Review

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

Arranged by Anne Hardin


Denton, TX, United States
Publisher: University of North Texas Press
Date of Publication: 2007
URL: http://www.unt.edu/untpress
Language: English

290 pages

Primary Genre: Study Material - book

With the help of over 100 former students this collection of essays by legendary master trumpet teacher John Haynie has been compiled into a fascinating and engaging read about trumpet pedagogy and life. Haynie, professor of trumpet at the University of North Texas from 1940 to 1990, was among the first full-time studio teachers of a single wind instrument in an American university setting. Compiler and Editor Anne Hardin, former Editor of the International Trumpet Guild Journal and recipient of the ITG Award of Merit in 2006, has masterfully organized the book into over 50 essays addressing many aspects of trumpet playing and life as a musician. It is not specifically a textbook on trumpet pedagogy, but it is filled with a plethora of pedagogical hints and helpful advice that is informative and beneficial to the performer of any wind instrument. Given special attention are The Big Four: Embouchure, Breathing, Tonguing, and Fingering plus twenty-five pages addressing Musicianship. The casual, tongue in cheek approach in some of the essays produces titles such as “Do They Pivot in Peoria?,” “Trumpet Jaywalking,” and “Smashing the Lips,” all of which contain useful commentary for any brass player/teacher. Other non-pedagogical subjects addressed include:  Mental Discipline, Stress, Motivation, Girls and Trumpets, On Stage, Habits, and Why Teach. 

When this writer was working on advanced degrees at North Texas in the early 1970’s Haynie was completing a most fascinating project using Videofluorographic research to analyze what occurred in the oral cavity during trumpet performance. Some seventy students plus more than ten additional professional musicians including Maurice Andre were observed and studied. Results of this project revealed and confirmed some basic consistencies regarding jaw position, tongue arch and position during attacks and multiple tonguing, mouthpiece pressure, and the pivot. That research still remains a vitally important pedagogical tool in brass performance.

One unique feature of the book is the interspersed pages entitled “The Other Side of the Stand,” which includes quotes from students about their actual experiences in Haynie’s studio that relate specifically to the essays. For example, jazz artist Marvin Stamm, relates how he consulted Haynie about an embouchure issue he was having after being with the Kenton Orchestra for a year and how Haynie encouraged him through the change. These comments are packed with valuable pedagogical tidbits and suggestions for all brass players.

The book closes with intriguing autobiographical material including unique connections with William Revelli, Mark Hindsley, and Herbert L. Clarke, and culminates with warm reflections on “The Grand Performance” when Haynie performed as soloist with the North Texas Wind Ensemble at the 1986 Texas Music Educators Convention in San Antonio.  

Brass players and teachers all across our profession will benefit from reading this collection of essays.  The relaxed, casual presentation, the humor, the scattering of some home-spun philosophy, the solid pedagogy, the photos, illustrations, listings and the occasional pull at the heart strings will reward every reader that chooses to enter the studio of legendary trumpet teacher John Haynie. 

-Jim Hansford
Oklahoma Baptist University