My father, Cleve Graves, was the first music teacher I ever had.  For a journeyman carpenter and former grade school trombonist, he was pretty good at introducing me to music and the trumpet when I was seven years old.  In fact my first grade school music teacher, Mr. Jack Russel, was shocked to hear me play the F major scale with such clarity and fullness of tone - and I knew the fingerings!  I had all this at age 7 while still in the third grade, a full year ahead of all the other beginners who typically started in the fourth grade.

My dad's simple approach along with Mr. Russel's encouragement was enough to get me through grade school and Junior High without taking private lessons.  The big problem started in the sixth grade when my parents (mostly Mom) decided in their wisdom that I should have braces to straighten my teeth.  It definitely made playing very interesting.  I had so much to overcome, that I practiced more, I think, than anyone else in the Junior High Band.  So, I went from bottom of the 3rd trumpets in the sixth grade to first chair of the first trumpets in the seventh grade.  I had to keep it up, though, and practice harder than anyone else.

At that time, I didn't have Arban's or Clarke or any of the trumpet Bibles that every trumpet student needs.  I had the Belwin band method and Mr. Russel's handwritten school music and some popular music books with melodies, guitar chords and lyrics.  No systematic routines, yet.  Then came the summer of my freshman year in high school.  I went to a summer music school and had about eight lessons or so with a fellow by the name of Mel Canales.  He introduced me to the Arban's book and Clarke's Technical Studies and to Gerard Schwartz's Cornet Favorite's Album.  I wanted to play, but I did not really know how to practice correctly and I lacked patience.

In my Sophomore year, my friend Frank Greene told me about his teacher,  a trumpet professor at San Jose State University.  This professor was an excellent symphonic player and a great teacher but I think I really put the cart before the horse by going to him then.  He was great for learning the literature, but I needed the chops to play it!

In spite of the difficulties I suffered with braces, I seemed to always find a way.  I played in concert band, marching band, pep band and jazz ensemble all through high school and played extra curricular children's musical theatre.  It was at my first such musical theatre gig while rehearsing for The Music Man that I met, John Halbleib.  I was impressed with John's playing and he told me that he studied with Claude Gordon.  I didn't know anything about Claude before that.

I endured high school with braces, until they were removed halfway through my senior year.  I really could not play; it was so different without them.  I had had them for about seven years.  I made up my mind that I would either quit playing altogether, or find a serious teacher and do some serious chop building.

I remembered that my friend, John Halbleib, had great things to say about Claude and it was backed up by his playing.  So, John gave me the number for the music store in San Carlos where Claude taught.  Claude would split his time every month spending a week or so in San Carlos and  whatever time he spent down at Leadwell St. in Reseda, CA.  He was so sought after that he could only give a lesson to each student once a month.  Because of this, when I called to speak with him, I expected to be added to his waiting list.  But Claude asked me if I would be interested in his Brass Camp about that time (June of 1983) and of course I said yes and he guaranteed that he would fit me in to study with him regularly if I made it to the camp.

Well, I made it, and it was well worth it.  Claude ran a great camp with lectures from a cardiovascular surgeon, a wonderful Symphonic player from southern California named Dave Evans and, of course, himself.  There were great concerts, too.  One of the best featured Frank Kadarabec, another incredible, classically trained player.

It was in June of 1983, just before the camp that I had my first lesson with Claude.  Claude had decided to change my tonguing technique from the traditional single tongue, with its high position of the very tip of the tongue executing the attack (release really) at the back of the front teeth.  Earlier, before my braces removal, I had had a problem with my tongue slipping between my teeth and bulging my lower lip when attempting to ascend to an E above high C or higher.  Claude explained that this was the result of my tongue seeking a more natural and efficient position in the mouth.  So he changed my tonguing technique to what he referred to as "K" tongue modified.  

The new tonguing technique took some time getting used to, but made a huge difference as time passed.  Not only did my range improve, but everything seem to become easier.  My playing became gradually more efficient and strong as I practiced Claude's prescriptions.  I was blessed to have parents who believed in me and who were willing to give me a chance to prove myself with the trumpet.  I lived at home with them and practiced an average of at least 5 to 6 hours each day.  I scheduled my practice over the course of each day so as not to tire quickly and to derive the full benefit from Claude's routines.  

Soon I was practicing out of Charles Colin's Flexibilities, Clarke's Technical Studies, Saint Jacome's Grand Method, Arban's Method, Ernest Williams Method, and a host of different etude books.  Over the years, Claude would prescribe just about every type of exercise in print and write some of his own in his own handwriting.  We covered his books well also, including Systematic Approach, Daily Routines, Tongue Level Exercises and Velocity Studies.

One of the best experiences I had was learning how to practice Clarke's Technical Studies to develop clarity and velocity combining finger and articulation techniques.  When studying with Claude, one didn't practice Clarke's Tech. only as written.  He had you add many repetitions in one breath and practice them single, "K", double and triple tongued AND add keys up to at least F above high C on each Study!   However, he didn't just throw it at you all at once.  He was an architect; he built you up with this process one step at a time until, one day, you realized you were building a skyscraper! 

Far from being some kind of high note guru, as some allege, Claude was a true chop builder.  The routines he assigned enabled students to achieve their goals in any field because they were foundational elements, without which their playing would be hard work.  He was also strong in spirit and offered constructive criticism when needed, common sense and healthy doses of encouragement and praise if your playing displayed the proof of your hard work. 

Claude paved the way for me to achieve my dreams of becoming a professional trumpet player, and for that, I have been truly blessed and I am truly thankful.

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