Josh Bynum - Trombone 2010

Josh Bynum - performer and educator

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Thanks for stopping by!In addition to my musical background and upcoming projects, you will find soundclips, concepts, and links to some of my favorite resources.Enjoy! Bio

Biography

Dr. Joshua L. Bynumcurrently serves as Assistant Professor of Trombone at the University of Georgia. He enjoys an active schedule, balancing roles as both performer and educator.From 2006-2010, he was the Assistant Professor of Trombone and Low Brass at Ouachita Baptist University (located in Arkadelphia, AR) and principal trombonist with the Pine Bluff Symphony Orchestra. He is a graduate of Jacksonville State University (BME) and Temple University (MM). As a recipient of the prestigious Iowa Performance Fellowship, Bynum earned the Doctor of Musical Arts degree in Trombone Performance and Pedagogy from the University of Iowa. His doctoral essay analyzes the fundamentals of superior orchestral trombone section performance, and includes in-depth interviews with members of the Philadelphia Orchestra. Dr. Bynum maintains a private studio ranging in age and ability from beginner to amateur. Many of his students have earned top honors in All-State auditions and MTNA Solo Competitions. Before coming to OBU, Bynum served as low brass instructor on the faculties of Grinnell College, the University of Pennsylvania, the Cedar Rapids Symphony School, and the Wilmington Music School (DE).Recently, Dr. Bynum has performed with both the Arkansas and Shreveport Symphony Orchestras. He has held positions with the Des Moines, Cedar Rapids, Tuscaloosa, and Gadsden Symphony Orchestras, was an Associate Member of the Civic Orchestra of Chicago, and has also performed with the Joffrey Ballet, Stuttgart Ballet, South Arkansas, Quad City, Bay Atlantic and Haverford Symphony Orchestras. With these ensembles, Bynum has performed with numerous artists including Yo-Yo Ma, Itzhak Perlman, Elmar Oliveira, William Preucil, Anne-Sophie Mutter, Robert Browning, Sir James Galway, and Henry Charles Smith. In addition to solo recitals and masterclasses given across the United States, Bynum has appeared as guest soloist with groups such as the Hot Springs Community Band, JSU Chamber Winds, Cedar Rapids Municipal Band, Eastern Iowa Brass Band, as well as numerous high school bands. He was a solo artist at the 2002 & 2003 Northeast Alabama Trombone Workshops, and has been invited to perform with the Cramer Trombone Choir at the 2010 International Trombone Festival, in Austin, TX. In 2007, Dr. Bynum was one of 12 international tenor trombonists selected for participation in the prestigious Alessi Seminar, where he received individual and ensemble instruction from Joseph Alessi, principal trombonist of the New York Philharmonic.Bynum's primary teachers include Dr. David Gier, Nitzan Haroz, David Perkel, and Dr. Jim Roberts. In addition, he has performed in masterclasses with many of the nation's top trombonists, including Michael Mulcahy, Larry Zalkind, and James Miller. While studying at Temple University, Bynum also received regular instruction from members of the Philadelphia Orchestra low brass section both past and present. Dr. Bynum is a member of the College Music Society, Phi Mu Alpha Sinfonia, and Pi Kappa Lambda honorary music fraternity. He has recently been appointed as the Journal Advertising Manager for the International Trombone Association and is an Artist/Clinician for the Edwards Instrument Company. © 2009, Josh Bynum Upcoming5/15: I will be performing John Mackey's Harvest Concerto with the UGA Wind Ensemble this October. Special thanks to John Lynch for the invitation!4/26: I have been invited to perform with the Cramer Trombone Choir at the 2010 International Trombone Festival in Austin, TX.4/11: Resonant Projection will be performing at the 2010 Oklahoma Bandmaster's Association.3/26: I have accepted the faculty trombone position at the University of Georgia. I'm excited about continuing the long tradition of studio excellence at the Hugh Hodgson School of Music!Media

Media

weston, sam, and joshgrondahl - concerto, mvt 1Launy Grøndahl - Concerto, mvt. 1crespo - improvisationEnrique Crespo - Improvisation No. 1dutilleux - choral, cadence, et fugatoHenri Dutilleux - Choral, Cadence, et Fugatorush - rebellion

