ITG Conference

4:00pm Clinic: Kelly Rossum Ð ÒFree Jazz and the TrumpetÓ

with 2005 Conference Rhythm Section

Grand Hotel Ballroom

 

*Improvisation is fundamental to human nature.

 

Introduction

Free Jazz is the ultimate expression of oneÕs own creativity as well as a reflection of oneÕs beliefs. It combines passion, composition, validation, and acceptance through collaboration with other musicians towards a common goal of musical celebration.

 

Like any other musical form, there are guidelines and goals for a successful performance.

1)   Listening

2)   Communication

3)   Performance / Audience considerations

 

Brief History

New York   Ornette Coleman Ð alto saxophone, violin and trumpet

                  Don Cherry Ð cornet and pocket trumpet

                  ÒFree JazzÓ A collective improvisation by the Ornette Coleman Double

                  Quartet Ð 1960 Atlantic Records, with Don Cherry Ð pocket

                  trumpet, and Freddie Hubbard Ð trumpet

Chicago       Art Ensemble of Chicago

                  Lester Bowie Ð trumpet

Paris, France A.E.C. and Don Cherry, experimental quality of European and

                  Asian jazz musicians

 

Tonality (in reference to OrnetteÕs work)

[Ornette Coleman Ð A Harmolodic Life, John Litweiler; Morrow, 1992]

         Tonality: restriction to a single tonal center (ÒkeyÓ) as fulcrum point.

         Polytonality: division of center between a restricted number of

                  tonalities, usually two or three.

         Pantonality: where all tonalities are possible.

         Atonality: where all tonalities are essential.

 

Teaching

Free Jazz allows the students to express themselves without fear of failure. There are NO wrong notes. The ease and joy of improvising music quickly builds confidence and strong self worth, even at a very young age. The students bring their own experiences to the table to share with the other musicians in the ensemble; as do we allÉ

 

Techniques

As trumpet players, we have generally been trained to perform another composerÕs music. By examining the history of western music, the tone and technique developed for the trumpet parallel the needs of great musical compositions. As classical performers, we strive for the ÒidealÓ manner of trumpet playing as defined by history.

 

Free Jazz validates your own tone and technique as the ÒidealÓ manner of personal expression for your performance. You must let go of internal expectations if you are to let the muse speak.

 

1)   ÒNormalÓ trumpet techniques used in Free Jazz

a)    air support for good tone

b)   lip slurs, including lip trills and wide intervals

c)    articulations Ð T, TK, TTK, DGDG, doodle-tongue, flutter

d)   dynamics, etc.

 

2)   ÒContemporaryÓ techniques

a)    pitch manipulation Ð sharp, flat, slide movement, lip bends

b)   half valve usage Ð between notes, entire phrases

c)    pedal tones

d)   alternate fingering passages

 

3)   ÒExtendedÓ techniques

a)    tone disturbances Ð change lip positions, teeth positions, cheeks

b)   vocal sounds Ð multiphonics, screams (both while playing and straight through the horn)

c)    disassemble horn Ð remove slides, play mouthpiece only, play into bell

 

4)   ÒExtremeÓ techniques

a)    flute style blowing on valve cap holes while moving valve to change pitch

b)   percussion effects with mutes against instrument, mouthpiece against instrument

c)    destruction of the horn Ð drumsticks, hammers, powertools

 

An entire library of sound that can be produces on the trumpet should live within the composerÕs mind and should be accessed at the right musical moment.

 

Thank you Ð enjoy your journey.

 

Kelly Rossum

www.krossum.com