International Trumpet Guild ®

J O U R N A L
to promote communications among trumpet players around the world and to improve the artistic level
of performance, teaching, and literature associated with the trumpet
Vol. 31, No. 2 Gary Mortenson, Editor January 2007

ARTICLES
6 Remembering Maynard Ferguson (1928 – 2006) compiled by Michael Anderson and Gary Mortenson
20 Listening and Learning: The Music Education and Apprenticeship of Maynard Ferguson by Arthur Falbush
25 International Trumpet Week at the Central Conservatory in Beijing by Steve Leisring
28 Jens Lindemann: Controlling the Variables by John Irish
35 Edward H. Tarr and the Historic Brass Revival by Leigh Anne Hunsaker
40 Haydn’s Trumpet Concerto: The Tempo and Articulation of the Andante Movement by Brian Moore
43 The Varied Artistic Life of David Weiss by Tom Erdmann
52 The 2006 International Brass Symposium in Truro, England by Randall Tinnin
Maynard Ferguson
COLUMNS
Main Menu
page 6

Search
3 From the President; Jeffrey Piper
4 From the Editor; Gary Mortenson

January 2007 ITG Journal

5 ITG Calendar; Albert Lilly, Column Editor
54 Miniature King Liberty Trumpet by H. N. White;
Sabine K. Klaus, Historic Instruments Column Editor
55 Health Promotion in Schools of Music: Initial Recommendations by Kris Chesky, William Dawson, and
Ralph Manchester; Kris Chesky, Health and Awareness Column Editor
57 ITG Young Artist Award: Simon Bosch; Jean Moorehead Libs, Chair
58 ITG Profile: Jon Nelson & Brian McWhorter of the Meridian Arts Ensemble;
Laurie Frink, Column Editor
60 Artistry by Chase Sanborn; Frank Campos, Clinic Column Editor
Jens Lindemann 61 The Jazz Big Band: Ingredients to Assure Good Ensemble Performances by Scott Cowan;
page 28 Chuck Tumlinson, Jazz Corner Column Editor
62 Editor’s Corner: Convincing Performance: The Art of Stage Presence by Kyle Kornoka
64 Efficient Playing: Part II by Paul Bhasin; Jon Burgess, Pedagogical Topics Column Editor
67 Beyond Fanfare: Pathways to Musical Freedom by Matt Shulman;
Michael Anderson, Trumpet Technology Column Editor
69 Let’s Take it at the Moña: Navigating the Roadmap of a Salsa Chart by Eddie Lewis;
Eric Bolvin, Studio/Commercial Scene Column Editor
71 First Steps to Writing for Horn, Trombone, and Tuba by Kenneth Amis;
Marc Reese, Chamber Music Connection Column Editor
73 Mutes for E-flat Trumpets by James West, Inside the Orchestra Section Column Editor
74 Orchestra Section Profile: The San Antonio Symphony Trumpet Section;
Murray Greig, Column Editor
Edward H. Tarr 75 G-Sharp and A-Flat: The Difference Between Good and Great
page 35 by Thomas Moore, Science Desk Column Editor
89 News from the Trumpet World; Neville Young, Column Editor

REVIEWS
77 Recording Reviews; Peter Wood, Column Editor
83 Music Reviews; Bryan DePoy and Luis Engelke, Column Editors
87 Book Reviews; John Korak, Column Editor

ADMINISTRATIVE
4 Index of Journal Advertisers
103 2007 ITG Conference Information
David Weiss 135 ITG Legacy Endowment Information
page 43 ITG Journal Advertisement Information (inside back cover)
THE INTERNATIONAL TRUMPET GUILD JOURNAL (ISSN 0363-2845) is published four times per year (October, January, March, June) by the Inter-
national Trumpet Guild (ITG), P.O. Box 1308, Westfield, MA 01086-1308. Periodicals postage pending at Springfield, MA, and additional mailing offices.
POSTMASTER: Send address changes to: ITG Journal, P.O. Box 1308, Westfield, MA 01086-1308.
 ITG Profile Editor: Laurie Frink; 240 West 98th #7G, New York, NY
2005 – 2007 Officers 10025; [email protected]
President: Jeffrey Piper Jazz Corner: Charles Tumlinson
Dept of Music, University of New Mexico, Albuquerque, NM 87131 Department of Music, California State University – Fullerton,
[email protected] Fullerton, CA 92634; [email protected]
Vice-President/President-Elect: William Pfund Jazz Editor: Tom Erdmann
35629 WCR 41, Eaton, CO 80615-8910 Music Department, Elon University – CB 2800, Elon, NC 27244;
[email protected] [email protected]
Secretary: Kevin Eisensmith Music Reviews: Bryan DePoy and Luis Engelke
Department of Music, 101 Cogswell Hall, Indiana University of Bryan DePoy, Southeastern Louisiana University, Department of
Pennsylvania, Indiana, PA 15705; [email protected] Music, SLU 815, Hammond, LA 70402, fax 504-549-2892;
Treasurer: David C. Jones [email protected];
P.O. Box 1308, Westfield, MA 01086-1308 Luis Engelke, Music Department, Towson University, Center for the
[email protected] Arts Bldg., Room 459, Towson, MD 21252;
Past President: Stephen Chenette [email protected]
17 Bridgeview Road, Toronto, Canada M6S 4M9 News from the Trumpet World: Neville Young
[email protected] 49 Muswell Avenue, London N10 2EH, UK;
[email protected]
2005 – 2007 Board of Directors Orchestral Section Profile: Murray Greig
Michael Anderson, Frank G. Campos, Zhonghui Dai, Joyce Davis, Springfield Cottage, Forest Hill Road, Outlane, Huddersfield,
Kim Dunnick, Brian Evans, Laurie Frink, Murray Greig, HD3 3FB, UK; [email protected]
Patrick Harbison, Frank Kaderabek, Cathy Leach, Gary Mortenson, Pedagogical Topics for Trumpet: Jon Burgess
James Olcott, Vera Hørven Olcott, Anatoly Selianin, Alan Siebert, School of Music, Texas Christian University, Fort Worth, TX 76129;
Roger Sherman, Michael Tunnell, Neville Young [email protected]
Recording Reviews: Peter Wood
Executive Staff Department of Music, 1150 Laidlaw Performing Arts Center,
Affiliate Chapter Coordinator: Larry Johansen University of South Alabama, Mobile, AL 36688;
P.O. Box 141, Redlands, CA 92373; [email protected] [email protected]
Director of Public Relations: Brad Ulrich Science Desk: Thomas Moore
Western Carolina University, Music Department, Cullowhee, Department of Physics, Rollins College, Campus Box 2743, 100
NC 28723; [email protected] Holt Ave., Winter Park, FL 32789; [email protected]
General Counsel: Mark Haynie Studio/Commercial Scene: Eric Bolvin
Haynie, Rake, and Repass; Dallas, TX 816 Blossom Hill Rd #4, San Jose, CA 95123;
Membership and Development Coordinator: David Scott [email protected]
Department of Music, McNeese State University, Lake Charles, Trumpet Technology: Michael Anderson
LA 70609; [email protected] (see ITG Web Site entry below for contact information)
Young Artist Award: Jean Moorehead Libs
ITG Journal Staff 2619 Essex Rd, Ann Arbor, MI 48104; [email protected]
Editor: Gary Mortenson Journal Printer: Classic Printing, Nashville, TN
Department of Music, 109 McCain Auditorium, Kansas State Proofreading: Mary Beave, Kristin Mortenson
University, Manhattan, KS 66506; phone 785-532-3828, ITG Web Site – http://www.trumpetguild.org
fax 785-532-6899; [email protected]
Assistant Editor/Principal Proofreader: Kristin Mortenson D irector: Michael Anderson
Editor, itg journal, jr.: Douglas Wilson Wanda L. Bass School of Music, Oklahoma City University, 2501 N.
1114 Bradfield Dr SW, Leesburg, VA 20175-4304; Blackwelder, Oklahoma City, OK 73106; [email protected]
[email protected]
Subscriptions, Address Changes, Back Issues, Damaged or Missing ITG Editorial Committee
Journals: David C. Jones, ITG Treasurer; fax 413-568-1913; Gary Mortenson, Editor, Kansas State University; Michael Anderson,
[email protected] Oklahoma City University; Kris Chesky, University of North Texas;
Advertisements and Production Manager: Joseph Walters Joyce Davis, University of Florida; Kim Dunnick, Ithaca College;
5604 Brockton Ct NE, Albuquerque, NM 87111-6625; Michael Ewald, University of Illinois; Laurie Frink, New York Universi-
fax 505-797-0448; [email protected] ty; Patrick Harbison, Indiana University; Ronald Holz, Asbury College;
Book Reviews: John Korak H. M. Lewis, Georgetown College; Thomas Moore, Rollins College;
Box 1771-Department of Music, Southern Illinois University, James Olcott, Miami University; Karl Sievers, University of Oklahoma
Edwardsville, IL 62026; [email protected]
Calendar Editor: Al Lilly The ITG Journal is published four times each year in October, January,
980 Centennial Rd, Martinsville, IN 46151; March, and June. ITG memberships run from July 1 to June 30, and include
a subscription to ITG publications.
[email protected] Ideas and opinions expressed in this issue are those of individual writers,
Chamber Music Connection: Marc Reese and are not necessarily those of the editors or of the ITG.
Empire Brass, Lynn University Conservatory of Music, 3601 North Deadlines for receiving information to be published: May 15 (October
Military Trail, Boca Raton, FL 33421; [email protected] Journal), August 15 (January Journal), October 15 (March Journal), January
Clinic Editor: Frank G. Campos 15 (June Journal).
School of Music, Ithaca College, Ithaca, NY 14850; Membership Dues: $40 (regular), $75 (library), $25 (student or senior citi-
[email protected] zen). Optional first class mail to USA address: $13. For international members:
Health and Awareness Editor: Kris Chesky the ITG Journal will be sent via air to the country of destination as part of the
Texas Center for Music and Medicine, 3500 Camp Bowie Blvd, cost of membership. All payments must be made in U.S. dollars and must be
Fort Worth, TX 76017; [email protected] payable through a U.S. bank. Payments by major credit card are accepted.
Historic Instruments Editor: Sabine K. Klaus Please make check or money order payable to ITG, and mail to:
[email protected] David Jones, ITG Treasurer
Inside the Orchestra Section: James West P.O. Box 1308, Westfield, MA 01086-1308 USA
Louisiana State University, School of Music, Baton Rouge, LA fax: 413-403-8899
70803; [email protected] [email protected] • www.trumpetguild.org/join/join.htm
Intern Assistant Editor: Kari Brooks; [email protected] For Change of Address, notify ITG Treasurer David Jones (as above)

2 ITG Journal / January 2007 © 2007 International Trumpet Guild

 FROM THE PRESIDENT
JEFFREY PIPER
I write with a sad heart noting the passing of Maynard Fer- Currently scheduled artists include Terry Everson, Brad Goode,
guson. As a young student, I idolized Maynard, listened to all Greg Gisbert, John Henes, Jeff Holmes, Ingrid Jensen, Manny
of his recordings, and was deeply influenced. I well remember Laureano, Chris Martin, The New England Brass, Vince Pen-
a very young Maynard playing dance jobs with a combo visit- zarella, Charles Schlueter, Doc Severinsen, Crispian Steele-
ing our community a couple of times a year. Later, he would Perkins, and the United States Coast Guard Band.
tour through our community with his own jazz band. The It will truly be a pleasure to present the ITG Honorary
trumpet world will miss Maynard. He was a pioneer of high- Award and ITG Award of Merit at the 2007 conference.
note playing, being one of the first to raise the standard for Recipients of the ITG Honorary Award are Charles Schlueter
lead playing and a major influence on several generations of and Maynard Ferguson. Joyce Davis, Vincent DiMartino,
young trumpeters. Richard Burkhart, Carole Dawn Reinhart, and Bengt Eklund
— will receive the ITG Award of Merit. The ITG Honorary
The board of directors discussed and voted to increase our Award is given to those individuals who have made extraordi-
dues from $40 (regular membership) and $25 (student/senior) nary contributions to the art of trumpet playing. These contri-
to $50/$30 beginning in the 2007 – 2008 fiscal year. butions are through performance, teaching, publishing,
Although not an easy decision, a dues raise is necessary to research, and/or composition. The tradition has been to award
maintain the quality of our projects and benefits to our mem- persons only toward the end of their careers, rather than at the
bership. The last dues raise was in 1999; our fees are less than beginning or height of their careers. The Award of Merit is
most of the brass organizations, we distribute many more sup- given to those individuals who have made substantial contri-
plements than anyone other professional organization, and our butions to the art of trumpet playing through performance,
Journal is almost twice the size of similar publications. By rais- teaching, publishing, research, composition, and/or support of
ing the regular membership $10, we are adding approximately the goals of The International Trumpet Guild. If you have an
$37,000 to ITG’s annual budget. This will allow us to contin- individual you wish to nominate please notify me by EMail at
ue and even to expand our currently level of high-quality serv- [email protected]. In order for the board to consid-
ice and benefits to our membership. Each membership cycle er your nominee you must do the following: 1) Notify the
includes four ITG Journals (exceeding 128 pages), two issues of individual you wish to nominate. 2) Send the ITG President
itg journal jr., a yearly CD, a music supplement, our member- biographical material on your nominee. 3) Provide the indi-
ship directory, and much more. Our web site is the best in the vidual’s contact information.
business and ITG is engaged in several additional CD projects, It is hard to believe that I am already into my second year as
music and book reprint projects, and publishes additional your president. Last year was very thrilling for me to work on
materials important to our membership. ITG also supports an several important projects and to represent ITG throughout
annual conference and two major competitions: The Carmine the world. I am honored to be your president and look forward
Caruso International Jazz Trumpet Competition and the Ells- to an exciting year.
worth Smith International Trumpet Solo Competition. Our
next CD project will present important recordings of Robert STATEMENT ON COPYRIGHT PROTECTION
Nagel titled The Trumpet In Transition. Mr. Nagel, one the
The International Trumpet Guild does not allow the
great virtuosos of the 20th century, has generously donated his
reproduction or adaptation of copyrighted material
recordings as a gift to the ITG membership. A project in its
from the ITG Journal or from the ITG Web Site with-
infancy is the translation of Timofei Dokshizer’s book The Way out written permission. This includes, without limita-
of Creative Work. The book is considered by many to be Mr. tion, using ITG-generated text, graphics, and/or images
Dokshizer’s life achievement. A possible future project is the in print or electronic formats. Requests for permission
reproduction of unpublished Clifford Brown recordings. ITG need to be specific, stating the location of the text and
is a volunteer organization with a very small percentage of our the exact material to be quoted or adapted. The editor
budget going to administrative costs. The remainder of our does not allow entire articles, reviews, columns, news
budget benefits our membership. I hope you’ll agree with what items, or reports to be reproduced. The editor does
I strongly believe to be true… that ITG provides more bene- allow excerpts or quotes to be extracted when properly
fits to our membership than any other musical organization. attributed to their ITG origination and judged to be
Bravo to Bryan Appleby-Wineberg and his staff at Rowan within reasonable limits. To request permission, con-
University for producing a truly memorable conference. With tact: Gary Mortenson, Publications Editor, Internation-
the memories of great performances and clinics that included al Trumpet Guild, 109 McCain Auditorium, Kansas
American Brass Quintet, The Mnozil Brass, David Bilger, Frank State University, Man hattan, KS 66506, USA;
Kaderabek, Barbara Butler, Ibrahim Maalouf, Arturo Sandoval, EMail [email protected]
and Susan Slaughter, and so many others, we must now turn our Copyright © 1976, 2007 International Trumpet
attention to the 2007 Conference at The University of Massa- Guild—all rights reserved.
chusetts to be hosted by Eric Berlin May 29 – June 2, 2007.
© 2007 International Trumpet Guild January 2007 / ITG Journal 3
 FROM THE EDITOR
GARY MORTENSON
With the passing of Maynard Ferguson on August 23, 2006, marvelous job of interviewing Edward Tarr, arguably the
the world lost one of its great musicians and human beings. I most important scholar of the history of the trumpet of
would like to thank Michael Anderson for his help in compil- recent times.
ing the January Journal’s lead article as ITG pays its respects to This issue contains more than twenty columns and review
the man and all that he stood for throughout his long creative sections. Column topics range from health/hearing issues, to
life. Along with these remembrances we present Arthur Fal- developing artistry on the instrument, to learning about Salsa
bush's timely interview documenting Maynard's early musical music, to a discussion of new mutes, to gaining great efficien-
education and growth as a budding musician. I know that you cy in your playing, to understanding the intricacies of intona-
will appreciate the many sentiments that are expressed in these tion, and so much more. Also coming to you in this envelope
two articles paying homage to a true legend of the trumpet. is the first installment of this publication season’s itg journal jr.
Many who knew and admired James Underwood mourn the In recent years the ITG Journal has expanded to give you
loss of this exceptional trumpet player who recently lost his more value for your membership. We continue to examine
battle with cancer. You can read about this heroic musician, every aspect of what we do to make that value better with each
who played on as principal trumpet in the Columbus Sympho- passing year. Ideas for improvement, expansion, and refine-
ny Orchestra despite his increasingly serious health issues, in ment often come from you, the reader. We take your opinions
the news section of this issue. and observations very seriously, so please contact us knowing
John Irish has done a wonderful job of capturing the energy that we’ll be interested in your comments and suggestions.
and exuberance of Jens Lindemann. Tom Erdmann’s inter- Nothing brings us all closer together than our yearly confer-
view of David Weiss will be of interest to jazz enthusiasts. ences. Now is the time to make plans to attend the 2007 ITG
Brian Moore presents some compelling scholarship on what Conference (May 29 through June 2) hosted by Eric Berlin
the appropriate speed and character of the Andante movement and the University of Massachusetts. I hope to see you in
of Haydn’s Concerto for Trumpet should be versus what has Amherst next May as we continue to celebrate all that ITG has
been common practice, and Leigh Anne Hunsaker has done a to offer!

INDEX TO ADVERTISERS Domaine Forget . . . . . . . . . . . . . . 128

Editions Marc Reift . . . . . . . . . . . Col
North Carolina School of
the Arts . . . . . . . . . . . . . . . . . . . 134
Cvr = Inside Front Cover Edwards Trumpets . . . . . . . . . . . . Col OnBoard Research . . . . . . . . . . . . 114
Col = Color Section Fanfare Caseworks . . . . . . . . . . . . 134 Pasquina Publishing . . . . . . . . . . . 123
5 Starr Music Products. . . . . . . . . 130 Fanfare Consort . . . . . . . . . . . . . . 132 Pickett Brass . . . . . . . . . . . . . . . . . 111
AAIIRR Acousti-Coil . . . . . . . . . . Cvr Ferree’s Tools . . . . . . . . . . . . . . . . 107 Pitchfinder/Buzzit. . . . . . . . . . . . . 130
American Brass Quintet . . . . . . . . 120 Getzen . . . . . . . . . . . . . . . . . . . . . Col Robert’s Engineering /
Baldwin-Wallace College . . . . . . . 130 GMP Torpedo Bags.. . . . . . . . . . . Col Blue Juice . . . . . . . . . . . . . . . . . Col
Balquhidder Music . . . . . . . . . . . . 118 Hickey’s Music Center . . . . . . . . . 108 Rowan University. . . . . . . . . . . . . 121
Bell’s Super Lube . . . . . . . . . . . . . 132 Hickman Music Editions . . . Col, 125 Sam Ash . . . . . . . . . . . . . . . . . . . . 107
BERP . . . . . . . . . . . . . . . . . . . . . . 107 Hip-Bone Music. . . . . . . . . . . . . . 119 Schilke (Trumpet Line) . . . . . . . . Col
Blackburn Trumpets. . . . . . . . . . . Col HornTrader.com . . . . . . . . . . . . . 112 Schilke (John Faddis) . . . . . . . . . . Col
Bob Reeves . . . . . . . . . . . . . . Col, 108 JA Musik GMBH (Mark Pender) . Col Select-A-Press . . . . . . . . . . . . . . . . 111
Brass Buzzer . . . . . . . . . . . . . . . . . 124 JA Musik GMBH (Challenger) . . Col Silver Fox Enterprises . . . . . . . . . . 120
BrassClef . . . . . . . . . . . . . . . . . . . 134 Jeffrey Purtle. . . . . . . . . . . . . . . . . 109 Sonaré Winds . . . . . . . . . . . . . . . . Col
California Institute of the Arts . . . 123 Jupiter Band Instruments . . . . . . . 131 StarsTeachMusic . . . . . . . . . . . . . 115
Cambrass / Stomvi . . . . . . . . Col, 112 Kanstul Musical Instruments . . . . 128 Superscope Technologies . . . . . . . 118
Cannonball Musical Instruments . . 133 Kelly Mouthpieces . . . . . . . . . . . . 123
Synergy Brass (Radian Arts) . . . . . Col
Chase Sanborn . . . . . . . . . . . . . . . Col Ken Larson’s BrassWerks . . . . . . . Col
Cherry Classics . . . . . . . . . . . . . . . 109 TAP Music Sales. . . . . . . . . . . . . . Cvr
Lamont School of Music . . . . . . . 115
Chicago College of the Lamont School of Music / Temple University . . . . . . . . . . . . 129
Performing Arts . . . . . . . . . . . . 132 Rafael Méndez Brass Institute . . 124 Triplo Press . . . . . . . . . . . . . . . . . 110
Chopsaver. . . . . . . . . . . . . . . . . . . Col Lieksa Brass Week . . . . . . . . . . . . 126 Trumcor Mutes Inc . . . . . . . . . . . 117
Chop-Sticks . . . . . . . . . . . . . . . . . 108 Lynn University . . . . . . . . . . . . . . 122 TrumpetWorks. . . . . . . . . . . . . . . 114
Conn-Selmer (Conn) . . . . . . . . . . Col MakeMusic. . . . . . . . . . . . . . . . . . 127 University of Tennessee . . . . . . . . 126
Conn-Selmer (Bach) . . . . . . . . . . . Col Malcolm McNab . . . . . . . . . . . . . 116 US Military Academy Band . . . . . 126
Crystal Records. . . . . . . . . . . . . . . 109 Maller Baroque Brass . . . . . . . . . . 113 Wavesong Press . . . . . . . . . . . . . . 110
Curry Precision Mouthpieces . . . . Col Music Academy of the West. . . . . 124 Wehr’s Music House . . . . . . . . . . 110
DANSR (Denis Wick) . . . . . . . . . Col Najoom Music Products. . . . . . . . 107 Weril . . . . . . . . . . . . . . . . . . . . . . Col
David Zuercher . . . . . . . . . . . . . . Col National Trumpet Competition . . Col Willson Bandinstruments . . . . . . . Col
Dillon Music . . . . . . . . . . . . . . . . 111 Naumann Trumpets . . . . . . . . . . . Col Yamaha. . . . . . . . . . . . . . . . . . . . . Col

4 ITG Journal / January 2007 © 2007 International Trumpet Guild

 ITG CALENDAR
ALBERT LILLY III, EDITOR

For a complete list of worldwide events, visit http://www.trumpetguild.org/calendar/calendar.htm. To submit calendar

items for the ITG Journal and ITG Web Site, please contact: Calendar Editor Albert Lilly, 980 Centennial Road, Mar-
tinsville, IN 46151 USA; 765-342-2811; fax 734-423-5896; [email protected]

January 7, 2007 adjudicate all performance divisions including those for junior
New Year’s Concert featuring the Zephir Trumpet Ensemble. and senior high school, undergraduate and master’s collegiate,
The concert also features organist Bernhard Mallers and per- trumpet ensembles, Baroque trumpet, professional/amateur,
cussionist Benjamin Niklas. The concert begins at 4:00 P.M., and jazz solo. For more information, contact Dennis Edel-
and will be held in the Basilika St. Martin, Amberg, Germany. brock, Executive Director (EMail [email protected]; web site
For more information, EMail [email protected] or http://www.nationaltrumpetcomp.org).
visit the web site (http://www.zephir-trompeten.de).
April 14, 2007
January 12 – 14, 2007 T ri-Citie s Jazz Fe s tiv al, featuring Arturo Sandoval, David
Western Carolina Trumpet Festival, to be held on the campus Champouillon and the Lenore Raphael Trio. The festival will
of Western Carolina University, Cullowhee, NC (USA). The be held on the campus of East Tennessee State University,
guest artists/clinicians this year are Randy Brecker (jazz trum- Johnson City, TN (USA). For more information contact
pet), Vladislav Lavrik (principal trumpet of the Russian David Champouillon (phone (423) 439-6955)
National Orchestra/Moscow), Gary Malvern (Furman Uni- EMail [email protected]
versity), Ramon Vasquez (Auburn University), and Mark Web site http://www.etsu.edu/music/events
Clodfelter (University Of Kentucky). We are also interested in
having trumpet ensembles perform on the Festival Concert. If April 27, 2007
you have an ensemble wishing to perform, contact Brad David Champouillon w ith the Lenore Raphae l T rio at the
Ulrich from the WCU Trumpet Festival web page Arturo Sandoval Jazz Club, Miami Beach, FL (USA). For
located at http://www.ulrichmusic.com (follow links to more information contact David Champouillon.
WCU Trumpet Festival). Phone: (423) 439-6955; EMail: [email protected]
Web site http://www.arturosandovaljazzclub.com
February 15, 2007
Application Deadline 2007 ITG Conference Competitions: May 29 – June 2, 2007
• ITG Orchestral Excerpts Competition International Trumpet Guild Conference, to be held on the
• ITG Jazz Improvisation Competition campus of the University of Massachusetts-Amherst, Amherst,
• ITG Solo Performance Competition MA (USA). Eric Berlin will serve as host. For the latest infor-
• ITG Youth Competition mation check the ITG Web Site
• ITG Conference Scholarship Competition (http://www.trumpetguild.org) or see the 2007 Conference
Rules for these competitions as well as other pertinent infor- Ad on pages 103 through 106 of this issue of the ITG Journal.
mation are printed in the October 2006 ITG Journal (pages
100 – 104), and are available on the Competition and Contest July 7 – 15, 2007
page of the ITG Web Site (http://www.trumpetguild.org). The Art of Sound: Summer Brass Institute and Festival, fea-
turing the Bay Brass and special guest artists in a nine-day
March 15 – 18, 2007 institute full of performances and intensive yet supportive
15th Annual National Trumpet Competition, to be held at coaching for participants. Participants enjoy lessons, master
the Department of Music, George Mason University, Fairfax, classes, performance opportunities, and expert coaching in
VA (USA). An impressive artist faculty of performers and edu- quintets and large ensembles; for further information visit the
cators from throughout the USA is scheduled to perform and web site (http://brass.menloschool.org) or contact institute
director Vicky Greenbaum.
Make Plans Now to Attend July 23 – 28, 2007
2007 ITG Conference Rafael Ménde z Brass Institute, to be held at the Lamont
School of Music, the University of Denver, Denver, CO
May 29 – June 2, 2007 (USA). Featured artists for the week include the Summit
Brass, Bobby Shew, and others. For details see the web
University of Massachusetts site (http://www.mendezbrassinstitute.com).
Phone: (303) 587-7590
© 2007 International Trumpet Guild January 2007 / ITG Journal 5
 REMEMBERING MAYNARD FERGUSON
(1928 – 2006)
COMPILED BY MICHAEL ANDERSON AND GARY MORTENSON

n enormous volume of material has been written on fitting tribute than to simply let these people tell Maynard’s

A the astonishing six-decade career of Maynard Fergu-

son. Since his death on Aug-
ust 23, 2006, there has been an out-
story… truly a life well lived. GM

pouring of remembrances, articles,

and Internet posts on this icon of the
trumpet world. This tribute article
includes the memories of friends,
fans, and associates. They are ar -
ranged alphabetically by the last
names of the individual authors.
Many were taken from postings on
the Trumpet Players International
Network (TPIN) in the days imme-
diately following his death. Others
have been compiled by requesting
remembrances from specific mem-
bers of Maynard’s extended musical
family. One thing is obvious from
everything below. He was a beloved
member of the trumpet community
who was appreciated for his kind-
ness, his incredible talent, and for
the caring way he nurtured so many
other musicians during his time
among us. I can think of no more “The Boss” in performance

In 1974 I walked into my band director Bruce Hammitt’s office because he called me in there. He was there with Rob
Smeets, our college student teacher, who was a trumpet player and practical joker. They were grinning from ear to ear and I
felt like I was walking into a lion’s den. I just knew they were up to no good and that I was going to be the brunt of their joke.
I cautiously walked in and the director said, “Sit down and listen to this.” Then they put on Live at Jimmy’s and sat there and
giggled as they watched my face react to what I was hearing. I already loved the trumpet at that point, but everything changed
from that point forward. I was a resident of a tiny town—1100 people in the middle of nowhere—but I was fortunate to have
great teachers who knew what to do to turn us on to the finer things in the musical world. Soon after this experience I got my
first Chase album. Soon after that I heard my first Reiner/Herseth recording. Then came the Instrumentalist interview where
Bud Herseth said Maynard was the greatest brass player of all time. It was a surprise to me that an orchestral player would say
that, but we never had any problem believing it.
To say we worshiped Maynard and his recordings is not an exaggeration in the least. One of my college friends had a lamp
that every time you turned it on it played a Maynard lick. Rigging this sort of thing up in 1977 took ingenuity, dedication,
and a high level of fanaticism. I wish I could remember all the times I’ve heard him play live. I put those times in my mem-
ory right up there with my trips to hear the Chicago Symphony Orchestra in the ’80s… Very meaningful and exciting as hell.
The last time I heard Maynard was several years ago when a big band in Omaha I was playing with and directing opened
for him at a local high school. It was a thrill to play on the same concert with him. Dave Monette was there and I was fortu-
nate enough to go out for dinner at the local Indian restaurant with Maynard, Dave, Ed Sargent, and the trumpet players in
our band. It was a great night and lots of fun. Although I don’t play his kind of music on a regular basis, his sound and
approach to music is burned into my being. I can bring it to mind any time I want… It is just there, ready to go when I want
it. There is no substitute and there won’t ever be one. I pity those who weren’t able to experience his genius like I did.
Michael Anderson

