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PUBLICATIONS (click on the photo to visit the ScholarPublications website)


This book explores the evolution of the concepts and skills Arnold Jacobs taught throughout his career as evident in the work of a selected group of his pupils. The authors sought to include divergent performing and pedagogical experiences framed within historical contexts. For example, some of Jacobs’s pupils began lessons in the 1950s and continued until 1998—the year of his passing. Others, started their lessons in the 1980s or 1990s, when Jacobs’s teaching had fully evolved. Similarly, the authors aimed at presenting his  teaching from the point of view of a variety of instrumentalists—that is, trumpeters, trombonists, hornists, tubists, and woodwind   players. 

       As such, this book will serve as a unique and valuable document of the artistic and pedagogical legacies of one of the great brass masters of the 20th century.

Contributors to this book include:

Roger Rocco - Tuba Artist

John Cvejanovich - Cornet, Illinois Brass Band

Steve Norrell  - Bass Trombone (retired), Metropolitan Opera Orchestra

Dr. Randall Faust  - Horn - Professor Emeritus, Western Illinois University

Mary Buscanics-Jones  - Section Horn, Elgin Symphony Orchestra

Judith Saxton  - Trumpet Artist, Clinician, Alexander Educator

Cheryl Hollinger  - Associate Principal Trumpet, New Zealand Symphony Orchestra

Phil Snedecor - Associate Professor of Trumpet, The Hartt School, University of Hartford

Michel Calvayrac - Trumpet Teacher and Suzuki Level One, Former Co-Principal Trumpet,Gran Canaria Philharmonic Orchestra

Leslie Grimm - Senior Lecturer in Clarinet and Chamber Music, Bienen School of Music, Northwestern University


Fritz Kaenzig - Arthur F. Thurnau Professor and Professor of Music, emeritus, University of Michigan School of Music, Theatre & Dance, Principal Tuba, Grant Park Orchestra, Chicago, emeritus

Ross Beacraft - Principal Trumpet, Elgin Symphony Orchestra

Dr. Gregory Irvine - Associate Professor (retired), University of Prince Edward Island

Robert Tucci - Tuba (retired), Bavarian State Opera

David Langlitz - Principal Trombone (1974 - 2016), Metropolitan Opera Orchestra

Manny Laureano - Principal Trumpet, Minnesota Orchestra

Gene Pokorny - Principal Tuba, Chicago Symphony Orchestra

Susan Slaughter - Principal Trumpet (retired), St. Louis Symphony Orchestra

Timothy Salzman - Professor of Music, University of Washington

J. Lawrie Bloom - Clarinet and Bass Clarinet (retired), Chicago Symphony Orchestra

Stephen Jeandheur - Principal Trumpet (1984 - 2021), L’Orchestre de la Suisse Romande

Charles Schuchat - Artist Faculty - Tuba, Chicago College of Performing Arts of Roosevelt University

Andrea Conti - Orchestra dell’Accademia Nazionale di Santa Cecilia, Conservatorio

della Svizzera Italiana (Teacher), Neill Humfeld Award Recipient

Kristian Steenstrup - Professor of Trumpet, The Royal Academy of Music, Aarhus, Denmark



Frederic Chopin wrote primarily for the keyboard. Although his composi- tions are an integral part of most advanced pianists’ repertoire in terms of technique and style, many of them also represent his love for vocal music. As pointed out by Maurice Hinson and others, the soprano bel canto lines of 19th Century Italian Operas—with all their appoggiaturas, graceful runs, and turns—often inspired Chopin’s writing for the right hand. It is possible, indeed, to transcribe the right hand of one of Cho- pin’s compositions—for example, the Nocturne in E-flat Major, Op. 9/2—for a solo soprano to sing in concert.

     Throughout this book, players will find transcriptions—modified by the author to fit the trumpet’sregister and technique—of, among others, Chopin’s Polish Songs, Op. 74; Ècossaises; Mazurkas; Waltzes; and Etudes. In some cases, the author transposed the pieces—for example, the Mazurka in B-flat Major, Op. 17/1 was transposed a minor third lower to the key of G Major—to better fit the trumpet register.

