PHILOSOPHY
Through consistent practice, performance, and research, the faculty utilizes the greatest of all teaching tools, demonstration of excellence.  Sectional for major ensembles, weekly lessons, and studio classes enable students to have the maximum possible contact with their studio teachers.  By approaching each student's individual abilities, the faculty attempts to realize the students' personal and professional goals and to maintain the standards of the Academy and its ensembles.

OBJECTIVES
Provide instruction suitable for every student.
Emphasize student performance as an integral part of the learning process.
Make available as much "one-on-one" teaching time as possible and practical.
Provide the means whereby all students can achieve and perform to the extent of their abilities.

TRUMPET
The following serves as an outline of materials and playing techniques studied in private lessons and studio classes and is individualized to the needs and goals of each student: embouchure development warm up routines; practice routines; scales; finger-patterns; legato tone studies; flexibility studies; transposition; tonguing and articulation studies; orchestral passages; and recital and concerto material.

Material Used:
Schlossberg, Daily Drills and Technical Studies
Getchell-Hovey, Practical Studies, Book I, II
Arban, Complete Method
Concone/Sawyer, Lyrical Studies
Clarke, Technical studies
Sachse, 100 Studies
Goldman, Practical Studies
Brandt, Etudes for Trumpet
Charlier, Etudes Trancendantes
Rochut, Bordogni, Vocalises for Trombone Book 1
Sabarich, Dix Etudes
Stamps, Warmups and Studies
Thompson, Buzzing Basics
Vizzutti, Method Books

Solo literature - some examples:
Haydn - Concerto
Hummel - Concerto
Hartley - Sonatina
Kennan - Sonata
Purcell - Sonata
Selected French Literature

HORN
The following serves as an outline of the playing techniques that will be covered during private lessons, studio classes, and sectionals. 

How much is covered and which areas are emphasized depend on the ability and needs of each student.
Breathing and blowing
Musical interpretive skills
Embouchure development
Warm up
Daily routine
Articulation Styles
Major and minor scales
Sight-reading
Transposition
Solo
Orchestra and horn choir repertoire
Technical studies
 
Some of the method books used for legato development include:
Concone, Lyrical Studies
Shoemaker, Legato Etudes for French Horn
Gallay, Unmeasured Preludes

For technical development:
Kopprasch, Book I & II
Kling, 40 Etudes
Maxime-Alphonse, Books 1-4
Singer, Embouchure Building
Bach-Hoss, Suite for Unaccompanied Cello

Solo literature to include:
Mozart, Concertos No. 1-4 and Concert Rondo
R. Strauss, Horn Concerto No. 1
Saint-Saens, Morceau de Concert
Glazounov, Reverie
Haydn, Concerto No. 2

Orchestral Literature:
Mel Bay, Anthology of French Horn Music
LaBar, Horn Player's Audition Handbook
Chambers, Orchestral Excerpt Books
Farkas and Moore excerpts books

LOW BRASS

The following techniques of Trombone, Euphonium, and Tuba playing will be studied in private lessons and in studio classes. 

Each area is covered according to ability and individual goals.
Embouchure development
Correct breathing and tonguing technique
Warm up routines
Practice routine and techniques
Major and minor scales and arpeggios
Tonguing styles
Tone studies
Technique studies
Flexibility studies
Reading tenor and alto clefs
Orchestral passages
Recital and concerto materials
 
Some materials used:
Arban, Complete Method
Kopprasch, Book I & II
Rochut, Vol I & II
Blazewitch Studies
Tyrell Studies
Vasiliev, Etudes
Kuehn Musical Studies
Gillis Etudes
Mueller Technical Studies 
Fink Clef Studies
Orchestral excerpt books
Manuscript materials
Solos from all periods and styles, some examples:
Barat Andante & Allegro
Galliard Sonatas
Marcello Sonatas
Jacob Concerto
Serocki Sonatine
Bach Air & Bouree
Hadad Suite
Mueller Concert Music
Senaille Introduction and Allegro spiritoso