliminate upper respiratory (throat) constriction/tension. Follow the rules of the body. Know what you want to sound like. If you can’t hear it you can’t play it. Hear it and get out of the way of the body. Mr. Hood’s mouthpiece playing was not limited to melodies, though Jacobs preferred a dominance of melodies, or to think of exercises not as such but as melodies. Jacobs began to refer students in Southern California to Mr. Hood for help if they were not able to get to Chicago. Trumpet, trombone, horn, tuba, baritone…don’t think about it. Allow your body to respond…the basic process of procedure. If you think about air pressures and such, you are putting your thoughts in the wrong place. “It didn’t matter that Jake was a tuba player and I was a trumpet player. The point was that the concept was the important thing and following the laws of the body.” Trim the fat off the bone. Herseth that the CSO sounded the way it did because of Jacobs. Jacobs said that he felt that Bud was the perfect brass player. Several stories about Adolph “Bud” Herseth, and the Chicago Symphony.
Horn Notes Podcast purveyor, Dr. John Ericson, interviews Michael Grose about Jacobs’ global influence on wind musicians and singers. What made Jacobs so successful as a teacher was the fact that he knew people as humans. His intimate knowledge of the human body and mind made him every effective as a teacher. Jacobs met the student “where they were as an individual” as a teacher, assessing the student in ways to be able to best motivate the student. The brain works on percentages. Jacobs’ main emphasis was as the music man, more so than the breathing man. Breathing was always just a means to an end, the end being a great communicator in the art form of music. Expected vital capacity of Will Scarlett, body somatotype became part of Jacobs’ lung capacity assessment of the student. Discussion of Sam Pilafian and his pedagogical influences. Sam was a teacher’s teacher and a student’s student. Brief discussion of Carmine Caruso. Back to Jacobs, there is no Jacobs method. Jacobs taught the individual, not a method. Motivation of the student was a key component of Jacobs’ teaching. Brief discussion of Donald Reinhardt and the “pivot system.” Jacobs’ bottom line was “just sound great”. He was not strictly concerned with doing things “correctly.” Jacobs was more concerned with searching out excellence rather than correctness. Mark Schubert took Jacobs on a ride through downtown Chicago on his motorcycle. The main point of the TubaPeopleTV project is to collect individual slices of Jacobs’ pedagogical pie given to each student. Jacobs intuited neural-plasticity beginning in the early 1950s, decades ahead of actual neural scientists. The brain works on percentages. David Fedderly is the best Jacobs all-instrument teacher currently. Sam Pilafian was all about the music. Jacobs was all about music. Jacobs had two lungs, not one. Dee Stewart lesson 3×5 card book story. Jacobs likely did not write a book because his pedagogy was highly individualized to the student with him in the room at that moment. Strictly speaking, Jacobs did not always share the same information with every student. He actually would share precise information with the student that he thought would be most helpful for that person. TPTV hat…John is bald. The horn is actually the alto-tuba according to Harvey Phillips.
Mark Hughes & Robert Walp
Houston Symphony trumpeters, Mark Hughes and Robert Walp, provide the TPTV audience with an epic length, and unique set of memories and observations about Arnold Jacobs, Adolph Herseth, and Vincent Cichowicz, as teachers and performers. Hughes and Walp recount impressions of some of their early Chicago Symphony concert experiences, including projection of tone by Jacobs. Walp shares what his initial set of lessons was like. Working less and using imagination in a strongly intentional way was a favorite of the lively discussion. Walp illustrated how strongly Jacobs felt about the study of music (not breathing) was the core of his teaching. Physical coordination and tongue placement were part of Walp’s curriculum. Jake’s decision to always sound great while a Curtis student is described. Herseth’s exhortation to play the right notes all the time even if you have to spend time playing them very slowly for a period of time, so as to develop successful performance habits. The subjects of physical efficiency, singing, mouthpiece buzzing (playing) and dependence upon the mind, being sure the player has a message are all discussed. “Herseth put butts in seats.”
Greg Irvine
Tubist Greg Irvine discusses his role as THE teacher of brass at University of Prince Eward Island (Canada), and how his studies with Mr. Jacobs (as well as Rex Martin) helped prepare him for the unusual role of teaching high brass as well as low brass.
The following TPTV episode is what was presented at the 2016 International Tuba Euphonium Conference. The episode is comprised of clips from previously released material featuring the following artists:
David Fedderly – As you learn the music you’ll learn the instrument. It’s all about the music.
Rex Martin – Establish excellence in everything you play, everyday!
