Lsns I Non Maj Brass
Lsn I Non-Maj 3 Brass
Lsns I Maj 1 Brass
Lsns I Maj 3 Brass
Lsns II Non Maj Brass
Lsn II Non-Maj 3 Brass
Lsns II Maj 1 Brass
Lsns II Maj 3 Brass
Lsns III Non Maj Brass
Lsn III Non-Maj 3 Brass
Lsns III Maj 1 Brass
Lsns III Maj 3 Brass
Lsns IV Non Maj Brass
Lsn IV Non-Maj 3 Brass
Lsns IV Maj 1 Brass
Lsns IV Maj 3 Brass
Adv Lessons Nondegree
Adv Lessons Major 1
Secondary Lessons Maj I
Adv Lessons Major 3
Secondary Lesson Maj
Chamber Music Master
Doctoral Private Lesson
Doc Secondary Lessons
Doc Instr Literature
Chamber Music Doc
- Mirari Brass Quintet. 10/01/2019 - present. Position : Member.
- Fifth Bridge. 09/15/2017 - present. Position : Founding and Original Core Member .
- International Trumpet Guild. 01/01/2007 - present. Position : Member.
Musical expression is an individual‘s act of presenting internal thought and
feeling in an aural format at a given moment. This musical voice and art of expression is
one that must be found on an individual basis, but must be fostered and guided during its
development and manifestation. The most neglected aspect of trumpet performance in
young adults and students is the development of one’s own individual voice. This voice
comes from the internalization of an individual sound that reflects both a strong resonant
tone, and provides the player with the uninhibited facilitation to perform on their
instrument. This development of an internal voice and facilitation is learned in the
constant exposure to numerous performers’ sounds and modeling, as well as the
fundamental development of key technical and lyrical aspects in performance through
established methods and self-diagnosis.
As a teacher, I feel it is best to expose students to as many individual trumpet
voices and performance techniques at the earliest stages of their development. This
exposure will allow the students to begin to develop an internalization of certain aspects
of performance. This internalization of an individual voice will allow the student to
develop at a graduated rate in that his or her own production of sound will be constantly
compared and refined to meet that of their internal conception of sound. This process of
learning is similar to that of learning a foreign language in that the student is learning to
engrain a sound through listening and the reproduction of that sound.
Along with the internalization and refinement in one’s individual trumpet voice,
certain technical and fundamental elements of performance must be addressed in each
performer’s skill set. In my teaching I utilize various methods that focus on building a
strong foundation in a clear and centered tone as well as fostering a refined balance of air
and lip cooperation. This balance and focus on tone is the first step in each student’s
journey to discovering their own production of sound. Learning a strong connection of
air flow, and mouthpiece centered work will aid in the ease of performance throughout
the entire range of the trumpet as well as allow for an open and rich tone from the
The final aspect of practical trumpet performance that is absent in many young
trumpeters’ studies is a strong focus on teaching and analysis. Not only should the role of
a teacher be to present ideas and methods to develop a student’s abilities, but to also
foster a sense of self-diagnosis and problem solving. Asking questions that relate to how
the student perceived their musical product checks to see if they were cognitive of what
they wanted, and if that musical idea was being produced. This strategy allows students
to gain more from their instruction and improve as a player in an accelerated manner.
This engagement of self-diagnosis helps turn students not only into better, more informed
performers, but also stronger teachers for when they enter into the musical world as
It is with these three elements of pedagogy and instruction that I plan to develop
the musical interpretation and individual voices of trumpet players of all levels. Each
element should be focused and guided throughout a player’s development so that a strong
foundation in each methodology could be fostered. These elements help to create a player
that exhibits a natural and expressive tone with a strong sense of lyricism in their own
unique voice, but can also provide quality instruction and diagnosis to future trumpeters.
- CD Recording Project. Project Lead: Peyden Shelton. Dee Grant 08/23/2021 - 12/31/2022. Total Budget: $10,000.00.
- Dee Grant Award: "Trumpet Repertoire Project". Project Lead: J. Peyden Shelton. Dee Grant 07/01/2018 - 12/31/2018. Total Budget: $7,000.00.