     To facilitate the interpretation and understanding of Chopin’s music, the author provides perfor- mance notes for each composition. These notes serve as a guide to Chopin’s expressive intentions as well as giving technical guidance to the performer. The performer is encouraged to listen to the artistic interpreta- tion of other musicians—especially pianists, but also other instrumentalists playing Chopin transcriptions—to gain further interpretative insights into each piece.


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Singing Brass provides developing, amateur, and advanced players with practicing materials that--when played with clear artistic intentions and expressive nuances--facilitate playing with a beautiful tone. The author selected singing-like melodies to encourage players to play with their most refined musicianship. Players should perform these melodies with a round and resonant tone--similar to that of great bel canto singers--while striving to play one perfect note after the other. To achieve this, players can visualize mental images--such as making each note part of a perfect string of pearls or a string of shinning light bulbs. Players should play the melodies in this book with expressive crescendos and decrescendos. Within those crescendos and decrescendos, players ahould maintin a pure tone by supplying a healthy air support--resulting from a vital and continuos air stream. The author arranged the melodies in this book to fit the trumpet register and technique. For example, in some cases, the author subtracted passages that did not seem conducive to improving tone production or would avoid unnecessarily strain. Developing players, amateurs, and professionals are equally encouraged to listen to these melodies in their original form--be it orchestral, chamber, or solo--while seeking the best recorded or live artistic interpretations among the many wonderful options available. Each melody represents a story waiting to come to life. Players should research each melody to learn its history and purpose. While in this process of discovery, players might derive their own interpretation. This book represents a much needed addition to the trumpet literature by offering a series of melodies that range from simple traditional melodies to complex opera arias. Each melody--when played correctly--will increase the player's phrasing skills--as well as increasing his technical abilities in tone production and dynamic control. This book is divided into two sections. In the first section, the author wrote 70 drills and vocalises intended to develop and maintain basic brass playing techniques. The second section includes 71 melodies arranged in a progressive order of difficulty--both technically and artistically.



Advanced Lip Plyometrics are artistic etudes and preparatory exercises designed to provide the advanced trumpeter with challenging practice materials. When practiced correctly—striving for an open and resonant sound in addition to resting when fatigued—Advanced Lip Plyometrics will help players develop an agile and powerful embouchure while fostering artistic and technical skills. 


The term plyometric refers to a type of repeated exercise that involves the rapid stretching and contracting of muscles to increase muscle power. Therefore, Advanced Lip Plyometrics are preparatory exercises and artistic etudes that engage the player’s embouchure through fast and powerful drill and melodic sequences.


The author based Advanced Lip Plyometrics on the works of William A. Thiecke and Pasquale Bona. From Thiecke’s melodic approach to drill writing, the author designed the first part of the book—which contains a developmental and conditioning sequence that target the fundamentals necessary to perform the second part of the book, the 40 Artistic Etudes. Some of the fundamentals included in the first section are: the mastering of long tones; flexibility; dynamic control; and the ability to play over a two-octave range with an open and resonant sound.


From Bona, the author used the main themes of some of his rhythmical articulationsto compose the Artistic Etudes in the second part of the book. The Artistic Etudes focus on the artistic challenges (e.g., the creation of a distortion-free tone over a two-octave range; the extensive use of dynamics and articulation; and the interpretation of performance styles) prevalent in the standard orchestral and solo brass repertoire. 


In sum, the author’s goal is to provide a developmental and conditioning sequence in the first part of the book—i.e., preparatory exercises numbers 1 through 50—to prepare the player to perform the 40 Artistic Etudes that follow. The author advises players to build the stamina necessary to perform the longer etudes—i.e., numbers 31-40—over time as the focus range of Advanced Lip Plyometrics is between the “G” and the “D” above the treble clef staff. As a way of reiterating some of the guidelines to effective practicing, the author included a re-print of the appendix titled Practicing from Lasting Change for Trumpeters: the Pedagogical Approach of Arnold Jacobs at the end of the book.


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Brass Fundamentals is the expanded version of Back to Basics for Trumpeters. As an expanded version, this book presents an in-depth exploration of the lessons of Vincent Cichowicz. Within its pages, the reader will find thirteen appendices that include the edited interviews the author conducted with Cichowicz, selected Cichowicz’s master classes—edited by the author—and two sample applied trumpet lessons. In addition, the author included edited interviews with Frank Kaderabek—Cichowicz’s long time colleague and friend—the late William Fielder—well known Professor at Rutgers, The State University of New Jersey—and John Cvejanovich—long time first call trumpeter in Chicago and a former Cichowicz student. Altogether, this book will prove to be an invaluable source for brass aficionados, teachers, students, and brass performers.



