Evan S
Instruments: Trumpet, Trombone, Euphonium, French Horn, Tuba
Styles: Classical, Jazz, Pop, Rock, Blues, Folk, Country, R&B, Gospel, Musical Theater, Opera, Latin, Funk, Hip Hop, Electronic, Flamenco, Salsa, Showtunes, Spirituals, Reggae, Merengue, Latin Jazz, Swing, New Age, Samba, Bossa Nova, Soul, Marching Band, Punk, Mariachi, Avant-garde
Evan S
Instruments: Trumpet, Trombone, Euphonium, French Horn, Tuba
Styles:
Classical, Jazz, Pop, Rock, Blues, Folk, Country, R&B, Gospel, Musical Theater, Opera, Latin, Funk, Hip Hop, Electronic, Flamenco, Salsa, Showtunes, Spirituals, Reggae, Merengue, Latin Jazz, Swing, New Age, Samba, Bossa Nova, Soul, Marching Band, Punk, Mariachi, Avant-garde
Where I Teach:
In Your Home
My Studio
Online
Ages Taught: 10-80
ABOUT
Degrees / Training / Special Info:
Master Degree: calarts - performer / composer , Course Work: Colburn School conservatory of Music
Awards:
Invited to
International Ensemble Modern Akademie
2015 Impuls, Graz austria
2014, multiple tape releases
2012-14, Herb Alpert Scholarship recipient, California Insittute of the Arts
Overview:
I'm a professional trombonist, specializing in the fields of orchestral classical music, and also avant garde contemporary music, and improvised creative music. I was the first trombonist to graduate with a BM from the Colburn School, an intensely rigorous, professional level orchestra, and conservatory, I had the opportunity to work with the Ensemble Modern one of the premier European new music ensembles, and Frank Zappa's self proclaimed "last band". In 2014, I graduated from the California Institute of the Arts, where I studied composition, experimental music, and improvisation, and focused primarily on developing my own style of live electronics and improvisation via the trombone. I now maintain performances as a classical trombonist, while also performing regularly in the creative music scene in Portland. In 2014, I will have several recording projects released on various tape labels, and will travel again to Europe in 2015 to attend the Impuls academy.
EXPERIENCE
Since the age of 10 (20 years ago), I have heard the trombone on a regular basis. My brother was serious about playing so naturally I absorbed the sound, and an idea of how to approach the instrument from listening to his lessons and practice. My interest in the trombone has taken me across the country, and the globe, to work with various performers in various contexts. My primary teachers were performers in the legendary low brass sections of the Chicago, NY, LA, San Francisco, symphonies. At other times I studied with members of the Ensemble Modern in Germany. Most recently my musical studies have focused around composition and experimental music performance. I believe that the ultimate lesson that I learned from the best of the teachers, was how to teach oneself how to teach oneself, as you are your own best teacher. I believe that I can impart and share the knowledge that was shared ot me, for the next generation of performers.
METHODS USED
I tailor my teaching style to each student given their musical interests, and the aspects of their playing that need to be addressed to allow the student to succeed and improve. Students of all ages will focus on singing, buzzing, and playing melodies by ear and basic technique to strengthen fundamentals. Beginning students: Essential Elements, ensemble music, beginning solo and ensemble repertoire. basic techncial studies such as scalesa and arpeggios. Intermediate students: Rochut book 1. Arbans, Kopprasch, Blume technical studies. Lip slurs and range expanding expercises. More advanced solo repertoire and ensemble music. Advanced students: Rochut books I, II. Arbans, Kopprasch, Blazhevich clef studies, excepts from the orchestra repertoire, more advanced solo and ensemble music.
LESSON STYLE
Every student requires a uniquely tailored teaching style, but also they possess a unique set of strengths and "weaknesses" that will be addressed. I do not believe in the "cookie-cutter" approach to teaching. I believe that fundamentals (scales, tuning exercises, lip slurs, technical excecises) are important as these are the key to unlocking the instrument as a means of self-expression, by eliminitating the infamilarity and oddness of the trombone. That being said, I believe that technique should be approached in the most musical way possible, and I strive to teach technique through actual music. My teachers, as were most successful brass players, were influenced by the legendary tubist of the Chicago Symphony, Arnold Jacobs. Jacobs approach of "song and wind" is the basis for my teaching style. It is essential as a brass player to focus on hearing the sound in your mind, training your ear, and allowing your body to produce the result without intervention. To train students to hear the sound, to learn to play with others, I believe strongly in demonstrating examples on the trombone for the student, playing things back and forth, and sometimes playing together.
PHOTOS & VIDEOS
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