Patrick Sheridan – Establish a great approach, everyday!
Peter Wahrhaftig – Fuel the buzz through better articulations – tAH tOH not Tah Toh
Robert Carpenter – Air in motion at the lips
Chris Hall – Air past the lips
Daniel Perantoni – Blow from the lips
Oystein Baadsvik – Breathe more deeply and stay away from the residual air. Establish your performance habits in the top two-thirds of the lung capacity, not the bottom two-thirds. Let the air do the “heavy lifting” rather than the embouchure.
Dr. Gregory Irvine – Large breaths and avoiding the Valsalva maneuver. Don’t cap your breath with the glottis. Keep the airway open.
Megan Tiedt-Reed – Strive to hear louder in your head the sound that you want to produce with the instrument. Don’t rely on the embouchure musculature, instead concentrate on the sound in the mind. Don’t change a poor habit, replace it with a good one. Establish excellence one note at a time. Compare yourself to great artists, not to your peer-group.
Charles Daellenbach – How important is it to have a “correct” embouchure? Not very.
Become an expert on the mouthpiece and playing the instrument will become easy.
Toby Hanks – Put your thoughts on the product you want from the instrument. Imitate. In general, be as unconscious of your physical maneuvers on the tuba as you would be when you sing something as simple as “Mary Had a Little Lamb”.
Gary Ofenloch – Putting emotion into music. Letting your thoughts guide the music. Mind over meat. Thoughts over lip. Music first
Stephen Jeandheur
Suisse Romande Orchestra solo trumpeter, Stephen Jeandheur describes how he came to study with Arnold Jacobs beginning in 1976 (his studies continued until 1998). While in college, Jeandheur began to have playing problems as his attention to physical details related to trumpet performance increased. His teacher at the Cleveland Institute of Music, Bernie Adelstein, personally arranged for Stephen to meet with Mr. Jacobs. He went to Chicago that summer for six weeks and was able to take three lessons with Jacobs. Jacobs encouraged Jeandheur to get away from playing exercises on the trumpet in favor of melodies. Jacobs worked on improving the study of vowels. “Zero factor” was studied with some intensity. Jacobs encouraged Jeandheur to work on breathing studies away from the instrument. He also had Stephen incorporate a memory of the pitch in the head just prior to playing. Jeandheur described how Jacobs would get the student to play at a much higher level within minutes, and how that improvement is hard to understand for people who did not have that
experience with Jacobs. Jacobs heard sound and taught his students similarly; hearing efficiency in sound. Jacobs was able to understand the person and how they best communicated and were motivated. He would then tailor his communication style/manner to the student. There was no ceiling to what one could learn from Jacobs. His teaching was incredibly inspiring. No matter how good Jeandheur became, Jacobs was able to keep raising the bar of musical challenge. Learning to control the mind was a motivating factor in Jeandheur’s returning for more lessons. Better articulations, more ease of sound in the higher register were also topics for improvement at subsequent lessons. As Stephen aged, Jacobs began to give explanations to his instruction. As Jeandheur aged, Jacobs was very helpful to increasing efficiency. Tabuteau phrasing structure was discussed. Note-grouping. Micro-phrasing. It puts your mind in the right place by using the note-grouping method. Jacobs had no ceiling as a teacher of music. Audiences hear phrases, but musicians build phrases. It keeps your mind in the present. It puts your mind on the message. Jacobs discouraged “conditioning” on the brass instrument in favor of playing music that developed the conditioning desired. Keep the motivation on music. Jacobs gave advice about recovery after difficult concerts. When the lip feels bad, turn up the music in the mind. Embouchure is a variable, stabilize the sound. “Lips are tough!” Bob Dorer chopped lips Promenade story. Jacobs noticed that Jeandheur was working too hard at the top of his register and so had him do much timbre matching – lower notes teaching upper notes. Octave matching. Rounder vowel at the top of the staff. Jacobs got Steve to achieve a better sound with less effort. Love song influenced. The Jacobs pedagogy path in Europe is discussed. Bob Tucci. Kassel, Germany orchestra was a portal. Efficiency versus stylistic concept. CODA segment: sol-feg, singing, putting words to the melody or line being learned. Adding a word to a pitch magnifies the note in the mind making it louder. Aging process effects. Psychological, tissue recovery, do not be dependent upon how things feel. Embouchure is a variable, ignore the feel and increase the volume of the music and sound in the mind. The tongue gets slower as one gets older. Be prepared for aging effects to avoid being worried. Lung capacity decreases with age. Stabalize the music not the embouchure.