6 ITG Journal / January 2007 © 2007 International Trumpet Guild

 When I think of Maynard Ferguson, words like mentor, hero, idol, and role model come to mind. Maynard was all of those
things to me as well as to many others. On Aug 23, 2006, I received a call from Maynard’s manager Ed Sargent. My good
friend Maynard Ferguson had passed away. It seemed surreal to me since I just saw him at a recording session in late July. He
was in great spirits—funny, laughing, playing his butt off, and basically in terrific form. To say I will miss him is an under-
statement. As a young player, I dreamed of playing in Maynard’s band one day, and that day came in January 1986 when I
was 27 years old. My buddy Alex Iles had recommended me for the band… Thank you, Alex!
The awe of meeting Maynard in person was something I remember as if it were yesterday, and as the years passed, the awe
never went away. At my first rehearsal, as enamored as I was with him as an icon, the thing I remember most is how welcome
he made me feel. He was the
coolest—joking and telling
stories from the moment we
met.
What an honor to have been
a part of the band that played
his last notes with him (you
guys are awesome). My wife
Deb and I will cherish the time
we spent with Maynard in
March at my own recording
session. The fact that he took
the time to play on my CD
while on a short break from his
own grueling tour schedule
shows what a generous person
Maynard was.
We will all cherish our mem-
ories of “the boss” even though
I know Maynard would not
want us grieving over him.
Easier said than done—it’s Santa Barbara Sound Recording Studio Session
been tough to hold back the L – R: Wayne Bergeron, Maynard Ferguson, Deb Wagner Bergeron,
tears, as I truly feel like I’ve lost and Maynard’s long-time recording engineer Dominic Camardella
a family member.
Maynard, Thank you for allowing me the honor of spending a small part of my life with you. I’d better start cleaning up
my act so I can see you in heaven.
There is a big pair of shoes in the music world that will never be filled.
Wayne Bergeron

From my earliest days, Maynard has always been one of my biggest heroes. I remember when my uncle gave me my first
Maynard album. The album, titled Hot, was strange to me as an elementary school kid, but that playing intrigued me enough
to make me look for everything of Maynard’s that I could get my hands on. In college I found a used record store in Boston
(Looney Tunes by Berklee) and was able to find the precious early stuff with Kenton and his early band that had eluded me.
Maynard now occupies more space on my record shelf than any other single artist. I am listening to MF Horn II in tribute as
I write this and am reminded how many times listening to him inspired me to practice or go for it just one more time. I
remember my whole high school marching band getting fired-up in the bus before competitions to my boom box blaring Pri-
mal Scream, Conquistador, Chameleon, etc.
Has there ever been a better model for fearless playing on the trumpet? And what a physical talent on the horn! If you watch
that old video of him on the Ed Sullivan Show with Stan Kenton, you will see what appears to be inhuman playing. Live and
in person, even in his later years, the ease with which he approached the upper register was astounding. For the countless hours
of enjoyment and inspiration he has given me, I cannot thank him enough.
I think it is important that people are aware that his contribution has not gone unnoticed. Last spring I nominated May-
nard for the ITG Honorary Award and the ITG Board voted to approve it at the last conference. This award was well deserved
and I only wish he could hear the deafening ovation at its presentation. In May of 2007, I will be hosting the ITG Confer-
ence at UMASS. I was working with his management to have Maynard and his band play at the conference in addition to
accepting the award there. To pay tribute to him at the conference would have been a fitting gift for a man who has given us
his heart and soul through performance and education. I am so sorry that it will not come to pass. If anyone from any of May-
nard’s bands would like to participate in a tribute, please contact me at [email protected].
Maynard is probably at this moment giving Gabriel a heart attack in the great beyond and that just makes me smile.
Eric Berlin

© 2007 International Trumpet Guild January 2007 / ITG Journal 7

 I showed up in high school in 1975 at the tender age of 13, and during the summer band courses before school started, I
was introduced to MF’s Chameleon album. Just a short time before that I recall looking at “A” above the treble clef staff and
wondering what the heck it was. Hearing Chameleon, and being as “green” as I was, I didn’t understand it at all. I wasn’t even
sure I should be listening to it! It even took awhile to realize how amazing the high notes were. But I couldn’t get around it,
since the older students played the album a lot in the band room. I began to listen and to learn. I quickly learned how to play
up to high Gs and in the next four years of late-1970s high school, I played almost all of his charts that were available at that
time. I think I can still play the last page of Hey Jude from memory.
Maynard was a huge influence for me, as he was for almost every trumpeter at that time. I loved his sound, I loved his side-
men, and I loved his showmanship. When I was at University of Southern California doing my master’s degree, Maynard was
scheduled to play on campus on the same night as our weekly trumpet master class. Edward Tarr was teaching the class that
semester, and we all wondered how he would handle it. We got word of the concert pretty late, and Ed cancelled the class
immediately, so that we could reconvene at the concert venue. We all got seats down front, along with Ed, and had a great
time. It was the best trumpet class ever! To hear him live was an unforgettable experience.
Ray Burkhart

I believe that the essence of our feeling of loss with Maynard’s departure stems from the following: 1) He was always exu-
berant in his approach to performance. 2) He exemplified what setting the bar high meant in terms of playing tastefully and
powerfully in the upper register. 3) He taught us by his words and his actions. 4) He inspired us with his presence and his
performance. 5) He showed us that when you do all the above and do it with great joy, you can enjoy a long life doing it. 6)
We truly felt that he was one of us.
For me, these words describe the essence of a hero. We should celebrate his life and all that it gave us.
Jerry Cerchia

Maynard Ferguson made you a better musician and a better person just by being around him. He never missed a gig, was
never late, and gave his all in every performance regardless of the venue, the demands of the schedule, or what was going on
in his personal life. One of my most vivid memories occurred on the road when Maynard had to leave the tour when his son
Bentley died unexpectedly. It happened during a stretch when we had two days off between gigs. Maynard flew out to attend
the funeral and to be there for the cremation, and then flew back the next day. We were busy setting up for the show and get-
ting ready to play. No one knew what to expect. We just assumed that he would not be back… we were all surprised when,
five minutes before the gig, he showed up. The entire band knew what he had gone through, and we were all feeling his pain
and watching him closely. He turned to us and said, “It’s okay… I’m okay.” He took a solo on Night in Tunisia and during
that tune and for the rest of the night his playing was
beyond great. It was unlike any playing that I have heard
from him before or since. Technically it was unbeliev-
able, and what became apparent to all of us, as the night
continued, was that he was grieving for his son through
his music. He was literally pouring his heart and soul
through the trumpet in an effort to release his emotions.
This was radically different from anything I’d ever heard
from him. The whole band was mesmerized to the point
where people were missing entrances… it was some-
thing I’ll never forget.
On the lighter side, I remember something that hap-
pened when we were tearing down after a concert at the
Blackstone Hotel in Chicago. I was on the loading crew
to make a little extra cash and was responsible for disas-
sembling the “snake” that fed all of the microphone
cords from the soundboard to the stage. A group of peo-
ple including Maynard, Bud Herseth, and a bunch of
trumpet enthusiasts hoping to hear some “words of wis-
dom” from the two “giants” were standing directly over
the snake I was trying to roll up. I couldn’t help but
laugh at what Bud and Maynard were talking about and
how it must have disappointed all the trumpeters
around them. Maynard was talking about how Gaylord’s Maynard with the Denis DiBlasio family in London. Also pictured is
had the best Indian food in Chicago to the trumpeters Jeff Lashway (to Maynard’s right), and road manager Ed Sargent
around him, and Bud was talking to the players around (above and slightly to Maynard’s left).

8 ITG Journal / January 2007 © 2007 International Trumpet Guild

 him about which fishing lures worked best on his last summer vacation! The last thing either of them wanted to talk about
was trumpet!
Finally, and this happened in Chicago as well, I remember an afternoon where I was on my way out the of the hotel with
a group of friends and was lagging a little behind them when Maynard came out of his room in his skivvies, saw me, and asked,
“Denis, what are you doing?” Not being fast enough with an excuse, I said, “Nothing, why?” Maynard went on to tell me that
Schilke had sent over a few mouthpieces and that he needed someone to listen to him play on them. When I got into the
room, “a few mouthpieces” turned into a presentation case of about fifty! I looked out the window and saw my friends cross-
ing the street on their way to some afternoon R&R knowing that I was destined to spend the afternoon listening to Maynard
play every mouthpiece by wailing away and then asking for my comments. They all sounded the same! Even after all of that,
the one that Maynard picked as his favorite was virtually the same one he played on as a kid, a so-called prototype that was
simply a knock-off of the mouthpiece he gave them from his youth.
Spending so much time playing just a few feet away from Maynard, I can tell you that he made tremendous use of the air
stream… he was always “tanking up.” You could hear him inhale above the sound of the rest of the band. That’s something
you simply don’t hear on the recordings. Maynard was like a kid in that he never lost his enthusiasm for making music. I have
thousands of stories and memories of my time with Maynard that will go with me for the rest of my life. The kindness that
he showed to me and to my family will never be forgotten.
Denis DiBlasio

Back in the early ’70s, before there was an ITG, each summer the University of Denver sponsored the National Trumpet
Symposium, the precursor of the ITG Conference. In 1973 (I think it was) one of the featured guests was Maynard and his
big band, the band that had Lin Biviano as the lead player. I was a student there at the time and the lead player in the school’s
big band. The school’s student trumpet players were the “staff” of the conference. Because I was the resident high note guy,
my assignment was Maynard. I met him at the airport in my very little car and drove him to the conference hotel, with the
band bus following. I picked him up each morning, and drove him back to the hotel whenever he wanted to go. I mostly hung
with him… trying to be helpful without being a pest for the couple of days he was there. I was available to take him anywhere
he wanted to go and to help make his stay as comfortable and uncomplicated as possible. I helped coordinate his concert and
was backstage before and after the performance.
This was pretty heady stuff for a 20-year-old trumpet player. He was the nicest, most personable guy imaginable. He treat-
ed me with unfailing kindness and courtesy, and I got to see first hand how well he treated everybody else. I asked him lots
of questions about breathing and he had me lie down and put a book on my stomach and breathe in and out slowly making
the book move up and down, showing me how to breathe with my whole abdomen and control my air like a bellows. It was
a marvelous experience. When he would come through Denver in the intervening 30 years, I’d try to make it. He often played
at high schools and there would be no publicity other than the trumpet player grapevine. As a result, I sometimes missed him,
only hearing about it afterwards. Even then he pretty much sold out every concert… there was just nothing like it. There are
lots of high note players around, and he wasn’t even really the first. He was just the best. No one had the style, the bravura,
the charisma that he did. That really was why we listened.
Jim Donaldson

Maynard has had a huge impact of the lives of virtually every trumpeter, in some way. Certainly, the legacy of high notes is
there. However, Ferguson brought a sense of musicianship and artistry to that aspect of trumpet playing. It was more than
just an athletic event. It was beautiful music in the hands of a master trumpeter. For me, “The Fox” will live on forever in his
recordings, of course, but also in the memories of the conversations I had with him during my brief tenure in his band, his
words of encouragement and advice through some rough patches I had along with his stories about his experiences with other
jazz greats. His jovial and kind nature will never be diminished in my mind. Those moments in hanging out with him on the
band bus, on the airplane to Japan, on bullet train platforms… his joking around with us will always be with me. I may have
only done three tours, but oh what a three tours those were! In short, I am a very privileged man. I got to be on the road with
one of the greatest jazz legends of our time… rather than mourn his passing—I am going to celebrate his life and all the beau-
ty and joy he brought us.
Nick Drozdoff 

© 2007 International Trumpet Guild January 2007 / ITG Journal 9

 Maynard Ferguson was one of my early trumpet heroes and the first trumpeter to redefine what I thought that the trumpet
could do. A friend’s mom, a trained soprano, had gone to school with Maynard in Canada and she was eager to see him again.
It was winter in 1974 and we drove a little more than half an hour to see Maynard and his band perform at Upper Moreland
High School. The gap between recording and live performance has not been closed in my view since. I had heard some of
Maynard’s recordings but nothing prepared me for the visceral, powerful, and remarkable sound I heard that night. I saved a
few bucks to hear him again the next time he was nearby. Maynard’s band played a dinner theater in the summer of 1975. A
buddy and I thought that it would be worthwhile to spend whatever they were asking at that time, have a good dinner, and
hear Maynard. Man, what a dominating sound. I saw him again in suburban L.A. when I was playing in the Marine Corps
Band in 1977. We drove 2½ hours to his show, and 2½ hours back on a Saturday. I’ve seen Maynard several times since, the
last time having been only a few years ago. I took my trumpet-playing daughter who also had heard him on recordings but
never live. I am not exaggerating to tell you that she sat through virtually the entire concert with her mouth open. The band
simply smoked and Maynard played remarkably well. I feel the loss of a musical hero, a prominent influence on generations
of musicians. I am unable to believe that he is gone. It was great to have experienced the unbridled enthusiasm and front line
energy that he and his band brought to the stage.
Bryan Edgett

Maynard was a very thoughtful, kind man. He was open to new ideas. Because I play valve trombone, he really
identified with my playing and afforded me a lot of solo space. Trading solos with Maynard was fantastic. He was
so inspiring and energetic to play with one on one. The main reason I started playing trumpet and valve-trombone
was because of Maynard and Bob Brookmeyer. I listened to all the MF Horn albums, and Primal Scream, and then
went to see him with my brothers at high schools on Long Island, at jazz festivals, and at Disneyland in the 1970s
and ’80s. I never dreamt that I would work with him. Every major jazz figure that I like worked with Maynard.
Maynard was a great supporter of music education. I enjoyed the sessions and master classes we did in that set-
ting. I traveled with Maynard from 1989 – 91. During that time we went to Japan,
Brazil, and all over the United States. I got to play with great people. I still have
strong friendships with many of them to this day. I thank Maynard so much for
that. I got to play authentic Brazilian music when I was touring there with him,
even recorded with musicians there, while with Maynard. What a blessing, to have
met so many great people through the Boss.
On bus trips, he was such a great storyteller since he had experienced so many
things himself. I was going thru some tough times personally during one of the
tours, and without me even telling him about it, he encouraged me to keep my chin
up and that everything would be fine. I will always be grateful to Maynard for
that… he made me feel special. Maynard was very generous to me and respected
me. There was nothing fake about him. He was a legend as a musician, but more
importantly for me, he was also a friend.
Mike Fahn

It is truly surreal that Maynard has left us. He will always be my idol and close
friend (like a father figure to me). He taught me to just be myself. I was very for-
tunate to get to talk to him and let him know how much he meant to me just an
hour or so before he passed. This is the end of an era. This great man has blessed
us not only with his talent but also his truly positive attitude toward life! We all
know the player and entertainer he was… take that times ten, and that’s the kind
of person he was!
I am, like everyone else, totally wrecked that Maynard is not here on this plan-
et with us. The only thing that keeps me somewhat together (some moments are
better than others) is that he passed on with his family at his side, not on the road
or in a hotel room. He went quickly, pain-free, and peacefully. That’s the way it
should be, the way I hope it will be for me someday.
Maynard will be missed, never duplicated, and never topped, in my opinion, as
a person. Like Maynard used to say, “I want to go up, not down!” I hope he is hav-
ing fun up there with all the trumpet cats who went on before him. My thoughts
and prayers go out to the Ferguson family and also to Ed Sargent.
Carl Fischer

10 ITG Journal / January 2007 © 2007 International Trumpet Guild

 I was ten when my father first took me to see Maynard at the legendary club “Birdland” in New York City. It was love at
first hearing. Every Maynard Ferguson recording Roulette released was in our home, and got played endlessly. He performed
on Long Island at a small club called “Cork ’n Bib.” We saw him there many times. Over the years he had several “incarna-
tions,” and I listened and watched as the bands and music changed… but the fire, the power, and the majesty… these things
were always there on center stage.
When he made his return to the U.S. in 1971, at Town Hall in New York City with his all-European band and tie-dye/love
bead/vested garb, I was there, along with every trumpet player for miles around. We all wondered if he still “had it.” After the
first tune, there was no doubt. Not only was he back, he was better… stronger, more at ease, and having fun. It was infec-
tious. And I was lifted up, with the rest of the crowd.
We watched in awe over the years at this amazingly talented man. The anticipation of a concert and hearing Blue Birdland
was a feeling we all shared. His playing brought goose bumps and stupid grins we couldn’t hide from each other. We saw him
many times interrupt his own solo, to allow the crowd to acknowledge one of the band members who had just soloed. We
were fortunate to have seen, heard, and known this great man and, as others have said, to think of him as family. My heart-
felt sympathy to the Ferguson family…
Jai Florada

I probably heard Maynard for the first time in the early ’70s when I was in high school. He even toured through the little
towns in Kansas back then and played the Wichita Jazz Festival a few times. In college, I was privileged to hear him live a few
more times. My trumpet teacher, Cliff Sproul, had at least one student that ended up in Maynard’s band. I remember join-
ing all the area trumpet players at the concerts, feeling the electricity Maynard and his band produced experiencing Hey Jude
in quadraphonic sound, as his trumpet section spread out through the audience. I remember taking some of band members
out to breakfast after a gig. (The waiter at Denny’s didn’t know them until I said, “Have you heard the theme song to Rocky?”)
We also took them to some jazz clubs after they were finished and chatted about music, life in the band, etc. I remember lis-
tening to Maynard warming up on the bus—playing scales up to the 7th and stopping… The rest of the band would beg him
to resolve it! I remember the Trumpet Symposium in Denver and everyone trying out different trumpets by playing the begin-
ning of Give It One.
Tonight I sat my kids down (9 and 11 years old) and told them who Maynard Ferguson was and how important he was to
so many people. I told them about my memories of him and played a couple of my favorites, Fox Hunt and Over the Rain-
bow. Maynard was in the area last year but I didn’t take them because we had something else going on. “We’ll catch him next
time,” I had said. I told them how important it was to hear
“the great ones” because there are so few still around and
from now on we aren’t going to “catch them next time.”
Instead of being distracted by other things, they actually
sat and listened. I think they got it. What an inspiration he
was to so many. Thanks, Maynard!
Becky Gish

I, too, feel the sense of sadness expressed by so many on

Maynard’s passing. What has struck me most about all the
tributes and reminiscences is that Maynard was the inspi-
ration for literally generations of trumpet players. People
that were in school in the ’50s, ’60s, ’70s, ’80s, and ’90s L – R: Dizzy Gillespie, Al Hirt, Maynard Ferguson—
have all said what an influence he was. That’s pretty amaz- three giants together on stage!
ing.
I first heard him around 1977. I was in junior high school and was blown away. One day when my dad came home from
work he told me to get in the car to go run an errand with him. When I got in he handed me a copy of MF Horn III and tick-
ets to see Maynard that night at the Cape Cod Melody Tent. Needless to say it was fantastic. I believe Carnival had just come
out, and the band included the likes of Stan Mark, Joe Mosello, Denis DiBlasio, Biff Hannon, Peter Erskine, etc. What a
show! Thankfully my high school band director in Needham, MA was a trumpet player, so we played a bunch of Maynard
tunes: Gospel John, Give it One, La Fiesta, Country Road, Rocky, Pagliacci, and Hey Jude are the ones I remember. What a great
time we had trying to sound like Maynard’s band! Later on I started listening to the older stuff from the ’50s and ’60s. It’s
great stuff… I still listen to it all the time. I saw Maynard a number of other times and each time was as exciting as the first.
The last time I saw him was in Framingham, MA, and both Maynard’s band and Buddy Rich’s band played. It was very cool.
It feels odd knowing that I can never go hear him again, but his music and legacy will live on, and his recordings will contin-
ue to inspire and amaze.
Joe Johnson

© 2007 International Trumpet Guild January 2007 / ITG Journal 11

 There are so many not-so-obvious things in looking at Maynard Ferguson’s history and legacy. In the ’40s he played with
legends! But, those legends were soon told they weren’t as popular any more as they had been. Some of them were still in their
prime, but rock & roll was coming! But Maynard kept the faith. He played with Kenton and then ran his own band for a
number of years. He had excellent players in those bands. In the ’60s when big bands weren’t in demand and were expensive
he had to adapt. Maynard had to change himself, his focus, and yes, say goodbye for a while to people who I’m sure were loyal
band members and friends.
Maynard accommodated himself to new situations so that he and others could eat and continue to work. During the ’70s he
hit rock and later disco-type music, always having that horn in the forefront! He continued to adapt as time went along. And
then, when he didn’t have to, but wanted to, he came back with Big Bop Nouveau… What a life! He had great zeal, zest, and
love for what he did. Paraphrasing Stan Kenton, he said Maynard provided fire! His music put something into my soul that
I’ve never forgotten and I thank him for it! Given the multitude of jazz programs that have sprung up over the last 30 – 35
years, I have to believe he’s done a great deal to light the fires in many other people and set an example for others to follow.
Paul Kurtz

Maynard has been an unflagging inspiration to me since I was in high school around 1949. I’ve never forgotten the local
record shop guy calling me up with a “you’ve gotta hear this” message. It was Maynard with the Charlie Barnet band playing
All the Things You Are. We wore out that 78 rpm copy and had to get another plus a 45 before all was said and done.
What a thrill it was to hear and see Maynard with the Stan Kenton Orchestra at Rainbow Gardens in Cincinnati’s Coney
Island! Later, I remember standing in front of the band stand for four hours straight at Cincy’s Castle Farms studying just how
Maynard held the horn (he held it any old way he grabbed it at the time). He actually broke a valve stem that night and bor-
rowed a horn to finish the gig. At that time critics were saying, “He’ll never last, he’ll blow himself out in a couple of years…
ruin his lip, etc.” I guess most of those critics are dead by now. Sadly, we will now just remember all the great moments. They
live in our memory forever. Thanks, Maynard for all the great times.
Ron Lipka

I believe that Maynard Ferguson was the greatest brass player of the 20th century… and then some. I had the honor and
privilege to form this opinion over the nine years (1973 – 1982) I played in his band. How can I put my relationship with
this man, his soul, his heart, and his emotions in a few para-
graphs? I will try.
Our relationship began when I heard a recording of Hot Canary.
That did it for me! At that time I set my second musical goal: to
play with his band just one time. The “Starlight Ballroom,” Her-
shey Park, Pennsylvania, spring of 1962, was my first live experi-
ence with the “World of Maynard Ferguson.” I was mesmerized.
That night he did the ending of one of his signature tunes Olé
three times, each time getting stronger and stronger as the crowd
went wild. That same energy happened at every concert he was a
part of—and I was there for thousands of those happenings.
Starting in the second grade I was blessed with great trumpet
teachers and band directors. My mom and dad taught me an
incredible work ethic and supported my musical ambitions. May-
nard escalated all of this to yet another level and tied it all togeth-
er. While I was in his band I felt Maynard should have been hard-
er on the musicians and could have taught us more. In retrospect I
realize that is exactly what he was doing the entire time. Maynard,
without my realizing it, was teaching me how to teach myself.
Maynard had a very spiritual communication with all of us. He
guided us in positive directions without us knowing it. His spon-
taneous direction and arranging on the stage was really giving us
the freedom to reach our full potential as individuals and as a
Lafayette, Indiana, 1976; Trumpet Section L – R: band. My respect for him as a successful bandleader was magni-
Dennis Noday, Stan Mark, Ron Tooley, Joe Mosello; fied many times when I moved on, with his encouragement, and
Drums: Michael Shepherd; Trombone: Randy Purcell; became a bandleader myself.
Soloing: Maynard Ferguson
I want to thank his family: Flo, for sharing her husband; and
Bentley, Kim, Corby, Lisa, and Wilder for sharing the life of their
father with the entire world. He brought fun, joy, and happiness to millions of people for over sixty years. His passion for
music, “the road,” and music education will be missed. He is my friend, my mentor, and my bandleader. I miss him every day.
The world is a better place because Maynard Ferguson was here.
Stan Mark

12 ITG Journal / January 2007 © 2007 International Trumpet Guild

 Maynard and I first met in the mid-fifties when he was traveling with a big jazz show featuring Lambert, Hendricks & Ross,
and Dave Brubeck. Maynard’s band recorded what I feel is one of the great albums, A Message From Newport, including my
favorite big band chart of all time, Slide Hampton’s Framework for the Blues. Bud Herseth has written that he considered May-
nard Ferguson the greatest brass player he ever heard in his life, and conversely, Maynard considered Herseth the same. Who
would dispute either one of them? Maynard was the most happy-go-lucky person, loved music more than anybody can, and
loved his band.
Probably the funniest experience I’ve
had in my life was when he was sitting
next to me in a faculty brass quintet
rehearsal at Northern Illinois. We were
doing a piece by Ingolf Dahl, and I had to
play a very soft fourth space E-natural
(for the B-flat trumpet) and I played a
triple piano. I had good chops that day
and it was just a beautiful note resonating
all over the room. He leaned over and
said to me, “Why don’t you go f *** your-
self?” It was so beautiful because he had
never heard anybody play that soft! One
other vivid memory is from the very last
time I saw him. I knocked on his dressing
room door before a concert, and he
hollered, “Who is it?” I said, “It’s Ron
Modell.” Then he replied, “Is it ‘tu tu
L – R: Bud Herseth, Maynard Ferguson, and Ron Modell ku’ or ‘tu ku tu?’… You symphony guys
know everything!”
Maynard was a wonderful player who brought an excitement to that instrument that no other player has ever brought in
my lifetime. When Maynard played in that upper stratosphere, he was not whistling; he was not screaming. He played a high
F, G, and A the way I play a middle C, D, and E. You could actually hear the attack of each note. He always used his high
notes as something to really enhance the chart, not to show off. A lot of people are not aware of this, but Maynard was a very
fine jazz player. If you listen to his early recordings, you’ll hear great jazz, even when he is not in the upper register.
Ron Modell

I first became aware of Maynard when I was eight years old through my father, who was also a trumpeter. He is among my
three greatest musical influences, along with Dizzy Gillespie and Doc Severinsen. Joe Mosello, who later performed with May-
nard, and I are from the same small town in Pennsylvania. As kids, we used to listen to Maynard in amazement in Joe’s base-
ment. I later began to play the valve trombone directly because of Maynard. He performed in a state of pure innocence that
immediately allowed you to see into his heart and feel his enormous spirit. He was a gift to us from above whose spirit is to
be cherished always.
Vaughn Nark

I grew up in the ’60s and ’70s and heard the great playing on all the variety shows and cartoons of that era. All of this bare-
ly prepared me for that day in the fall of 1973 when I came in from marching band rehearsal and Tim Hodgin (a student
teacher from Appalachian State) had MF Horn II playing on the stereo in the band room. Our band director had told some
of the trumpet players that a trumpet didn’t play above high D, so hearing Give It One was a real ear and eye opener. He was
playing at Appalachian on October 19, and I really wanted to go, but alas—it was one month before my 16th birthday and
the upperclassmen who had licenses didn’t want freshmen tagging along with them and their girlfriends, and my parents
thought traveling 30 minutes to a concert was preposterous. I didn’t hear Maynard live for several years after that, but in the
meantime, as soon as I got a job, I went to the local record stores and bought all the MF recordings I could find. I worked to
extend my range on euphonium and even picked up my old starter Cleveland King cornet and tried to play along... Most
homes didn’t have air conditioning back then, so with the stereo blaring and cornet blaring, and with the windows open, we
pretty much terrorized my neighbors! Maynard continues to set the highest standard I know concerning lead playing, com-
mercial lyricism, and trumpet playing in general. There has never been another, though there are many great players with other
gifts… I doubt we will ever see his like again.
Tim Phillips

© 2007 International Trumpet Guild January 2007 / ITG Journal 13

 My wife reached me the morning after Maynard died and gave me the awful news. The thought that he would no longer
be with us never crossed my mind. How could someone with so much boundless vitality, love for life, and giver of joy ever
die? Words cannot convey the shock and utter sadness that overcame me at that moment. Maynard Ferguson was not only
my trumpet hero… he was my hero in life. As a young man he quite literally changed my outlook on life. Although I’d heard
Maynard on recordings and was astounded by his playing, I first heard him live in 1975 in Vancouver, Canada at the Com-
modore Ballroom. I was a 20-year-old kid in college, struggling with the horn and ready to give it up in frustration. That night
at the concert I had a front row table and my seat was directly in front of Maynard’s microphone. I couldn’t have been more
than six feet away from him. From the first note to the last I sat awestruck. It wasn’t just his playing, which of course was
unbelievable, or his band which included Stan Mark, Ron Tooley, Joe Mosello, and I believe Dennis Dotson on trumpets. It
was the incredible look of joy on Maynard’s face throughout the entire evening. As he introduced each soloist Maynard put
down his horn and became for those few moments a member of the audience. He loved what the guys in the band were play-
ing… you could tell he was proud of them and their abilities. I went back the next night and got almost the exact same seat
again. I was privileged to experience all that joy all over again and left that evening with my heart and soul filled.
In 2005 I was able to hear Maynard live again… a bunch of us drove three hours to hear the band in a small rural school
auditorium. It was a completely different type of band (Big Bop Nouveau) but with another fine bunch of superb young play-
ers. There was Maynard… smiling, happy, and joyfully featuring everyone in the band. I was deeply affected by this wonder-
ful man and astounded by his vitality and playing at 77 years of age. When I got home in the wee hours of the morning I was
still flying high. On May 2, 2006, a bunch of us drove three hours to Heuvelton, NY to catch the Boss one more time. He
had lost a bunch of weight and was playing phenomenally. He had a new band for the most part and gave them all so much
featured space. You could tell he loved it. At one point Brian Mullholland, the bass player, was taking an extended solo. May-
nard walked on stage from the sidelines to watch and began smiling, then grinning, and then laughing with delight at what
Brian was playing. He truly loved his players. It was two days before his 78th birthday and I was one of six crazy trumpet play-
ers along with two fine players from that area of New York to get up on stage before the finale and play Happy Birthday to
Maynard… he walked down the line and thanked each of us individually. It was one on the happiest moments of my life. After
the show we were able to spend a short time with him before the bus pulled out again and the band moved on to the next
show somewhere down the road. Once again he struck me as a warm, caring, and genuine person and I know his band loved
him.
Rick Rangno

I first heard Maynard when my band teacher brought a couple of his albums to a stage band practice. Hearing Maynard
opened a whole new world of trumpet to me. The sheer excitement of the high notes and the overall musicality of his play-
ing was a revelation.
I saw Maynard and the MF Horn band in Vancouver around 1973 or 1974 at the Cave nightclub. We had to sneak in as
we were underage but we sat and nursed a beer all night and got to see the most amazing live performance I had ever experi-
enced. I had just gotten a new Buddy Rich album that had a stellar trumpet section including Lin Biviano and Jeff Stout.
These guys really gave Buddy’s band a huge trumpet sound. Maynard played a couple of tunes and then introduced the band
and his trumpet section included Lin Biviano and Jeff Stout! He had scooped Buddy’s section. Boy, could those guys play.
After the show I was in shock from the experience… such incredible energy and beautiful playing. I spotted Maynard stand-
ing just off-stage and ran up to him, grabbed his hand, shook it, and blurted out “That was the most amazing concert I have
ever seen.” He thanked me and I left knowing I had shaken the hand of my hero. Maynard set a new standard; there are many
amazing high-range trumpet players out there but none seemed to have the magnetism of Maynard.
Jeff Roberts

