Most pedagogical methods and ideology can be studied and read about first hand, but Arnold Jacobs was not like most pedagogues. He never wrote down any of his methods. In a private lesson I once asked Mr. Jacobs why he never wrote a treatise on brass playing, and he told me that his teaching was dependent upon the needs of the individual student. Although you may use a particular technique with one student, another student may need to hear the exact opposite in order to succeed. (Heath, 1996)


Each of the participants interviewed between 2013 and 2016 said that they have continued to use Mr. Jacobs’ approach as performers and in their teaching. There has been no significant evolution from his concepts. Following are the responses to the question, “Have you been able to use the methods you learned from Mr. Jacobs in your teaching?” (Stewart, 1984; Heath, 2013–16)


I want to hear him tell me yet again how easy it is. Furthermore, I need to hear it again so I can pass it on to my students in hopes that they may tell their story the way Arnold Jacobs has been telling his story all these wonderful years. (Bishop, 1984)


Absolutely. Jacobs’ approach is the foundation of my teaching. He offers an understanding of how brass playing works, and I try as much as I can to pass this on to the students. I never failed to give credit to Jacobs. (Chenette, 1984)


I found that his method of imparting visualization ... was especially helpful in my teaching. (Lawrence, 1984)


Almost exclusively. (Perantoni, 1984)


When I came to Toronto, an awful lot of people were teaching the old-fashioned methods, and I started telling my students at the University of Toronto the Jacobs approach. That’s the way I taught all of my students. (Chenette, 2016)


A child learns to hold on to things. A child learns to walk. A child learns to talk. All of those things are essentially learned by imitation. They’re not taught by somebody trying to implant that in somebody. (Johnson, 2015)


Starting in 1968, I taught on the faculty of the National Youth Orchestra of Canada, and I did that until 2005.... I felt when I went there in 1968 that nobody knew anything about Mr. Jacobs ... and I think that I brought what he gave me up there ... and I feel really good about that. (Erb, 2013)


When I was in Santa Barbara or UCLA, I taught all of these things, you know, to the students. I had my own little tack on it, but I showed my students how to do those things. That’s the way that I learned how to teach, using his philosophy. (Karon, 2016)


I try. I mean—every student is different, but like I said earlier in the interview, that concept has stuck with me this whole time—the approach ... absolutely. (Lawrence, 2015)


I don’t think any of us would be where we are without some good teaching and what he did. I’d say he probably had one of the biggest influences on my teaching style. (Perantoni, 2016)


Almost exclusively. When someone has been as constructive and as productive as Arnold Jacobs was, you don’t have to be too inventive on your own. What he taught us was so comprehensive that it covers 99% of general teaching needs. It was a totally comprehensive school of playing, of musicianship, of musical performance, of instrumental performance, brasswind playing, articulation, breathing, sound, style, dynamics. What he taught us was complete. (Tucci, 2016)


Of course, of course—I mean, anything I’ve done with anybody [has] passed on … the knowledge freely, not holding anything back. I’m always just trying to take what I have and give it freely, and show what can be done. Jake told me, he said, “Only when you take what you have, and make it the best that you can possibly make it (make your playing, make your life, make everything) will you be in competition with the great players. (Vernon, 2014)

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