Thomas Jostlein
St. Louis Symphony hornist, Thomas Jostlein, describes lessons with Arnold Jacobs. Jacobs encouraged Jostlein to sing more in the mind, as well as to utilize his air more fully and efficiently. He also discussed his studies with Jacobs protégé, Roger Rocco and the increased emphasis on singing in the mind while playing. Brass players must have pitch in the mind as well as tone color, not just color, or else the body is confused, Rocco told him. Imagination and imitation helped lead the topic of listening to recordings intimately and then using them as a source of imitation. Also, recording one’s practice and then listening to the playback later was encouraged rather than listening (and analyzing) while playing. Discussion about building phrases one note at a time and the importance of being a being a motor nerve musician rather than a receptor never musician rounded out the interview.
Fritz Kaenzig
Celebrated tuba performer and professor, Fritz Kaenzig shares several of his Arnold Jacobs lesson experiences. Having studied with Jacobs for 25 years, Kaenzig describes the ways in which he developed increased resonance on the tuba, and the evolution of Mr. Jacobs’ pedagogy.
Morris Kainuma
NYC/Broadway tubist, Morris Kainuma talks about his lessons with Mr. Jacobs. The initial lesson was spent focusing on thinking and conceiving in a more musical manner, and less on the mechanical aspects of playing. Jacobs demonstrated on Kainuma’s tuba piquing his interest. Jacobs asked Kainuma to think and conceptualize one note, take a breath, and then play keeping that conceptualization strong in his thoughts. Relaxation. Ease. Use the “O” vowel more. Use existing speech patterns to more clearly annunciate the “t” articulation.
Robert Karon
Los Angeles trumpeter, Robert Karon encountered Arnold Jacobs in 1976 at the recommendation of some friends. Jacobs noticed that Karon was not exhaling normally, but instead squeezing the air out. Jacobs suggested Karon use the “poh” technique and also using an empty (and clean) bread bag to fill it with air and then re-breathe it for five cycles. This helped Karon to use his air more normally. Don’t worry about making mistakes, Jacobs said. Jacobs gave Karon a primer on repertory function. You don’t want to keep your stomach area tense, firm, or tight. The trumpet is on the outside of your face not on the inside so blow wind from the lips (not the gut, or other places inside the body). Jacobs utilized pinwheels as goals to objectify airflow. You cannot unlearn a habit, you must learn a new habit and use it replace the old, non-desirable habit. Jacobs had Karon singing using Solfeggio, playing the mouthpiece, whistling, and playing the trumpet. His studies with Jacobs continued until 1989. Over time his lessons with Jacobs began to change moving away from breathing and toward musical thought using imitation and conception. There are two instruments: one in your head and one in your hands. The one in your head is the important one. Player piano roll relationship. Concentrate on the sound and musical interpretation. Subdue the self-awareness while playing and increase the concept in the mind while playing. Let the music teach the mechanics. Air pressure versus airflow. Think flow, not pressure. Loud is faster air. Soft is slower air. It’s the flow – the blow. Airflow should be windy. Karon discusses studying with a tuba player. Jacobs would sometimes demonstrate for Karon on his trumpet. Mouthpiece playing was an oft-used activity in lessons. Deep breathing. Many different types of musicians studied with Jacobs. A story about Karon riding with Herseth, Jacobs, and Phil Smith to a CSO run out. International Brass Conference II, LA Brass Quintet. A friendship developed over the years. Star Trek. TrumpetBob.com
In 1959, tubist Bill Keck had just completed a summer studying at Interlochen and was recommended to contact Arnold Jacobs. Keck had been studying music since age 4, but had not encountered any other teacher such as Jacobs, who made it a point to learn about each student as an individual, on multiple levels. Each lesson contained a certain amount of time in conversation with the student by Jacobs to ascertain how best to communicate with the student. Keck said that Jacobs was totally intolerant of not putting music first. All of the other physiological things for which Jacobs was famous were just conduits by which the student’s highest level of artistry could be achieved. Keck said during some lessons Jacobs would use various gadgets and tubes and gauges with him. Jacobs was engaged in some research projects such as measuring air pressures. The intra-oral pressures is the same for each enharmonic pitch (given the same relative dynamic). This information was important for Bill as he grasped Jacobs’s core pedagogical principle that “we need to be engaged in the mentality of the music, not the physicality of the music.” Keck described playing with the “candlestick lights” device and learning effortless playing in an objective manner by comparing his skills with the lights versus Jacobs’s. The lights indicated embouchure of tone and embouchure. We need to keep our mind intact (and not reacting to the physical feedback). It