GENERAL INFORMATION AND BACKGROUND
Subjects:
By virtue of the trumpet's popularity, most of my students take
trumpet lessons, but I also do offer lessons for these subjects:
Jazz Piano, Jazz Improvisation (for all instruments), Composition
and Arranging. Music Theory is integrated into all of those subjects.
Please read below for more information.
Length of Lessons: 30 or 60 minutes, once a week (also available for
questions during the week between lessons).
Current Rates:
Please contact me by phone or e-mail.
Available Times:
My regular teaching hours are usually from around 2:00 PM-7:30
PM, Monday-Thursday. Again, please contact me by phone or e-mail
me for my most current schedule.
Studio Locations:
Achord Studios - in the
Broadway Estates Professional Building at 6574 S. Broadway (just
north of Arapahoe Road), part of the Music Educator's Group.
This is my own private studio, equipped with a nice piano, stereo
and other aids that are conducive to the learning experience.
This wonderful space has new paint and carpet, great lighting
and ventilation, and has a comfortable waiting area and clean
restrooms.
Kolacny Music - at 1900 S. Broadway (just two blocks
north of Evans), where I have taught since 1979. This store is
a great resource for professional quality instruments, service,
and music.
·Thoughts, philosophy, approaches:
I love teaching and sharing the joys of music and discovery with
students of all levels and ages. Music is my passion, and I take
the responsibility of guidance entrusted to me by the student
very seriously. Mastering the fundamentals is an essential step
in the study of music, and I tailor the approach to learning
these basic tools to each individual student, providing positive
reinforcement in a supportive, relaxed environment. However music
is not only about correct technique and form, so I also believe
that creativity should be nurtured from the outset, not only
in its expressive forms but also by incorporating the creative
process into the routine and repetition of daily practice. Besides
creativity, the study of music will help you develop awareness,
focus, patience and more, all of which will help you understand
more about yourself. My hope for all of my students is that they
enjoy and are inspired by the fruits of their own good work more
than the initial novelty of an instrument or goal. I do my best
to give them some effective tools and encouragement for the challenging
times, which are always inevitable in a discipline such as music.
·Teaching Background: I have
been a freelance player and private instructor for over thirty
years, with performance and teaching experience in all styles
of music. I teach students of all ages and levels, from beginning
to professional, and have coached school aged students to first
chair positions from middle school levels to All State Band and
college scholarship offers. I have also done clinics in the schools
for Creative Music Works, the Denver Center for the Performing
Arts and Kolacny Music among others, and have served as a judge
and clinician at Auraria's Tri-College Jazz Festival. I was selected
to "Who's Who Among America's Teachers" in 2000, and
the Young Audiences' "Composer-in-Residence" Program
(2000-3) and taught teachers at their summer "Aesthetics
Education Institute of Colorado" in June 2001. I taught
private lessons and classes at the University of Colorado at
Denver (1993-2003) and have done substitute teaching at Metropolitan
State College. In addition, I have authored music theory and
improvisation chapters for private and college students since
2002 and am currently writing a larger work on brass fundamentals
(embouchure, breathing, practice routines).
MORE ABOUT THE SUBJECTS AND MY BACKGROUND:
·Trumpet: All levels. A brass
instrument is deceivingly simple looking, yet it is one of the
most challenging instruments to play. There is probably more
needless physical abuse involved in the basic production of sound
for trumpet than any other instrument. Because by itself the
trumpet is incomplete, the necessary missing parts must be supplied
by the player in the form of an embouchure (lip and jaw position)
and a supportive air column. Unless the proper physical components
are assembled and maintained in the correct balance, the body
is forced to find other solutions, and although these solutions
may initially work to some degree, they end up becoming the bad
habits that eventually lead to limitation and frustration. In
order to build the great sound, technique, range and endurance
required for successful playing, you must first learn "How
to play," then "What to play." These concepts
are based upon the ideas of my two most influential teachers:
William Pfund at the University of Northern Colorado (UNC) and
especially Roy Stevens of New York City. The Stevens-Costello
Method (which I did not learn until after I had received my performance
degree) was a life changing experience for me, and reflects the
most comprehensive and enlightened view of brass physics and
fundamentals today. I have seen amazing results from those who
follow its guidelines, even before having complete mastery of
the technique. It can help beginners avoid the bad habits many
trumpet players fall into, and help others having problems with
sound production, range, endurance, etc., or those making the
conversion to braces, or to more demanding music. In addition
to their regular lesson plan, my trumpet students also study
music theory and jazz improvisation (see below). Background:
BM in Trumpet Performance from UNC in 1976 (studying with William
Pfund), and further studies with Roy Stevens in New York City
(1976 and 1980). I have been a freelance player for over thirty
five years, with experience in all styles of music. Teaching
and performing have proved to be a wonderful combination of careers,
with each providing useful experience, perspective and insight
into the other related field. I have been a member of the International
Trumpet Guild since 1997 and encourage my students to join this
great organization.