Stephen Rush - Rebellion

Repertoire

Solo Repertoire

Trombone and OrchestraTomaso Albinoni Concerto for Alto TromboneDerek Bourgeois* Concerto (mvt. 1-2)Paul Creston* Fantasy Ferdinand David* ConcertinoEric Ewazen* ConcertoLauny Grøndahl* ConcertoGordon Jacob* ConcertoLars-Erik Larsson* ConcertinoFrank Martin BalladeArthur Pryor* Annie Laurie Thoughts of LoveJim Pugh* Concerto (mvt. 1-2)Nicolai Rimsky-Korsakov* ConcertoCarlos Salzedo* Piece ConcertanteFrank Ticheli* ConcertinoHenri Tomasi ConcertoGeorg Christoph Wagenseil Concerto for Alto Trombone *Also with Band Accompaniment*Trombone and Chamber Ensemble Boris Blacher Divertimento for Tbn, Trumpet, and PianoHoward Buss Night Tide for Trombone and Marimba Florida Tableaux for Tbn, Clarinet, and PianoJacques Casterede Sonatine for Tbn, Trumpet, and PianoWalter Hartley Sonata da Camera for Trombone and WindsRaymond Premru Concertino for Trombone and WindsStephen Rush Rebellion for Tbn, Piano, and PercussionThomas Zugger Street Scenes for Trombone and ClarinetUnaccompanied Trombone Malcolm Arnold FantasyJohann Sebastian Bach Cello Suites No. 1, 2, and 5Leslie Bassett SuiteRoger Boutry Le StyleEnrique Crespo Improvisation No. 1Brad Edwards Blue WolfWalter Hartley Sonata BreveBrian Lynn DoolallynasticsFolk Rabe Basta!Gabriel Stockhausen Poe SongsGeorg Philipp Telemann Flute FantasiesTrombone and Piano Tomaso Albinoni Concerto for Alto TromboneJacques Ed. Barat Andante et AllegroAlessandro Besozzi Sonata for Alto TromboneVladislav Blazhevich Concert Sketch No. 5Norman Bolter Song of King DavidAllen Bonde Ballad in BlueDerek Bourgeois Concerto (mvt. 1-2)Eugene Bozza Ballade Hommage a BachJohannes Brahms Various Lieder Four Serious SongsJacques Casterede Sonatine Et Noir et RougeAaron Copland 8 Emily Dickinson Songs Old American Songs v. 1-2Paul Creston FantasyMichel Croce-Spinelli Solo de ConcoursFerdinand David ConcertinoJean Michel DeFaye Deux Danses A la Maniere de Debussy A la Maniere de Schumann A la Maniere de Stravinsky A la Maniere de VivaldiPierre Max Dubois Suite CortegeEric Ewazen SonataJohann Ernst Galliard Six SonatasPhillipe Gaubert Morceau SymphoniqueWilliam Goldstein ColloquyLauny Grøndahl ConcertoAlexandre Guilmant Morceau SymphoniqueJohann Adolf Hasse SuitePaul Hindemith Sonata Drei Leichte Stücke Gordon Jacob Concerto SonataJoseph Jongen Aria and PolonaiseLars-Erik Larsson ConcertinoBenedetto Marcello Six SonatasGustav Mahler Songs of a Wayfarer Des Knaben Wunderhorn KindertotenliederFrank Martin BalladeCarl Nielsen Two Fantasy PiecesRichard Peaslee Arrows of TimeArthur Pryor Annie Laurie Thoughts of LoveJim Pugh Concerto (mvt. 1-2)Nicolai Rimsky-Korsakov ConcertoJoseph Guy Ropartz Andante et AllegroCarlos Salzedo Piece ConcertanteRobert Schumann Three RomancesKazimierz Serocki SonatinaSigismund Stojowski FantasieStjepan Sulek Sonata (Vox Gabrieli)Georg Philipp Telemann Sonata in f-minor Henri Tomasi ConcertoRalph Vaughan Williams Six Studies in English FolksongGeorg Christoph Wagenseil Concerto for Alto TromboneCarl Maria von Weber RomanceTeaching

