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Technology Hour
Sonus Brass: Chamber Music Pedagogy
Larry Johansen, reporter
California Baptist University
The members of Sonus Brass are Allan Cox and Michael Tunnel, trumpets; Bruce Heim, horn; Lawrence Borden, trombone; Mark Moore, tuba. Mr. Borden has done extensive research on music cognition and shared some of his results with the audience.
Three aids to improved teaching are: 1) Anchoring Concepts - keep an idea you can refer back to frequently during the course of instruction, such as "always play musically" or "doctrine of intent" - what do you intend to accomplish in this lesson or practice session? 2) Contrasting Cases - try to hear what you are working on
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Sonus Brass |
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as others hear it (hearing yourself, either vocally or on the trumpet, is often a surprise). Study recordings of your playing and contrast with others. 3) Transfer - using an idea (tuning octaves, sub-dividing, etc.) and transferring it to another situation. It is usually best to have at least two examples to combine with one rule for effective learning.
The Sonus Brass does considerable international touring which usually involves much coaching and teaching. Some concepts they have tried to incorporate, based on Mr. Borden's research,include:
Intonation - Try tuning from the root, not necessarily the lowest note. Many groups often start from the lowest note, even if it is not the root of the chord.
Choice of repertoire - Especially for international trips, try to include music of that region - folk music, etc.. Audiences love it. Sonus is also committed to performance of contemporary pieces and arrangements.
International touring - Why do it? One reason is that it is a way to "See the world". Another reason is their goal to make a contribution, that is, to give back some of what they have learned. Often international touring includes teaching, so being a good representative of your art and your country is important. "The kind of person you are is reflected in the music you make."
Survival tip for trumpet players - The Sonus Brass trumpet players devised a unique strategy to get some rest. The horn player's mute was left off-stage, so that after a strenuous movement, a break was taken while the mute was retrieved for the next movement.
The group also performed a program which consisted of the following (reporter's comments are included below several of the titles):
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Rose Without a Thorn |
Henry VIII, arr. Howarth |
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Scherzo
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Karl Pilss |
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A Brass Menagerie |
John Cheetham |
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Prelude II
Included a banjo imitation by the horn player (you had to be there...)
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George Gershwin
arr. Carnovale |
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Brass Quintet No. 1 (Concert Piece) |
James Sclater |
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Raise the Roof! |
Gwyneth Walker |
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Including some extended techniques such as: slapping of legs (their own), stomping of feet (also their own) and hissing (their own, not the audience...). A very rhythmic and virtuosic piece, it seems like a lot of fun - check it out!
Basin Street Blues Spencer Williams, arr. Jessop
Some down and dirty playing by some otherwise clean looking guys. Tsk! Tsk! A very "American" ending to an already very American recital.
The playing of the Sonus Brass would certainly be an excellent example of American brass performance to share with other countries. Each player is a virtuoso in his own right and the ensemble playing of Sonus combined sensitivity, fine attention to intonation and musical interaction among the members. The audience was small (four events were happening simultaneously), but we were treated to a fine quintet performance as well as being given many fine pedagogical ideas.
Sonus Brass is sponsored in part by a grant from Kanstul Musical Instruments |
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