Inside John Haynie's Studio: A Master Teacher's Lessons on Trumpet and Life

Preface

xii PREFACE “Come on, come on, whoever you are. Come travel with me!” 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.” From the beginning of my teaching career, I have been gratified to receive letters of appreciation for my teaching and interest in their lives from my students, and frequently also from their parents. I promised that one day I would write a book about the things I did that helped them play better, think better, and teach better. Most of all, the book would be about developing confidence in themselves and having compassion for others. But when I began to write, I found that I needed their help. I wrote many of them and asked three things: What did I teach? What did they learn? What did they remember? The response was tremendous, and I now had the inspiration I needed to get going on my essays. Some were written with tongue-in-cheek, because that is the way I think. Often this casual approach produced a better understanding of the point to be made. All the essays, however, were written as lessons to be learned. In the spring of 2004 I became acquainted with Anne Hardin , and I sent her some of my rather informal writings, recordings , and other materials. She responded, “John, you have enough material here to write a book like no other.” I asked her if she would help put the book together, and she agreed. From xiii the title to the format for student comments called “The Other Side of the Stand,” she created this book from my pedagogical and autobiographical essays. Other friends helped along the way. I wish to thank Dr. James Scott, Dean of the College of Music at the University of North Texas, Dr. Bill Nugent, former Director of the University of Illinois Foundation, and Elida Tamez, Director of Development for the College of Music who encouraged and supported this project from the very beginning. Staying in touch with the “troops” all these years would have been impossible without the help of former student and master communicator, Melvin Gordy. Way to go, Melvin! I offer thanks also to Morris Martin, University of North Texas Music Librarian, and his student assistant , Jonathan Thorn. My thanks go to Bucky Milam, former student and professional artist, for his clever illustration in the essay “A Comparison of Cornets and Trumpets and the People Who Play Them.” And last, a special thanks to former University of North Texas President, C. C. “Jitter” Nolen, for suggesting the Press add a special touch—endpapers printed with my signature solo, Rose Variations. Of course, there would be no book without the students’ “go for it” attitude expressed in their wonderful letters. From that first class of 1950 to the last class of 1990, I thank them with all my heart. Now, come on, come on, whoever you are. Come travel with me Inside John Haynie’s Studio for that first lesson. John Haynie Professor Emeritus of Trumpet University of North Texas He who has not eaten his bread in tears does not know the meaning of work. Giovanni Battista Lamperti 2 Inside John Haynie’s Studio THE OTHER SIDE OF THE STAND Mr. Haynie’s discussion with me about changing my embouchure has been an important guide in my teaching over the past twenty-five years. He told me that he never forced an embouchure change on any student because it was a big step with serious consequences. The student had to make the decision and accept the responsibility and commitment. This bit of wisdom helped me avoid painful situations with students early in my career when I thought I would be able to fix every problem. Al Moore Trumpet players were always looking for the ideal mouthpiece, and Mr. Haynie always pointed out that the most important thing to do was to build a good embouchure first. Mike Olson I returned to Denton after having been with the Kenton Orchestra for a year. I approached John with a problem I was having—cutting my lip from the strenuous playing on that band. Though I was no longer in school, John nevertheless...