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Inside John Haynie's Studio

A Master Teacher's Lessons on Trumpet and Life

Essays by John James Haynie, Compiled and Edited by Anne Hardin

Publication Year: 2007

“This wonderful collection of essays is a treasure of insight into the mind and heart of one of our great American performers and teachers. If the Arban book is the trumpet player’s ‘Bible,’ then I’d have to say Inside John Haynie’s Studio is the trumpet teacher’s ‘Bible.’”–Ronald Romm, founder, Canadian Brass and Professor of Trumpet, University of Illinois “The essays in this remarkable volume go far beyond trumpet pedagogy, providing an exquisite portrait of the studio practices of one of the first full-time single-instrument wind faculty members in an American college or university setting. John’s concern for educating the whole person, not just cramming for the job market, emanates from every page. This book showcases a teaching career that has become legendary.”–James Scott, Dean of the College of Music, University of North Texas “The principle that pervades my entire educational philosophy did not come from education or psychology classes; it did not come from the many sermons preached by my Dad and hundreds of other pulpiteers. It came from John Haynie’s studio.”–Douglas Smith, Mildred and Ernest Hogan Professor of Music, Southern Baptist Theological Seminary “I read a book like this and I come out the other end asking, ‘Why didn’t I try this long before now?’ All hail to John Haynie and Anne Hardin.”– Ray Bradbury, author of Fahrenheit 451

Published by: University of North Texas Press

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p. xi-xi

Much of what I learned about playing the trumpet from John James Haynie shows on a daily basis in my playing and teaching. His attention to detail, to exactness in rhythm, articulation, intonation, and musical style are hallmarks of excellence, and the hundreds of fine players who came through his studio are greater testimony to the brilliance of his teaching abilities ...

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pp. xii-xiii

These are the opening words to Song of the Open Road, a delightful piece for chorus, trumpet, and piano written by Norman Dello Joio, one that I performed many times with Frank McKinley’s North Texas Choir in the 1950s. As you read this book, you will meet over a hundred of my students who describe the things they learned while “traveling with me.”...

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Embouchure. The Big Four: Embouchure

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pp. 3-30

In the early 1990s, I happened to be in the office of Richard Jones, M.D., and at the registration desk I picked up a little card on which appeared these words: What the mind conceives and the heart believes, the body achieves. Dr. Jones was a surgeon, and I was there to make a decision about a procedure I needed but didn’t want to have! Just meeting him was an experience all its own. He ...

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Breathing. The Big Four: Breath

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pp. 31-42

Much has been said about the need to practice long tones in order to develop a good tone. Few teachers would disagree; not many, however, follow through by insisting that long tones be practiced regularly. It is assumed that the student will be encouraged to sit or stand with good posture in order for the breathing apparatus to function properly. The idea of “sitting tall” is some-...

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Tonguing. The Big Four: Tongue

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pp. 43-58

When I first started to teach in 1950, I was well aware that it was wrong to ever let the tongue come between the teeth and lips in making an attack. Conventional wisdom stipulated that the tongue must be placed just behind the upper teeth where the teeth and gums meet. In fact, my own tonguing did not follow this rule. ...

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Fingering. The Big Four: Fingers

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pp. 59-64

The use of the fingers completes the quartet of physical functions involved in playing the trumpet. Embouchure, breath, tongue, and fingers must come together as a team in such perfect coordination that we could say the four entities actually become the instrument. When you purchase a piano, you have a musical instrument. Touch a key and a musical sound is there ...

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pp. 65-92

There are many reasons for learning to play a trumpet; however, the most important one should be the preparation to play for others. Like it or not you will play for others and, from the beginning, you should be aware that someone is listening to every note you play. That one person you are playing for is yourself, the most critical of all listeners. If you cannot please your-...

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Intonation. TUNE AS YOU PLAY

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pp. 93-100

The Tune As You Play mechanism was invented by Mark Hindsley at the University of Illinois. It was a trigger device attached to the tuning slide rather than the first valve slide. A double action spring on each side of a fulcrum allowed the player to move the tuning slide either way to raise or lower the pitch of any note. Mr. Hindsley and an engineer designed and installed ...

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pp. 101-120

I had three King cornets as a boy. I got the first one when I was about ten years old. It was plain vanilla rough-finish silver-plate that cost about $100.00. The photo of me in my band uniform wearing the cocky cap was that one. My second King was a much better horn, and it had a sterling silver bell. I’m holding this horn in the photo that featured me on the cover of the Texas ...

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pp. 121-144

When was the last time you dropped in on a band, orchestra, or stage band rehearsal? I feel sure the players know better, but what is usually heard is sheer bedlam. From screaming trumpets to The Downfall of Paris by the entire percussion section, it is not pretty. ...

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pp. 145-164

When I was a student at the University of Illinois, I took an education class that focused on the philosophies of John Dewey. Only one of his sayings stayed with me over the years, and it is this: “Without change there is no learning.” There was little, if any, explanation in the classroom of this powerful and positive statement. It haunted me. Therefore, I took the following steps ...

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pp. 165-204

This specific selection of methods, etudes, and texts was used in the University of North Texas Course of Study featured in the February 1983 ITG Journal. Leonard Candelaria collaborated with me in structuring these materials. If I were still active in the music world I am sure this would be a different list now. Nevertheless, these materials have stood the test of time, and ...

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Autobiography. A BOY AND HIS HORN

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pp. 205-264

When my parents were working out of town, I always stayed with my grandparents, Nannie and Papa—Jessie and John Benedict. Papa was a janitor for the Humble Oil Company district offices, and I would follow him around and help out, mostly running errands. ...

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pp. 265-268

With forty years of teaching behind him, even considering the five-year period of modified service, I wondered how John Haynie handled the transition from “leaving the office on Friday afternoon” to “I’m retired on Monday morning.” His explanation was characteristically candid. “For one thing, teaching has never been a nine-to-five job. I’d like to meet the person who ...


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pp. 269-284

Index of Names

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pp. 285-290

E-ISBN-13: 9781574413878
Print-ISBN-13: 9781574412260

Page Count: 304
Illustrations: 44 b&w illus.
Publication Year: 2007