As Maynard’s tour manager, and someone who was with him in one way or another for 24 years, I got to know first-hand
what a tremendous person he was. The people who played in his bands loved him because he wanted everyone to have the
chance to develop into the best musician and the best person they could be. Maynard took the time to get to know his musi-
cians. He wanted to know how each band member’s unique talent could best be showcased… He wanted soloists to “open up
and show the pearl.” Everyone got the opportunity to stand in the spotlight and he supported them by showing his appreci-
ation for their ideas and talent every night.
Maynard had incredible stamina for the grueling demands of the road. We went all over the world together, and anyone who
has done that knows how exhausting it can get when you live out of a suitcase and constantly eat on the run. I’ll never forget

14 ITG Journal / January 2007 © 2007 International Trumpet Guild

 the time we played a gig in Manchester, England, drove to London at 2:30 A.M., spent a couple of hours at the airport, flew
to Chicago, immediately boarded a bus, and drove directly to Big Sky, Montana, for the first gig in a U.S. tour. The bus start-
ed overheating so we were behind schedule coming into Big Sky and had to go directly to the gig… no shower, no food. We
had been traveling non-stop for more than 36 hours. You can imagine what we smelled like and what sort of mood we were
in at the time. Even though we were dead tired, Maynard went out and lifted the band on his shoulders, and it was a great
show! That was just the way he went about life on the road. His philosophy was quite simple. The gig and the audience came
first. He had the “old school” stamina in everything that he did, and led everyone around him through the example that he
set.
Maynard was such a great guy, and an understanding person. When it came time—for a variety of reasons—for people to
leave the band, he always wished them well and hoped to see them again down the line. I can remember lots of times when
people would come in toward the end of a tour, be all nervous…
almost apologetic, and give him a long, drawn-out speech on how
they needed to move on, he’d sit there and listen, wish them well, and
let them know that they didn’t need to worry about leaving the group.
He’d laugh and joke to me about how nervous and apologetic they
were after the fact. What they didn’t seem to realize was that Maynard
accepted the notion that change was inevitable. He embraced change
and even used it to his advantage. He was never afraid to try some-
thing new, and saw hiring new personnel, reading new music, being
exposed to new situations… all of these things as an opportunity to
advance his own development as a person and as a musician. I had a
great run with Maynard. I loved the man. Life with him was never
boring. I’ll never forget the great times we had through all those years
together on the road.
L – R: Ed Sargent, Maynard, and Stan Mark Ed Sargent

Maynard Ferguson was one of the nicest human beings I ever met. Never gossiped or spoke critically of other people, was
never into acidic humor, very cheerful, and an extremely classy man. Yet, he wasn’t a softie type—he knew who he was—knew
how good he was—played the way he wanted to play, was never in your face about it. He was a great inspiration to so many
young musicians and beloved by his contemporaries and those who played in his bands. My own teacher, Benny Baker, taught
in Montreal, and he told me about Maynard when he was still very young and playing only in Canada. He told me that May-
nard could play anything he wanted… period. Could be a classical player, a symphony player… he was just a fabulous talent.
As two young bucks, we were band mates
on the Charlie Barnet Band, along with
Ray Wetzel, John Howell, and Rolf Eric-
son in the trumpet section. We played in
London, Ontario, while on tour and
Maynard and I were at this big beautiful
ballroom very early. Maynard wanted to
be ready for his Canadian audience, and I
was there early because I wanted to prac-
tice, and couldn’t afford a dinner that
night. I heard him do a Maynard warmup
for close to two hours. It was astonishing
and I can still hear it whenever I need to
or want to. It will always be for me one of
the most incredible displays of trumpet
playing I have ever heard. Just the two of
us—I was so privileged to know him, to
hear him, to be with him. He will always
The Charlie Barnet Band Trumpet Section be with us.
L – R: Rolf Ericson, Doc Severinsen, Ray Wetzel, Maynard Ferguson, Johnny Howe Doc Severinsen

© 2007 International Trumpet Guild January 2007 / ITG Journal 15

 Growing up as a trumpet student in the ’60s I listened to a lot of Herb Alpert. As a lot of us would do, I would play along
with the Tijuana Brass recordings attempting to sound like Herb. All that changed when my junior high school band direc-
tor took us to see Maynard Ferguson. This was when he was touring with his amazing band from the U.K. I had never heard
of Maynard before this and when he came out and the band went into Blue Birdland my jaw hit the floor. I was not just
amazed; I was awestruck. That moment my life changed. I turned to my fellow band members and said, “Someday I’m going
to play in that band.” Ten years later there I was in the trumpet section of Maynard’s big band.
A lot went on during the ten years that led up to me joining the band. Whenever they were “in town” I would say to my
dad, “Hey, Maynard’s band is in town, can we go?” He would say, “Sure, where are they playing?” “Raleigh, North Caroli-
na.” (We lived in Jersey.) My father being the supportive man that he was would pack me up and off we would go. If the band
was within 500 miles we were there. I became a total Maynard junkie.
Once I got my driver’s license it was a different story. Then I was off on my own to see the band. It got to the point where
I would show up as the band was loading in and help carry equipment in. All the guys knew me on a first name basis after
awhile and took me under their wings. I was in trumpet heaven hanging with my trumpet idols. It got to a point where on
school vacations they would invite me out on the road to ride the bus. I don’t know how many times over those years in high
school and the beginning of college I spent sharing a room with Stan Mark, Dennis Noday, Joe Mosello, and Randy Purcell.
It was like a dream come true. Maynard took a liking to me and would actually let me sit in at rehearsals. All the guys would
give me pointers and show me things they never taught you in music school.
I remember the very first time I actually got to play with the band. It was at the Raja Theater in Reading, Pennsylvania in
1976. I went to the concert with a friend. During the intermission backstage, Maynard asked if I had my horn with me. When
I said it was in the car he said, “Go get it, you’re going to play with the band on the second set.” Talk about mind blowing!
I was invited to the recording sessions in New York when the band was recording Chameleon. To sit in the booth next to Jay
Chattaway while the band was recording was an experience I will never forget.
The day I got the call to actually join the band Stan Mark called and said, “There is an opening. Do you want it?” I was
speechless. I joined the band in 1979 and played in the greatest trumpet section of my life that included Stan Mark, Joe Mosel-
lo, Danny Barber, and myself.
Every night, watching Maynard was like a trumpet lesson. He taught me three position yoga breathing. I also learned how
to not confuse the mechanics of trumpet playing with show biz. He actually gave the four of us a talk one night before we
went on. He said, “You’re making it look too easy out there. Make it look as though this is really hard. If people know it’s
easy, they won’t pay to see us!”
The experiences I had being with Maynard will always be with me. It was a musical family. To be a part of a musical lega-
cy is an honor that is very humbling to say the least. To look at the lineage of musicians who have played in the band and to
know I was a part of that is a gift I’ll take with me throughout the rest of my life. Every gig I have had since those days was a
direct or indirect result of having been in Maynard’s band. I have my career because of Maynard Ferguson. There are no words
to describe my feelings knowing that he is gone.
Rich Szabo

I don’t think I’ve ever met a trumpet player who didn’t know of Maynard. I think we all at one point played along, or tried
to play along with some of his records. His legacy will certainly be missed, from the great cats on his band and where they are
today to how much he contributed to the musical world. Many nights when I was feeling frustrated over a lesson or was hav-
ing a hard time, I would listen to Maynard albums.
Ten years ago I was in St. Louis and Maynard came to play with the McDonald’s band. I was scared to death but he made
everyone so comfortable. I finally had to ask him about his new high voltage band and all the hype I was hearing about him.
Having listened to a lot of his old recordings, his new stuff seemed to lack the intense bebop he once played. He explained
how he had to give people what they wanted. He reminded me of a few recent recordings of his that I did not have and went
on to burn some of the most intense bebop I ever heard him play. Not one single high note, but you still knew it was May-
nard. Man, that guy blew till the very end. What a legacy! I hope and pray there will be at least one more tour to promote his
last album.
Jon Trimble

Maynard was really the last of the original big band leaders, and an important part of Stan Kenton’s legacy. Talk about the
end of an era! While I never played in his band, I did consider him a friend and one of the biggest influences in my life as a
musician. I feel honored that I got to play parts in The Stan Kenton Orchestra that had Maynard’s name on them. The day
that he left us will live in my memory as much as the day that Stan Kenton died.
Mike Vax

16 ITG Journal / January 2007 © 2007 International Trumpet Guild

 I answered the phone one afternoon in 1989 and the voice on the other end said, “Hi, this is Maynard Ferguson… uh,
who’s this?” Hi, Maynard, it’s Walter White, I replied. “Oh, Walter! (Ha-ha) That’s my name, too! Must be some kind of
Freudian thing! (Ha-ha-ha!).” Thus began my formal invitation to join the Big Bop Nouveau Band. I met the band in Ojai a
few weeks later to begin rehearsals. I was pretty keyed up when he walked in on the first day ready to run down the tunes for
the tour including a duet with me, The Fox Hunt, an up-tempo trumpet battle by Mike Abene based on the changes to Lady
Be Good. (The band would later unofficially dub it, “The Two Walters.”) Maynard put everyone at ease with a joke and we
settled into playing together for the first time.
Besides his contagious laugh and great sense of humor, there are many things I’ll remember about Maynard: his powerful,
triumphant trumpet sound, his love of Indian culture and philosophy, and his penchant for telling interesting stories (some-
times more than once!). I’ll remember his generosity on the bandstand and his unmatched ability to transmit energy to an
audience and get the band to play beyond their own expectations, no matter how tired we were. His spirit was so immense,
confident, and truly joyful, that the better you played, the more excited he got. I’ll never forget the thrilling experience of
standing shoulder to shoulder with him night after night playing The Fox Hunt and learning through osmosis, breath by
breath.
I met Maynard in 1988 through Ed Sargent, who I’d become acquainted with earlier through saxophonist and recent MF
alum Rick Margitza, also a buddy of mine from Detroit. Ed arranged for Rick and me to sit with the band (along with Lew
Soloff and Chuck Mangione) at Maynard’s 60th birthday party at the Blue Note in New York.
One story May-
nard enjoyed tel -
ling was about
play ing opposite
of Miles Davi s’
group at Birdland
in the late ’50s
during the Christ-
mas holiday. May-
nard and his “Bird-
land Dream Band”
had just fin ished
their set with a
seasonal med ley,
complete with band
vocals on Silent
Night. When May-
nard ap proached
the bar he found
Miles standing
with well-known
radio per sonality
“Symphony Sid”
Torin, who pro-
ceeded to loudly Maynard and Walter White battle it out on Fox Hunt
dismiss the Christmas medley. Without hesitating, Miles cold-cocked Sid, knocking him off the barstool, and said calmly to
Maynard in his raspy voice, “I liked it.”
We shared many fabulous meals at Indian restaurants across the states and in the U.K., most notably Gaylord’s in Chicago
and London, where we would always order Lamb Vindaloo, our favorite dish, and a healthy sampling of Tandoori Chicken.
To this day, I still think about Maynard every time I whip up a batch of Vindaloo. Maynard was a devoted follower of guru
Satya Sai Baba of Bangalore, India, and had fun stealthily sticking Baba stickers on our cases (and other places) when we
weren’t looking.
While the public will most likely remember Maynard for the high notes, those who knew about his days recording for Para-
mount Pictures (The Ten Commandments) know he possessed great technical skill on the trumpet and could play anything he
wanted to. Knowing I was classically trained, he would wait until I was outside his dressing room before a show and play pur-
posely-hideous examples of double-tongued scales. Then he would stick his head out the dressing room door and ask in mock
seriousness, “Was that alright, Walter? Too-Koo-Too-Koo-Tooo! (Hahahaha!!).”
I feel very fortunate to have played with Maynard a couple more times in March of 2006 when I filled in a few nights for
Patrick Hession, his last full-time lead trumpet player. I traded solos with Maynard and had a blast. I felt very welcome. It was
as if no time had passed since the days of playing “The Two Walters.” Some nights when we played the piece he would cut
off early on the last, screaming chord and triumphantly wave me up to his last note, with a big, broad smile on his face. Music
minus Maynard is less joyous, but his spirit and legacy will live on for the multitudes he touched.
Walter White

© 2007 International Trumpet Guild January 2007 / ITG Journal 17

 Long before I had the honor of performing with Maynard Ferguson, I was way into his amazing trumpet playing, his bands,
and the great music that he brought forth from the gifted arrangers in his groups. There was always a soulful spark of excite-
ment, a true bit of magic in every piece that he performed. Whether it was the swingin’ bebop-laced straight ahead stuff, or a
fusion piece or even some of that crazy disco music, an aura of joy always came through. When I joined the band in 1981, I
found out that the reason for this consistency was Maynard himself; his sound, his talent, and his happy philosophy.
To be a part of Maynard’s band was to join a family. To Maynard, life was something to celebrate… every minute of every
day. Every time I ever heard him play, whether it was an important concert, a warm up, a recording, or just buzzing his mouth-
piece, he always played as if it was going to be his last chance to do so. I have never seen anyone enjoy music as much as May-
nard did, and believe me, this joy was very infectious. All of us in the MF family were constantly moved by his attitude of
delight. In fact, I never heard Maynard chuckle; he always laughed out loud in a flat-out affirmation of love. I know that my
association with this larger-than-life man has
been a great source of inspiration and renewal
for me over the 25 years that I’ve been a part
of his party.
Maynard’s ability to nurture and further the
careers of so many musicians that came
through his bands was amazing. He taught all
of us so very much about pacing a solo, build-
ing a phrase, playing a romantic melody, and
re s p ec t i n g t he a u d i en c e . Hi s gracious
approach in lending the stage to his musicians
and allowing us all to find ourselves was enor-
mous. In short, he was all about love all the
time. It came through loud-and-clear in his
music and how he treated his musicians and
fans.
People who came to a Maynard concert for
the first time would often wonder at the prac-
tice of band members shaking hands with him
before and after each solo, or his habit of pos-
Maynard looks on while Steve Wiest solos turing the Indian namaste to each of his musi-
cians. This was Maynard’s way of thanking us for the sharing of talent, and saluting all that is holy and divine in each of us.
How priceless is that? I was so touched and warmed every single time that I shook his hand, gave him a big hug, or received
his salute of namaste. I have simply never known a more genuine, happy, sincere, or talented human being. Maynard taught
me to appreciate the magic in music, to value what is special and holy in people, and how to pass that on to others. For that
lesson and for so many others I am forever grateful.
We have all benefited greatly by the life of this giant man, and while I mourn his passing, I thrill at his music and celebrate
his loving legacy.
Steve Wiest

Imagine my surprise when I got called to play for Maynard. I was living in New York City, and it was September 15, 2001,
just a few days after the World Trade Center and the Pentagon were attacked. I had first heard a Maynard album in 1973
playing on the MF Horn album. I had already become a confirmed Clifford Brown and Freddie Hubbard devotee, and while
I was stunned at the sheer chops of Maynard, it wasn’t the direction I was headed, and I didn’t buy any of his albums.
When I was in the Army, we went and heard Maynard at a high school in Jessup, GA. I remember Ron Tooley was on the
band, and Stan Mark, and Randy Purcell. I liked some of the arrangements, but it still didn’t “grab” me. A few years later,
after adding Clark Terry, Kenny Dorham, Lee Morgan, and Woody Shaw to my list of favorite trumpeters, my college room-
mate Carey Deadman played me a whole bunch of older, early Maynard sides. I still didn’t go out and buy any Maynard
albums, but I went and heard the band again in, 1979 or so in Denton, TX. I remember leaving the concert not ever want-
ing to hear any high notes ever again.
The years passed, and I got to know more players and listened to more people. In 1999 I heard that a couple guys I had
done gigs with, Carl Fischer and Jeff Rupert, were in Maynard’s band, so I went to see what it was about. I actually enjoyed
myself that night. (Adolpho Acosta was on lead and absolutely nailed it.) That night I talked to Ed Sargent after the concert.
I gave him one of my CDs with Rick Shaw and Joel Frahm on it. (I didn’t know they had played with Maynard.) Sargent
gave me a card and said to call if I was interested in playing in the band and he’d see what it looked like.
I hadn’t given it another thought. There I was, I had just finished my masters at Manhattan School of Music and was scuf-
fling like a thousand other cats in NYC, and I got the call. Jeff Rupert recommended me for the gig, and Pete Ferguson called
me, and sure enough, there I went. I was 46 years old, and if it hadn’t been for Jeff Lashway (one year younger than me), I’d

18 ITG Journal / January 2007 © 2007 International Trumpet Guild

 have been the only sideman over thirty. My roommate was Patrick Hession. We started in Kansas City. We had two or three
days of rehearsal and then took off on a two-month tour. Maynard was very welcoming toward me. At night on the bus he’d
come up to the front and hang out some. I asked him questions about Mike Abene, Bob Graettinger, Slide Hampton, and
Wayne Shorter, and he would launch into some great stories about those guys. I was shocked that some of the younger guys
on the band sort of rolled their eyes when he’d start into a story they’d heard a hundred times; I enjoyed it. He was quite the
storyteller. I’m a bebopper, and not a real range-y player, and felt somewhat inadequate.
There was something that happened on tour where I felt like Maynard and I connected on a musical level. I’d hear him
warm up, and he’d play a lot of old tunes, really old, like Sweethearts on Parade old, and when I blew a solo that night, I’d try
to quote one of the tunes I’d heard him play when he was warming up. I never watched him when I was blowing, but I got
reports that he used to laugh at times during my solos when I’d throw in those quotes. About halfway through the tour, I
began noticing that he started improvising more in a bebop style than I’d been accustomed to hearing, and I can’t help but
think that he was playing musical ping-pong with me. It might’ve been my imagination, but I’m a keen listener, and he cer-
tainly wasn’t playing that way earlier in the tour. Anyway, we had been awake and traveling for about 24 hours… dirty and
unkempt, and we were sitting in an airport in Puerto Rico, dead tired, waiting for some kind of airport security snafu with all
the equipment. He looked at me with this tired expression and said, “Isn’t this life glamorous?” He told me about his broth-
er Percy who had stopped playing hockey and shortly thereafter had some health problems. Boss told me that was why he did-
n’t want to stop touring. He was afraid it’d kill him to leave the road.
I heard the band a couple times since then, and I spotted him with Ed Sargent sneaking off toward the bus, and he said,
“Hey, Rich!” I was blown away that he remembered me. I’ll never forget him.
Rich Willey


Denotes former MF band members and tour personnel. The second, A Maynard Snapshot, was written by William Lee
For Additional Information/Resources and appears on page 23. Both articles can be downloaded from
the ITG Web Site by going to the following location:
To see many more photos visit the official web site of May- http://www.trumpetguild.org/journal/indexes/
nard Ferguson (http://www.maynardferguson.com) jrnlindxmar00.htm
To read all of the TPIN posts on Maynard’s passing go to
Acknowledgement
the ITG Web Site home page (http://www.trumpetguild.org)
and click on “Maynard Ferguson Tribute Site from ITG.” ITG thanks Matt Keller, site administrator for the Maynard
In March of 2000, the ITG Journal published two articles on Ferguson Web Site (http://www.maynardferguson.com), for
Maynard Ferguson. The first, titled Maynard Ferguson: The his generous permission to use some of images used in this arti-
King was authored by John LaBarbara and appeared on page 6. cle.

ITG SPONSOR-A-TRUMPETER PROGRAM

The Sponsor-A-Trumpeter (SAT) Program was created to encourage ITG members to donate memberships for trumpet players
who are unable to join due to financial circumstances. The names of potential recipients can be forwarded to ITG from
members aware of someone in need of this help. For more information, please contact: Joyce Davis, ITG Sponsor-A-Trum-
peter Coordinator, School of Music, University of Florida, Gainesville, FL 32611-7900 USA; [email protected]
I would like to sponsor a membership:
 Regular Number of years________ x $40/year = $________
 Student/Senior
Makes checks payable to:
Number of years________ x $25/year = $________ International Trumpet Guild
 Assign someone for me to sponsor; or
Mail completed form with check or
 I WISH TO SPONSOR THIS PERSON: _______________________________ credit card info to:
David Jones, ITG Treasurer
ADDRESS ____________________________________________________
P.O. Box 1308
CITY_______________________STATE______ZIP/COUNTRY ___________ Westfield, MA 01086-1308 USA
PHONE ______________________________________________________
or fax form with credit card info
 CHECK ENCLOSED; OR to (413) 403-8899
CHARGE MY:  AMEX  DISCOVER  MASTERCARD  VISA NEW! You can now sponsor a
trumpeter securely through the ITG
CARD NUMBER _______________________________________________ NEW! You can sponsor a trumpeter
Web Site using your credit card and
directly through the ITG Web Site
EXP. DATE___________SIGNATURE _______________________________ our link to PayPal!
using Paypal!
www.trumpetguild.org/join/join.htm

© 2007 International Trumpet Guild January 2007 / ITG Journal 19

 LISTENING AND LEARNING:
THE MUSIC EDUCATION AND APPRENTICESHIP
OF MAYNARD FERGUSON
BY ARTHUR FALBUSH

J
ust days before the layout for the January 2007 ITG to the tribute article immediately preceding this interview.
Journal was to be finalized, Arthur Falbush sent me an Here you’ll find that Maynard talks at length about his early
interview he had done with Maynard in 2004. His development as a young musician growing up in Canada…
transcript was part of a series of interviews that Falbush had a topic that has not been documented in as great detail as his
done with prominent jazz trumpeters where the specific goal life from his tenure with Stan Kenton onward. I hope that
was to provide an “in-depth discussion of the subject’s musi- you enjoy this additional tribute to the life and career of
cal education and apprenticeship.” Within 24 hours, the Maynard Ferguson. GM
decision was made to include this interview as a companion

Falbush: Could you tell me about the earliest music you heard? room. I had nothing to do with payroll, or hiring, or disci-
Ferguson: I grew up in Montreal, Canada. The very first pline, because I was the youngest member of the band! The
instruments that I played were piano and violin under the average age of the band was about thirty seven/thirty eight
supervision of my mother, who played both those instruments. years of age. Yet they had me in front of the band imitating all
Later, when I joined the Kiwanis Boys my favorite jazz trumpet players that I
Band, my dad bought me a trumpet. My mentioned having listened to in my rec-
brother played saxophone. From there we ord collection.
graduated into the regular Army band, Falbush: If we could just jump back a sec-
almost like mascots because we were ond, I knew that you had studied piano and
underage. That was the Black Watch Reg- violin before taking up trumpet, but how
imental Band. That’s where I would much did you study those instruments and
become the cornet soloist and play all the what age did you start those?
Goldman-type compositions. Ferguson: I started studying violin and
At about that time, I was starting to lis- piano at age four. Both my parents were
ten to jazz music. I told my mother I school principals but my mother had
wanted to know more about jazz music retired with the birth of her second child
but we didn’t have any recordings. I was (me). She was at home and was deter-
twelve or thirteen years old at that time. Maynard at age 11 mined to keep me from becoming a pro-
So my mom went to a local record store fessional ice hockey player by calling me
and it was a stroke of luck that the person she spoke to was a off the rink to come home and do my piano and violin stud-
big jazz aficionado. Based on his recommendations, she came ies. As it turned out neither of those instruments was a good
home with all kinds of vintage recordings that anybody would fit.
love to own today. So I started listening to the great trumpet Falbush: How long did you study each one?
players out of Duke Ellington’s band, Jimmy Lunceford’s Ferguson: Oh… I can’t remember now, but not very long or
band, very early Dizzy Gillespie, very early Miles Davis… very seriously. I remember my mother saying, “Don’t forget to
those sorts of things. It was a wonderful collection. I was also do your etudes and lessons today!”
listening to Gene Krupa who of course had a great big band— Falbush: Do you have any particularly strong musical memories
Roy Eldridge was the featured trumpet… I remember After from your youth?
You’ve Gone as being a big number with Fe rgu son: I remember trips we made to
that band. “At sixteen I took charge Old Orchard Beach in Maine. This was
I started getting gigs in Montreal that something that was very popular with people
were less commercial and were more into of my first jazz band.” from Montreal. You’d see a lot of Quebec
playing jazz. At sixteen I took charge of my license plates at Old Orchard because of its
first jazz band. It was a jazz dance band where the former beautiful beaches and entertainment. It’s near Portland.
leader decided to retire and turned the band over to me. So There’d be bands that would come in to play on the pier…
suddenly I had a band where the median age was much older people like Duke Ellington, Count Basie, and Woody Her-
than the band I have right now. We were all Canadians from man. I would hear those bands during the summer. I remem-
Montreal and half the band was French and half the band was ber one summer there, in particular, because I won an amateur
English. It was seven nights a week at the Chez Maurice Ball- solo contest. It was the only time my folks ever gave in to let-
20 ITG Journal / January 2007 © 2007 International Trumpet Guild
ting me enter anything. I was “Little Mister Old Orchard Falbush: You said you’d talked to your mom about an interest
Beach, Maine.” That would have been about 1939. The award in jazz and she responded by providing you with good models via
presentation was made at an afternoon concert featuring the recordings. I’m sure what you heard on the radio and in live con-
Jimmy Dorsey Band. Many years later, I toured for six months certs up in Maine helped to turn you on to jazz.
with him and his band. They had talked him into presenting Ferguson: No doubt. There was a jazz movement in Mon-
the silver cup or whatever you call it for the winning child. He treal, but it was not very far along. Perhaps Toronto was a lit-
was very gracious and many years later, maybe ten or fifteen tle bit more sophisticated than the jazz scene in Montreal at
years, he hired me into his trumpet section… so that was a that time. However, Montreal did have people like Oscar
good memory. Peterson and “Little” Willy Girard, a jazz violinist that might
Falbush: Did you ever get to meet any of the musicians you have been the best ever. Girard was a midget; I have a memo-
heard live? ry of myself as a teenager being allowed into the St. Michel
Ferguson: Oh yeah, sure. As a kid in Montreal I played in a Club. Even with the drinking age and all that, they still
lot of warm-up bands. I’d be at least ten years younger than allowed me in because it was the night that Ellington was there
anybody else there. So I met and had offers from Duke Elling- and there was to be a big jam session. They just hustled me in
ton, Jimmy Dorsey, and Woody Herman but nothing hap- because they knew I was the Canadian kid trumpet player…
pened until much later because of immigration regulations. just as Oscar was the Canadian kid piano player (Oscar and I
Falbush: Can you talk about any early trumpet instruction you played in a band together around then… my brother was the
had? leader of that group on saxophone!). I’ll never
Ferguson: I won a scholar- “I was never told it was hard to forget when Ellington sat in at the jam session.
ship to the French Conserva- This was after the concert at something like
tory of Music in Montreal. play in the high register, so I did- 2:00 A.M. in the morning. “Little” Willy Gir-
From there, of course, came n’t know any better… nobody ard was sitting on Duke Ellington’s lap while
all the lessons imaginable Ellington was playing the piano… he was just
from both American and told me they were ‘high’ notes.” amazed by this little guy on violin with trem-
Canadian teachers. endous jazz technique. At times Girard sound-
Falbush: Was it strictly classical instruction? ed like early bebop.
Ferguson: Oh yeah, strictly classical. I remember that the Falbush: This was in the 1930s?
French trumpet teacher didn’t want to hear anything about Ferguson: Yeah. I hate to include myself when I’m talking
Louis Armstrong… He said, “Who’s that?” I remember rip- about that, but their were three of us from Montreal, about the
ping up to a couple of high notes, as a kid will do who doesn’t same age, attracting a lot of notice; Oscar Peterson, myself,
know the politics of that sort of thing… That didn’t go over and Willy Girard.
too big but the rest of my classical training was okay once I Falbush: Do you remember anything trumpet-related from your
knew what was, and was not acceptable. youth that particularly stands out?
Falbush: So, if you were playing the cornet solos, then you were Fe rgu son: I like to tell a story that involved my earliest
getting into some pretty technical literature. trumpet teacher at Pete’s Music Store. His name was Harry
Ferguson: Oh yeah, triple tonguing and double tonguing Nelson. I was playing one of those Goldman solos typical of
and all that kind of stuff. We used the Saint-Jacome. That was the genre. It ended up on a high C. Nelson was so proud of my
the Bible of the trumpet student at the French Conservatory. progress that he invited both of my parents to come upstairs
Benny Baker, by the way, was my teacher and hear how marvelously
from the United States. He came up every sec- “I took the horn and I smashed it their son was doing. Anyway,
ond week and gave private lessons to eleven we were all up there and I had-
Canadian trumpet players that included me. against the wall with my trum- n’t realized that there are cer-
Falbush: You play trumpet with the mouth- pet teacher and my mother and tain things you don’t do on
piece to the side of the embouchure. Did people trumpet, like you don’t play all
try to discourage that? father sitting there watching.” day long. When you’re young
Ferguson: No, nobody discouraged that… you say, “Well maybe if I run
I think I was too far gone. In those days I had my real front this over another thirty times it’ll come out better.” So I played
teeth and they were very much buck teeth, with a wide space everything perfectly, but at the end, when it went up to the last
between the front two. So trying to play in the center would note (sings the last phrase which ends on high C) I was tired,
have been impossible. I would have hurt my lip every time I and the note just wasn’t there. I had a bit of a temper in those
played, so I learned to play on the right hand tooth. days. (Laughing) Anyway I took the horn and I smashed it
Falbush: So your range and ability to play what you heard against the wall with my trumpet teacher and my mother and
developed very early? father sitting there watching. (My parents did have a word
Ferguson: Yes. I was never told it was hard to play in the with me later because I totally demolished the instrument.) I’d
high register, so I didn’t know any better… nobody told me just done it and there was this silence and then my trumpet
they were “high” notes. I heard pitches on a record and played teacher turned to my parents and said, “You know, he’s going
them. I’m convinced that classical trumpet players don’t to be a helluva trumpet player!” So that’s the story. The joke
approach the upper register in the same way, so while they are would be to say that I never missed another high C… but I’m
usually the best for teaching the trumpet, they are not always sure I did. (Laughing)
the best for teaching the upper register. They’ll love me for Falbush: Can you remember some of the specific artists and solos
that. you emulated early on in your development?