doesn’t matter what instrument one plays, but rather to become an individualized artist. Imitate others, others who are much better than you. Use the mouthpiece to develop artistry and authority. Improvement on the instrument can be achieved through mouthpiece playing. Rim playing was a little bit of a distortion as related to the mouthpiece. Kinesthetic feeling (learning by touch). After using the rim and the mouthpiece, Keck’s ease of playing the tuba increased. Jacobs insisted on developing a great sound. Keck’s father, who was a smoker dying of emphysema, attended several lessons. Jacobs helped Keck’s dad survive 25 years (by giving him some breathing advice) even though the doctors had given him six months. Bill helped Jacobs in the writing of the “Hal Leonard Advanced Band Method Special Studies.” During Keck’s time studying at Eastman he developed some habits on the high register on the tuba which ran contrary to his studies with Jacobs, and which were leading him on a path of increasing physical tension and inefficiency. Jacobs advised Keck to never allow a preponderance of practice time in the upper tessitura. Take breaks. Make the high register playing an overall percentage of the total daily practice amount. “What story do you have to tell me today?” was a common question from Mr. Jacobs. Keck’s time at Eastman is often referred to as the “Golden Age” for the tuba studio with Toby Hanks, Chuck Daellenbach, Ron Bishop, Dan Perantoni, and Roger Bobo. Discussion about Emory Remington and his singing voice approach to tone. Discussion about Jacobs respecting the art.
Sheldon Kirshner
Chicagoland attorney, psychologist, and French horn player, Dr. Sheldon Kirshner shares his memories of working with Mr. Jacobs for 30 years. Kirshner
discusses the importance of using imitation in learning how to play. He stresses that Mr. Jacobs worked tirelessly to create a lesson environment in which the student could thrive. “He wanted to encourage you” remarks Kirshner. Don’t play in the past, play in the future is a concept discussed. Dr. Kirshner was a longtime friend to Mr. Jacobs, and so was able to experience a side of Jacobs not often seen.
Edward Kuhn
Former Savannah Symphony and Charleston Symphony principal trumpeter, Edward Kuhn talks about his Jacobs lessons.
Manny Laureano, fabled Minnesota Orchestra principal trumpeter, was convinced by his then-Seattle Symphony section-mate, Jeff Cole to begin listening to recordings of the Chicago Symphony. Being a New Yorker and Juilliard School graduate his focus up to that point had been on the New York Philharmonic, but after studying many CSO recordings he decided to take a trip to Chicago to take some lessons with Adolph Herseth, Vincent Cichowicz, and Arnold Jacobs. He described his first lesson with CSO Jacobs as one with information coming from Jacobs but for which he wasn’t in a position to receive, there wasn’t the need. It wasn’t meaningful to him at that point in his career. Fast-forward ten years and the “need” arose because problems were beginning to creep into his playing. So Laureano scheduled another lesson with Jacobs. Within twenty minutes of that lesson those issues had dissipated and he was back to playing with freedom and confidence. The aging process was catching up to Laureano and that second lesson with Jacobs helped to compensate and correct poor breathing habit and stiffness in the gut that Laureano had developed. Breathing is like a bellows. You must allow the body to expand and contract – change shape. Let the good notes teach the bad notes. Jacobs’s teaching appealed to Laureano because of Jacobs’s logically pedagogical approach. “End of the breath is the beginning of the note.” Jacobs helped Laureano’s playing AND thinking. Jacobs’s approach is bio-physically correct. Wear the hat of the performer while playing, not the hat of the investigator. Make the second note the first note. Be completely engaged in the singing of the note as you are playing the instrument. Make the instrument a mirror of your thoughts. Brass playing is not that hard if you listen to the pitches in your mind just as you are about to play. Jacobs was the first person to help him understand that the mouthpiece is the instrument, and that the trumpet is the amplifier. Laureano returned for subsequent lessons not because he had any particular problems but because he wanted to be in his sphere for an exchange of ideas and philosophies. He also enjoyed the several phone consultations with Jacobs. Jacobs was a guest speaker at a conference held in Minneapolis – “Playing Less Hurt.” Laureano was extremely impressed by an exchange Jacobs had with a bass trombonist at the conference where Jacobs took the student’s instrument and played a clear, clean, resonant note, after talking all day and with NO warm-up or prior playing that day. Play by results, don’t play by the rules. Be willing to break the rules in order to achieve excellent results. The double breath: a large slow initial breath followed by a completing prep breath in the style of the music. Laureano discusses how Jacobs described how his own teaching changed over time – technical language initially, and then progressing toward simpler message distillations.
