Brass Faculty: David Jolley, Judith Saxton, John Ilika, Matt Ransom
Extend your range from subtle to sonorous
Comprehensive performance experience
Intensive personalized instruction - Preparation for career success
Offering the highest level of instruction by an internationally acclaimed faculty, the brass program at the University of North Carolina School of the Arts is tailored to the individual student's needs and professional goals. The program of study enables students to develop and refine their technical skills and interpretive abilities through the study and performance of significant works from the brass literature while under the close guidance of their faculty mentor. Studio size is maintained between nine to 12 students, which encourages extensive personalized attention and faculty/student interaction.
Each student is given a significant number of performance opportunities in large ensembles and a variety of chamber music groups - coached by the brass faculty. Ensemble participation is determined by juried auditions. Students may be chosen to perform with the Symphony Orchestra, Opera Orchestra, Wind Ensemble, Jazz Ensemble, nu Ensemble and/or chamber groups.
Weekly studio master classes offer an opportunity for performances with the collaborative piano faculty on solo repertoire, and provide a group setting for learning everything related to being a successful brass player including mock orchestral auditions. Studio master class time also can be used for the horn choir, trombone choir, trumpet ensemble and tuba quartet groups to hone their ensemble and listening skills. Frequent guest artists contribute to the atmosphere of educational exchange of information. Additionally, there are Brass Concerts offered during Intensive Arts, which is a period in December when academic classes are suspended to allow for specialized workshops and individualized study of the student's art, and the final term featuring all of the brass chamber groups, large and small.
All of the faculty are active performers on their instruments and bring the practical application of how to succeed as a musician today to their studios. Furthermore, a combination of community and regional professional opportunities outside UNCSA in the Piedmont Triad area widen the scope of the students' career perspectives and supports a contemporary, market-sensitive approach to educating musicians.
Brass students are under the direct supervision of artist faculty members Judith Saxton, trumpet; David Jolley, horn; John Ilika, trombone; and Matt Ransom, tuba/euphonium.
All students in the Brass Program work toward developing excellence in performance through the study of embouchure development, warm up and practice routines; scales; legato tone studies; flexibility studies; transposition; tonguing and articulation studies; orchestral passages; and recital and concerto material.
Trumpet studio website
Students in the trumpet studio work toward developing and refining their tone production through an emphasis on the fundamental aspects of brass tone production: breathing, mouthpiece buzzing (in order to both hear and establish solid pitch). Humming and singing are also used to increase pitch awareness and pitch transfer to the mouthpiece and through the instrument. Security in solo and ensemble playing; the exploration, flexibility and familiarity with all genres of music including jazz; and fluency in all basic orchestral excerpt repertoire are all covered during the training of the budding professional musician.
Students in the horn program work toward developing professional level in tone quality and pitch sensitivity; security in solo and ensemble playing; flexibility in varied acoustical settings; and fluency in all basic orchestra excerpt repertoire.
Trombone studio website
Students work toward developing professional level in tone quality and pitch; security in solo and ensemble playing; flexibility in varied acoustical settings and different genres; and fluency in all basic orchestral excerpt repertoire.
Students work toward developing professional level in tone quality and pitch through the application of correct breathing and solid musical concepts; security in solo and ensemble playing; flexibility in varied acoustical settings; and fluency in all basic orchestral excerpt repertoire.