Practice Tips and Concepts

Effective Practice StrategiesPlan each practice session before beginning in order to maximize your timeSession 1: Warm-up/Daily Routine (30 minutes)• Mouthpiece Buzzing of simple melodies with piano as a pitch reference• Long tones (add dynamic motion)• Soft-tonguing legato• Tonguing on a line• 2-5 note slurs• Flexibility• Scales (use different articulations)• High and low registerSession 2: Etudes and Study Materials (30-45 minutes)• Lyrical Etudes• Technical Etudes• Clef Studies (Trombone)• F-Attachment Etudes (Trombone)Session 3: Miscellaneous (45-60 minutes)• Solo Literature:Focus on sections, dont always run the piece. Map out breathing and stylistic interpretation. Zero in on consistent mistakes (which are very common), in order to make yourself aware of them. Recording yourself will prove very helpful.• Ensemble Material:Focus on the material to be covered in the next ensemble rehearsal (wind ensemble, jazz band, low brass ensemble, or brass quintet). Work on the most difficult passages. Get the notes under your fingers so that you can concentrate on musical detail. Be prepared for every rehearsal dont make a rehearsal your personal practice time.Be smart Dont try to cram everything into one practice session. In order to prepare yourself properly for the next lesson, rehearsal, or audition, it is important to plan your practice sessions. Make sure to spend an appropriate amount of time on each lesson assignment.Go slow It only takes a second to make a bad habit, but it takes a year to break it. Joe Alessi (New York Philharmonic) is very fond of saying, If you want to get better slowly, practice fast. If you want to get better fast, practice slowly.Record yourself You need to become your best teacher and pickiest listener. This is not possible without objectively listening to your playing. Recording yourself makes this easier. Hand held recorders are very affordable and are available at most electronics stores. It is best to buy a recorder that can play back at half-speed. This slows everything down and really highlights problem areas.Concentrate It is better to have 30 minutes of solid, concentrated practice than to have 3 hours of unfocused rambling on the instrument. This is why it is so important to map out exactly what you are going to address. If you find that your mind is wandering while practicing, take a break. Get a drink of water or go for a walk. Come back later, and regroup for another session. This is better than simply going through the motions.Keep a practice journal Write down exactly what you work on, and any insights you may have had about your playing. What came easy? What was challenging? Why? What areas do you want toimprove? Also include any important events such as solo opportunities, master classes, concerts, etc. This may seem useless, but looking back after a length of time, you begin to see a pattern of what you need to work on. This is also a wonderful way to track your progress on the instrument.Listen Find recordings of several different trombonists, both jazz and classical. Go to concerts and listen to great playing. It is very important to have a standard that you are trying to reach. If you hear great playing, it makes you want to be great. Slowly begin to build a library of study material that focuses on aspects you would like to improve. For a fairly comprehensive list of solo and etude materials, visit www.hickeys.com or call 1-800-HICKEYS for a free catalogue.Attack deficiencies It never fails to amaze me how much time students spend practicing areas of fundamental technique that are already at a high level. In order to avoid embarrassment, many students will avoid working on playing deficiencies. It is important to understand that focusing on your weaknesses is the only way to make significant progress. Identify your weaknesses and incorporate exercises into your daily routine that focus on them. Multiple TonguingFor normal articulation (tonguing) we use the syllable "TAH". This involves the tip of the tongue striking behind the front teeth. However, in very fast passages, our single tongue may not be able to function at a high level. At this point it becomes necessary to introduce a second syllable - "KAH". This syllable involves the back of the tongue striking the roof of the mouth. When used in succession - ("Tah-Kah-Tah-Kah...from here on out, noted as - T-K-T-K) this cuts the speed of motion for the tongue in half. Think of your tongue as a see-saw going up and down for each syllable. As in most music, the beat is either divided by groups of 2 or 3. When divided by two, we use double tonguing (T-K-T-K-T-K). However, when divided by three (either in a compound meter like 6/8, 9/8, 12/8, etc.) or by using triplets, we should use triple tonguing. There are several schools of thought about triple tonguing. Some say you should employ the following syllables - "T-T-K, T-T-K". For me, that isn't very efficient and comes off sounding uneven. Others use "T-K-T, K-T-K". This basically is the same as double tonguing, only in triplet emphasis. The downside of this system is that occasionally you will begin a beat with the KAH syllable (which will sound weaker). For triple tonguing, I personally use "T-K-T, T-K-T, T-K-T". This avoids starting a beat with the KAH syllable, but i find it easier that T-T-K, T-T-K. It is very important to remember that no matter how fast the tongue is moving, it should always be secondary to the air flow. Keep your air really moving (like you were simply playing a series of whole notes). Try to visualize blowing through the notes. Here are ways to improve multiple tonguing:Work on scales or simple passages using only a "KAH" syllable. This will feel very weird at first, but will serve to strengthen this syllable. Play a simple scale playing each note for two measures (one measure in half notes, and the next measure as 4 sixteenth's - quarter; 4 sixteenth's - quarter). Not too fast..but make sure on the sixteenth notes you are double tonguing. Do the same exercise using triplets instead of sixteenths to work on triple tonguing. Work on sustaining your double/triple tonguing for longer periods of time. Do the scales as mentioned above (one note per two measures). However, this time do the first measure as half notes, and the second measure as three beats of sixteenths followed by a quarter on beat 4). Start changing notes while double/triple tonguing. I would suggest scales, one measure of sixteenths per scale degree. Try not to breathe over a bar line. This ensures you will be changing pitch while double/triple tonguing. Make sure, when you take a breath, to start exactly where you left off. Now simply cut back on how long you play each note. Instead of an entire measure...play each scale degree for 2 beats of sixteenths each. You will change pitch every third beat. Ultimately, you will work to simply play the entire scale double/triple tonguing at one scale step per sixteenth note.

CONTENTS

PRACTICE STRATEGY

MULTIPLE TONGUING

DOWNLOADS

20 MINUTE WARM-UPEXTENDED ROUTINELinks

Recommendations

University of Georgia OrganizationsUniversity Home International Trombone AssociationDivision of Music American Federation of MusiciansUniversity Bands MENC College Music SocietyTrombone Resources Manufacturers Online Trombone Journal Edwards Instrument Co.Stacy's Trombone Site YamahaBrad Edwards - Bone Zone Conn-SelmerMusical ChairsThe Open Horn RetailThe Usual Suspects Hickey's MusicMusicians Portland Sheet Music Woodwind/BrasswindJoseph AlessiJorgen van Rijen EnsemblesWycliffe Gordon Dennis Rollins The Philadelphia OrchestraDoug Yeo The New York PhilharmonicWespton Sprott The San Francisco SymphonyToby Oft The Chicago SymphonyMatthew Guilford New Trombone CollectiveDavid Bruchez Center City Brass QuintetMichael DeaseContact

Booking Dates

I am available for private lessons, masterclasses, clinics, sectionals, recitals, and solo appearances.If interested in learning more, please fill out the form, indicating what you need. I will contact you soon.

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