Christopher Moore, Reporter
Known throughout the UK as an accomplished performer and pedagogue, John Dickinson’s performance credits include the Halle Orchestra, the Scottish BBC Orchestra, and the Scottish National Orchestra. As a teacher, Dickinson is a tutor at the Royal Northern College of Music and is head of Brass, Wind, and Percussion at the internationally renowned Cheethams School of Music.
Dickinson began his master class describing the need for us all as pedagogues to teach young students so that we can constantly stay in touch with what is important in developing the musical concepts and fundamentals of the players of the future. Dickinson worked with four young students in this hour-long master class, always putting the students at ease with his warm, gentle personality and relaxed sense of humor.
The first student was 13 year old Rebecca Graham from Ithaca, New York who currently studies with Jane Dunnick - Rebecca performed Balay’s Andante et Allegro. Dickinson worked with Rebecca by combining musical concepts with physical concepts. He addressed the practice of tuning to the piano by emphasizing that the soloist should first sound the tuning note, then have the piano sound the same pitch so that the soloist can have a comparison. When playing at the same time as the piano, soloists tend to “bend” the note to pitch resulting in an “untrue” pitch center. Dickinson also discussed proper tongue placement for clarity of attack and the necessity for us all to practice singing in order to develop conscientious relative pitch as well as a “singing style” of playing.
The second student to perform was Eleanor Lovegrove from Ware, England. Eleanor presented the first movement of the Hindemith Sonate. Dickinson discussed the importance of staying relaxed and physically balanced as one performs. He stressed the need to blow through the horn, play with energy, and to breathe from below the rib cage for greater efficiency in inhalation. A line that was effective to this reviewer was one he used with a number of students, “put 2 and _ inches on your waist line as you inhale.” He continued, “Don’t worry, it will go away!” Dickinson also discussed hand position, encouraging Eleanor to not put her pinky finger in the ring, stating that the increased pressure resulted in disabled breathing and lack of endurance. He continued by emphasizing the use of a light grip to hold the trumpet, always working to alleviate excessive pressure. Finally, Dickinson encouraged Eleanor to concentrate on musical concepts and to set a mood for the listener, trying to “enjoy” each and every note.
The third student to perform was 9 year-old Adam Chatterton from Manchester. Adam performed the second movement (Aria) from Flor Peeters Sonata on cornet. Dickinson had Adam experiment with some loose lip buzzing to see if he could sound a few pitches. After buzzing a bit from high to low, Dickinson explained that mouthpiece buzzing was important, but that loose lip buzzing truly helps to relax the embouchure muscles and to free up the sound. This was truly the case with Adam, and resulted in a clearer tone instantaneously! Dickinson concluded with a discussion of relaxed breathing and trying to avoid lifting of the shoulders upon inhalation, always breathing from below.
The final student of the morning’s session was David Van Kerckhoven from Hove, Belgium. David performed Arban’s Fantasie Brilliante. Dickinson’s main emphasis with David was getting him to move his air for greater ease in flexibility and greater success in projection. Dickinson advised David to aim his horn at someone in the back row of the hall and to play to that person. He continued by stating that good projection only results if one moves their air and uses their body as a “pumping station."
Observing John Dickinson’s teaching first-hand revealed why he is respected as one of the top trumpet pedagogues in the UK. Dickinson’s warm yet direct approach helps to clearly convey concepts which will inevitably lead to a student’s success if continually applied. The students at the session all seemed to gain a greater understanding of how to improve and seemed ready to approach their next practice sessions with a renewed sense of commitment!