Specifically written for brass players, Brass Singers delivers the main tenets found in Arnold Jacobs’s teaching. While Jacobs customized his teaching to fit his students’ special developmental needs, this book aims at presenting his teaching concepts so they can be understood by brass aficionados, advanced students, and professionals. Luis E. Loubriel has taken special care in transcribing, editing, and structuring the information from recorded lessons and master classes—given by Jacobs from 1967 to 1998—to create an easy-to-follow narrative. As such, this book stands out as a valuable contribution to the brass performance and pedagogical literature.


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Specifically written for trumpeters, this books delivers the main tenets found in Arnold Jacobs's teaching paying special attention to the concepts of lasting change; or the ability to achieve performance consistency by bringing to a functional balance the four fundamentals of brass playing. While Jacobs customized each tenet to fit his students' specific developmental needs, this book aims at presenting those tenets so they can be understood by brass aficionados, advanced students, and professionals. Yet, as an “academic version” of Brass Singers, Lasting Change offers an in-depth analysis of Jacobs’s pedagogical approach. Luis E. Loubriel has taken special care in transcribing, editing, and structuring this information from recorded lessons and master classes given by Jacobs from 1967 to 1998. As such, this book stands out as a valuable contribution to the brass performance and pedagogy literature.


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Regreso a lo básico: La ensefianza de Vincent Cichowicz es eI primer libro que ~,

explora la metodologia de uno de los mas influenciales maestros de trompeta

del siglo veinte. Mediante entrevistas con Cichowicz y muchos de sus mas exitosos alumnos durante trece anos, Luis E. Loubriel revela las maneras innovadoras que Cichowicz utilizo para combinar las habilidades artisticas y fisicas necesarias para lograr la excelencia musical. Aunque Cichowicz no tenfa una  manera firme, como un molde que servfa para todos los alumnos-ciertamente, su talento especial era el moldear su enfoque para satisfacer las necesidades
de sus estudiantes-algunos principios fundamentales informaron su ensenanza. Este libro ayuda a examinar esos principios mediante las palabras de Cichowicz y algunos de sus antiguos alumnos, con el analisis de Luis E. Loubriel. Así, este libro representa una contribucion unica para la literatura de la pedagogfa y la musica en general


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Back to Basics for Trumpeters is built around interviews that Luis E. Loubriel conducted with Vincent Cichowicz and his most successful disciples over thirteen years, woven together with Loubriel’s own analysis, and organized according to the central themes of Cichowicz’s methodology. 

     Although Cichowicz developed no rigid, one-size-fits-all system - indeed, his special talent was for custom tailoring his teaching to the needs of each student - certain fundamentals tenets informed all of his teaching. 

     This Cichowicz book memorializes those tenets through the words of the master himself and some of his exemplary proteges. As such, it represents a significant contribution to contemporary understandings of trumpet pedagogy, and brass pedagogy in general.

     Interviews with: Vincent Cichowicz, Jay Friedman, William Fielder, John Cvejanovich, Tom Rolfs, Manny Laureano, Jamie Sommervile, Murray Crewe, Robert Dorer, Bruce Briney, Neal Berntsen, Kevin Hartman, John Henes, and John Deverman.


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Jacobs’s Legacy: Sound Advice for Developing Brass Players by Gregory B. Ir-vine, delivers a detailed look at the application of Jacobs’s teaching to various brass instruments. Irvine focuses his writing style and subject scope toward the learning needs of developing brass players and the special interests of brass instructors and performers at all levels of expertise.

     Throughout Jacobs’s Legacy, the reader will read quotes from former Jacobs’s colleagues and students (some of whom are still teaching and per- forming today). Those quotes include helpful information concerning Jacobs’s basic pedagogical concepts—such as the embouchure, proper respiration, ar ticulation, vowel studies, and posture—which will proof valuable throughout any brass player’s career.

     With a foreword written by Chuck Daellenbach—Tubist of the Canadian Brass Quintet—first hand accounts of Jacobs’s teaching, and Irvine’s clear and reader friendly writing, this work will prove invaluable for any brass player.

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