© 2007 International Trumpet Guild January 2007 / ITG Journal 21

 Ferguson: I would take solos off of various adult musicians I Started and so I would sing and play that. Luckily, the audi-
was hearing. They weren’t available as sheet music (some were, ence must have been totally tone deaf or something because of
but we didn’t know it in Canada). I liked Rex Stewart’s Boy my adolescent voice… but if you remember, Bunny didn’t
Meets Horn. I learned tunes like Harry James’s Concerto to End have much of a voice either.
All Concertos, or whatever that one was called or Roy Falbush: No, but I suppose it’s all in the feeling.
Eldridge’s solo on After You’ve Gone. These were all taken off Ferguson: Yeah, that’s right.
records and then I would perform them at this ballroom where Falbush: You were practicing classical during the day and play-
we had a half hour jazz show. This was before I had my own ing jazz at night. Did you ever practice jazz during the day?
band. The leader of that band was part owner of three night- Ferguson: Well, to a certain degree yeah, but I was always
clubs and he loved to play tenor but he wanted to retire pushed the other way at that time.
because his business interests were F a l b u s h : What sort of stuff
taking over. His name was Roland would you do?
David and he turned his own or- F e r g u s o n : What do y ou
chestra, in his own ballroom, over mean?
to me. I think he thought some- Falbush: Jazz wise?
thing along the lines of “The kid Fe r g us o n: Oh, jazz wise. I
won’t know anything about mon- would just fool around because
ey; he’ll know about music but he I had no teacher helping me
won’t know about money.” These with chords and all that kind of
were nightclubs that also involved thing. Around this time I op-
gambling. He probably thought it ened for Dizzy Gillespie’s won-
was a good idea to have a dumb derful big band; they were all
teenage kid who could really play spoiling me and carrying on
the trumpet but wouldn’t spend about me. Dizzy was making
any time in the office, which I jokes afterward in the dressing
certainly didn’t. room while both bands were
Falbush: Your early education in there. He kept referring to me
jazz then was just copying records? As a teenager… as this “kid with the chops.” I
Ferguson: Yes. There was a lot of transcribing for me by the remember Dizzy saying “If you ever come to the United States,
adult musicians in the band and then I would listen to get all you need to come to my home and let me teach you about
the little nuances of the various styles. chords, because, other than that, you’ve got it all going.” You
Falbush: Did you have any knowledge of scales or chords or stuff know it was really nice for him to say those things. So I became
like that? friends with Dizzy when I was sixteen. I didn’t have a very
Ferguson: I knew nothing about chords at that time. I sophisticated background at the time. I didn’t even know how
thought that was something you tied around a box. Later on I great someone like Ray Brown was when I heard him. I just
played with a small band, all French guys, the leader’s name thought, “Well gee, that’s a good bass player.”
was Johnny LoRondo. He was a good arranger. He taught me Falbush: Was there ever a point where you really started to
a lot about playing tunes and about basic chords and things think about harmony and theory?
like that. Ferguson: That was not on the plate in front of me. I had
Falbush: What sort of stuff would he show you? trumpet teachers and I had band directors, but I had nobody
Ferguson: Well, he was a big Duke Ellington fan and so I teaching me harmony and theory. I just let my ear guide me
would play solos on In My Solitude and all those great Elling- until I got to the United States and started thinking more
ton songs, and as a result of that my ear was improving and I about those things.
was growing to develop a great love for jazz music. During Falbush: I’ve heard the records from when you first came to the
intermissions at the club he’d say, “Hey kid, come here and lis- States… you were playing incredibly well… you were already a
ten to this.” He’d play some of the great tunes that came out really fine improviser.
of Ellington’s band. Ferguson: I think the Johnny Lo-
F a l b u s h : So you’d play these solos “I had trumpet teachers and I had Rondo influence mentioned earlier
note-for-note or just as close as you could was good with the small band thing.
get? band directors, but I had nobody With him being an arranger he
F erg u so n: Yes, I’d play things as teaching me harmony and theo- would say, “Stay away from that E-
close as I could get to what I was hear- flat there because… “ and then he’d
ing. But remember I was still getting ry. I just let my ear guide me…” play the chord on the piano for me
some strict classical training at the and say, “ You see, if you stay away
French Conservatory. That’s where Benny Baker, who played from that it makes… “ I had the ears to understand what he
in the NBC Symphony under Toscanini in New York, would was saying, but I was not his student in the formal sense of the
come up once every two weeks to teach trumpet. He would word. It would have been great if I could have been, but I was-
say, “Hey kid, don’t even mention jazz music around this n’t.
joint.” But by then I was playing at night in the ballrooms. I Falbush: I’m imagining that if you go for so long, primarily
used to play and sing… of course that was one of the big hits playing by ear, that that’s what guides you, even if later you figure
at the ballroom, singing tunes like Bunny Berrigan’s I Can’t Get out, “Okay, these scales and these chords go together…” It’s still

22 ITG Journal / January 2007 © 2007 International Trumpet Guild

primarily by ear, right?
Ferguson: That was definitely true for me.
Falbu sh: Would you say that you developed anything
akin to absolute pitch or something like that?
Ferguson: Some of that came along, yes. I don’t have
perfect pitch, but I developed relative pitch.
Falbush: If somebody played something at you, you could
play it right back…
Ferguson: Yeah, that wasn’t a problem.
Falbush: At what age did you really think you had a
handle on that sort of ear?
Ferguson: By the time I was sixteen. That was the ad-
vantage of playing with musicians that were better than
me, in terms of what we’re talking about.
Falbush: So, it was a really short period of development
for you to get chops, ears, and style together.
Ferguson: That’s right.
Falbush: How about writing on your own?
Ferguson: I never really got into arranging or orches-
tration. I would occasionally compose something sim-
ple. I still felt that guys who knew what they were doing
would do it better than me. I would work with people
like Denis DiBlasio, and then whatever I said, he would
ignore about forty percent of the time, and it would
work out great. (Laughing)
Falbush: When you were fronting the band, you were
having a lot of things transcribed for you, but what things
were you drawn to? You mentioned Roy Eldridge, After
You’ve Gone and some Dizzy things. Do you remember
specific recordings that just blew you away?
Ferguson: I would have somebody take Harry James
tunes off his records. I remember the early ones like In his twenties…
Cherry, and then for dancing, You Made Me Love You. Ferguson: No, I’d been listening to Dizzy as one of my fav-
These were Harry James hits during his heyday when he was a orites. I was listening a lot to Miles as well, but I knew we were
movie star and everything else. He had married Betty Grable, going in different directions, even though he was, and still is,
bringing to mind a story that I remember during my first stint one of my heroes.
in Las Vegas with my own band. We were playing at the Trop- Falbush: What sorts of things did you learn from the other mus-
icana. The headwaiter came backstage and said, “I just thought icians playing in Barnet’s band?
you’d like to know that Harry James just walked in.” I Fe rgu son: They left me alone, to tell you the truth. They
thought, “Wow!” And then he said, “But that ain’t all of it; his knew that I had the chops and that I could play lead but they
ex-wife the movie star is at table number sixteen.” And so already had two fine lead players. Ray Wetzel had one of those
they were both there for the same show but they were not shut off ranges. He could play an F all day long, but a G was
together. That was kind of a memorable show. (Laughing) okay only if it was required sparingly. Every now and then a
Falbush: When you were younger, were there guys who kind of writer would come in and get a little crazy with the lead part
took you under their wing, helped you, and showed you things? and suddenly Ray would say, “Hey, listen, this one’s your
Ferguson: Oh yeah, I had a lot of that, especially when I bag…” and he’d give me the part. Another great lead trumpet
played with the Charlie Barnet band. That was a great trum- player I admired was Buddy Childers. I enjoyed watching
pet section… Doc Severinsen was in that trumpet section and Buddy’s career unfold, because after all those years as a lead
also the great Swedish jazz trumpet player Rolf Ericson. The player he decided to become a jazz player. Childers went and
funny thing is that none of the three of us ever played lead. studied chords… this was long after his Kenton days, and
Ray Wetzel was the lead player and Johnny Howell was the became a very good jazz player. He was never able to do this
relief lead player. during his Kenton days because everybody knew he had the
Falbush: Doc must not have been older than you?
chops and they’d put him on lead right away.
Ferguson: Oh no, we were relatively the same age.
Falbush: You’ve brought so many young guys along and they’ve
Falbush: And Rolf Ericson was probably a bit older.
learned so much being on the road with you. They’re coming out
Ferguson: Ah… a little bit older and a little bit more expe-
of schools like Miami, and the University of North Texas, so you
rienced, he was the suave European. A great guy, by the way.
must have a pretty good idea of what’s happening in jazz educa-
Falbush: And he played in a definite bebop style.
tion today. Do you have any suggestions on how we might better
Ferguson: Oh, absolutely.
prepare young musicians for life beyond school?
Falbush: Was that the first time you really sat in a section with
F e rg u s on: It’s hard to judge what’s going on in schools
somebody that was playing bebop like that?
because I’m not there. However, I’m not big on the competi-
© 2007 International Trumpet Guild January 2007 / ITG Journal 23
 ward-looking for the Basie band.
Falbush: Joe Newman? Is that who you were thinking
of?
Ferguson: Yes, that’s exactly who I was trying to re-
member. That reminds me of a story. About 48 hours
after I’d been in New York for the first time, somebody
recognized me as “that Canadian kid,” and I got to sit
in at the Royal Roost with Count Basie’s band and did-
n’t get to play a note! Just before the gig was to begin
they were one trumpet short and somebody said, “Hey,
get that Canadian kid up here, he’s got his horn with
him.” So I went up on the bandstand and I sat in Joe
Newman’s chair, got my horn out, and right at that
moment Joe came rushing in just in time for the down-
beat. I remember thinking, “Gee, I wished I’d played
one note, (Laughing) it’d look good on my resume.” I
think I was still a teenager then, or pretty close to it.
Falbush: So you’d have a beginning improviser listen to
some of the early big band trumpet soloists?
Ferguson: Yes, and I’d tell young students to pursue
Leader of the band and on his way…
the training I didn’t get during my youth in Canada by
learning chords and jazz theory. Oscar Peterson got it
tion aspect of education. Like I said, after I won that silver cup
because he was playing the piano where learning the chords
in Maine, I never entered another competition. My folks did-
was essential. But a lot of Canadians were “ear players,” so to
n’t like the idea of young kids competing against each other.
speak. Some of these musicians were very, very good; howev-
But they gave in that once, and I won, and I thought I’d
er, I know the other way is better and quicker, and gets you on
lucked out. So I said, “That’s it.”
the road faster. So you should be with somebody who’s teach-
Kids shouldn’t be pegged into specific roles when they are
ing you chords and all the alternates and all that sort of stuff.
learning. For example, because you have strong chops and can
Listening is the key. Educators have to guide
play lead, doesn’t mean that is all you
students into experiencing a variety of different
should do. Somewhere along the line “Kids shouldn’t be pegged
artists and styles, and that includes listening to
the teacher has to say, “Okay, you’re
into specific roles when artists they may not care for at that particular
going to play the jazz solo on this…”
time. Chances are they’ll grow to appreciate them
Teachers need to know that it is im- they are learning.”
as they mature. Young players should avoid get-
portant to give students a wide range
ting hooked into one “superhero.” In other
of experience. A good teacher would
words, if a youngster came to me and said “I have all your
make sure that such a kid would get his feet wet, at that point,
records and I want to play just like you.” I would say, “Don’t
with either the blues, I Got Rhythm, or something where he’s
do it.” (Laughing) You know what I mean? Don’t play just like
not going to be too intimidated with the harmonic progres-
me. Take whatever you like the most and incorporate that as a
sion. Even if you are a great lead player, when your chops are
part of your own voice. Listen to other players and learn to
sore, you need to have the background to call upon your Chet
appreciate what they bring to jazz. Peo-
Baker imitation. (Laughing)
ple like Clifford Brown, Clark Terry,
Falbush: And there’s nothing wrong “…if a youngster came to me
and Freddie Hubbard… some of my
with that.
Ferguson: No, nothing at all, Chet
and said ‘I have all your records favorite melodic jazz trumpet players.
Falbush: Thank you so much for your
was one of my favorites. and I want to play just like you.’ time. It was such a pleasure to talk to you.
Falbush: Last question: If you were
to teach someone to improvise, in other I would say, ‘Don’t do it.’” F e r g u s o n : I hope this gives you
something useful. I enjoyed the oppor-
words design a course of study that
tunity to share some memories and ideas.
would start at the very beginning, where would you start someone?
Ferguson: Well, first of all, you have to do a lot of listening,
About the author: Arthur Falbush was educated at the Uni-
and you don’t want to start with John Coltrane.
versity of Northern Colorado, University of North Texas, and
Falbush: Where would you start?
SUNY Stony Brook. He lives in New York City. He has
Ferguson: I would start with all the early Ellington guys.
taught jazz at Christchurch Polytechnic Jazz School (New
They were all fine blues players. Who was that guy with Basie
Zealand), SUNY Stony Brook, Suffolk Community College,
who played such great solos?
and Ferris State University.
Falbush: Sweets Edison?
Ferguson: Harry Edison would be perfect, yes… and even Acknowledgement
the guy after him. Special thanks to to http://www.maynardferguson.com and
Falbush: Joe Newman or Thad Jones? to Matt Keller for their kind permission to use the images pre-
Ferguson: Not Thad Jones, I’d have to move him up a little sented in this article.
bit because he was pretty modern. I’d say he was pretty for-
24 ITG Journal / January 2007 © 2007 International Trumpet Guild
 INTERNATIONAL TRUMPET WEEK AT THE
CENTRAL CONSERVATORY IN BEIJING
BY STEVE LEISRING

T
he Central Conservatory of Music, Beijing, China, class was another master class with Steve Leisring from the
held an International Trumpet Week and Conference University of Kansas, USA. Several of the students were famil-
April 3 – 7, 2006. The conference, organized and iar with Leisring since he had given master classes at the Bei-
hosted by ITG Board member and CCM Professor Zhonghui jing Central Conservatory as well as conservatories in Cheng-
Dai, featured trumpet artists from China, Taiwan, Japan, Thai- du and Kunming in June of the previous year while on a tour
land, the United States, and Cana- as soloist with the University of
da. A special guest was the “pianist Kansas Wind Ensemble. A lecture
extraordinaire” from the USA, Reb- and clinic concentrating on orches-
ecca Wilt, who performed expertly tral playing with Stephen Chenette
with many of the conference recital- concluded the afternoon activities.
ists. The conference was attended Students from the CCM as well as
by a literal “who’s who” of trumpet other conservatories performed ex-
teachers from China, representing cerpts from Mahler’s Fifth Sympho-
every major conservatory along ny and Ein Heldenleben and were
with more than 200 students and guided through them by the con-
trumpet aficionados from through- structively positive and musical
out the country. comments given by Chenette.
The Opening Ceremonies began Monday evening featured famed
at 9:30 A.M. on Monday April 3, in trumpet performer and teacher Mr.
the beautiful concert hall adjacent Yeh Shuhan from Taiwan, accom-
to the multistory main conservatory panied by Luo Meiya, piano and
building. Zhonghui Dai presided Yin Xiaohui, trumpet. No stranger
over the proceedings in front of a to trumpeters outside of this
large audience, which featured region, Shuhan first performed at
warm welcomes by Dai as well as an ITG conference held in Denton,
Central Conservatory officials, and Texas, in 1988. The standing room
were followed by speeches by ITG only crowd was treated to a diverse,
President and University of New Zhonghui Dai and Rebecca Wilt
first class recital, which included
Mexico Professor of Trumpet Jef- the Trumpet Concerto by Alfred
frey Piper, and ITG Past President Stephen Chenette (Univer- Reed, Carmen Fantasy for Two Trumpets, and transcriptions by
sity of Toronto and Minnesota Orchestra, retired), both of Ravel and Debussy. A warm ovation from the crowd cheered
whom were featured guests at the conference. Jeffrey Piper the performance.
introduced the audience to many aspects of ITG, including its Day Two of the conference started at 9:00 A.M., with a nine-
web site, membership opportunities, student competitions, ty–minute master class given by Mr. Yeh Shuhan. Again, pre-
and journal publications. Chenette continued with com- selected students from throughout China were the performers
ments on the brotherhood and bond trumpeters have with and it was clear that there is a great deal of young talent that
each other throughout the world, and how ITG can assist in exists in this country. This was followed by another student
bringing trumpeters with similar interests together.
Following the opening ceremonies, a “Welcoming Con-
cert” by students from the Beijing Central Conservatory
featured a wide range of works from Handel to Bugler’s
Holiday by Leroy Anderson. It was clear that this was the
beginning of an exciting week, based upon the fine wel-
coming concert performances and enthusiastic crowds.
After a lunch break where the majority of invited guests
and attendees dined at the student dining hall (which
served incredible food), the conference continued in the
250-seat recital hall on the bottom floor of the main con-
servatory building for two consecutive 90-minute master
classes, followed by a lecture/clinic. The first master class,
given by Jeffrey Piper, featured several pre-selected students
playing various works, ranging from the Haydn Concerto in
E-flat to selections from the Arban book. Following Piper’s Stephen Chenette and Jeffrey Piper
© 2007 International Trumpet Guild January 2007 / ITG Journal 25
 Downie’s Trumpet Call. Day three
was complete and the crowds con-
tinued to be “standing room only”
while remaining extremely appre-
ciative and enthusiastic.
Thursday, April 6, began with a
master class by Spencer Ashton,
followed by another 90-minute
class given by Steve Leisring. After
lunch, Sugiki Mineo from Tokyo
presented a recital. Two advanced
students joined Mineo to perform
Britten’s Fanfare for St Edmunds-
bury and an arrangement for three
trumpets of J.J. Mouret’s Sinfonies
de Fanfare.
Thursday evening proved to be
Stephen Chenette conducts a student ensemble
perhaps the week’s most anticipat-
recital featuring more than a dozen students from the Central ed event, a recital by Beijing Central Conservatory Professor
Conservatory of Music. After lunch, Mr. Chen Rui, professor Zhonghui Dai. It was clear by the energy of the capacity crowd
of trumpet at the Tian Jing Conservatory, gave a ninety- and the whole week’s proceedings that Professor Dai has
minute master class, which was followed by an afternoon quickly become a central figure associated with the highest lev-
recital by Joseph Bowman, accompanied by Rebecca Wilt. els of trumpet in all of China due to his position as professor
Bowman is professor of trumpet at Mahidol University in in Beijing and former principal trumpet of the China Nation-
Thailand and was the 2005 ITG Conference host. CCM stu- al Symphony Orchestra in Beijing, as well as his position as a
dent Simon Lee joined Bowman on the Manfredini Concerto member of the Board of Directors of ITG. The performance
and Zhonghui Dai performed with Bowman on Concertino of Zhonghui Dai was a complete success and met all the expec-
Classico for Two Trumpets by J. Horowitz. Other works includ- tations of the crowd who knew they were in for a great per-
ed fine performances of Adams’s Sonata for Trumpet and Piano formance. With Rebecca Wilt providing superb collaboration
and Ewazen’s Hymn of the Lost and the Living. It should be and support as pianist, Dai treated the audience to Concerto in
noted that Beijing Central Conservatory student Simon Lee B-flat by Albinoni, Concertino in E-flat by Sachse, and Adagio
not only demonstrated great skill and musicianship while join- by Giazotto. CCM Trombone Professor Zhou Ruilin joined
ing Bowman on the Manfredini, but also served throughout Dai and Wilt on Pastorale for Trumpet and Trombone by
the conference as the chief translator for most of the English- Eric Ewazen. The program concluded to cheers with an
speaking guests. At the conclusion of the conference, Simon arrangement of Dances Fantastiques by Dmitri Shostakovich.
was heading to London on a scholarship to study at the Royal The final day of the conference began with yet another
Academy of Music. packed house for a master class, this time Zhonghui Dai’s only
Completing the musical activities Tuesday was a demonstra- master class of the week. It should be noted that several bilin-
tion/recital sponsored by Yamaha musical instruments fol- gual trumpet students and other volunteers from the music
lowed by an evening recital by Jeffrey Piper. Piper performed department provided exceptional translation skills throughout
Stanley Friedman’s unaccompanied work, Solus, and was
joined by Zhonghui Dai and several advanced students for a
performance of the Altenburg Concerto for Seven Trumpets and
Timpani. University of New Mexico graduate teaching assis-
tant Spencer Ashton also performed the Stoelzel Concerto in D
accompanied by Ms. Wilt along with several other works on
this recital. The capacity crowd continued to be treated to a
wide variety of works and fine performances and responded in
kind with much deserved applause.
Wednesday, April 5, began with a second master class given
by Jeffrey Piper followed by a demonstration/recital of instru-
ments from instrument manufacturer, B&S. After another fan-
tastic lunch, Joseph Bowman presented his first master class,
followed by an expert presentation on trumpet playing by Pro-
fessor Sugiki Mineo from Tokyo, Japan. Professor Wang Yang
from the Shen Yang Conservatory of Music completed the
afternoon session of master classes. Steve Leisring performed
Wednesday evening’s recital with Rebecca Wilt as his accom-
panist. Leisring performed five works on five different instru-
ments in a program including works by Telemann, Turrin,
Neruda, and Hubeau and opened the program with Kenneth Steve Leisring

26 ITG Journal / January 2007 © 2007 International Trumpet Guild

all of the master classes. Mr. Dai (as Chinese and American folk songs, a
he is known by local students) need- fitting tribute to how the trumpet
ed no translation for his class how- and music had brought different
ever, and the students and trumpet cultures together for a very special
aficionados in the crowd soaked in week.
every word by China’s most famous Special thanks to Zhonghui Dai
trumpet professor of the moment. and his family, students, and col-
After lunch, the conference moved leagues at the Central Conservatory
back to the Concert Hall for the who all worked so hard to make this
Closing Ceremonies. This provided the week of a lifetime for so many
an opportunity for many of the involved. This is not an overstate-
most important trumpeters in ment. For those students and teach-
China to speak and give their assess- ers who traveled from all over China
ment of the conference and the state to attend, the conference provided a
of trumpet playing in China. Some great opportunity to hear new
of those who spoke or were recog- music, meet distinguished perform-
nized at the ceremony included Joseph Bowman and Sugiki Mineo ers, and bring back knowledge to
Huang Mao-Lin, professor at Sheng Yang Conservatory of their region. For those invited from outside of China to attend,
music; Chen Ri, professor at Tian Jing Conservatory of music; this was also the experience of a lifetime… from being treated
Wang Yang, professor at Shen Yang Conservatory of Music; like “rock stars” by all the attendees by constantly being asked
Fan You Qun, professor at Gui Zhou Conservatory of Music; for photo opportunities and autographs; to the fantastic food
Wu Hong Yi, assistant professor at Shang- that seemed to be endless in
hai Conservatory of Music; Xie Yue, pro- “…this was a priceless opportunity variety and high quality; to
fessor at Si Chuan Conservatory of Music; the many opportunities to see
Qian Tong, assistant professor at Ji Lin for trumpeters throughout China some of the country’s most
Conservatory of music; Li Guo An, assis- to come together to develop a true important landmarks from
tant professor at Xin Hai Conservatory of Tian anmen Square to the
Music; and Zhang Xin Lin, professor at bond through trumpet playing.” G r ea t W a l l… this was a
Army Art School. priceless opportunity for
Although he did not speak, a special guest who was recog- trumpeters throughout China to come together to develop a
nized at this time by loud applause was former CCM distin- true bond through trumpet playing.
guished trumpet professor and author, Mr. Bai Lin. Through-
out the week, he was seen front and center at every event. It About the author: Steve Leisring is assistant professor of
was clear this well known Maestro of Trumpet in China was trumpet at the University of Kansas. He holds degrees in per-
very pleased and loved every minute of the week’s activities. formance and education from the University of North Texas
ITG President Jeffrey Piper and Past President Stephen Chen- and the Mannes College of Music in New York. Former teach-
ette also added their comments in the Closing Ceremonies, ers include Vincent Penzarella, Rick Giangiulio, Bert Truax,
thanking all those responsible for a wonderful week of music Don Jacoby, Keith Johnson, and Leonard Candelaria. Prior to
making, trumpeting, and cultural enlightenment. The speech- his appointment at KU he performed for fourteen seasons with
es were followed by a “Festival of Trumpets” program, which the Tenerife Symphony Orchestra, Canary Islands, Spain.
featured the Chinese Army Band Trumpet Ensemble and the
Trumpet Ensemble from the Central Conservato-
ry of Music. The varied concert featured ensemble
pieces, some with rhythm section, and concluded
with Stephen Chenette conducting a mass ar-
rangement of 1812 Overture.
The week’s final concert featured the New Mex-
ico Brass Quintet: Jeffrey Piper and Spencer Ash-
ton, trumpets; Susan Fritts, horn; Debra Taylor,
trombone; and Paul Carlson, tuba. The varied
program included Fugue in G Minor by J.S. Bach,
Four Sketches by Anthony Plog, and Canonic Fan-
fare by Heussenstam. Zhonghui Dai joined the
group as soloist on Purcell’s Concerto in D, and
the group mesmerized the audience with a stun-
ning performance of the spatial work, The Do
Quintet by T. Antonius which featured the mem-
bers playing from opposite ends of the audience.
It was clear that the audience appreciated the great
artistry of the members of this fine group. The
concert concluded with arrangements of both Central Conservatory of Music students perform

© 2007 International Trumpet Guild January 2007 / ITG Journal 27

28 ITG Journal / January 2007 © 2007 International Trumpet Guild
 JENS LINDEMANN: CONTROLLING THE VARIABLES
BY JOHN IRISH

“T
he trumpet is capable of being played with the vir- Schwarz, Eiji Oue, Bramwell Tovey, Yataka Sado, and Jukka
tuosity of a violin, the tenderness of the human Pekka Saraste. Having recorded with BMG, Marquis/EMI,
voice and the stylistic flexibility of the piano. It CBC, and the BBC, Jens is helping to redefine the idea of
allows me an endless range of communication with aud - the concert artist by transcending stylistic genres and the very
iences.”-Jens Lindemann stereotype of his instrument by performing with “impeccable
attacks, agility, and amazing smoothness.” (The Clarin,
Jens Lindemann has played in every major concert venue Buenos Aires)
in the world, from the Philharmonics of New York, Los A prodigious talent, Jens Lindemann performed as a
Angeles, London, Manchester, Munich, Hamburg, Lucerne, soloist with orchestras and won accolades at numerous jazz
and Berlin to Tokyo’s Suntory Hall and even the Great Wall festivals while still in his teens. A prizewinner at numerous
of China. His career has ranged from appearing internation- competitions including the prestigious ARD in Munich, Jens
ally as a Brandenburg soloist with the Super World Orches- also placed first, by unanimous juries, at both the Prague and
tra, recording with the Mormon Tabernacle Choir, and a solo Ellsworth Smith (Florida) International Trumpet Competi-
command performance for Queen Elizabeth II to playing tions in 1992.
lead trumpet with the Canadian Brass. Jens has also won Heralded internationally as an outstanding artist, critics
major awards ranging from Grammy and Juno nominations have stated: “one of the most memorable recitals in ITG his-
to winning the prestigious Echo Klassik in Germany as well tory” (ITG Journal, 2003); “performed brilliantly in the
as receiving an honorary doctorate. He has won first prizes in North American premiere of Bernd Alois Zimmermann’s
the most important classical trumpet competitions in the Concerto with the Toronto Symphony” (Toronto Star); “gave
world, made numerous television and film appearances, and the virtuoso highlight of the evening on piccolo trumpet
performed at London’s “Last Night of the Proms” for over with the Montreal Symphony” (Montreal Gazette); and “was
40,000 people. Jens has performed as soloist and recording absolutely riveting” in Los Angeles (LA Variety). The Los
artist with classical stars such as Sir Neville Marriner, Sir Angeles-based Lindemann performs exclusively on 24K gold
Angel Romero, Doc Severinsen, Charles Dutoit, Gerard plated Yamaha trumpets.