Charles Lazarus
Minnesota Orchestra trumpeter, Charles Lazarus, describes his one lesson with Arnold Jacobs. Lazarus came to the lesson with many questions. Jacobs instructed him to play Stars and Stripes on the mouthpiece while high-step marching in the studio. Lazarus left the lesson playing much better than when he began. Lazarus said whenever he begins to over analyze his playing he remembers that lesson where Jacobs taught to focus on creating (making statements) rather than criticizing (asking questions) while playing.
Eric Lee
Florida’s Space Coast Symphony principal tubist, Eric Lee describes his first couple of lessons as being very surreal to be in the presence of Arnold Jacobs. He was impressed with the Jacobs aura. Lee comments on how Jacobs was able to diagnose issues so quickly. Jacobs noticed that Lee was “starving” his embouchure and so recommended more, thicker, air at the lips, and more song in the head. Immediate improvement ensued. Lee said that Jacobs was able to normalize/stabilize his playing and then subsequent studies were mainly spent on musical interpretation. Tuba students were routinely required to learn to read treble clef (Trumpet Arban, Pottag Horn Melodious Etudes, Charlier, Top Tones), so as not to limit yourself as a musician. Tuba music often has limited challenges, so learning treble clef music – horn, trumpet, oboe, etc. – would breed a deeper musician. Jacobs used a decibel meter to develop consistent loud playing produced with more ease. Better results with less effort. Jacobs would also use the decibel meter in all dynamic levels to help develop even control of dynamics on the instrument. Jacobs liked using it because it would help focus the attention of the student on the external rather than the internal. Lee claims that Jacobs was a trend-setter doing things pedagogically that hadn’t been done before. He also pointed out that Jacobs approached his teaching with individualized curricula, tailored to the student he was working with at that moment. Jacobs had a very strong sense of music and pitch in his thoughts. Story about a tuner needle standing at attention when Jacobs played.
Eric Lee with Michael Grose (PODCAST)
Florida’s Space Coast Symphony principal tubist, Eric Lee interviews Michael Grose about Arnold Jacobs and other Chicago Symphony trivia. This podcast was originally released as a part of the Maestro’s On Air podcast series. Discussion of the TPTV Arnold Jacobs video history project, which include students from the late 1940s-1998. Discussion of Mike’s educational path, Clark Community College, Portland State University, Northwestern University. Mike did not know who Arnold Jacobs was when he auditioned for Northwestern. Mike’s first lesson with Jacobs centered on how human’s function both physically and psychologically. Mike was taken aback at just how easy playing the tuba could be. Song and wind. The tuba
in the hands should be a mirror image of the tuba in the mind. Where are your thoughts while playing, on the music or elsewhere? Chicago Symphony trivia: Jacobs and Herseth there at the same time, and Reiner, with his RCA recording contract joins them creating a perfect storm of exciting quality heard around the world. The Rafael Kubelik Pictures at an Exhibition was the first commercial recording that Herseth performed on. Stories about Reiner. Programming the brain: because of where his assigned practice room was located, Jacobs learned early while at the Curtis Institute to always sound good. Whatever he had to do to sound great he did it. Always practice sounding good, never bad. More Reiner stories. The Chicago Symphony was not a fulltime job during the 1950s. Most people had other side jobs. Jacobs played jazz trio bass at Marshal Field’s, and Herseth sold used cars. Discussion of the development of the first 52 week symphony orchestra contracts in the USA. Luis Loubriel lesson: the more fatigued and uncomfortable the embouchure becomes the stronger/louder the music has to become in the mind.
Donald Little
University of North Texas tuba professor, Donald Little’s first lesson with Arnold Jacobs was also his first lesson with a tubist. While a student at Peabody, Little studied with a trombonist. At that first lesson, Jacobs encouraged Little not to worry much about the embouchure. Don described the major influences Jacobs gave him: to play vocally in a singing style. Little shared his reflections on how Jacobs’ pedagogical focus changed over the years toward a more music focus, and less on the technical side of things. The other influence on Little were the hundreds of Chicago Symphony concerts he heard and how those sounds remain vivid in his memory and concept. Mr. Little shares a tuba story. The tuba is a beautiful Holton York copy that he bought from Mr. Jacobs.
Luis Loubriel
Through his own personal study with Jacobs, as well as the unparalleled examination of 500 hours of Arnold Jacobs lesson tapes shared with him by others, Dr. Luis Loubriel discusses the evolution of Mr. Jacobs’ pedagogy over a 31 year period.