·Jazz Improvisation: For
all instruments, although fundamental playing skills specific
to each instrument are not covered in this course of study. My
approach to teaching this subject is based on rhythmic development
and using music theory and ear training as a way of advancing
melodic and harmonic conception. Playing exercises are designed
to make the mind, ear and technique more facile, rather than
learning a vocabulary of "licks." In addition, the
standard jazz repertoire is used to place all of these tools
into proper context, and teach the finer points of style. Learning
some piano/keyboard skills are essential. I provide the student
with my own published materials on this subject free of charge.
Background: I have taught this subject at all levels,
including courses at the University of Colorado at Denver (UCD)
and clinics in the public schools. My first serious study of
improvisation began privately with Dale Bruning in Denver (1971-75).
I have been playing jazz professionally for over thirty years,
both as a sideman and as a leader of my own groups, with some
of the finest players in the world today. My CD "Hats"
was voted "Best Jazz Recording" in Westword's 1998
"Best of Denver" Issue, and "Top 10 Recordings
of 1998' in New York's Cadence Magazine's Critic's Poll (see
Links), and my work was just profiled on KUVO, Denver's jazz
station, in May of 2005.
· Jazz Piano: The subjects
covered during this course of study are similar to those listed
above in Jazz Improvisation,with added emphasis on chord voicings,
the piano's role in the rhythm section, and arranging, although
I will address certain problem areas if necessary, As with Jazz
Improvisation, I recommend you learn your fundamentals in technique
from another qualified instructor who can address such topics
in detail, especially if you are a beginning student. Background:
I have freelanced on keyboards for over twenty years as both
a leader and sideman, and taught jazz piano at the University
of Colorado at Denver (UCD) from 1993-2003. I also have an extensive
MIDI studio where I have done album work and productions for
radio, television and the entertainment industry.
· Composing/Arranging: Similar
in many ways to my approach to improvisation (which is spontaneous
composition), music theory is the backbone of this subject, with
Form and Analysis and Orchestration also included. Although the
fundamentals are extremely important for any style of music you
are interested in, it is never too soon to start addressing the
creative process, so the student will be asked to compose from
whatever level they begin their studies. These days it is almost
mandatory that you become familiar with music notion software
too. I can help you if you have Finale (my preference) or any
other related software from Coda Music Technology. Background:
I've been a professional composer and arranger for over thirty
years, writing for jazz groups of all sizes, chamber ensembles,
orchestras, for radio and television, music libraries, individual
musicians, dancers, corporate clients, and for entertainers and
production shows. I have also been involved with electronic instruments
since 1982 (before the days of MIDI), as a composer, player,
producer and recording engineer. I taught all subjects for the
University of Colorado at Denver's Scoring and Arranging major
and received two Artist Fellowships in Composition from the Colorado
Council on the Arts (1997 and 2001). I was a judge for UCD's
National Media Orchestra Composition Contest (1986-87 school
year) and was selected to the roster of Young Audiences' "Composer-in-Residence"
Program (2000- 2003). Most recently, my composition for trumpet
and orchestra was premiered at the University of Northern Colorado
(April 2004) and I am currently working on a string quartet.
My instructors were Evan Copley and Richard Bourasa at the University
of Northern Colorado, Dale Bruning in Denver (1971-75) and Michael
Gibbs at the Berklee School of Music in Boston (1976).
·Links:
http://cdbaby.com/cd/bggroup - This sight contains reviews and soundfiles of
my CD "Hats"
http://jazzlinkenterprises.com/ - This is the site of my dear friends Jude Hibler
and Dale Bruning, which will keep you informed of their wonderful
"Timeless Music of Great Composers" series. I
always refer to Dale as my "musical Father," for I
owe so much to him for all of his guidance and support.
Colorado Conservatory for the Jazz Arts: http://www.jazzarts.org/
This non-profit organization has done so much for the growth
of jazz in Denver by offering students a chance to perform in
ensembles directed by professional musicians. The "CCJA"
website is also a great resource for those wanting to know more
about area musicians and teachers.
The next two sites belong to my "artist"
sisters:
Karen Gillis Taylor: http://www.karengillistaylor.com/
Leslie A. Clark http://home.earthlink.net/~lawebsite/
(Leslie created Bob's website)
Bob's photo by Jude Hibler