Irish: I want to first of all thank you for your contribution and Irish: Could we talk a little bit about your early days and how
great artistry to ITG conferences the past couple years. you came to play the trumpet?
Lindemann: Thank you, it’s a pleasure. Lindemann: I picked the trumpet because I wanted to be a
Irish: So, life on the road is not so much on the road anymore. drummer. In our junior high band, you had to pick the trum-
I imagine you are at home more now that you are in your new pet or clarinet. Then after two weeks, the best players tested
position at UCLA. Please tell us about that. and if you were on the short list, you could be a drummer. I
Lindemann: My situation at UCLA is great because I have a was dead last in this test. I wanted to quit playing the trumpet
very small studio of trumpet players there. The university has and go into drama, but my mother wouldn’t let me. This good
been wonderfully liberal in allowing me, and in fact encourag- German immigrant said, “We don’t have any quitters in our
ing me, to go and continue advancing my solo career. I appre- family.” She insisted that I had to play for at least one year and
ciate the privilege of being able to do then after that I could do whatever I
that. We’ve seen a tremendous spike wanted. By the end of the year I was
in auditions. So it’s getting very hard “You have to instill a sense of hooked on the trumpet. So it was an
to get into UCLA, which is great. desire, not just a sense of duty.” accident.
The whole trumpet studio has be- Irish: This was where?
come dynamite. In 2005, all ten of Lindemann: This was in Edmonton,
them won the ensemble category of the National Trumpet Alberta. That’s how I found my way to the trumpet. Not a very
Competition in Virginia and I am incredibly proud of the auspicious beginning. But I was lucky to have a fantastic band
work they all did. director in junior high, Al Jones, and in high school, Murray
Irish: Last year when we spoke, you were just getting settled in Smith. Without those two individuals I’m sure I wouldn’t be a
Los Angeles, buying a house and car, and all that. Are you settled professional musician today. I’m always fond of saying in inter-
in by now? views and master classes that it starts right at ground zero… if
Lindemann: Yes, and it feels good. We just bought a place that’s not as a band director then I don’t know what is! We
close to the ocean. It’s in Pacific Palisades and is very nice. I need to have teachers who are willing to make the kind of sac-
have some allergy and asthma issues actually and it’s good for rifices that allow students to love being in band and love per-
me to be as close to fresh air—the freshest air you can find in forming. You have to instill a sense of desire, not just a sense
that town. of duty. We’re not in the business of creating professional

© 2007 International Trumpet Guild January 2007 / ITG Journal 29

musicians; we’re in the business of trying to create enlightened Lindemann: I loved being with the Canadian Brass; it was a
young people that really enjoy playing. Very few of them will wonderful experience. However, I’m really happy to be out of
ever go on to careers in music; the vast majority of them will the Canadian Brass in the sense that now I can be in control
end up in other careers and they’re the ones that will buy con- of my own travel, and my own future. In a group like that
cert tickets, CDs, and support those of us who do choose to go you’re playing with them all the time and there is no real
on into music. It’s critical that we remind educators of how opportunity to collaborate with other people or to play solos
important they are when they are planting those initial seeds. outside of the ensemble. So after five and a half years I really
I was lucky to have one of those. felt it was time to move on. I’m still on the road, but the nice
My initial private studies were with Alvin Lowrey and thing is that I control my schedule—if I want to go out for a
William (Bill) Dimmer in Edmonton. They are both sympho- longer period I can, if I don’t want to go out quite as many
ny musicians and it was great fundamental instruction. Dave times I can do that too. I only have to answer to myself.
Hickman also enlightened me to what is truly possible on the Irish: What have you been up to lately?
piccolo trumpet at Banff one summer. Hickman is a true mas- Lindemann: My post-Canadian Brass life has been very grat-
ter of finesse. Also Douglas Sturdevant in Ottawa who first ifying. I work with a great instrument company, Yamaha,
showed me Arnold Jacobs breathing techniques… what a whose horns I have played for the past twenty years. I was also
sound opener that was. Then I went to McGill University in able to recently do a very significant recording with the Lon-
Montreal and studied with James Thompson, my prime trum- don Symphony Orchestra, Neville Marriner conducting, with
pet mentor. There is not a day that goes by where I don’t think Pepe Romero on guitar. I played a trumpet obbligato part to
of something inspired by my studies with Thompson. Then I this new concerto by Paul Chihara, a New York and Los Ange-
studied with Mark Gould, a brilliant thinker who understands les based composer, which was a really fascinating experience.
the big picture, in New York at Juilliard. Those teachers are Irish: Changing the subject a bit, I am curious to know how the
now my good friends and confidantes. We must maintain booking of your solo career happens.
those relationships and remind teachers how important they Lindemann: I am really lucky to have great management in
are to us. Not ten years after you’ve graduated, but right now, New York, Columbia Artists, which has helped out. Trust me,
today! if there is a bit of advice I can give you, that didn’t happen
Irish: You’ve had incredible training… overnight. You don’t just get lucky getting those things—there
Lindemann: Yes, very good teaching. What’s interesting is a lot of work that goes into it… a lot of focus. In fact, most
about Jim is that he was playing in the Montreal Symphony, contacts come from good old-fashioned hard work on the
an orchestra shaped by a type of sound that was incredibly phone and by simply being nice to people. But it is a fun
unique, in terms of balancing the brass from bottom to top. process and it’s always changing. You never arrive. Just as you
Contrary to what some students may think, great orchestral think, “I have the greatest management in the world, I’m get-
trumpet playing comes from knowing how to ride musically ting to play with major orchestras, travel, and do all these won-
on top of lower brass players and not by obliterating every- derful things—I’ve really arrived”—you’ve missed the point.
thing in sight with the biggest equipment you can find on the You never arrive. You become obsessed about continuing excel-
market, and then boring it out some lence. That’s why guys like
more! “…most contacts come from good old- Doc Severinsen are still out
Working with Mark Gould was an there and active. He doesn’t
automatic extension of that because fashioned hard work on the phone and think of himself as a star, even
he played in the Metropolitan Opera though we do, he’s just out
and worked with the greatest singers
by simply being nice to people… You doing his thing.
in the world every day. So my ap- never arrive. You become obsessed Irish: You’ve enjoyed a fabu-
proach to the instrument is much lous career with the Canadian
more lyrical than it might have been about continuing excellence.” Brass and are now one of the
had I gone anywhere else. When top freelance solo artists. You’ve
you’re looking back at your life and your career and start ask- also won some competitions. I am curious as to how you go about
ing what the interesting moments were, I know that falling preparing for recitals and competitions?
into the hands of those two individuals really made a big dif- Lindemann: The thing that is the same is preparation. The
ference in terms of how I shape and try to (most of the time) results of the competition or the audition or the concert that
not sound like a trumpet. Although once in a while you do, you are doing are based on the kind of preparation that you
once in a while you just want to be a TRUMPET PLAYER. had leading up to it. I did about forty solo competitions in
Irish: You have to. eight years when I was in my twenties… everything from small
Lindemann: Right, but I think our job, as evolved musi- local/regional up to the biggest international compet -
cians, is to show people things they’re not expecting a trumpet itions.Whenever you do a competition, you should approach
to do. My good friend Allen Vizzutti talks about that a lot. the work process as though you are going to try and win. There
Playing and thinking about playing in a manner that makes is nothing wrong with saying that “I’m going to win this com-
the audience say they didn’t think the trumpet could do that; petition.” Odds are, in most cases, you won’t. I know because
they thought they only played loud, blaring fanfares. Those I didn’t; you’re not going to win everything. It’s virtually a sta-
teachers, Mark and Jim, were integral in beating that side of tistical impossibility, you know. So the real lesson to be learned
the trumpet out of me. is not whether you win or lose—it sounds so cliché but it’s
Irish: Any special thoughts on your tenure with the Canadian true—you end up actually learning more about yourself if you
Brass? don’t win than if you do. When you win, you just assume that

30 ITG Journal / January 2007 © 2007 International Trumpet Guild

everything is on the straight and narrow—I must be awesome, with the use of your time. College players often say that they
the best player in the world. And there is no best player in the can’t wait until they graduate so that they’ll have more time to
world. It’s when you don’t win that you have to look at what practice. Trust me, the most time you will ever have to practice
happened, whether it’s from a lack of preparation or whatever is when you are at university. You think that you’re swamped
and figure out what went wrong. by all these useless viola da gamba history courses, but that is
Nervousness, for instance, is a topic trumpeters love to go on nothing compared to the time you have for trumpet. When
and on about. I’m not denying that it exists, but the root of all you get out, life catches up with you. You’ll be amazed at how
nervousness is based on certain insecurities we have. Now little time you have. Ask any professional and they’ll look you
whether or not that affects you physically, that’s something you in the face and say so. The greatest personal space you will ever
have to decide after the performance. But nervousness is ulti- have is when you are a student. When you get out you’re try-
mately rooted in a subconscious ing to work, have a relationship,
feeling of not being prepared. If you maybe you’re getting married,
felt really prepared, if you felt like maybe buy a home, buy a car…
there is no pressure, and you can you have bills to pay, the gov-
just do this the way I did it in my ernment is looking to have their
practice room three days ago, then student loans paid back, it all
you wouldn’t be nervous. It really is adds up and robs you of your
that simple. When you are starting most valuable possession—
out, it’s natural to experience but- time!
terflies, dry mouth, tightness, play- So being efficient with the
ing too fast—all the symptoms we use of your time is very impor-
know about as professionals that tant. And then throw in an out-
almost all students end up experi- rageously busy career like the
encing. The point of dealing with Canadian Brass, and you have
that has to do with going out and to be very focused on how you
confronting it as many times as you work. One of the most practical
can. Experience is your best weapon Practice where you can! (And who’s flying?) tips I can give students is what I
in dealing with nervousness. Don’t be afraid to play for people. mention in my master classes. Practice with a stopwatch… ten
Don’t wait until you get to the ITG conference to perform for minutes on a particular lick or a short passage, not a move-
500 professionals from all around the world. Play for your col- ment. Pick the hard section of the piece. Practice it slowly so
leagues at school. Pull them into your practice room and say, that it is perfect. Turn it into a game and see how obsessed you
“OK, sit there and listen, I’m going to play the entire move- can become with absolute perfection; work not only the notes
ment and I need you to be sitting in that chair so that I’m real- but the physical coordination as well. Make that lick as easy as
ly focused on performing.” the easiest thing that you’ve ever played. It’s almost like you’re
Another tangible thing I like to encourage my students to do getting yourself into a certain zone—in fact, you are in a zonal
is to work with a pianist. If you are ultra-serious about winning focus. Then when the timer goes off, re-set it and then go back
competitions, go to contests with your own pianist. You ulti- and practice something different. Not the thing you were
mately form a real musical bond with that individual. If it’s too working on, even if you are so close to the breakthrough. Walk
expensive to hire a professional who has to charge money on away from it and do a completely different area for another ten
an hourly basis, use other college students, as I did early on. minutes. When the timer goes, re-set it and maybe go back to
When I was in university, I found one with good enough the first challenge or maybe go to a third passage. You will be
chops and we learned to prepare together, and it was a lot shocked at how much you can accomplish in an hour of prac-
cheaper. It’s inevitable that you will have a tice time. You are really focused, you’re mind
better performance because you are com- isn’t wandering because you are working in
fortable with the artist you’re working “With maturity, you learn small increments if you are doing it carefully.
with, so you’re comfortable with the to be very efficient with When you’ve really learned to work in this
preparation. In other words, you have to way, then stringing it together is easy. It’s just
try to control as many variables as possi- the use of your time.” putting together pieces of a puzzle. That’s a
ble. That’s what you learn when you don’t very practical tip on how to manage your
necessarily do well. You have to ask, “What can I fix?” On a time and practice efficiently.
final note about collaborating with pianists, fall in love and When I was a student, there were stretches where I would be
marry one . . .I did! My wife, Jennifer Snow, attained her doc- playing four, five, six hours a day, and you have to do that
torate in performance from Northwestern University and intelligently. It would be stupid to just stick the horn against
learned all the major trumpet works from Vincent Cichowicz. your face and start blowing; you could hurt yourself if you’re
There is so much that we brass players can learn from pianists not careful. So spread it our over the course of a day. If you’re
since they have such a vast repertoire… now you know how going to be awake for 16 hours, figuring out how to do three
serious I was! or four hours of practice—as daunting as it sounds—really
Irish: When you played with the Canadian Brass, how did you isn’t as hard as it seems. You’ve just got to organize your time
maintain your edge or learn new repertoire and keep a high qual- and what it is you want to accomplish.
ity? Irish: Did you have any difficulty with the repertoire required
Lindemann: With maturity, you learn to be very efficient of the Canadian Brass?

© 2007 International Trumpet Guild January 2007 / ITG Journal 31

 Lindemann: The repertoire is certainly challenging and in Lindemann: Nothing like that, but I had one competition
that group it obviously revolves around the trumpet parts… where I was to play with a major orchestra. It was an open cat-
most quintets do. The Canadian Brass was able to work with egory and I came in second; a flute player came in first and I
composers and arrangers who knew our strengths. So they was second. The flute player was younger than me but it was
could really work with the indi-
vidual strengths of the group,
which is what you should do.
Young players should go out and
talk to their friends who are into
composition and/or arranging
and work with them. Often
composers and arrangers have a
certain notion about what the
trumpet can or should do. And
we look at them and say, “No,
that’s incredibly impractical. You
play the flute, what do you know
about trumpet?”
Irish: Or keyboard players, “I
can play for ten minutes at a time,
why can’t you?”
Lindemann: Exactly. So, you
can start working at an early age
with people who are going to
become your colleagues in a very
short period of time. Composers
and arrangers will be grateful
that you are showing them
things that are practical on the
instrument. Anyway, although
many of the arrangements were
very challenging in the Canadian
Brass and really pushed the enve-
lope… that only happened be-
cause they knew they could do
it. We had great trumpets. I
worked with Ronnie Romm and
Ryan Anthony and we really had
to be on our game. Ultimately,
it’s about presenting a really great
show to an audience. When I say
show, I mean that in the best
sense because every one of us is
putting on a show when we do a
recital or a concert.
Irish: Especially when you are
that small of a group.
L inde m ann : That’s right. So Soloing with Doc Severinsen looking on!
when we are putting together ar-
rangements or compositions to perform, if they happen to be- my last year of eligibility. I called my father and mother after
come particularly challenging it’s only because we want the the competition really disappointed. I explained to them that
audience to appreciate the fact that we’re sharing something I played really well and it could have gone one way or the
with them that is of the highest level. other. She has two or three more years of eligibility; I didn’t
Irish: How about some of the interesting experiences at the understand why they didn’t give it to me because it was my last
major competitions. chance to do it. I was expecting a sympathetic voice from the
Lindemann: Sounds like it’s story-telling time. other end of the phone saying it’s okay. All my father could say
Irish: Yes, we’ve got to have a couple stories here. was, “Well, I guess you didn’t make it obvious enough that you
Lindemann: A lot of them I can’t tell (laughter)… we’ll were the best. Don’t complain to me. Work harder. Okay, bye.”
leave it at that. It was said lovingly but directly. You know, we can dress it up
Irish: You didn’t leave the stage to go warm up and the door a million ways and come up with philosophical theories and
locked behind you or dropped your mouthpiece out the window? reasons for being nice to one another, but the bottom line is

32 ITG Journal / January 2007 © 2007 International Trumpet Guild

simple. Work harder. ten years after he first recorded it because he had other things
The other thing to remember is that when you win a com- to say musically. It’s only natural. The process of recording,
petition, things are just beginning. In the aftermath, you’ll get especially for young players, is an important thing to do. You
a few opportunities to play but it doesn’t amount to an all-of- must understand that it is a different kind of mindset than per-
a-sudden career with record companies breaking down your forming and it’s also a different art form than performing. No
door. That shouldn’t be something that frustrates people from less valid, though.
doing competitions. But understand that the whole thing is a Irish: I want to ask you what equipment you are playing on
process where you’re going to learn how to communicate now.
effectively with audiences and jury members. It’s very impor- Lindemann: I play Yamaha trumpets. I won’t go into the
tant to be able to do that. It will come with the maturation specifics; however, you can find that information on my web
process of doing them a lot. site (http://www.trumpetsolo.com or http://www.solotrum-
Irish: Did you ever do any orchestra auditions? pet.com; I bought them both—I keep getting them mixed up
Lindemann: I did an audition for the Montreal Symphony so having them both has come in handy). Gary Radtke
once when I was 18. I played and played, and pretty soon I was designed the mouthpieces I play (all the same rim size) and I
in the finals. All I could think about absolutely love them! I’m not a be-
when I went into the finals is that, “If I liever in big mouthpieces. Far too
win this job, I can start calling Mr. many students play on mouthpieces
Thompson, Jim.” Which really tells you that are too big. They play what the
how prepared I was for that audition. local symphony players play and
But I skated by on a certain amount of those mouthpieces are generally too
ability and hard work. I didn’t win the big for all-around playing. Mine is
audition. But I came close. very middle-of-the-road. To use stan-
I r i s h : Tell us about your 2005 CD dardized numbers since Bach is a
release; it’s met with very positive acclaim. standardized listing, the rim is about
Lindemann: It’s with the Canadian a 5C – 7C, although the cup depth is
Staff Band, a fantastic brass band out of closer to a 2, somewhere around that
Toronto, a Salvation Army group. It cov- With his wife (and accompanist) Jenny in size. The Yamaha/Schilke equivalent
ers a wide variety of styles… something St. Thomas. would be around 11.
I’m very comfortable with, and really like I’m not mouthpiece-obsessed.
to do. It’s an extension of what I’ve been doing my whole life Basically a mouthpiece has to play in tune; if the pitch is good
anyway—playing a bunch of different styles, everything from on it and you’re not fighting it too much, you have something
serious technical works that are traditional to the brass band to start working with. When I say it has to be “in tune,” don’t
style to big band-oriented numbers start micromanaging your pitch. “Well, this is one cent off.”
Irish: Do you like to do recordings? No it’s not, you’re just inconsistent. Allow the human element
Lindemann: I love recording, it’s something that allows you to play into it. Without going into great detail, basically my
to communicate with people in a different arena than you can belief is there is no perfect mouthpiece and anyone who tells
live. The beauty of a live performance is that it is going to be you there is, is wrong and they’re lying or they’re fooling them-
different every single time. A recording is permanent. That’s it; selves into believing that it’s the truth. That doesn’t mean you
once it’s done, it’s done. It’s a really great way to put a stamp shouldn’t experiment but my recommendation to students is
on something that is important to you and the way you want to pick something middle-of-the-road. Remember, Bud Her-
to play it. Although even that rendition of what you recorded seth, one of the greatest players ever in the orchestral scene,
can change. Wynton Marsalis re-recorded the Haydn Concerto started off on a 7C. He only went to the huge 1X because he

JENS LINDEMANN DISCOGRAPHY

Flying Solo—Marquis/EMI records Live with the Warsaw Philharmonic (Canadian Brass)
The Rising Sun (with the Canadian Staff Band)— Glory of Christmas with the Mormon Tabernacle Choir—
Marquis/EMI records Buena Vista records
Bach Brandenburg Concerto No.2 with the Luneburg Bach The Overcoat (Shostakovich Piano Concerto No.1)—CBC
Orchestra records
Canadian Brass Plays Bernstein—BMG records Il Palpiti “Live in Los Angeles at Disney Hall” (Shostakovich
All You Need is Love (Beatles)—BMG records Piano Concerto No.1)
Sacred Brass (Canadian Brass)—BMG records Day and Night (with Dave Liebman) and the McGill Big
Band—McGill records
Canadian Brass: A Christmas Experiment—BMG records
Chihara Guitar Concerto (and trumpet obbligato) with
Canadian Brass Plays Ellington—BMG records Neville Marriner, Pepe Romero, London Symphony—
Goldberg Variations (Canadian Brass)—BMG records Albany records

© 2007 International Trumpet Guild January 2007 / ITG Journal 33

had nerve damage from a car accident and it allowed him to cle in Time magazine, I was concerned that we’re not trying to
attain greater sensation. Now, Bud Herseth is an efficient do more as performers. No knock against the company,
trumpet player; he could’ve they’re just trying to make business for themselves.
played trumpet on a trom- “My personal theory about But I would encourage everyone to be more active.
bone mouthpiece and proba- This organization solicits civilian volunteers from all
bly kept his job. The issue mouthpieces is that you over the country. The entire trumpet studio at UCLA
isn’t the size… it shouldn’t be should play the most com- has volunteered to do that. We’re at the beck and call
a contest to see how much of anybody who wants this service played. Obviously,
bigger you can play than your pact equipment possible to it’s a free thing but is a great way for young players to
buddy in the band. That’s just
dumb. Playing efficiently is
obtain the maximal result.” connect with a different generation.
Irish: And perform a service to one’s country.
what the game is about. My Lindemann: Performing Taps is not only a service
personal theory about mouthpieces is that you should play the to the country; far more importantly, it is a very personal serv-
most compact equipment possible to obtain the maximal ice to a family. We have the trumpet players out there. Every-
result. body that can play the 24 notes in Taps, and that’s just about
Irish: That’s efficiency. all of us, should be signing up with Bugles Across America. I
Lindemann: That is total efficiency. I like to use the word feel very strongly about this.
compact because compact means we have to be efficient. You Irish: As we look forward now, what advice would you give to
can’t play outside of the sweet spot or the mouthpiece will back the next generation of trumpeters?
up. That’s why it’s not the mouthpiece that is backing up; it’s Lindemann: Stay open minded about the future of music
your inability to coordinate the balance of resistance. That’s and developing your own voice on the instrument. It is up to
what is happening and you have to analyze your blowing. the next generation to help continue changing the perception
Once you start thinking about it that way, you’ll probably real- of the trumpet in society. If we worry only about what other
ize you don’t need to play a huge mouthpiece. I have played trumpet players think then we cannot advance our instrument
this mouthpiece size for ten years while I was on tour all in the pantheon of music. Great music making is about per-
around the world in concert venues having to sonal expression and giving the
project in 3,000-seat halls. There was never a “Performing Taps is not only a listeners an experience that
problem being loud enough. Great volume really they can cherish. One must
comes from projection as opposed to just playing service to the country; far have an enthusiasm for the
a bigger mouthpiece. Bigger mouthpieces are more importantly, it is a very trumpet. The greatest players
more diffused and start to spread more quickly that I admire, many of whom
and it will take more work to get the air velocity personal service to a family.” happen to be older, and in
going, especially in the high register. Orchestral some cases, significantly older,
players rarely have to play over a concert high C with standard all share an enthusiasm for the trumpet. Enthusiasm is the best
equipment. Compact equipment forces you to be focused and way to describe it. Don’t get frustrated by the instrument.
if you do it effectively you can get a very big sound with lots When we have problems—and we all do—view the problem
of projection. as a challenge to figure it out rather than saying, “I can’t do
Irish: For piccolo trumpet, do you play on the same size rim? Is that” or “I can’t do this.” Those are negatives. The greatest
the depth shallower, or is it the same mouthpiece as other trumpets? players don’t think that way and that’s why the instrument
Lindemann: Good question. I do happen to keep the rim plays easily for them. They treat it as an extension of who they
size pretty much the same but I’m not obsessive about it. are. Positive energy will create a positive result. That’s just a
Okay? I want to make that clear because with some people it very basic way of looking at it, but it works for me.
has to be the exact rim. If that’s important to you, then it’s Irish: Thank you for taking time to talk. Best wishes to you.
okay because of the comfort zone, and that’s fine. I think gen- Lindemann: Thank you. It was a pleasure.
erally it’s a good idea to get close to a particular rim size you
like and then work within those parameters. It just makes About the author: John Irish is associate professor of music at
switching, if you have to switch very quickly, that much easi- Angelo State University in San Angelo, Texas. Irish retired
er. You’re just controlling the variables. That’s a good title for from a distinguished career in the U.S. Air Force band system,
the article: “Controlling the Variables.” in which he performed throughout the world. He is a frequent
Irish: Very good! So be it. You were talking earlier about Bugles contributor to the ITG Journal. John Irish has written reports
Across America. What is that about? on several recent conferences, and has coordinated ITG Youth
Lindemann: This is really important. You can do an easy Competitions since 2004.
search for it on the Internet (http://buglesacrossamerica.org).
It was started by Tom Day, from Chicago, because there is a
shortage of buglers playing at military services, especially Taps Make Plans Now to Attend
for funerals. One of the recent U.S. Presidents decreed that
civilian volunteers could play at military services. Tom Day 2007 ITG Conference
started this organization because there is a company out there
that was building a digital bugle. It basically has a recorded ver- May 29 – June 2, 2007
sion of Taps and one simply holds it up and this digitized ver-
sion of is sounded. As a trumpet player, after reading that arti-
University of Massachusetts
34 ITG Journal / January 2007 © 2007 International Trumpet Guild
 EDWARD H. TARR
AND THE HISTORIC BRASS REVIVAL
BY LEIGH ANNE HUNSAKER

A
s one of the first generation of players to take up the the article at the time, and being drawn to it immediately
rediscovered Baroque trumpet in the 1960s, Edward because of the picture of Gottfried Reiche—the engraving, not
Tarr has been a champion of both the instrument itself the painting.”
and of the music written for it. He was the first recipient of Shortly after hearing Holy, Finke, and Steinkopf perform
the Christopher Monk J.S. Bach’s B Minor Mass
Award for “significant in Basel in the winter of
life-long contributions 1960, Tarr ordered his
to the early brass field,” own instrument and
and also received the began to investigate its
ITG Honorary Award. possibilities. The avail-
His work as a scholar, ability of original instru-
performer, and educa- ments in museums (in
tor provides a window those days, people were
into an interesting facet permitted to handle
of our instrument’s his- them), and his own
tory: the modern day curiosity led him to ex-
revival of natural trum- periment with instru-
pet playing. In June ment design and con-
2005, after giving the struction. He worked
author a week of Bar- with instrument makers
oque trumpet lessons, Meinl & Lauber and
Tarr spoke about what Adolph Egger of Basel
influenced him to take to develop long model
this road in his person- trumpets based on orig-
al musical journey. inal instruments of
Edward Tarr arrived Ha i n lein, Ehe, and
in Basel, Switzerland, Haas. His point of dep-
in 1959 on a Rotary arture was a trumpet by
scholarship to study Wolf Wilhelm Haas.
musicology. Already This, the first historical
hav ing made two at - instrument copied by
tempts to build a play- Meinl & Lauber (1967),
able natural trumpet— is now in the Bad Säck-
the first while in high ingen Trumpet Muse-
school—Tarr was com- um.
mitted to exploring the Tarr began perform-
instrument. He soon ing on cornetto and nat-
found himself at the ural trumpet, and be -
center of the Baroque Edward Tarr and Heinz Walter. came acquainted with
trumpet revival. In Holy: “At first, he was
1959, Helmut Finke and Otto Steinkopf designed a coiled the trumpeter, and I the cornettist.” One of their first perform-
natural trumpet with three tone holes. The instrument was ances together was a WDR recording of a piece with two trum-
first offered to Helmut Schneidewind, solo trumpet of the pets and two cornetti by Schelle, one of Bach’s predecessors as
Symphonic Orchestra of the WDR Thomaskantor. Soon Tarr was per-
(West German Radio), who declined “I owe a great debt to Walter forming on natural trumpet also; he
to play it. Walter Holy, of the Capel- and Holy played together in many
la Coloniensis, is remembered for Holy. He took a 23-year-old concerts, radio performances, and
reintroducing the Baroque trumpet graduate student under his wing, recordings. Reflecting on those years,
to modern audiences in 1960, by Tarr observed, “I owe a great debt to
performing successfully on the and opened up many doors.” Walter Holy. He took a 23-year-old
Finke-Steinkopf instrument. Tarr graduate student under his wing, and
saw a story in the newspaper announcing that the secret of opened up many doors.” With those performance opportuni-

© 2007 International Trumpet Guild

clarino playing had been rediscovered. “I remember reading ties, his musicological training, and access to original instru-
January 2007 / ITG Journal 35
ments and manuscripts, Tarr found Basel to be the ideal place to practice and get gigs. In nearly 30 years, I can count on one
to pursue his interests: “It all came together there.” hand the number of diplomas I gave.” As interest in playing
In addition to being an early performer on the Baroque Baroque trumpet grew, Tarr’s studio began to reflect the inter-
trumpet, Tarr was one of the first to teach the historic instru- national character of the historical performance movement.
ment in an academic setting. In 1972, he began teaching Bar- “In 1975 or so, I started getting some really good pupils: Paul
oque trumpet and cornetto at the Schola Cantorum Basilien- Plunkett from Australia, Marc Ullrich from France, who soon
sis, an institution devoted to early music research and perform- became first trumpeter in the Basel Radio Orchestra, and Vic-
ance. His first pupils on Baroque trumpet were four or five tor Apostle, an American who now plays first trumpet in the
Swiss “external students” who took lessons only, rather than Göttingen Symphony Orchestra.”
A committed teacher, Tarr promoted
the best pedagogical ideas from players
worldwide. Beginning in the late 1970s,
he held a series of seminars for trumpet
players and teachers in Bad Säckingen,
Germany. Each year he brought in a
world-class trumpet player to work with
his students, and to share their ideas on
teaching. In the mornings, the clinician
gave masterclasses and discussed his peda-
gogical approach; afternoons were spent
coaching chamber music, with Tarr’s stu-
dents leading the various groups. At the
end of the weeklong seminar, the students
presented a concert. The first invited cli-
nician was Vincent Cichowicz in 1979.
Others included Pierre Thibaud, Bo Nils-
son, Håkan Hardenberger, Gerald Web-
ster, and Mark Sykes.
In addition to collaborating with con-
temporaries, Tarr also studied the peda-
gogical writings of previous generations of
trumpet teachers. Traveling to European
libraries, he sought out unpublished
trumpet literature and pedagogical works.
In Paris, he rediscovered Dauverné’s Méth-
ode pour la Trompette and made excerpts
from other trumpet methods in the
Conservatory Library and the Bibliotèk
Nationale.
The foundation of Tarr’s curriculum is
found in his three-volume work, The Art
of Baroque Trumpet Playing. He strongly
emphasizes the importance of working on
fundamentals, and suggests playing much
or all of the material without vent holes to
L – R Edward Tarr, Victor Apostle, Klaus Rehm, Sebastian Hauer, Franz Streitweiser, experience the true feel of playing historic
Erich Singer, and Heinz Walter. instruments. Working through the first
book, Basic Exercises, gives the player an
the full academic course of study at the Schola Cantorum. Les- understanding of the difficulties inherent to the instrument as
sons were taught in his home on Tuesdays, with Baroque well as a step-by-step process for working through these prob-
trumpet ensemble from 8:00 to 10:00 P.M. Tarr recalled, “We lems. In addition to Tarr’s own studies, many exercises and
also held a ‘theoretical hour’ from 10:00 to 11:00 P.M. at the short etudes from 19th-century trumpet methods are includ-
Fischerstube on the Rheingasse, a disreputable area of Basel. ed. Musical examples and commentary from the historic
Students would bring Altenburg or Bendinelli, drink the local- methods of Bendinelli, Fantini, and Altenburg give the player
ly brewed beer, and discuss the topic at hand.” a firm foundation for developing a correct stylistic approach.
Students who completed the entire course of study at the In the second volume, Method for Ensemble Playing, two-
Schola Cantorum had classes in Gregorian chant, continuo and three-part exercises use the naturally occurring resultant
playing, historical dance, notation, singing, and other music tones to tune intervals within the just intonation system
classes. The majority of Tarr’s pupils, however, studied on an appropriate for historic instruments. The final volume is a col-
external basis. “The academic load of theoretical subjects was lection of trumpet ensemble literature; many of the works here
awesome, and still is. Most of the really good players preferred are otherwise unpublished. Tarr has hand-selected the best

