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    Needing advice on a Euphonium upgrade

    Thread Starter: MHodgins

    Hi all. Having only started learning the euphonium in my mid 50's I am rather late to the brass party. It has proven to be an awesome way to...

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    Adams E3 Changes

    Thread Starter: John Morgan

    Just got my Adams E3 back from the Adams factory in The Netherlands. Miel and his crew did a few things to include changes to the trigger / main...

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    For Sale Yamaha 321S

    Thread Starter: tonkneeg

    321S good condition, minor dings. Case $1200 shipping included in U.S. Pictures on request. SOLD FOR $1,000

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    Question on tuning

    Thread Starter: z3190322

    Hi all, New guy in town. I am a brass player for leisure. Just got myself an euphonium and self learning at the moment. One thing I noticed when...

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    My instrument collection

    Thread Starter: MarChant

    I never really thought of myself as a collector, until yesterday when I decided to register all instruments I had lying around in my tiny home. I was...

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    "Station 11" on HBO

    Thread Starter: JTJ

    A few minutes into the second episode of the post apocalyptic series "Station Eleven" on HBO comes a small parade by a traveling Shakespearean troupe...

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    WTB K&M 14941 Euphonium Stand

    Thread Starter: Shinn

    If you have a stand no longer being used, please send me a private message. Thanks! David

    Last Post By: Shinn Yesterday, 09:12 PM Go to last post
  • Interview with Dr. Paul Droste

    Nowicke: Did Jack Evans study with Donald Reinhardt?

    Droste: No, I was one of the first in this area. Actually, summer times during my undergrad years, would have been '54 to '57 there were several of us, Jim Dawson (the bass trombonist who played with Paul for many years, and my good friend), and one or two others from Cleveland, talked me into going to Philadelphia to take lessons with Reinhardt. They had been there before, I hadn't. So I went along for the ride the first time and found that he did more for me embouchure-wise in the first hour or so I was with him than other teachers had done in years. So, I became a disciple pretty fast, and I would say over the course of probably eight to ten years, I was there almost every summer. I didn't go every summer, but sometimes we went twice in a summer. We'd work on the road crews Friday until 5:00 or
    6:00 and jump in the car, and drive all night to Philly, and take a lesson on Saturday, sleep over Saturday, maybe get something in Sunday morning, and then drive back to Cleveland again. A couple times I went by myself and stayed maybe four or five days and took a lesson or two a day.

    He was a very unorthodox teacher, but he is the kind of teacher everybody needs to have once in a while to just question some of the things you've been doing. Sometimes his question was not totally positive, like, "What idiot told you do to this?" and I would have to explain. He had troubles with Emory Remington at Eastman, and I can remember no specific reasons why, other than they shared some students, and apparently Remington told them one thing, and Reinhardt told them something else.

    I was taking a lesson in Reinhardt's studio, and I was at Eastman at that time (which would have been the early 60's) and he got off on Remington, as he would on several people, almost to the point where he became irate. I looked in his display case and noticed four or five Remington trombone mouthpieces, and I just needled him saying "How could you put this man down and then go ahead and use his mouthpieces?" He looked at me, and he said, "Do you want these mouthpieces?" I said, "Yes I do!" So I came home with about four Remington mouthpieces! I needled him enough he wanted to get rid of them.

    Reinhardt was a very opinionated person, a non-academic person, had a bachelor's degree someplace there in Philadelphia. A good thinker - the "pivot system" is kind of like the "think system" in the Music Man, you probably could teach a kid to play instruments just by humming tunes and putting a few fingers down for them, and say "Now, think, men!" and out comes the Minuet in G. Reinhardt had the pivot system and it's more detailed than anyone of us will ever know, and his writings about it, like The Encyclopedia of the Pivot System are pretty vague. You can read that thing cover to cover, and still not know what he is talking about. I suspect that the books were kind of come-ons to get you to Philadelphia to get to you take lessons and pay the price that way.

    Reinhardt was a famous name dropper. When I was there for a lesson he would be sure to tell me who was there the day before or the week before, and they were names that we would all recognize, both symphony players - and he'd say "Well, the whole trombone section of the Woody Herman Band was in here last week." I think with all of the organized, scholarly, college-trained teachers in the world, it still takes a guy like Reinhardt, who is a little bit of a maverick, to say things like, "Well, have you ever thought of this?" Your answer, of course, would be, "No, because I haven't thought of it, and none of my teachers have," and he'd say, "Well, let's try this." There was a lot of experimentation, but with a goal. He took me to lunch one day, and I noticed he was looking at me pretty intently while I was eating. He said, "You probably wonder why I am looking at you so intently." I said, "Yes." He said, "I'm watching you chew, because I think that has something to do with your embouchure." I said, "Thank you for the free lunch, and I'll do my best to chew it the right way." He was looking at jaw formations and tendencies.

    I was with Reinhardt from the mid-50's up through maybe the mid-60's. I think the last time I went there was shortly after I was married in '68. Nick Perrini and I rode up there together. We did have him at Ohio State in the early 70's, did a weekend, took him up to the School of Music, and then down to the Marching Band headquarters. Gave clinics there. I'm going to guess that was maybe 1971-1972, and that was about the last contact. He died, I think, somewhere in the 80's.

    Nowicke: It's astonishing to me - I don't know much about it, I know it exists, but I had said to a trombonist in my brass band who plays with a tremendous amount of pressure, and is having problems with her high range. I said, "Why aren't you pivoting?" She looked at me like I was crazy.

    Droste: That's the normal reaction. I want to add at this point, since we are still in the college scene, I have three college degrees, a Bachelor of Science in Music Education from Ohio State, a Master of Music from the Eastman School of Music, and a Doctor of Musical Arts from the University of Arizona. Again, the euphonium was my primary instrument in all three of those, but I never studied with a person who played the euphonium.

    Jack Evans was my primary teacher at Ohio State. He was a trombonist who did some work with the Cleveland Orchestra before the war. I had some lessons with Richard Suddendorf (who was the trumpet teacher) my last two years in school, and who was wonderful in terms of building valve technique and things of that sort, directly related to the trumpet.

    At the Masters level, my teacher at Eastman was Donald Knaub, who was the bass trombonist in the Rochester Philharmonic and the Eastman Brass Quintet, and really a wonderful teacher, for one year. In fact, I was in and out of there in nine months. For that nine months, my playing really, really did improve, magnificently, because of Knaubie and his musical approach. He would rile me, where if I couldn't cut something technically, he would pick up his bass trombone and demonstrate how it was supposed to go, and I always thought valves were easier than slides. [laughs] He disproved that pretty fast. Then, at the Doctor of Musical Arts level, my primary teacher was Lloyd Weldy who was the trombone teacher at the University of Arizona, and who received one of the first Doctor of Musical Arts degrees from Southern California and Robert Marsteller.
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