Dr. Luis Loubriel returns to TPTV to discuss in more depth several topics which were touched upon during his first interview back in 2013. In his research on Jacobs’s pedagogy, Luobriel evaluated 500+ lesson tapes of other Jacobs students. Singing, mouthpiece and rim playing/buzzing, what was the context? Dr. Loubriel described how he didn’t work on mouthpiece buzzing with Mr. Jacobs, but did do some limited rim playing. Mouthpiece buzzing was never isolated but was always within a larger context. Brass sound is composed of elements – metal image of sound, add to that breath/wind, then mouthpiece/buzz, lastly acoustics/resonance – which results in a brass instrument sound. There needs to be a musical message when buzzing. It should be a musical activity not a physical activity. Jacobs often had students play simple melodies that the student would know well. An established player may not need to buzz as much, but buzzing is an absolutely amazing training tool. Rim buzzing parameters discussed. Don’t want to buzz on the rim too high. Trouble can develop due to the distortion between the balance of wind and lip. Jacobs would use buzzing in targeted situations. Using bursts of sound in the mind serves to solidify the message. Put perfect notes into the mouthpiece. Become Brass Singers! Mouthpiece is the little instrument that drives the instrument. Jo-Ral “Short-cut”. Establishing a good balance between the wind/air and strength of the lip/sphincter. You can never fight the instrument and win, it is impossible. When the lips are vibrating outward (versus collapsing) we have a good balance and experience success. If we are not sending the musical message (7th cranial nerve). Transfer the function of the vocal cords to the lips. Meeting pressure/strength with more pressure/strength will eventually end in no sound. Meet with pressure/strength with air-flow and vibrating lips/musical message. Playing the mouthpiece is not exactly like playing the instrument, but it is close enough that there is benefit in doing it: ear training, style. “Community of practice.” Jacobs’s admiration of Adolph Herseth. You always need a role model when you learn anything. Jacobs would use Herseth in teaching settings to give students an aural role model. Timofei Dokschitzer. Singers. We are always benefitting from playing with others around us who are better. Vincent Cichowicz studied with Jacobs (four lessons in the early 50s). Jacobs and Cichowicz discussed pedagogy. Dr. Loubriel would stand near Jacobs’s studio door in the hallway during some of his free time to gain more information from the lessons of others. Jacobs had immediate effect on his students. Like magic. “Instant buzz!” Loubriel noticed in his Northwestern peers who studied with Jacobs a lasting positive effective from their lessons with him. “Home teacher.” Jacobs was a great communicator…psychological aspect of Jacobs’s teaching. Jacobs used principles of psychology to benefit his teaching. One thought at a time. The body will react to the thoughts in your mind. Have the focus on the instrument in the mind. Send the message strongly but also adapting to what is going in your musical environment. Differences between teaching and performing. Wear two hats – the hat of the teacher/investigator, OR the hat of the performer, but never wear both at the same time. Phil Farkas came early (two hours) to concerts in order to clear his thoughts of day’s teaching. Ken Wilbur. System Theory. Natural phenomenon. Upward causation (physical/technical). Downward causation (concept/imagination). Maurice Andre practiced one element at a time of a passage. Arban book is organized in upward and downward causation. Mental image of sound is the most important aspect, wind is second, buzz is third, fourth is resonance/acoustics. Find the point at which you can be successful. Layers of the onion. You find your excellence in the norms and then expand from there always with quality. System Theory addendum – Quadrants: physical, mind/aural skills, stylistic adaptation, performance position. “Go on stage with two swords, not a shield and a sword.” – Vacchiano.