36 ITG Journal / January 2007 © 2007 International Trumpet Guild

pieces from a number of sources, making it a very useful Baroque Masterpieces for Trumpet and Organ. On the first two
resource for trumpet ensembles. albums Bengt Eklund played 2nd solo trumpet; the final vol-
Asked about the literature used in his early trumpet classes, ume with Marc Ullrich was the first solo recording played
Tarr responded, “Of course, we were always looking for reper- entirely on natural trumpet. It also features Tarr performing
toire.” Very little was published in those days, so he and his the J. Clarke English Suite on his original J. L. Ehe trumpet,
students searched library holdings for suitable works. Many another first. Tarr and Kent performed together in the United
trumpet ensemble pieces were transcribed as students were States, Japan, and Europe, presenting concerts and workshops
given microfilms, assigned to copy the scores and parts, and through 1985.
then to trade their work with each other. A great deal of this Around 1980, Tarr began collaborating with organist Irm-
Baroque trumpet music is now in print, but due to commer- traud Krüger. Now married, and known as “The Duo,” the
cial/cost considerations much remains unpublished, such as two have performed all over the world, including the 2005
Torelli pieces for two trumpets and orchestra. Tarr’s many years ITG conference in Thailand. They have made five recordings
of research have resulted in the publication of over 50 modern together of music from different eras.
editions of Baroque works for trumpet, as well as Of his many performanc-
translations of historic trumpet methods, and “In the early days, there was the es on Baroque trumpet,
Bach for Brass, the complete brass and timpani Tarr recalled a 1968 USA
parts of J. S. Bach based on primary sources. thought that all early music tour in which he played
Although his publications include much histor- third trumpet in the Capel-
ical and stylistic information, Tarr’s comments
performers were crazy, or per- la Coloniensis—the first
during lessons and conversation provided addi- haps not as good as those who time he performed profes-
tional insights. His first remarks were on the sionally in the States after
importance of using Baroque articulations, “This played modern instruments.” leaving for graduate study.
hasn’t caught on everywhere, but the gospel is In the early 1970s, he pre-
being spread.” Tarr explained that he had tried to use the his- sented a lecture-demonstration at the Ansbach (Germany)
toric articulations in his early performances, but his approach Bach Festival, “Certainly a pioneering effort, since up to then
at first was too modern. One of his cornetto students, Bruce only modern instruments had been used there. Jean-Pierre
Dickey, greatly influenced Tarr in the mid 1970s. “I kept ask- Mathez was one of the four Baroque trumpeters in my ensem-
ing him: ‘Are you slurring?’ I finally realized what sort of effect ble.” Another memorable performance was a WDR recording
was intended…” Together they developed a unified approach of Purcell’s Te Deum and Jubilate with Alfred Deller, an Eng-
based on instrumental treatises dating from 1535 through lish singer who revived the use of the countertenor voice for
1795. Their book, Articulations in Early Wind Music, spon- historically accurate performances. As the popularity of period
sored by the Schola Cantorum, will be published soon by instrument performances spread, Tarr played principal trum-
Amadeus of Zürich. pet with the Japan Oratorio Society for a 1982 European tour
On ornamentation: “Wherever I go, people ask about of the B Minor Mass with a section including Bo Nilsson and
trills… most are happy to get a simple answer. Unfortunately, Paul Plunkett.
things are not so simple. French, German, and Italian schools His interest in historic instruments has since expanded to
are different, and you have to know a little about the music to include the Romantic valved trumpet. A cherished memory is
know what ornaments to use. I have tried to give a craftsman’s his premiere performance in February 1997 of Verdi’s Adagio
approach. I show students the Altenburg and help them make for solo trumpet and orchestra in the Bad Säckingen Cathedral
decisions… I always hope that the student will crack a book or on a Romantic trumpet in low D. This previously unknown
two.” work had been acquired recently by the Trumpet Museum.
In person, as well as in his method books, Tarr is constant- Looking back on the beginning of the historic brass revival,
ly relating the studies to ex- Tarr reminisced, “In the early days, there was the
amples from the trumpet thought that all early music performers were crazy, or
repertoire. He explained “Some people are happy just perhaps not as good as those who played modern
that over the years, he had to play the notes. They don’t instruments.” The Gabrieli album, Canzonas for
found that some students Brass, Winds, Strings and Organ, with the Edward
could play the basic exer- realize that it is just the Tarr Brass Ensemble won a Grammy Award for “Best
cises well, but were not
able to apply them to mus-
beginning of artistic playing.” Chamber Music Performance” of 1968. The two
Glory of Gabrieli albums were the first recordings of
ic. “Do everything you can polychoral brass music performed in the Basilica San
to combine the two. Some people are happy just to play the Marco, Venice. Today, Tarr has countless performances to his
notes. They don’t realize that it is just the beginning of artistic credit, with more than 100 recordings on historic instruments.
playing. Once you solve the problems, that’s when it really gets From 1985 through 2004, Tarr served as the director of the
interesting.” Trumpet Museum in Bad Säckingen, Germany. In this capac-
Tarr’s first solo album, Die Kunst der Trompeter released in ity, he managed the acquisition of instruments and manu-
1966, was the earliest recording made on a reconstruction of a scripts, arranged exhibitions and wrote ten exhibition catalogs,
long model Baroque trumpet. In 1969, Tarr began a series of and organized chamber music concerts. He also hosted the
annual tours in the U.S. with George Kent, now professor of first and second International Altenburg Baroque Trumpet
Organ, Trumpet, and Music History at the University of Competitions, two Ellsworth Smith competitions, and other
Rhode Island. Tarr and Kent recorded three volumes of trumpet festivals on the premises. Tarr served as the editor of

© 2007 International Trumpet Guild January 2007 / ITG Journal 37

 EDWARD TARR SELECTED BIBLIOGRAPHY AND DISCOGRAPHY

Below is an abbreviated list of Edward Tarr’s publications and (facs. ed. with preface) (Coburg, McNaughtan), in prepa-
recordings of Baroque and Romantic trumpet literature. A ration
more extensive record, as well as a list of performing editions Other Publications
of trumpet and brass music edited by Tarr can be found on
his web site (http://www.tarr-online.de). “Jugendmusikschule Bad Säckingen und Internationale
Trompeter-Seminare 1979 – 1989 aus der Sicht des
Books musikalischen Leiters,” Jugendmusikschule Bad Säck-
The Trumpet (London: B. T. Batsford 1988 / Portland OR: ingen 25 Jahre (Bad Säckingen JMS 1990), 53 – 61
Amadeus 1988) “The Romantic Trumpet [I]” HBS Journal 5 (1993), 213 –
East Meets West: The Russian Trumpet Tradition from the Time 261
of Peter the Great to the October Revolution with a Lexicon “The Romantic Trumpet II” HBS Journal 6 (1994), 110 –
of Trumpeters Active in Russia from the Seventeenth Centu- 215
ry to the Twentieth (Hillsdale NY, Pendragon Press 2004) “Trumpet” and other related articles, for The New Grove
(Bucina: The Historical Brass Society Series No. 4, ed. Dictionary of Music and Musicians, Second Edition, 29
Stewart Carter) vols. (London: Macmillan, 2001).
The Romantic Trumpet (in preparation) The Art of Baroque Trumpet Playing, 3 vols. Vol. 1: Basic Exer-
Articulations in Early Wind Music (with Bruce Dickey) (in cises, 1999; Vol. 2: Method of Ensemble Playing, 2000;
preparation) Vol. 3: A Beautiful Bouquet of the Finest Fanfares, 2000;
Historic Methods Timpani 2004 (Mainz: Schott).
Bach for Brass. Edited by Edward H. Tarr and Uwe Wolf.
Cesare Bendinelli, Tutta l’arte della trombetta (1614), Engl. Vol. 3 “Latin sacred music and oratorios” 2002;
transl. (Nashville, The Brass Press 1976) Vol 4 “Orchestral Works” 2004. (Stuttgart: Carus-
Girolamo Fantini, Modo per imparare a sonare di tromba Verlag). (other volumes in preparation)
(1638), facs. ed. with afterword and Engl. transl.
(Nashville, The Brass Press 1976) Recordings
Johann Ernst Altenburg, Essay on an Introduction to the Hero- * performed on historical instruments
ic and Musical Trumpeters’ and Kettledrummers’ Art ** Romantic trumpet
(1795), Engl. transl. with preface (Nashville, The Brass *Brandenburg Concertos, Collegium aureum/Leonhardt (Ger-
Press 1974) man harmonia mundi 05472 772792) 2 CDs
F. G. A. Dauverné, Méthode pour la trompette, Paris 1857 *Plaudite, sonat tuba FUX Martin Klietmann (T), Capella

the ITG column, Historical Instrument

Window, from 2000 to 2005.
After 34 years of teaching period
instruments, Tarr can count many pro-
fessional Baroque trumpet players
among his former students: Rolland
Callmar, Igino Conforzi, Niklas Ek-
lund, Guy Ferber, Reinhold Friedrich,
Paul Plunkett, Gilles Rapin, and Marc
Ullrich are just a few of the names
familiar to Baroque trumpet enthusi-
asts. Although he retired from the
Basel Conservatory and the Schola
Cantorum Basiliensis in 2001, Tarr
continues to teach at conservatories in
Frankfurt-am-Main and Karlsruhe,
Germany, and Lucerne, Switzerland.
While Baroque trumpet is offered at
many European schools, there are dif-
ferent systems in place at each institu-
tion. The program of study may in-
clude group rehearsals and masterclass-
L – R: ex-Bad Säckingen Trumpet Museum Director (1985 – 2004) Edward H. Tarr, es along with individual lessons. Some
ex-mayor (till 2004) and Museum founder Günther Nufer, and classes work primarily on fanfare-type
current Museum director and city band director Johannes Brenke. pieces, while others concentrate on
Photo Credit: Stefan Sahli of the Badische Zeitung in Bad Säckingen. duets; a more advanced group may

38 ITG Journal / January 2007 © 2007 International Trumpet Guild

 Savaria/Németh (Hungaroton HCD 31134) (LP: SLPD Music from Austria) Trumpet Ensemble & Orch. of the
31272, MC: MK 31272) Schola Cantorum Basiliensis / Edward H. Tarr, conduc-
*Vespro 1610, Monteverdi Jürgens/Harnoncourt (Teldec tor & soloist / Anthony Plog, 2nd solo Baroque trumpet
4509-92175-2) 2 CDs (Ars musici AME 3004-2)
*G. Torelli: Complete Trumpet Works, Gabriele Cassone, Per- *Courtly Trumpet Ensemble Music, Bengt Eklund’s Baroque
Olov Lindeke, David Staff, other Baroque trumpet Ensemble / Edward H. Tarr, conductor (BIS CD-217)
soloists / Orchestra della Cappella Musicale di San Petro- LPs
nio/Vartolo (Bongiovanni BG 5523/25-2) 3 CDs
**Verdi: Adagio (live recording of 1st performance of this Die Kunst der Trompeter (Columbia), USA release as The Art
newly discovered work, Feb. 1, 1997, + Torelli G. 9, of the Baroque Trumpet (Torelli, *Franceschini, *Charp-
Bach BWV 51 et al.) Orchesterverein Bad entier, *Altenburg, *Anon., J.F. Fasch, Händel), Con-
Säckingen/Polyak (Bad Säckingen Trumpet Museum, sortium musicum/Lehan (Nonesuch H-71317)
Postfach 1143, D-79702 Bad Säckingen) Baroque Masterpieces for Trumpet & Organ (Greene-Boyce,
**Plaisir d’amour (Romantic Trumpet Music) Svetlana Orud- Pezel, Prentzel, *Krebs, Stanley),Bengt Eklund, 2nd solo
jeva (piano), “Moscow Soloists” String Ensemble trumpet / Helmut Böcker, bassoon / George Kent, organ
(Christophorus CHR 4003) (Nonesuch H-71279)
Baroque Masterpieces for Trumpet & Organ Vol. 2 (*Fantini,
Trumpet & Organ, “The Duo” *Viviani, Pezel, *Krebs, *Telemann), Bengt Eklund, 2nd
* Italian Masterworks for Organ and Trumpet, Duo Irmtraud solo trumpet / George Kent, organ (Nonesuch H-71290)
& Edward H. Tarr / Niklas Eklund, 2nd solo Baroque *Baroque Masterpieces for Trumpet & Organ Vol.3 Marc Ull-
trumpet / Claudio Frigerio, Baroque cello (Christopho- rich, 2nd solo natural trumpet / George Kent, organ /
rus CHR 77145) Anne Apostle, cello (Nonesuch H-71356)
* The Golden Age of Spain, Duo Irmtraud & Edward H. Tarr Eine Festliche Soiree in Herrenhausen E. Tarr, solo trumpet,
(Christophorus CHR 4008) with W. Holy, R. Bodenroder, trumpets, Consortium
* Chorale Preludes by Bach Pupils, Duo Irmtraud & Edward musicum/Lehan (EMI SMC 91 118)
H. Tarr (Christophorus CHR 74524) *BACH: B Minor Mass (live from Tokyo Cathedral), Hama-
*The Silver Trumpets of Lisbon and Lusitanian Organ Music da (Adam AAC 1016-7)
(using 12 original silver trumpets belonging to the Por- *BACH: Orchestral Suites, Collegium aureum (deutsche har-
tuguese crown) Edward Tarr Trumpet Ensemble / Irm- monia mundi HM 30 949 XK)
traud Krüger, organ (MD+G L 3348) The Glory of Gabrieli, Vol. 1 & 2, Edward Tarr Brass Ensem-
Trumpet Ensemble ble; Gregg Smith Singers; Texas Boys’ Choir; The
Gabrieli Consort La Fenice, E. Power Biggs, organ;
*Barocke Trompetenmusik aus Österreich (Baroque Trumpet Negri (MS 7071, 7142)

work as a section on Bach repertoire. “Some things I do differ- ongoing research on Cesare Bendinelli. Although Tarr’s trans-
ently now. We have weekly classes in which everyone must lation and commentary on The Entire Art of Trumpet Playing
perform something: often a piece with harpsichord, or perhaps documents Bendinelli’s background as a musician, additional
an etude from Dauverné. Also, one semester we might bring in information has since emerged. “We now know that Bendinel-
a soprano, the next semester a bass. I came to the realization li was a diplomat, working for the Bishop of Cologne” he
later that more of this was needed.” began, connecting historical fragments into a fascinating view
In addition to his continued per- of an earlier world: “Did you know
forming and teaching, Tarr devotes
time to ongoing projects with his
“With his wide-ranging knowl- that Bendinelli’s daughter married
Galileo Galilei’s brother? He was a lute
Romantic trumpet history, the Bach edge of the music and its era, player. Their father, Vincenzo Galilei,
for Brass collection, and finishing the wrote an important musical treatise…”
Articulations book with Bruce Dick- Tarr’s comments enhanced each
ey. “The Duo” is planning a record- work, evoking vivid images of About the author: Leigh Anne Hun-
ing of music for Romantic trumpet, saker is associate professor of trumpet
cornet, and piano. other times and places.” at Hardin-Simmons University in Abi-
lene, Texas. On Baroque trumpet, she
Coda: Although the lessons and interview focused on the has performed with the Dallas Bach Society, the Southwest
Baroque trumpet, during the week the author enjoyed kaleido- Baroque Ensemble, and the Orchestra of New Spain.
scopic glimpses of Tarr’s many areas of scholarship. In a studio
filled with historic instruments and lined with floor-to-ceiling
bookshelves, he would often stop to pull out scores and parts The author thanks Mr. Johannes Brenke of the Bad Säckin-
with Bach’s handwritten notations, or a book in any of four or gen Trumpet Museum for providing newspaper clippings and
five languages to expound upon a point. With his wide-rang- photographs for this article.
ing knowledge of the music and its era, Tarr’s comments
enhanced each work, evoking vivid images of other times and Funding for study and travel was provided by the Cullen
places. At the end of the interview, the conversation turned to Foundation of Hardin-Simmons University.
© 2007 International Trumpet Guild January 2007 / ITG Journal 39
 HAYDN’S TRUMPET CONCERTO: THE TEMPO AND
ARTICULATION OF THE ANDANTE MOVEMENT
BY BRIAN MOORE
This article was reviewed and approved for publication by the ITG Editorial Committee.

T
his article is intended to provoke. I shall start with a of my study into Haydn’s Concerto, I decided to look at the
bald statement: I think the majority of modern per- tempi of various recordings, and how they might relate to
formances take the Andante in Haydn’s Trumpet Con- Haydn’s intentions. First, here is the evidence from recordings:
certo too slowly. Below, I shall set out my reasons for thinking Tempo measurements from recordings
this, and the implications for our understanding of the move-
ment. This article is a mixture of academic and personal obser- Performer See Date Andante
vations. As a trumpeter, I hope to be able to produce a person- Below 8th-note =
al interpretation, but one that is also true to the intentions of
André w 1963 78
the composer. So the academic in me asks the question: what
were Haydn’s intentions, and how can we know them? André w 1974 69
But first, a quotation: Berinbaum w 1971 72
The habit of playing records has its dangers. In Calvayrac w 78
turning on Columbia DX 933 I found myself listen- De Ley w 78
ing to a fragrant six-eight orchestral melody that Delmotte w 93
might have been left out of Haydn’s The Seasons by Dokshizer w 1979 72
mistake. After eight bars and a tonic close the Eklund a 2005 92
moment seemed to have come for the soprano to Eskdale a 1939 92
enter with a song about fields and flowers. Instead of Eskdale t 1945 106
which I was suddenly hit in the ear by a trumpet, and Eskdale a 1954 104
the shock was bad for my nerves. Apart from the
Friedrich a 1995 96
blare, and the palpable misfit, the tone and the tune
brought an unmistakable echo of that languishing Geisle w 1959 72
and undignified tearfulness so often wafted to our Hardenberger a 1986 80
senses by “songs of Araby” at a street corner. All of Hovaldt w 78
which is extremely unfair to that admirable trumpeter Immer a 1987 88
George Eskdale, who does an artist’s job with fidelity Jeannoutout w 1963 78
and skill. On looking up Haydn’s works I find no Kejmar a 1992 84
mention of a concerto for trumpet; but the list men- Krug w 1970 90
tions a concerto for clarino, and if this is the one Longinotti w 1958 78
played by Mr. Eskdale, all may yet be explained. No Marsalis a 1982 92
doubt the clarino, now a dictionary instrument, had Marsalis a 1994 96
an aptitude for soothing song that the trumpet lacks. Mertens w 1965 87
(McNaught 1939, 749).
Mortimer a 1946 92
This priceless quote from a 1939 review of Eskdale’s famous
recording of Haydn’s concerto is revealing for a number of rea- Nakariakov a 1993 80
sons. Not least is it fascinating for the naivety of the writer: it Preis w 1968 99
is difficult to imagine a time when Haydn’s greatest concerto Scherbaum w 1960 75
was unknown, even to the critics. It is also interesting to ask Schetsche w 1970 78
whether McNaught’s “innocent ear” was yearning for the Schneidewind w 1964 72
sound of the keyed trumpet—something that modern listeners Schwarz a 2005 80
are fortunate enough to be able to experience. I shall return to Smedvig a 1990 80
this quote later… but first, some personal observations. Steele-Perkins a 1986 76
I started to learn Haydn’s Trumpet Concerto about 28 years Steele-Perkins a 2001 94
ago, and, in turn, have been helping my students learn this Stevens w 1974 81
masterpiece. It is a piece of music, which, no matter how many
Stringer a 1967 104
times I play it or teach it, never loses its freshness for me. As a
teacher, I am fairly tolerant of different interpretations; I rarely Wallace a 1995 72
say, “I think that’s wrong.” However, it has long been my Wobisch a 1951 82
intuition that most performances of the Andante from Average 84.1
Haydn’s Concerto simply sound too slow: they sound wrong. (Sources of measurements: a: author; t: Trevenna 1945;
For an academic, however, intuition is not enough. As part w: Willener 1981b)
40 ITG Journal / January 2007 © 2007 International Trumpet Guild
 To return to McNaught’s quote from the beginning of this tempo cited by Malloch and Temperley.
article, his reference to an imaginary 6/8 song from The Sea- A perspective on this can be gained by considering Steele-
sons is highly apposite. For whilst this song does not exist, there Perkins’s (2005) comments on his 1986 recording, which has
are 6/8 songs in The Creation that bear strong resemblances to one of the slower Andantes of the sample:
the Andante of the Trumpet Concerto, and for these songs, we I think the problem was that, due to the choice of
do have some strong evidence of Haydn’s intentions. repertoire [for the disc], Tony [Halstead, the conduc-
Historic metronome marks are not without controversy, but tor] felt, and I went along with it, that there was no
there are strong arguments not to dismiss them entirely: really slow movement in the whole album, and that’s
Much of the history of music consists of hotly where it should be. (Steele-Perkins 2005)
argued opinions about what music actually consists This is revealing, as it exposes the tendency to think of the
of, arguments sometimes never to be resolved. Surely middle movement of the concerto as a “slow” movement,
in this sense, though, as long as everybody is guessing, whereas the evidence provided by metronome observations
guesses closer to the time of a music’s currency are at suggest this approach might be mistaken. Interestingly, two
least as valid as those of any late 20th-century musi- timings indicated in BBC materials cited in my June 2006
cologist. It must be emphasized that, like them or ITG Journal article (Moore 2006) suggest that the tendency to
not, metronome marks and associated forms of meas- take the Andante slowly might have developed since the early
urement […] are all the hard evidence we have about performances of the Concerto in England in the 20th Century.
tempos of the past. (Malloch 1993, 438) Eskdale’s performance of 1945 took 2' 50", which implies a
Included in Malloch’s tables of metronome observations of tempo of e = 106, whilst the anonymous “2½” marked in
Czerny and Hummel are a few 6/8 Andantes from the late Hamilton’s 1932 score implies a tempo of e = 120. These are
symphonies of Haydn and Mozart. These measurements show in line with the metronome speeds quoted by Malloch and
a narrow range of tempos, from e = 104 to 126. Two further Temperley.
markings by Neukomm are apposite. Neukomm was a pupil Related to the question of tempo is that of articulation. The
of Haydn, and added metronome markings to his piano reduc- famous edition by Ernest Hall (see my ITG article from June
tion edition (1832) of Haydn’s The Creation, in which he stat- 2006) consistently adds slurs to the thirty-second notes of the
ed his pedigree and that of his metronome markings: Andante. Many editions have followed this practice. However,
Having so often heard this work [The Creation] there is no indication that Haydn intended these passages to be
performed under the direction of its author, and hav- slurred; although Haydn does indicate some slurs in the solo
ing also, on many occasions, conducted it myself in part in the Andante, not once does he mark a slur over the thir-
his presence, I am enabled, I hope, to render a real ty-second notes. Ed Tarr and H. C. Robbins Landon, in their
service to the musical world by fixing (by the met- 1982 edition, argue persuasively that, as with most of the six-
ronome) the movement of all the pieces; several of teenth notes of the outer movements, and in common with
which have hitherto been frequently performed in a trumpet performance practice of the time (see, for instance,
time never intended by the composer. (Sigismund Altenburg 1974, p.91), Haydn would have expected these pas-
Neukomm, quoted in Temperley 1991, 237) sages to have been lightly tongued, with some kind of double
Here are the relevant metronome speeds cited by Malloch or doodle tonguing. If we combine the information on tempo
and Temperley: and articulation for the Andante, this movement becomes
Metronome speeds for 6/8 Andantes much more technically challenging—perhaps even more so
Composer Work e Source than the first and third movements. Again, interestingly,
Eskdale, in all his recordings, does tongue the thirty-second
Haydn Symphony no. 95 104 Czerny notes, despite his tempi being among the fastest in the record-
Haydn Symphony no. 96 116 Czerny ed examples.
Mozart Symphony no. 38 126 Czerny/Hummel It would be hard to argue against the Malloch’s rationale for
consideration to be given to historic metronome markings:
Mozart Symphony no. 40 116 Czerny/Hummel Overall, my object is not to build a system fully
Haydn The Creation, no. 8 120 Neukomm linking tempos and tempo words. I simply wish to
testify for the legitimacy of the kind of hard tempo
Haydn The Creation, no. 21 132 Neukomm evidence I have brought forward and to put it into
practice, so that we can begin to renew a sensitivity to
Robbins Landon (1977, 234) notes the relation between the areas of stylised feeling from the past which have
concerto’s Andante and No.8 of The Creation—Neukomm dropped from view. [...] We should put these [tempo]
gives the metronome marking of the latter as e = 120 (Tem- marks to use, at least experimentally, as keys to a
perley 1991, 238). Whilst great caution should be exercised in composer’s, and a time’s, expressive intentions. (Mal-
using such data (especially given the small sample of relevant
loch 1993, 443)
metronome markings given by Malloch and Temperley), it is
It is my contention that, in performing the Andante too
significant that the average tempo of the recordings is twenty
slowly, most modern performers distort its nature. Reviewing
percent slower than the slowest of the markings cited by Mal-
Steele-Perkins’s 2001 recording, Jonathan Freeman Attwood
loch. Indeed, the slowest tempo in the recorded examples
(2002) talks of the effect of hearing “music we thought we
(André in 1974) is less than 60% of the average tempo cited
knew.” Indeed, the performer who does challenge an accepted
by Malloch and Temperley; and even the average tempo of the
consensus takes a risk. Malloch’s rationale suggests that it is a
recorded examples is only 71% of the average 6/8 Andante
worthwhile risk.
© 2007 International Trumpet Guild January 2007 / ITG Journal 41
 So where does that leave us? I shall end this article with a ___1993. The Minuets of Haydn and Mozart: Goblins or Ele-
challenge: set your metronome to e = 120 and learn to play the phants? Early Music, 21:3, 437 – 444.
notes at this tempo, articulating the thirty-second notes gently McNaught, W.1939. Haydn’s Trumpet Concerto. [Record
but clearly. Then discover how to make it musical. I suggest Review]. The Musical Times, 80:1161, 749 – 750.
that the aim here is to make the thirty-second notes sound ___1940. Clarino and Trumpet. [Letter to the Editor]. The
unrushed. If you succeed in this challenge, I believe you will Musical Times, 81:1164, 83.
understand Haydn’s intentions in this movement somewhat ___1949. Haydn’s Trumpet Concerto. [Record Review]. The
better than you did before. You might find yourself fighting a Musical Times, 90:1272, 54.
lifetime of received “wisdom”—but surely that is a challenge Montgomery, D. 1992. Views, Reviews, and Nonviews: Two
worth facing if we are to understand Haydn’s masterpiece more Studies in Historical Performance Practice. The Musical
fully. Quarterly, 76;2, 264 – 282.
Moore, B. 2006. The Rebirth of Haydn’s Trumpet Concerto in
About the author: Brian Moore is a trumpet player and England in the Twentieth Century. International Trumpet
teacher in Exeter, England. A music graduate of Exeter Univer- Guild Journal, 30:4, 26 – 29
sity, he teaches at Exeter School and Exeter College, as well as O’Loughlin, N. 1983.Trumpeting Haydn. [Review of Tarr
directs several school and youth ensembles. His busy playing edition (1982)]. The Musical Times, 124:1686, 495.
schedule is divided between shows, orchestral, and big band Robbins Landon, H. 1977. Haydn: The Years of ‘The Creation’,
work. He is currently undertaking an MA in Music with the 1796 – 1800. London: Thames & Hudson.
Open University. This article on Haydn’s Trumpet Concerto is Smithers, D. L. 1978. The Baroque trumpet after 1721: some
derived from a project on the 20th-Century history of Haydn’s preliminary observations 2. Early Music, 6, 356 – 361.
Concerto. Moore’s research interests currently include the per- Steele-Perkins, C. 2001. The Trumpet. London: Kahn & Aver-
formance practice of the Count Basie Orchestra. Brian Moore ill.
can be contacted through EMail ([email protected]). ___2005. Interview with the author.
Tarr, E. 1996.Haydn’s Trumpet Concerto and its Origins.
Acknowledgement International Trumpet Guild Journal, 1996, 30 – 43.
This article is derived from a project, Haydn’s Trumpet Con- Tarr, E. & H. C. Robbins Landon. 1982. Trumpet and piano
certo in the Twentieth Century submitted as part of the author’s reduction. Vienna: Universal Edition.
MA in Music with the Open University. The author would like Trevenna, P. 1945. Score and parts. Manuscript copies, unpub-
to thank, in particular, Ole Utnes, Crispian Steele-Perkins, and lished. BBC Music Library, London.
Edward Tarr for their help and advice on this project. Temperley, N.1991. Haydn’s Tempos in “The Creation”. Early
Music, 19:2, 235 – 245.
Bibliography Utnes, O. 2005. Recordings of the Joseph Haydn Trumpet
Altenburg, J. 1974. Essay on an introduction to the heroic and Concerto.
musical trumpeters’ and kettledrummers’ art. 1795. Transl. http://abel.hive.no/haydn/Recordings_of_Haydn.html
by E. H. Tarr. Nashville, Tennessee: The Brass Press. Willener, A. 1981a. The Haydn Trumpet Concerto (Part 1)
Attwood, J. 2002. Classic Trumpet Concertos [Record Brass Bulletin, 35, 33 – 40.
review]. The Gramophone, April 2002. ___1981b. The Haydn Trumpet Concerto (Part 2) Brass Bul-
Bobel, D. 1975. A comparison of four editions of the Haydn letin, 36, 34 – 41.
trumpet concerto with the original manuscript. [Master’s ___1982. The Haydn Trumpet Concerto (Part 3) Brass Bul-
Thesis]. Bowling Green State University. letin, 37:1, 30 – 38.
Brown, P. 1990. Options: Authentic, Allowable and Possible in ___1990. Pour une sociologie de l’interpretation musicale: le cas
Performing Haydn’s The Creation. The Musical Times, du Concerto pour trompette de Haydn. Lausanne: Editions
131:1764, 73 – 76. Payot
Bullock, D. 1979. Articulations for the Haydn Trumpet Con-
certo. International Trumpet Guild Journal, 1979, 26 – 28.
Geiringer, K. 1955. Haydn: Trumpet Concerto in E-flat.
[Record Review]. The Musical Quarterly, 41:3, 402 – 404. ITG MEMORIAL
___1986. Konzerte für ein Blaseninstrument und Orchester.
[Music Review]. Notes, 42:4, 847 – 849.
SCHOLARSHIP FUND
Greene, W.T.1985. The Haydn trumpet concerto in perform- The Memorial Scholarship Fund was created to
ance. [Masters Thesis] San Jose State University. give ITG members an opportunity to contribute
Hall, E. 1944. Trumpet & piano. Piano reduction by Harold
Perry. London: Hawkes & Son.
to annual ITG Conference Scholarships. Mem-
Hamilton, H. 1932. Score and parts. Manuscript copies, bers will receive a specially designed ITG lapel pin
unpublished. London: BBC Music Library, for a donation of $75 or more. To donate to the
Lockspeiser, E. 1944.Haydn, Trumpet Concerto, edited and fund, send a check (write Memorial Scholarship
arranged by Ernest Hall. [Music Review]. Music & Letters, Fund on the memo line) to: David Jones, ITG
25:2, 121.
Malloch, W. 1988. Carl Czerny’s Metronome Marks for Treasurer, 241 East Main Street #247, Westfield,
Haydn and Mozart Symphonies. Early Music, 16:1, 72 – MA 01085-3307 USA.
82.
42 ITG Journal / January 2007 © 2007 International Trumpet Guild
 THE VARIED ARTISTIC LIFE OF DAVID WEISS
BY TOM ERDMANN

T
rumpeter, composer, arranger, and producer David form for younger artists including Stephen Scott, Leon Park-
Weiss has built a solid reputation for excellence in er, Winard Harper, and Rodney Kendrick. The excellence of
every musical arena he works. With talent as broad Weiss’s Blue Note gatherings led artists such as Roy Har-
as Weiss’s, it’s easy to see why fellow musicians would call grove, Mulgrew Miller, Jeff “Tain” Watts, Terence Blanchard,
upon the musical gifts that make him indispensable to the and Billy Hart, among others, to come, check out, and play
New York artistic community. Weiss is one of the founding with Weiss in what quickly became one of New York’s hottest
members and de facto voice for the New Jazz Composers after hours venues.
Octet (NJCO), about which noted critic Fred Jung wrote, As the ’90s progressed Weiss worked in a number of bands,
“The NJCO is one of the hippest things going in the Big both as leader and sideman, while exploring other musical
Apple these days.” As a trumpeter, interests. He expanded his palette,
his first solo album earn ed the taking on the role of producer for
highly coveted four-star rating a number of recordings as well as
from Down Beat, and his newest writing arrangements and tran-
recording, The Mirror, was voted scriptions for others. His best-
the #2 CD of the Year by Tony known work is perhaps his ar -
Hall in JazzWise magazine. In rangement of the theme song to
addition, noted critic Mich ael the 1994 – 1995 NBC series The
Holman has called Weiss, a “pol- Cosby Mysteries. To date his ar -
ished soloist,” and New York Times rangements/transcriptions have
critic Ben Ratliff hailed Weiss as appeared on more than 80 record-
among a small and select group of ings, including those by Abbey
New York-based artists who repre- Lin coln, Antonio Hart, Phil
sent, “the sound of the new jazz Woods, Freddie Hubbard, and
mainstream.” Famed critic Wil- Vincent Herring. Weiss’s compo-
lard Jenkins put it all together sitions for the NJCO are so good
when he wrote, “a skilled arranger, they were used to help him win
transcriber, and all-round coordi- the prestigious Chamber Music
nator, Weiss also brings righteous America Doris Duke Jazz Ensem-
trumpet chops to this potent ble Project: New Works Creation
mix.” and Presentation grant. He has
David Weiss was born and also earned other prestigious
raised in Queens before earning a grants including the American
music degree in 1986 at The Uni- Composers Forum’s Jerome Com-
versity of North Texas. Returning posers Commissioning Program.
to New York, he worked with Ray Today Weiss continues to work
Charles as well as many of the on a wide variety of projects in-
Latin, rock, top-forty, wedding, cluding work with the NJCO
and Haitian bands working the (whose first recording received a
area’s vibrant musical circuit. During this time Weiss contin- Critic’s Pick as one of the Top Five recordings of the Year in
ued to develop his trumpet chops by studying with hard-bop Jazz Times), leads his own band, works with other artists by
authorities and legends Tommy Turrentine and Bill Hard- arranging, transcribing and producing their projects, and
man. Weiss’s abilities led to his leading the after-hours ses- plays in the Trumpet Legends at 65 band with fellow trum-
sions at The Blue Note where he was able to provide a plat- peters Tom Harrell, Nicholas Payton, and Terrell Stafford.

Erdmann: Do you come from a musical family? wanna-be athlete. I would rather be outside than practicing the
Not really. I think there was an uncle of my mother’s who piano. I think the conversation went something like, “I don’t
played violin in shows. My grandmother made my mother want to play the piano anymore.” My mother countered with,
take piano lessons and my mother passed that on and made me “You have to play something.” So I said drums. I wasn’t listen-
take piano lessons. This was not for any musical reason, but ing to jazz, there certainly wasn’t any jazz in the household and
more in order to make sure I had a well rounded education. I was probably listening to Led Zeppelin at the time, hence the
Erdmann: How did you come to play the trumpet? drums. They seemed ideal. After that was rejected I said bass,
Weiss: I got sick of taking piano lessons. I was more of a but that meant electric bass and that was also nixed. I still, for
© 2007 International Trumpet Guild January 2007 / ITG Journal 43
the life of me, don’t know how the trumpet came up, but it Weiss: Well I didn’t enroll until the spring so I had some
did. I started to take lessons and played in the school band and time and came back to New York, but I didn’t know anybody
orchestra. I wasn’t playing it in any bands after school, but I who played jazz. The free guys had taught me that bebop was
had a synthesizer and I was using that after school in bands. At integral to the evolution of free, but I wasn’t very aware of
that time I still hadn’t heard the trumpet used in any way I bebop. I did have some names in my head and bought the 28
liked. By the end of high school I started to hear the trumpet, Modern Jazz Trumpet Solos book, found all of the records the
for the first time, in a way that meant something to me. It was solos were taken from and started to study. Dave also gave me
Eddie Henderson’s Sunburst that opened the gate. I was also some transcribed trumpet solos to work on. There was a Fred-
listening to some other fusion records of the time and liked die Hubbard solo that was included in the transcriptions, a
how that music could apply to the trumpet. I did, however, medium-up piece. I thought, “I’ll get the record and just read
start to play trumpet a little bit in the band I was in, in addi- through this.” After listening to just three notes of Freddie I
tion to synthesizer. My aspirations at the time were really into was totally lost. Obviously I had some work to do. I worked
photography and I ended up going to art school first. I had a hard, learned the solos, but was still into Don Cherry and was
darkroom in the basement of my house. I was photographing playing a cornet at the time. You could say I was unprepared
what I knew, football games and the like. I grew up by Shea for North Texas, but I knew those solos and ended up being a
Stadium and when I was really young, 10 or 11, we would go late bloomer. North Texas was not the musical situation I
out to Shea and watch the practices (New York Jets) after thought it would be and wasn’t really prepared for what they
school. I got to know the players as a 10-year-old fan. Later were, but I still had plenty to learn and since I was there I tried
they moved their practice facility to Hofstra University in to take advantage of the situation. I had great classes and
Long Island and I went out there as well. On weekends I played in big bands. There weren’t any real jazz music schools
would travel from Queens out to their Long Island complex in New York at the time. That all came post-Wynton (Mar-
and take pictures of them practicing. I also took photos at con- salis). There weren’t 20 jazz music schools in New York in
certs. Since I was into fusion I took pictures of Al DiMeola, 1983 when I was getting ready to go to college for music.
Jan Hammer, Weather Report, and all of the other concerts I Erdmann: North Texas is certainly proud of you because you’re
went to, as well as some artistic stuff. That was my goal at the prominently displayed on a North Texas Alumni web site.
time and I applied to an art school in California (California Weiss: That was done by one of the alumni, John Murphy.
Institute of the Arts). I was accepted and went there for half a He was a few years ahead of me and ended up going back to
year. They had an Electronic Music Department and I began UNT as a teacher.
experimenting by playing the trumpet with tape loops I had Erdmann: After you graduated you went back to New York.
made and then playing those loops at half-speed. This created Was this because you had just graduated and went home or was
low drones to play over. There wasn’t a jazz department there, there a deeper plan?
because it was an art school, but there were people into jazz. I Weiss: While at North Texas I eventually got a house with
got into free-jazz artists like Cecil Taylor and started to hear some other student musicians and we ended up playing all
jazz as a music that related to horns and the trumpet. There through the night. I would go home to New York during
was a little band I played in there where we played free. The breaks, for a week or two, though I stayed in Texas during the
school was into experimental music and that was why the elec- summers. While in New York I would study with John McNeil
tronic music studios were there. Morton Subotnick was there and Carmine Caruso and get loads of information to take back
so they had that kind of thing going. At that point I got sick to Texas to work on. My last year at North Texas I started to
of photography and figured I should learn something about get bold and began to sit-in at NY jam sessions and meet peo-
music. I came back to New York ple. I remember the Christmas
and took a course at The Cre- “…Haynes sent me to a Jaki Byard Big before I graduated I sat in with
ative Music Studio in Wood- Bill Hardman and took classes at
stock. It was full of avant-garde Band gig. This was my second week in the Jazz Cultural Theatre (JCT)
artists like George Lewis, Frank NY. It was fun, but he handed me only with Barry Harris. I was seeing
Lowe, and John Zorn. Jimmy more things. The JCT had a real-
Giuffre came by and talked to $7 after the gig. It was a door gig…” ly late Saturday-night/Sunday-
me about how playing free was morning jam session. One night I
interesting, but harmony and melody were cool as well. There saw Woody Shaw at the Vanguard, after having met him in
was a trumpet player there, Dave Buck, whose playing I liked Texas, and I introduced myself to him and he took me to a
a lot and who played like Don Cherry. Dave also turned me JCT jam session where he was going to play. There was a very
on to other players like Freddie Hubbard and people like that. young Kenny Garrett there, and I remember thinking,
Dave had gone to North Texas State University and was a real “Whoa!” It was intense. Bill Hardman was really nice and I
inspiration to me. Because of him I went to North Texas, but had some great positive experiences. After graduation I got in
for all the wrong reasons because there was nobody playing like the car with Craig Handy, who was going to school with me
Don Cherry at North Texas. Dave was a good trumpet player, then, and we went to NY. Some of the difficult parts of mov-
he really knew his stuff and there weren’t a lot of options, so it ing to NY were already taken care of since I was from NY. For
just made sense to go to North Texas. I finished the program example, I was able to walk into a pretty cheap apartment in
in the spring and applied to North Texas. Queens. I ran into Graham Haynes, who I knew, and Haynes
Erdmann: What was the experience, at what is now The Uni- sent me to a Jaki Byard Big Band gig. This was my second
versity of North Texas, like for you, especially since you went for week in NY. It was fun, but he handed me only $7 after the
reasons other than what they offered? gig. It was a door gig (you get a cut of the door) at the Jazz Cul-

44 ITG Journal / January 2007 © 2007 International Trumpet Guild

tural Theater. The second night I think I made $20 but I did- structure and the per-diem a lot of the guys didn’t want to tour
n’t care, I was playing with Jaki Byard. I met some other guys Japan, which was the last month of the year’s tour. But that
at a jam session and I got turned on to the wonderful world of was what I wanted to do. I was asked to sub, and it was my first
Latin, salsa, and meringue bands. They always have a great chance to be in Japan… I had always wanted to go there. Ray
need for trumpets and within two or three weeks of being in was an amazing talent and the band was fun. It was a good
NY I was in a band of that type. I was, at least, playing every band. Every night the big band would play two or three tunes
weekend and getting a little change in my pocket and then before Ray came on the stage, and you could get in the mind-
going to jam sessions every night somewhere in the city. set of forgetting what the gig was until Ray walked on stage.
Erdmann: During this period you studied with two extremely Then you realized you were playing with Ray, and that was
underrated trumpeters and I was wondering if you would talk cool. Sometimes he would take the same train as us and you
about your experiences with them? The first was Tommy Turren- would see lots of people pointing at him and you’d forget why
tine. until you, again, realized you were playing with Ray. Ray
Weiss: I met him at the JCT. He wasn’t playing at the time Charles was the consummate professional. I just saw the Ray
because, I think, he had broken his dentures. I remember play- Charles movie and there is a scene towards the end where Joel
ing a solo there and he followed me into a back Adams fined David “Fathead” New-
room. I knew who he was. He said, “Look, you’ve “Ray Charles was the con- man $50 for being five minutes late
got to phrase more. (Here David sings a “hard” to a rehearsal… let’s just say I know
swinging jazz line as sung by Tommy.) Not what summate professional.” his pain. I’m sure there were a lot of
you were playing, but (again a “hard” swinging former members who winced during
jazz line). You think I’m crazy.” Well of course I said he wasn’t that scene. Steady employment is always a beautiful thing and
and from then on he was either at the University of the Streets having the horn on your lips every day is important, so it was
or the JCT. I’d walk to wherever he was and he would play a good job.
piano. Turrentine would teach me tunes I had never heard You know, my goal, when I moved to New York, was to play
before, and have never heard since. He was an incredible piano with Horace Silver. It seemed to me, for the way I was playing
player. The guys from that era were so well versed in being able at the time, like a realistic goal. When I moved to New York,
to play any tune in any key on the piano as well as on their Horace and Art Blakey were the gigs you strived for, but Art
horn. They just sat down and did it. He showed me a lot of always scared me more (laughing). I first tried to get invited to
music. He didn’t really teach me what scales to use over what an audition when Horace was doing a record with Junior Cook
chords or anything like that, but he showed me a lot of music and Junior put in a word for me. People don’t know this, but
and played with me. He was a great writer and a great talent. he auditioned everyone for his band. Junior made the call for
Erdmann: The other teacher of yours during this time was Bill me in 1989 or 1990, but Horace had too many auditioning for
Hardman. him at that point, but he did say he wanted me to audition the
Weiss: I met Bill during Christmas of my senior year. I went next time. I was really bummed, but when I told some great
to one of his gigs. By the third set he was getting a little tired, trumpet players what happened, most had a story about audi-
walked to the bar, saw tioning and not getting
my trumpet and asked “Turrentine would teach me tunes I had never heard t h e g i g , i n c l u d i n g
me to sit in. When I Claudio Roditi. Later
moved permanently before, and have never heard since… The guys from in life Freddie (Hub-
to NY he would have that era were so well versed in being able to play bard) told me he had
sessions at his house auditioned for Horace
once or twice a week any tune in any key… They just sat down and did it.” at one point in his car-
and he invited me to eer and didn’t get the
these for the next year or two. Every time he had a gig he gig either (laughing). A few years later Horace was again hav-
would always invite me out to join him. He was playing a lot ing auditions and I got an invite, but then he got sick and the
with Junior Cook at the time. Sometimes I played one or two audition never happened. He is a really sweet guy and truly
tunes and sometimes I would play the entire third set. I played accepts his responsibilities as a jazz legend. He always encour-
with Bill a lot. He also had a treasure trove of tunes that he ages me to send him copies of my latest recordings and every
knew and he taught me those. Again, like with Tommy, Bill time I send him one he always calls and runs the CD down for
never gave me the this-scale-over-this-chord type of instruc- me, congratulates me, tells me what he likes and spends five or
tion, but he showed me music and gave me more chances to ten minutes telling me about the performance and my compo-
play. sitions. He’s always very supportive and positive toward me.
Erdmann: You’ve played and toured with a ton of musicians, He’s not really playing much today, but always wants to hear
and while there is no way to cover them all, I was wondering if my next recording. While I’ve never played with him I have
you’d tell the readers about your experiences playing with Ray thanked him on records for his encouragement.
Charles? Erdmann: You do a lot of arranging in New York. How did
Weiss: I only talked to Ray once for about two minutes. He you break into that field?
didn’t travel with or stay in the same hotel as the band most of Weiss: Purely by accident. I didn’t even get a good grade in
the time, but he has a presence and was always looming. I the one mandatory arranging course I took at North Texas
toured Japan with him. The band, at that point, was only (laughing). It goes along the same line as doing the salsa gigs
working six months of the year. They would start during May when I moved to NY. I had no idea how much I would have
or June and go until the end of the year. Because of the pay to diversify. I’m not schooled in arranging at all. Freddie (Hub-

© 2007 International Trumpet Guild January 2007 / ITG Journal 45

46 ITG Journal / January 2007 © 2007 International Trumpet Guild
© 2007 International Trumpet Guild January 2007 / ITG Journal 47
48 ITG Journal / January 2007 © 2007 International Trumpet Guild
bard) always talks about how I learned arranging at North riences. After that a couple of people asked me to produce
Texas and I have to say, “No, I’m not schooled at all. I’m just some things. Once I hooked up with Fresh Sound (Records) I
guessing.” He talks about how all he did was guess in his was asked to bring in some artists who were up and coming
arrangements, and that’s all I do. There is no difference. My and worthy of being recorded. I was able to pick some guys out,
arranging grew out of the transcribing work I did in college. produce their records, and introduce a number of artists to the
Craig Handy and I had a band in Texas that was a (Art Blakey world.
and the Jazz) Messengers kind of band and we transcribed all Erdmann: There was a period when you were leading the jam
of their literature from the period when Wayne Shorter and sessions at the Blue Note. That had to have been fun.
Freddie Hubbard were in the group. When I moved to NY one Weiss: It was pretty exciting and came about because of
of the guys I knew was Winard Har- Winard Harper. Philip Harper was leading the ses-
per and he gave me my first few gigs “My arranging grew sions for a while, before he went off with Art Blakey.
playing after hours at the Blue Note Then he gave the Blue Note gig to the saxophone
doing jam sessions. When the Harp- out of the transcribing player in the Harper Brothers, Justin Robinson. Then
er Brothers started to take off he work I did in college.” the Harper Brothers really took off. At the time I was
asked me to transcribe charts for going to the club almost every night to sit in. When
them. Out of that experience Vincent Herring and Carl Allen, Justin left to go on the road with The Harper Brothers the
who had a production company that did a lot of Japanese Blue Note gig was given to me. It was great to be able to play
dates, began to ask me to transcribe things for them. At some every night and there was a lot of young talent to draw on. It
point there were some bigger summit kinds of things and I was the type of gig where everybody who was coming
started to do those and all of sudden I’m arranging. It was through NY would come by and play. Roy Hargrove was in
never a goal or an intention. When the first Freddie Hubbard almost every night when he first moved to NY.
album came along (Monk, Miles, Trane and Cannon, MMTC) Erdmann: You alluded to it earlier, but could you tell the read-
that I was involved with, 1993 or 1994, Freddie had started to ers how the NJCO was formed?
have chop problems. I suggested a large ensemble for the Weiss: The Freddie Hubbard MMTC recording gave me an
recording in order to help buffer him. Bob Belden, Bob interest in writing for five horns, and then a year or two later
Mintzer and I were then hired to write the arrangements. That there was a Vincent Hering/Carl Allen production where, and
was my first big arranging gig. I think it was the Dreyfus label—a label not in NY that was
Erdmann: How did you initially meet Freddie Hubbard? trying to cash in on the young lions scene, asked them to pro-
Weiss: It was through the MMTC. Before that I was scared duce a bunch of different demo tapes of some of the young
to death of him. He was a larger than life figure. When it came guys coming up at the time. The label wanted to hear various
down to the little things on the MMTC dates, like who would artists and evaluate them for possible recording projects. The
pick up Freddie and bring him to the studio, I was always demos project got thrown to me, basically because Vincent
picked because I was the trumpet player. I would take him to and Carl didn’t want to be bothered with it (laughing).
rehearsals, recording sessions and the overdubbing sessions, Erdmann: Of course, if you didn’t have the ability the project
and out of that we became friendly. We talked throughout the wouldn’t have come your way.
year, but it took a few years before we put together the band to Weiss: True, but that is the life of a go-fer. Freddie told me
play with him. I didn’t even have the octet (NJCO) when I did to not worry about those things. He said, “Bob James used to
that first recording with Freddie. That record, however, helped hand out the music at my CTI dates and look at him now.”
develop the whole five-horn thing in my head. A couple of (Laughing) I know I recorded Greg Tardy and Xavier Davis.
years later, after I had Myron Walden was al -
heard some of the writing “With NJCO we kept fine-tuning the music and ready signing with some-
of the other guys who are body but I was talking to
now in the NJCO with everybody kept bringing in more and more him and Dwayne Burno
me, I said to them that we charts… if somebody brought in something that about my ideas, but when
should try to put a group we heard Greg and
together with five horns didn’t work we never saw that music again.” Xavier’s writing it all
where we could all write clicked together. It was
and arrange. After the first record came out, where we did one the five of us and we decided to make it a weekly rehearsal type
of Freddie’s tunes, I sent him a copy and from that point on he of thing. We found a trombonist, baritone saxophonist, and
and I have worked together. drummer to finish out the group, and then we all brought in
Erdmann: You also do a lot of producing in NY. I was wonder- material. We kept bringing in music and trying out different
ing how you broke into that side of the business? guys. We settled on James Farnsworth on bari and Andrew
Weiss: Because of all of the transcribing and arranging I was Williams on trombone pretty quickly. We went through about
doing I was always at the studio. I also did The Cosby Mysteries six or seven drummers before we settled on Nasheet (Waits).
with Craig Handy. Craig was in the recording room working With NJCO we kept fine-tuning the music and everybody
on the music and I had to be in the booth making sure every- kept bringing in more and more charts. There was some group
thing was recorded properly. I was just keeping my eyes and feedback, but it was much more of an unspoken thing where
ears open while the music was going on. When I was working if somebody brought in something that didn’t work we never
with Vincent Hering and Carl Allen sometimes they would be saw that music again. There was no talking about it, you could
playing on the sessions and they needed someone in the booth just sense if the composition/arrangement worked. Everybody
keeping track of things. My producing grew out of those expe- was on the same page. After a year of rehearsing we started

© 2007 International Trumpet Guild January 2007 / ITG Journal 49

 DAVID WEISS SELECTED DISCOGRAPHY

As A Leader 1997)
The Mirror (Fresh Sound New Talent, 2004) Alto Legacy—Alto Summit (Milestone, 1995)
Breathing Room (Fresh Sound New Talent, 2001) Rodney Kendrick—Last Chance For Common Sense (Poly-
gram, 1995)
With the New Jazz Composers Octet Freddie Hubbard—M.M.T.C. (Music Masters, 1994)
Walkin’ The Line (Fresh Sound New Talent, 2003) Rodney Kendrick—Dance World Dance (Verve, 1993)
First Steps Into Reality (Fresh Sound New Talent, 1999) Bheki Mseleku—Beauty of the Sunrise (Polygram, 1997)
As A Sideman Selected Producer Work
With Bob Belden Robert Glasper—Mood (Fresh Sound New Talent, 2004)
Shades Of Blue (Blue Note, 1994) New Jazz Composers Octet—Walkin’ The Line (Fresh Sound
When Doves Cry: The Music Of Prince (Metro Blue, 1993) New Talent, 2003)
Marcus Strickland—Brotherhood (Fresh Sound New Talent,
With Michel Blaise 2003)
Aise Comme Blaise (Antilles Mizik, 2000) Jeremy Pelt—Profile (Fresh Sound New Talent, 2002)
Myron Walden—Higher Ground (Fresh Sound New Talent,
With Bop City 2002)
Hip Strut (Hip Bop, 1996) Xavier Davis—Innocence of Youth (Fresh Sound New Tal-
ent, 2002)
With Tom Harrell Freddie Hubbard—New Colors (Hip Bop Essence, 2001)
Time’s Mirror (RCA, 1999) Marcus Strickland—At Last (Fresh Sound New Talent, 2001)
Mark Gross—Riddle of the Sphinx (J Curve, 2000)
With Freddie Hubbard Gregory Tardy—The Hidden Light (J Curve, 2000)
New Colors (Hip Bop Essence, 2001) Ralph Peterson—Back to Stay (Sirocco Jazz Unlimited, 2000)
Rodney Whitaker—Yesterday, Today & Tomorrow (Sirocco
Selected Arranging Work Jazz Unlimited, 2000)
Abbey Lincoln—Over the Years (Verve, 2000) New Jazz Composers Octet—First Steps Into Reality (Fresh Sound
Tim Hagans & Marcus Printup—Hubsongs (Blue Note, New Talent, 1999)

looking for gigs and got out. We never worked the band to at any time, about what note or what valve is needed. When I
death because it is, after all, an eight-piece band that has never first started all I practiced were scales, triads, and then frag-
been on a major label. ments (David sings a Clarke study-ish type of jazz pattern up
Erdmann: Your label, Fresh Sound New Talent, is, however, a scale). I practiced everything I could think of as well as any
considered by all jazz journalists to be one of, if not the, strongest permutation others gave me. I worked on as many permuta-
of the jazz boutique labels. tions as possible in order to make my playing
We is s: Fresh Sound really had a moment “Ultimately if you’re more interesting. You never want to be trip-
where they couldn’t do any wrong. Some of the ped up by not knowing something or having
records I produced for the label, Jeremy Pelt, going to do this you to slow down. It’s hard enough trying to think
Marcus Strickland, and Robert Glasper, who have to pay attention up things and you don’t want anything to be
has since been signed to Blue Note, plus The in your way.
Bad Plus and a number of other fine record- to the business side.” Erdmann: That brings up an interesting de-
ings I wasn’t involved in, all happened at once. bate in the jazz world right now, as to whether
Erdmann: Does the business side of music ever bother you? having classical chops, or a classical background, is important.
Weiss: No. Ultimately if you’re going to do this you have to Brad Mehldau debated it strongly in a recent issue of Down Beat.
pay attention to the business side. You have to have your name W ei ss : I never knew exactly what classical chops meant.
in print, you do need to get reviews and you have to have the When I went to North Texas people were labeled as jazzers.
label pushing your presence; that is if What does this mean? Do I roll
you’re going to work. I’m really proud of “Trumpet is trumpet. The more out of bed in the morning and just
my recent projects. start to play solos? Trumpet is
Erdmann: How do you work on improvi- you master the trumpet and the trumpet. The more you master the
sation? fingerings the more you can trumpet and the fingerings, the
Weiss: It’s changed over the years. Obvi- more you can get to what you need
ously you first need to learn every scale in get to what you need to get to.” to get to. Most so-called “jazzers”
every key and as many patterns as you can are amazing technicians. In college
in order to get your playing into a certain position so that circles those who play jazz tend to have the reputation of not
those things are an afterthought and you never have to think, having technique. I don’t know any so-called professional jazz

50 ITG Journal / January 2007 © 2007 International Trumpet Guild

 “Oh, he’s just using pentatonic scales.” There didn’t seem to
EQUIPMENT be anything unique there, so I didn’t use them past the point
of just having dexterity on the instrument. Now I’m employ-
ing double augmented scales. These more exotic scales have
Trumpet: Selmer 80-J with a Monette B6 mouthpiece. more to do more with fingering and dexterity than in actually
using them. Sometimes I can use these scales over poly-
Flugelhorn: Couesnon with a Kanstul DFL 5C chords… it’s a whole new thing for me. I’m getting back into
mouthpiece. the what-scale-over-what-chord, but now it’s a new group of
scales. Part of it is about making up my own scales. A lot of my
musicians who lack good technical facility. Freddie is an amaz- writing on The Mirror contains polychords having no defined
ing technician. Miles Davis had incredible technique. I defi- scale. You can’t listen to the chords and say immediately what
nitely faced that prejudice in college. I didn’t have the greatest works. I try to figure out a few scales that might work over the
technique because I was a late bloomer. I had only played the chord I’ve written or create my own scale. I’ve been applying
trumpet seriously for a year when I went to North Texas. I had those techniques to my playing a lot lately.
a lot of catching up to do, but I was pretty serious about mak- Erdmann: What advice do you have for young jazz musicians?
ing up for lost time. I never felt I needed to learn the classical Weiss: Practice, practice, practice. Learn all your scales, learn
repertoire, if that’s how you define classical training, but if part the technique of the trumpet, and transcribe a lot. Reading out
of classical training is gaining as much of books is all well and good, but if you
technique as possible and learning all “Reading out of books is all want to get to the bottom of things you
your scales in all the keys, well that’s have to transcribe. Not just solos, but
just technique. Everybody has to do well and good, but if you also tunes. You’ll learn to hear harmony
that. The first things I teach students want to get to the bottom of and chords better. You have to explore
are exercises, not jazz licks. I cover yourself. I’ve been interviewing Freddie
warm-up and flexibility first along with things you have to transcribe.” a lot because we’re working on a trum-
scales. pet method book. We would be looking
Erdmann: Back to improvisation. at an exercise in the Arban, and Freddie would say, “Well, I’ll
Weiss: Next I started to transcribe solos. First I played solos just make up my own stuff based on what is here.” He would
that were already transcribed, but it became quickly obvious make up his own exercise based off of the one printed so as to
that if you were really going to absorb this stuff and really exploit things he wanted to work on and sounds he heard.
understand what’s happening you have to transcribe it your- When he was learning he approached everything that way.
self. So then I obsessively began to transcribe solos. I started There is something to be said for this. If you learn a lick, you
with Clifford Brown. His clarity with regard to how he lays should make up your own variations based on that lick. Don’t
out chords and voice leading is great. Probably the guy I just stop at the printed exercise; the printed exercise should be
transcribed the most was Kenny Dorham because his harmon- the starting point.
ic language, like his tri-tone substitutions, is pretty intense.
These days I still transcribe things out of curiosity but lately About the author: Thomas Erdmann is director of the sym-
I’ve been working on figuring out more exotic scales. For the phony orchestra and professor of music at Elon University.
first time I’m learning pentatonic scales. I always knew them Erdmann has had four books and over 70 articles published in
and knew about them but I didn’t want to learn them because journals as diverse as Currents in Musical Thought, Journal of
they have such a distinct sound that I didn’t want to use in my the Conductors’ Guild, Women Of Note Quarterly, Saxophone
playing. I wanted to avoid having people roll their eyes and say, Journal, Jazz Player, and the ITG Journal.

ITG HONORARY AWARD AND ITG AWARD OF MERIT

The ITG Honorary Award is given to individuals who have made extraordinary contributions to the art of trumpet play-
ing through performance, teaching, publishing, research, and/or composition. The tradition has been to award persons
toward the end of their careers. Honorary Award recipients include Maurice André, Louis Armstrong, Mel Broiles, Clifford
Brown, Vincent Cichowicz, Miles Davis, Timofei Dokshizer, Armando Ghitalla, Harry Glantz, Adolph Herseth, Robert
King, Clifford Lillya, Rafael Méndez, Robert Nagel, Renold Schilke, Doc Severinsen, Edward Tarr, Clark Terry, William
Vacchiano, and Roger Voisin.
The ITG Award of Merit is given to those individuals who have made substantial contributions to the art of trumpet play-
ing through performance, teaching, publishing, research, composition, and/or support of the goals of the International Trum-
pet Guild. Award of Merit recipients include William Adam, Leonard Candelaria, Charles Colin, Raymond Crisara, Kim
Dunnick, Stephen Glover, Charles Gorham, Anne Hardin, John Haynie, David Hickman, Stephen Jones, Frank Kaderabek,
Veniamin Margolin, Gordon Mathie, James Olcott, Leon Rapier, and Anatoly Selianin.
To nominate someone who has made a significant contribution to the trumpet world, send the nominee’s biography and
a rationale for his/her nomination to ITG Vice President William Pfund, 35629 WCR 41, Eaton, CO 80615-
8910; EMail [email protected]

© 2007 International Trumpet Guild January 2007 / ITG Journal 51

 THE 2006 INTERNATIONAL BRASS SYMPOSIUM
IN TRURO, ENGLAND
BY RANDALL TINNIN

I
t was my pleasure and good fortune to attend the Inter- The conference was the perfect size to allow all of the par-
national Brass Symposium, held at the Truro School, ticipants to interact with and really get to know each other
Truro, England, August 20 – 26, 2006. The confer- and the featured artists. Morning and afternoon sessions
ence featured Michael Laird, of the Academy of St. Martin- focused initially on trumpet lectures and master classes, in
in-the-Fields orchestra, faculty of The Royal Academy of which everyone had an opportunity to play as a soloist and
Music and Birmingham Conservatory, author of The Brass- as part of the ensemble. As the week progressed, the morn-
WorkBook (a method for advanced players to begin on natu- ing sessions were still master classes, but the afternoon ses-
ral trumpet), and formerly piccolo trumpeter for the Philip sions were rehearsals in preparation for the final concert on
Jones Brass Ensemble; and Keith Johnson, Regents Professor August 25 at St. Paul’s Church in Truro. In addition to the
at the University of North Texas, author of The Art of Trum- master classes, Eric Swisher of Murray State University and
pet Playing, and Brass Performance and Pedagogy. The IBS Randy Tinnin of the University of North Florida presented
hosted trumpeters from throughout the US and the UK, as a joint trumpet recital on Wednesday, August 23, in St.
well as one participant from Dubai. Paul Thomas, a free- Paul’s Church. Leigh Anne Hunsaker and Randy Tinnin
lance trumpeter in England, organized and hosted the event. presented papers.