Penn State University Trombone Professor, Mark Lusk describes his experiences with Arnold Jacobs. Lusk attended and participated in some of Mr. Jacobs’s summertime master classes at Northwestern during the 1980s. Lusk was impressed with Jacobs’s ease in moving from various aspects of his pedagogy. Mr. Jacobs’s on “warming up”. Efficiency. Simplify things and orderly. Have a strong musical idea in mind before beginning to play. Keep quality at the forefront, even during the “warm-up”. Jacobs was orderly and organized in his teaching. Practice performing. Ride of the Valkyrie excerpt m/c story. The student was playing louder than they could handle. Jacobs encouraged the student to work up to that volume but for now take care of the details. Lusk: I didn’t study with Mr. Jacobs, I studied Mr. Jacobs. Strive to practice with excellence all of the time. Simplify to the point of excellence and then add in more complexities in the music. Discussion of full capacity breathing versus a conversation breath. Arnold Jacobs and Emory Remington breath philosophies. Jacobs didn’t teach maximal breathing always. It was to be used in the development of “frog to tip” breathing so one could access it when needed. Breathing to the needs of the phrase was what Jacobs taught. Stay in the top 2/3 of the vital capacity, leaving the final 1/3 for emergency auxiliary use. Playing is not about the chops to Lusk, it is about having the right amount of air. Lusk’s recollections of playing in the CSO when Ed Kleinhammer retired before the permanent replacement was found. Lusk thought he was being hazed at his initial rehearsal. The low brass began playing, but so softly that Lusk couldn’t hear them. He thought they were messing with him. Jacobs and Crisafulli were showing ultra-soft intentional projection. Mr. Jacobs’s clear articulation, the sound was so immediate. Blowing air to or from the lips, rather than blowing the air to the tongue. Immediacy of sound was a result Jacobs getting air to the lips immediately. Great sound is found in the study of the vowel.
Sande MacMorran
At the encouragement of trumpeter Boyde Hood, Sande MacMorran had his first lessons with Arnold Jacobs in 1969. He was able to take monthly lessons with Jacobs for a period of time driving up to Chicago from Ball State University (his final lesson was in 1970). MacMorran played standard etudes (Tyrell, Kopprasch, Bordogni/Rochut, etc.) and orchestral excerpts in his first lessons. Jacobs advised him to use more air while playing. Jacobs was against keeping the gut tight or firm when playing. He would have MacMorran feel his tummy area while Jacobs was playing to be able to sense the “jelly belly” aspect. Jacobs demonstrated on the tuba a fair amount. Jacobs did not talk much about specific physical application such as how to place the mouth or other similar things. From his perch in the audience of Chicago Symphony concerts, MacMorran observed quite a bit about Jacobs’ practical application of breathing fully but quickly. At some point MacMorran had some instability in his embouchure in the middle register. MacMorran was concerned about it, but Jacobs assigned an etude to deal with it rather than work directly with the embouchure itself. Over time, the issue resolved without MacMorran even noticing. Mouthpiece playing was part of his lesson regimen with Jacobs. MacMorran had some questions about that based upon his prior education in music education. Free buzzing is discussed. He encouraged MacMorran to buzz etude fragments, intervals, and small amounts of the music. Jacobs instructed MacMorran to alternate playing the tuba with playing the mouthpiece to be able to hear the immediate improvement on a passage that the buzzing would bring about. Singing. Sing a line. Sing in your head. Jacobs was clear and basic in approach to teaching. He did explain some physiological things, but he worked with who the student was. Jacobs didn’t have his own published set of exercises or studies. Jacobs was able Jacobs was an inspirational figure to MacMorran at a crucial time in his life. Developing low register was achieved by playing “down there”; by playing Rochut’s down two octaves. MacMorran recalls hearing a CSO concert in Wisconsin of Pictures at an Exhibition, which was particularly stunning. That concert prompted MacMorran to begin collecting LPs in earnest. Reiner’s readings of Nevsky, Pictures, and Wagner are among his favorites.
Rex Martin
In a lively and extended conversation, Rex Martin shares his wide array of experiences with, and memories of Arnold Jacobs. Focus topics include Martin’s lessons with Mr. Jacobs, hearing Jacobs’ sound for the first time, performing with the Chicago Symphony, his time with Bud Herseth, and how Jacobs stressed reaching for the highest standards possible, and how that path came from Adolph Herseth. Martin also reflects on Jacobs’ pedagogical philosophy and how it is continuing on into the future.
Michael Moore
Michael Moore, Atlanta Symphony Principal Tubist, talks about his studies with Arnold Jacobs. Moore made regular treks to Chicago over the course of two and a half decades; orchestral excerpts were a regular subject, as well as the phenomenon of wind, air pressures, playing the mouthpiece, paralysis by analysis, and air use. Jacobs’ pedagogical habit of treating the student as an individual was also discussed.
Mickey Moore
University of Illinois Professor of Tuba, Mickey Moore describes his studies
with Arnold Jacobs. Moore first Jacobs live in 1970 at a Chicago Symphony
concert. His first lesson was in 1976. Moore had the opportunity to attend CSO recording sessions at the Krannert Center. Psyche-out as a distraction
technique. Jacobs worked on respiration in Moore’s first lesson. This resulted in Moore being relaxed while playing. Tight gut method. Lungs don’t fill like a glass filling with water. Attention to detail in the phrasing and in quality of tone. What were you thinking when you missed a note. Learn to say the same thing in multiple ways. Jacobs saved Moore from a surgery that would have left his soft palette compromised. Jack Schatz story. Jacobs preached the importance of musicianship and artistry. Breathing is necessary but it is not the main thing. Solti Symphony Fantastic recording story…Jacobs bled through on the cello microphones. The mic near the tuba was fully potted down. Stage makeup concept. More core in the tone. Concept is more important than equipment. Jacobs played with intentionality on every note. Jacobs insisted that each note be excellent,
even simple long-tones. Jacobs believed (and preached) that someone was always listening and so he wanted to give that person something special to listen to.
Scott Moore
Memphis Symphony principal trumpet, Scott Moore, shares his experiences studies with Arnold Jacobs. Moore, had early studies with Mike Ewald, then with Robert Nagel, and Charlie Schlueter. Susan Slaughter (St. Louis Symphony principal trumpet), and Manny Laureano (Minnesota Orchestra principal trumpet) both recommended Jacobs to him. Jacobs encouraged Moore to begin thinking in terms of being in competition with the stars of the industry, such as Bud Herseth, and Phil Smith, rather than his peer group. Maximum resonance and minimum effort. Pay attention to every sound. Have maximum resonance on every note. Schlueter taught Moore to deeply breathe and to “let the air come out rather than making it come out.” Jacobs’s ears were great “he never missed anything.” Jacobs encouraged the use of speech to control the tongue. tAH rather than Tah. Emphasize the vowel, and reduce the consonant. The study of great tone is found in the vowel. Find the “sweet spot” between effort and less effort. Golf analogies. Use thicker air on the lower notes to add resonance to the notes above. Expand the middle register sound. Add new habits. The brain doesn’t hear the word “don’t”. “Don’t clam the high C” often results in claiming the high C, because you are thinking of the possible clam coming up. Using vibrato to find the sweet spot of resonance. Practice sounding good, even when warming up. Every note you play has to have purpose. Train the brain.
Ron Munson
Ron Munson first encountered Arnold Jacobs in 1959 at the Gunnison, Colorado Music Festival. He was astounded by what he heard from Mr. Jacobs’ tuba. Jacobs played the tuba as if it were a cello. It made a huge impact on Munson as he spent the next many months trying to imitate that sound. Munson studied with Jacobs on an ad hoc basis as often as their mutual schedules would allow. In one particular lesson, Jacobs exhorted him to develop a more substantial tone. Jacobs helped Munson to do so by getting him to use more air. Eventually Munson began to feel the symptoms of focal dystonia in the early 1970s. It initially affected him in the lower register. Munson sought out Jacobs’ help. The medical community had not yet developed any sort of diagnosis for the symptoms of focal dystonia. Jacobs encouraged Munson to find the points in his playing that are good sounding and use them as models for the areas that are not good. Through much practicing, Munson was able to enjoy a productive career in spite of his symptoms. Munson believes that dystonia can be worked through, and is at its heart, stress related. Munson’s last lesson with Jacobs was in 1972. While Munson was in the USMC Band “The President’s Own” they were on tour in Cincinnati and happened to be staying in the same hotel as the Chicago Symphony, who was also on tour in Cincinnati. Jacobs made a point to find Munson and have a brief meeting. Munson heard the CSO live at Ravinia one summer playing Gotterdamerung excerpts. Munson said that Jacobs sounded the same live as he did on the Reiner recording. Munson mentioned Jacobs being a key speaker at a medical convention in the 1960s as a recognized respiration excerpt.
St. Louis Symphony Principal Trombonist, Timothy Myers, recounts his studies with Arnold Jacobs during the mid-1970s through the early 1990s. Myers’ initial lesson was helpful in getting more air to the lips via reduced tension and increased air-flow. Myers describes his sound as being “freer”. He also talks about a type of dependence he discovered he had with studying with Jacobs and how he dealt with that discovery. Myers relates his thoughts about studying with longtime-Chicago Symphony trombonist, Frank Crisafulli. Tone projection as it relates to the concept of “stage makeup” was also a topic. Mr. Myers shares his thoughts on the intrinsic Jacobs tension — learning about the physical aspects of playing, but then being instructed by Jake to “forget about all that and just ‘sing’.” Playing Bruckner 5 with the Chicago Symphony in a concert for Pope John Paul II was a highlighted memory. In a postscript, Tim talks about the famous St. Louis Low Brass Collective.