Michael Laird ban’s Method pp. 28 – 31 in B-flat, A, C, and B-natural, slowly

The opening session on Monday morning began with enough not to make any mistakes. This sounds like an easy exer-
Michael saying, “Our job is to play simple music at a high cise, but the point is to practice playing without any mistakes, in
standard. This informs our practice and warm-up.” He pro- keeping with his earlier point that our job is to play simple
ceeded to present strategies for effective practice, focusing on a music at a high standard. This type of practice refines our abili-
few simple concepts. First, he talked about breathing, and the ty to focus on the fundamental elements of trumpet playing.
benefit of using breathing tubes. He began with various exer- Laird also recommended setting specific goals by identifying
cises just breathing and blowing, but also incorporated buzzing what our strengths are and building on them. In order to work
into the tube. on production issues, he suggested practicing an F scale in
Laird also demonstrated practicing the same passage with an whole notes, first loud and then again softly. This will point
infinite number of articulations, keeping in mind that conduc- out where the production issues are, while providing an oppor-
tors have a knack for finding the tunity to address them. He also rec-
exact tempo that is too slow to dou- ommended that we keep a log of
ble-tongue, and too fast to single- specific issues, so that our progress
tongue. These strategies were dis- would be evident.
cussed again in Thursday’s session With regard to articulation, Mich-
on “Little Stuff.” Assuming that the ael suggested spending time practic-
“Big Stuff” is air and listening, “Lit- ing scales on the B-flat trumpet, uti-
tle Stuff” consists of the things that lizing different articulations. In other
are often neglected, and can cause words, we should vary the phrasing
us to make mistakes. The first thing of the scales (slur 2, tongue 2; slur 3,
covered was fingers and hand posi- Attendees at the International Brass Symposium with tongue 1; etc.), and also the length,
tion. Michael recommended that Michael Laird and Keith Johnson, at St. Paul’s Church attack, and style of tonguing. He re-
we hold the horn the same way each ferred to this as fun with scales.
in Truro, England In discussing endurance, the
time, with the pinky in the hook to
allow us to hold the horn with the right hand while we change amount and pacing of our practicing, he shared a conversation
mutes. In this way we can avoid taking the horn down, and so he had with Sergei Nakariakov, whose practice approach is sim-
we can make the mute change quickly. The tips of the fingers ply this: play seven minutes, rest seven minutes, play seven min-
should be on the valve caps. He also suggested that we learn utes, rest seven minutes—all day. The rest interval should per-
Clarke’s second technical study with alternate third valve fin- haps increase as the day progresses, but the interval of playing
gerings. The next topic was tonguing, specifically multiple time remains at seven minutes. This approach was inspired by
tonguing. Laird suggested practicing in alternate orders when the fact that Nakariakov was not progressing, and even seemed
double and triple tonguing, depending on the intervallic skips. to be going backwards in his playing as a result of practicing
Another book suggested by Michael was Teaching Brass, by constantly throughout the day without rest. He makes the point
Kristian Steenstrup. that after about seven minutes, our concentration begins to fade,
At a later session, Michael discussed strategies for practicing and as a result, our practice becomes less effective. It is interest-
ing to note that Keith Johnson made a similar point, referring to
© 2007 International Trumpet Guild
and developing better concentration. He suggested working Ar-
52 ITG Journal / January 2007
a Time Magazine article in which Maurice André stated that he listening skills through sight singing, making the point that we
practiced for 15 minutes, rested for 15 minutes, practiced for 15 are potentially our most critical teacher. Also, what we listen
minutes, rested for 30 minutes, and so on throughout the day, for is what our body will most readily give us. His thoughts on
with the interval of rest increasing by 15 minutes each session. posture emphasized height, openness, and mobility. With
Michael outlined for us the resurgence of the natural trumpet, regard to breathing, he made the point that our lung capacity
beginning with the instrument designed by instrument maker is fully developed at age 26, and then begins to decrease. We
Helmut Finke and trumpeter Walter Holy, based on the trum- can, however, keep our lung capacity if we work at it. Keith
pet held in E.G. Haussman’s portrait of Gottfried Reiche. The also emphasized the use of the Breath Builder breathing tube,
instrument made by Finke and Holy had three holes, or vents, and said that he generally has his students start every lesson by
that when opened, altered the pitches of the 11th and 13th har- taking 12 breaths on the tube, concentrating on a full, flowing
monics, and made the upper register more secure. He went on breath, with no hesitation between inhalation and exhalation,
to describe his experimentation with bell-front trumpets, and listening for an “Ah” sound on the inhalation and “Tu” on the
the development of the three-hole (German) and four-hole exhalation. He described a good breath as causing a “cold spot”
(English) systems. He also showed us several varieties of mouth- at the back of the throat upon inhalation.
pieces ranging from authentic Baroque to modern replicas, as Johnson’s suggested warm up would include:
well as some with replica rims set on modern mouthpieces. • Breathing Tube—12 breaths
Laird then worked on J.S. Bach’s Cantata 51 on Baroque • Mouthpiece Playing—simple flow study patterns
trumpets. Students who were so inclined played for the class, • Flow Studies (Vincent Cichowicz)
and were given feedback from Laird. He addressed both stylis- • Advanced Flow Studies (Herbert L. Clarke)
tic concerns and strategies for practice. He suggested that the • Articulation
opening section be practiced in two measure sections. First, • Flexibility/Articulation later in day
play the opening arpeggio slowly, and then repeat the section Johnson also discussed how or why to practice, and quoted
four times in a row. Do the same thing on each set of two Bud Herseth as saying, “Never practice, always perform.” He
measures, and then combine two sections, then three, until emphasized the importance of striving for a beautiful sound at all
you can play the entire opening. In terms of style, Michael sug- times, as well as concentrating at a high level when practicing. He
gested two articulations: legato for the sixteenth notes, and also emphasized the importance of rest in practicing. Keith also
staccato for the eighth notes. This is the accepted performance discussed setting practice goals, keeping in mind the pursuit of
practice today in early music ensembles; that is, play the short long-term success through practicing with purpose, persistence,
notes long, and the long notes short. and patience. He offered the following outline for goal setting:
We had the opportunity to spend a session working on J.S. • Think in correct generalities
Bach’s Christmas Oratorio, dividing into sections of three nat- • Think concepts rather than specific muscular behavior
ural trumpets, and taking turns playing through each move- • Plan your practice day
ment. In addition to working on the choruses featuring the • Good listening and good production = accuracy
entire trumpet section, we also worked on the eighth move- • Good production and extended duration = endurance
ment of the Cantata #1, which is an aria for bass voice with • Good production gradually extended = upper register
solo trumpet obbligato. Michael reinforced the style used in development
early music performing ensembles today; that is, long notes • Product orientation rather than analysis = better consis-
played staccato, short notes played legato. He also recom- tency
mended Bach’s Orchestra, by C.S. Terry as informative reading. The International Brass Symposium was a great experience.
We were also very fortunate to get an introduction to cornett. It provided a unique opportunity to learn from two great pro-
Michael had two cornetts with him: one made of wood and one fessionals, and also to perform with them. I have tried to give
made of resin, which is considerably less expensive. He an overview of the conference in this article, but there is no way
explained that the fingerings are the same as a recorder, using to accurately communicate the content of what was taught, or
the thumb and four fingers to cover the holes. He had several the impact it had on the participants. Players who are interest-
mouthpieces available, some of the “acorn” variety, which are ed in playing Baroque trumpet should consider this opportuni-
quite small like the originals, and one designed for him resem- ty. It was a nice balance of modern and Baroque trumpet play-
bling a trumpet mouthpiece, and is easier for trumpet players ing. Conference organizer Paul Thomas can be contacted via
to use. He mentioned that Jeremy West, of His Majesty's Sag- EMail ([email protected]).
butts and Cornetts, had written a method book for cornett, and
suggested that we contact him if we were interested in purchas- About the author: Randall Tinnin (Rutgers University,
ing a cornett, mouthpiece, and/or method book. West can be D.M.A., Juilliard, M.M., and the University of North Texas,
contacted via EMail ([email protected]). B.M.) is assistant professor of trumpet and the director of the
Brass Ensemble at the University of North Florida. An active
Keith Johnson
soloist, Tinnin has appeared throughout the US, and won the
Keith Johnson began his first master class on trumpet pedagogy 2006 North American Brass Band Association Solo Contest.
by sharing his thoughts on how to listen to a trumpet clinic. He New York area engagements include appearances with the
emphasized two questions to keep in mind: First, does it make Orchestra of St. Luke’s, Queens Philharmonic, and on
sense? That is, does it represent the basic concepts of brass play- WQXR-NY radio broadcasts. Early music appearances include
ing shared by accomplished players? Second, can it be encapsu- the American Bach Society, San Francisco Bach Choir, St.
lated, or can it be applied personally and taught to others? Bartholomew’s Chamber Orchestra, and the NYC chapter of
Johnson then emphasized the importance of developing our the Early Music Foundation.
© 2007 International Trumpet Guild January 2007 / ITG Journal 53
 HISTORICAL INSTRUMENT WINDOW
SABINE K. KLAUS, COLUMN EDITOR
If you would like to submit a photo and historical data, please contact Sabine K. Klaus, Historic Instruments Editor, P.O. Box
190, Landrum, SC 29356, USA; [email protected]

The King Liberty Model B-flat trumpet divided in half!

Miniature King Liberty and regular-size Silvertone King
Liberty Model no. 1050 trumpet by H. N. White, Cleveland,
Ohio, made ca. 1931 and 1932/33. Joe and Joella Utley
Collection, National Music Museum, Vermillion, SD, cat.
nos. 7301 and 6802
(Photo: Mark Olencki, Spartanburg, SC)

This miniature trumpet by H. N. White (serial

#134251) was made around 1931 in Cleveland,
Ohio. The tubing is half the length of a normal B-
flat trumpet and the bore is 0.311” or 7.9 mm. It
comes with a small silver mouthpiece stamped H.
N. WHITE CO. / M / O.
Between 1928 and 1932 H. N. White produced
about 100 miniature trumpets following the King
Liberty model. About a third of them survive to the
present day. Probably manufactured originally for
advertising purposes, these mini trumpets were fully
playable instruments of about half the size of a nor-
mal B-flat trumpet, playing an octave higher.
Before modern piccolo trumpets were widely
available in the US, and prior to the revival of the
natural trumpet, these miniature trumpets were
occasionally used for the performance of Baroque
pieces. Louis Davidson apparently used one for the
performance of Bach’s Brandenburg Concerto #2
with the Cleveland Symphony Orchestra in 1943.
Other famous trumpeters who owned a miniature
King include Bernard Adelstein, Samuel Krauss, and
Rafael Méndez.
You can visit the National Music Museum and
Utley Collection online at their web site
(http://www.usd.edu/smm/Utley.html).

54 ITG Journal / January 2007 © 2007 International Trumpet Guild

 HEALTH AND AWARENESS
KRIS CHESKY, COLUMN EDITOR
Ideas and suggestions relating to health and “wellness” issues should be directed to: Kris Chesky, Health and Awareness Editor,
Texas Center for Music and Medicine, 3500 Camp Bowie Blvd., Fort Worth, TX 76017 USA; [email protected]

HEALTH PROMOTION IN SCHOOLS OF MUSIC:

INITIAL RECOMMENDATIONS*
BY KRIS CHESKY, PH.D.; WILLIAM DAWSON, M.D.;
AND RALPH MANCHESTER, M.D.,
FOR THE HEALTH PROMOTION IN SCHOOLS OF MUSIC PROJECT

T
he Health Promotion in Schools of Music (HPSM) maries by various working groups.
Project is a collaborative effort between the Univer- The ideas expressed in this document, and many others,
sity of North Texas System and the Performing were discussed and written about before, during, and follow-
Arts Medical Association and includes professionals from ing the HPSM conference in September/October 2004. This
both performing arts medicine and music. HPSM repre- presentation is a continuation of these activities and does not
sents a unique set of partnerships of over 20 professional represent a summary. The following recommendations were
organizations. corroborated by the Board of Directors of the Performing
Lists of participating individuals and organizations are Arts Medicine Association in the fall of 2005 and then pre-
posted on the HPSM web site (http://www.unt.edu/hpsm). sented to and reviewed by the Executive Committee of the
The web site also contains background information, includ- National Association of Schools of Music in fall of 2005 and
ing videos of all HPSM conference sessions, along with sum- again in the spring of 2006.

Background coherent and integrated continuum of experiences for stu-

The primary goal of the Health Promotion in Schools of dents. In order to be effective, Prevention Education must go
Music (HPSM) Project is to assist schools of music to prevent beyond simply “delivering” instruction or “disseminating”
information and must address issues that affect music students’
occupational injuries associated with learning and performing
values, beliefs, and motivations.
music. With this goal in mind, a national conference was host-
The following HPSM consensus-based declarations and rec-
ed in the fall of 2004 to connect health care experts with indi-
ommendations provide the basis for action. The materials are
viduals and organizations involved in the education of musi-
designed for consideration by schools of music administrators
cians.
and faculty as suggestions for creating better environments and
Summary improved educational practices with regard to professional
HPSM recognizes fundamental challenges in responding to health of music students and the prevention of performance
the health risks associated with learning and performing injuries.
music. In addition to current research showing that young Declarations
musicians enter college with existing problems, the underlying
• Performance injuries are preventable. A holistic approach
physiological and psychological mechanisms for performance
that encourages wellness and personal responsibility is
injuries are multidimensional and involve both individual and
necessary for prevention. Schools of music should focus
music-related variables as well as a myriad of social, environ-
on Prevention Education in addition to supporting efforts
mental, and cultural factors. Because of this complexity,
directed at treating diseases once they have occurred.
HPSM recommends Prevention Education and Intervention
as the primary approach for schools of music to address these • Schools of music do influence student behaviors through
problems. factors such as collective values, beliefs, and actions. These
HPSM recognizes the need for a common and unifying factors need to be considered and modified as crucial first
framework that consolidates an academic agenda that focuses steps toward reducing the rate and severity of performance
on individual knowledge, responsibility, and action with a injuries. A health promotion framework offers a common
© 2007 International Trumpet Guild January 2007 / ITG Journal 55
 philosophical and practical basis for such efforts and 2. Develop and Offer an Undergraduate “Occupational Health”
would allow for effective and sustainable prevention-ori- Course for All Music Majors
ented educational efforts. The primary role for all schools of music is education. Pre-
vention education is the foundation for injury prevention. At
• Without diminishing the concerns for musculoskeletal, a minimum, schools of music should offer at least one intro-
vocal, and mental health, schools of music should recog- ductory-level undergraduate course that covers the occupa-
nize that Noise-Induced Hearing Loss is a widespread and tional health concerns related to music.
serious public health issue and that music is always impli-
cated as a causal factor. This problem receives little or no 3. Educate Students about Hearing Loss as Part of Ensemble-
recognition in schools of music. A high priority strategy is Based Instruction
needed for informing all music students about the risks for Using scientifically derived protocols developed by the
noise-induced hearing loss. National Institutes of Occupational Safety and Health
• Because many of the physical, psychological, and socio- (NIOSH) and endorsed by the American Academy of Audiol-
logical determinants for performance injuries are well ogy (AAA), National Hearing Conservation Association
established before young musicians attend college, (NHCA), and National Institute of Deafness and Commu-
schools of music must prepare health-conscious music nicative Diseases (NIDCD), experts agree that music students
educators and produce injury-free musicians. Music are at risk for hearing loss and that they should be routinely
education faculty must acknowledge the possible nega- informed and educated as part of ensemble-based instruction.
tive consequences of learning and performing music and Research suggests that 30 to 50% of musicians report prob-
prepare future teachers accordingly. lems with hearing loss. For the musician, hearing loss can lead
to very serious personal and professional consequences, includ-
Recommendations for Action ing possible career-ending outcomes because of the potential
1. Adopt a Health Promotion Framework perception problems and permanent tinnitus.
The World Health Organization (WHO) was established in Daily sound exposures for most music students are com-
1948 and defines health as a complete state of physical, men- posed of two or more periods of ensemble participation,
tal, and social well-being, not just the absence of disease. The together with other sound-producing activities, such as per-
health promotion orientation grew out of the discoveries that sonal practice time, studio lessons, section rehearsals, academ-
show many factors such as social norms, cultural values and ic and professional performances, and other academic and
beliefs, perceived stress, quality of support, and environments leisure listening activities. The combined effects of such expo-
play essential roles in the quality of a person’s health. sures must be considered in establishing and minimizing risk,
Health promotion as an organized field can be traced to rather than focusing on the effects of individual events.
1974 when the Canadian government identified health pro-
motion as a key strategy aimed at informing, influencing, and 4. Assist Students through Active Engagement with Health Care
assisting both individuals and organizations so that they will Resources
accept more responsibility and be more active in matters Music students need to know when and where to go for
affecting mental and physical health. In 1986, the WHO held help. Directors of student health resources, including student
the first International Conference on Health Promotion, health centers, speech and hearing centers, mental health
where the Ottawa Charter for Health Promotion action plan counseling centers, and others need to know that music stu-
was created. The focus of this plan was to promote the creation dents may have unique and challenging health situations and
of health-centered settings that enable people to have increased that there are resources and performing arts medicine experts
control over their health and its improvement. willing to help if needed.
With the overall aims of embedding within an organization Details for Action
an understanding and commitment to holistic health and the
As first fruits of this project, HPSM offers a general strategic
motivation to develop its health-promoting potential, the set-
framework for schools of music to become settings for health
tings-based approach to health promotion has led to several
promotion. HPSM also offers recommendations for practice
international movements, including Health Promoting Cities,
and priority initiatives, including the urgent need to address
Hospitals, Schools, and Universities. the risk for hearing loss among music students and for music
Why Health-Promoting Schools of Music? Faculty within educators to prepare future teachers in Prevention Education.
schools of music, particularly those with expertise in music per- HPSM recognizes that each school of music is unique and
formance, music education, pedagogy, and conducting, repre- understands that there is a need for quality teaching materials
sent the primary channels for changing how music is taught designed to support these recommendations. The goals of
and played in order to reduce performance injuries. Music fac- HPSM include the ongoing development of models for imple-
ulty, more than any other group, embody the critical determi- mentation along with support materials for use in various edu-
nants for establishing social and cultural values and beliefs that cational contexts.
are so important for influencing students. Music school faculty In partnership with the Performing Arts Medicine Associa-
need to become substantially involved in the prevention of tion, HPSM will use the Internet to house and disseminate
injuries. Interdisciplinary and collaborative strategies with various resources, including short papers on health issues for
groups and individuals outside of music need to be initiated. music students, DVD or video information, or other sets of
However, reliance on these outside professionals without the instructional materials.
essential involvement of music faculty will ultimately fail.
Continued on Page 59
56 ITG Journal / January 2007 © 2007 International Trumpet Guild
 ITG YOUNG ARTIST AWARD
JEAN MOOREHEAD LIBS, CHAIR

Nominations for the Young Artist Award are accepted throughout the year by Jean Moorehead Libs, Young Artist Award Chair,
2619 Essex Rd, Ann Arbor, MI 48104, USA; [email protected]. For more details, please visit the ITG Web Site at
http://www.trumpetguild.org/resources/yaa.htm

SIMON BOSCH
The January 2007 Young Artist
Award is Simon Bosch from Love-
land, Colorado. Simon began his
study of the trumpet at age 8 under
the guidance of Alan Taylor. As a
high school student he was privi-
leged to study with William Pfund,
Prof. Emeritus, Northern Colorado
University.
As a four-year member of the
Loveland High School Band pro-
gram conducted by Gary Hall,
Simon performed with the school’s
wind symphony, jazz band, march-
ing band, brass choir, and advanced
brass quintet. During his high
school career he was also selected to
be a two-year member of the Col-
orado All State Band, The Colorado
University Honor Band, and a one-
year member of the Colorado All
State Jazz Band.
Among his numerous high school
awards Simon received the Louis
Armstrong Jazz Award and two con-
secutive ITG Conference Scholar-
ships for the under-18 division.
While attending the 2005 and 2006
ITG conferences Simon participated
in the Youth Solo Competitions. Mr.
Bosch distinguished himself further
as the Loveland Associated Veterans
Honor Guard Bugler, serving in this
position for three years.
In addition to his music accom-
plishments Simon worked year
round at a grocery store and at two
part-time jobs (summers) landscap-
ing and installing sprinkler systems.
Capping off his summer experiences
he participated in a church youth
group mission trip on an Indian
reservation in Cortez, Colorado.
Simon is currently in his freshman year as a music education major at Baylor University where he studies trumpet with Wiff
Rudd.
In recognition of his outstanding talent, ITG will provide Simon Bosch with a complimentary one-year membership.

© 2007 International Trumpet Guild January 2007 / ITG Journal 57

 ITG PROFILE
LAURIE FRINK, COLUMN EDITOR

This column is dedicated to profiling interesting people within the ITG membership who bring something special to the trum-
pet world. If you have suggestions for this column, please contact: Laurie Frink, ITG Profile Editor, 240 West 98th #7G, New
York, NY 10025 USA; [email protected]

JON NELSON & BRIAN MCWHORTER OF THE MERIDIAN ARTS ENSEMBLE

Jon Nelson holds a B.M. from The Juilliard School
where he studied with Mark Gould. He has also stud-
ied with Antoine Cure in France. He has served on
the faculties at Princeton University, the Hartt School
of Music, Boston University, and Middlebury Col-
lege. Currently assistant professor of music at the
State University of New York at Buffalo, Jon main-
tains an active career as performer, producer, and col-
laborator. A founding member of the Meridian Arts
Ensemble, he has also served as principal trumpet for
the Festival Aix-en-Provence de Musique in France
under the direction of Pierre Boulez, and the Miner-
ia Festival Orchestra in Mexico City. Jon has also per-
formed with the Buffalo Philharmonic, Mexico City
Philharmonic, STX-Xenakis Ensemble, Atlantic
Brass Quintet, La Camerata de las Americas, Bang on
a Can, and the Chamber Music Society of Lincoln
Center. His commercial duties include performances
with Duran Duran, LaMonte Young, Marisa Monte,
and Tom Pierson.
Jon has been instrumental in the creation of new
repertoire for the Meridian Arts Ensemble. This work
led him to establishing important relationships with
such notable composers as Frank Zappa and Milton
Babbitt. In addition to having recorded for Channel
Classics Records, Barking Pumpkin, BMG/RCA,
Bridge, Cuniform, Peer, New World Records, Van-
denburg, and CRI, he and his colleagues of the MAE
founded 8bells Records (currently producing a series
of recordings and videos of contemporary brass
Jon Nelson music). Along with Dave Douglas, he is Co-Director
of the Festival of New Trumpet Music (FONT).
When asked how he and Brian share the playing responsibilities in MAE, Jon replied, “Brian has energized the group with
a new level of musical commitment and enthusiasm, through his playing and his musical ideals. He has sort of ‘out-Meridi-
aned’ the Meridians… a good thing as we approach the 20-year mark. There’s no point in getting stuffy even though we are
older now.”
In addition to the Meridian Arts Ensemble, Brian McWhorter plays trumpet with Renwicke, After Quartet, Sequitur, Endy
Emby, and Bliggidy Blam. He has recorded and performed extensively in contemporary and improvisational genres, and is
responsible for a wide variety of new works for the trumpet. His creativity in electronic media and production work under the
pseudonym of boiledjar includes work with Mark Gould & Pink Baby Monster and Instant Hits. Brian is a graduate of The
Juilliard School and the University of Oregon and has held positions at Princeton University and Louisiana State University
before his current appointment as assistant professor of trumpet at the University of Oregon. His teachers have included James
O’Banion, George Recker, Chris Gekker, Anthony Plog, Raymond Mase, and Mark Gould. Along with Kevin Cobb, he hosts
the Integral Trumpet Retreat.
When asked how he and Jon share the playing responsibilities in MAE, Brian replied, “Jon Nelson is the principal trum-
peter of Meridian Arts Ensemble. Even though we switch off regularly, the principal player brings in a certain vibe, responsi-

58 ITG Journal / January 2007 © 2007 International Trumpet Guild

 bility and energy that transcends what part is being
played. When this combination is balanced, a group
flourishes and Meridian’s success is a direct result of
Jon’s principal nature. In the five years I have been
privileged to sit next to him, I have been consistently
inspired by his playing, musicianship. We usually talk
every day on the phone about new ideas, composers
that we’d like to work with, possibilities for concerts
or recordings, business, or even equipment. It’s a real
partnership that is as much about humor and having
a good time as it is about maintaining and improving
a 20-year-old band.”
The Meridian Arts Ensemble
Founded in 1987, The Meridian Arts Ensemble
began as a traditional brass quintet, winning four
competitions in under two years. Since then, the
group has performed extensively throughout the
world and has evolved into an adaptable ensemble
with a core of brass and percussion, expanding as nec-
essary to include piano, guitar, bass, and saxophone.
Eclecticism is a key element of the MAE’s perform-
ances. The ensemble performs a wide variety of
music, mixing classical and contemporary works, jazz
and rock compositions, ethnic music, and original
works by MAE members. They have commissioned,
collaborated with, or premiered works by Milton
Babbitt, Frank Zappa, The Common Sense Com-
posers Collective, Jan Bach, Stephen Barber, Philip
Johnston, Ira Taxin, David Sampson, Kirk Nurock,
John Halle, Norman Yamada, Jan Radzynski, Elliott
Carter, and many others. The Meridian Arts Ensem-
ble records exclusively for Channel Classics, and has
released eight recordings to date.
Brian McWhorter

Health and Awareness continued from page 56 all musicians and music students.
Support for Health Promotion in School of Music is provid-
Additional information will be published in the Medical ed by: National Endowment for the Arts, Grammy Founda-
Problems of Performing Artists journal. An ongoing priority is to tion, International Foundation for Music Research, Interna-
encourage and support research focusing on both the needs of tional Association for Music Merchants (NAMM), and Scott
music students and the consequences of various educational Foundation.
interventions.
Acknowledgments About the authors: Kris Chesky is Co-founder and Director
of Education and Research, Texas Center for Music and Med-
The Health Promotion in Schools of Music (HPSM) proj- icine, University of North Texas, Denton, Texas; Ralph Daw-
ect would not have materialized without support from the son is current President of the Performing Arts Medicine Asso-
University of North Texas System and the Performing Arts ciation and is at the Department of Orthopaedic Surgery,
Medicine Association. Feinberg School of Medicine, Northwestern University, Chica-
The HPSM project has involved many dedicated profession- go, Illinois; and William Manchester is Editor of Medical Prob-
als from both performing arts medicine and music. These pro- lems of Performing Artists and Director of the University Health
fessionals have made significant contributions and should be Service, University of Rochester School of Medicine and Den-
recognized as pioneers in our collective efforts to establish tistry, Rochester, New York. Address correspondence to Kris
health-promoting schools of music. Chesky ([email protected]).
This project represents a unique set of partnerships that
includes over 20 national and international organizations. *First published in Medical Problems of Performing Artists
These relationships are vital to this process and serve as an out- 21(3):142 – 144, Sept 2006. ITG thanks MPPA for their kind
standing model for interdisciplinary collaboration on behalf of permission to reprint this article in the ITG Journal.

© 2007 International Trumpet Guild January 2007 / ITG Journal 59

 CLINIC
FRANK G. CAMPOS, COLUMN EDITOR

Clinic addresses a wide variety of teaching and playing issues. Ideas and suggestions should be directed to: Frank G. Campos, Clinic
Editor, Whalen Center for Music, Ithaca College, Ithaca, NY 14850 USA; [email protected]

ARTISTRY
BY CHASE SANBORN

M
any musical instrument companies maintain a ros- and in that way generate additional opportunities for both the
ter of artists to promote their products. An effective artist and for host organizations.
artist is someone who has established a reputation as A common misconception among host organizations is that
a performer and/or a teacher, who chooses to play the compa- the company will pay all fees and expenses for an artist to
ny’s instruments and who can effectively communicate why he appear at an event. Most of the time the company acts as a co-
or she likes those instruments. There are many misconceptions sponsor, sharing costs with a local dealer and the host organi-
about being a company-sponsored artist. Hopefully, this arti- zation. If an organization seeks to engage an artist, a clear and
cle will shed a little light on the situation. concise proposal should be drafted, outlining the nature of the
The relationship between the company and the artist is a event and the budget, including a specific request for funding.
business relationship; each side offers something of value and State exactly what you are seeking and what the company
expects something in stands to gain by co-sponsoring this
r e t u r n . T h e c o m p a n y “The relationship between the company event, e.g. publicity, advertising, dis-
offers promotional and play space, etc. You’ll have to sell the
financial support for the and the artist is a business relation- idea; companies are inundated with
artist’s professional activi- ship… each side offers something of requests for money, but they are
ties, while the artist offers always interested in a good opportu-
credibility and exposure value and expects something in return.” nity to promote their artists and their
for the company’s prod- products.
ucts. An artist benefits from the prestige of being associated So what makes you desirable as an artist? It all comes down
with the company; an endorsement implies that one has to exposure and credibility. Do your concerts attract a substan-
achieved a certain stature within the industry. The company tial audience? Do your recordings sell in large numbers? Are
benefits from association with musicians who have achieved you winning awards? Are you a well-respected teacher, adjudi-
that stature. The company’s primary goal is to sell cator, or clinician? Are your writings pub-
instruments; the artist’s primary responsibility is to “It all comes down lished? In all of these roles you establish
build a successful career while playing those instru- credibility as an artist, and by extension,
ments. to exposure and for the company that makes your instru-
Contrary to popular assumption, artists do not get credibility.” ments. Note that artists must be effective
free instruments, nor are they paid to endorse them. and engaging teachers; many sponsored
The company looks for artists who choose to play the instru- engagements include an educational component. Promoting
ments with or without an endorsement; without a sincere music education is a major part of being an artist.
belief in the product the endorsement doesn’t mean much. As As an artist, remember that this is a business relationship.
an artist you are expected to purchase your instruments; how- Dealing with business is natural for a company, but not always
ever, you might have access to discount pricing. so for musicians. Try to see things from the company’s view-
A common misconception among point: everything they do is with an eye towards
artists is that affiliation with a company “Promoting music edu- improving the bottom line or increasing their mar-
will result in a slew of gigs and clinics. ket. That is not to say that the company is devoid
While the company strives to help pro- cation is a major part of altruistic intentions, but they want to grow their
mote the careers of its artists, it is not a of being an artist.” business, and artists are a part of that master plan.
booking or management agency. It Therefore, it behooves an artist to consider how to
remains the artist’s responsibility to create a demand for her be a more effective spokesman for the company. Here are some
services. There may be times that the company will hire an specific suggestions:
artist, e.g. as a clinician for a music festival; however, most gigs
• Be organized, responsive and clear about what you offer
originate with the artist or with an organization that seeks to
and what you expect.
engage the artist. The possibility of funding may put an
engagement within the financial grasp of a host organization, Continued on Page 63

60 ITG Journal / January 2007 © 2007 International Trumpet Guild

 JAZZ CORNER
CHUCK TUMLINSON, COLUMN EDITOR

Jazz Corner seeks material relating to the pedagogy and performance of jazz. Ideas and suggestions should be directed to: Chuck Tumlinson,
Jazz Corner Editor, Department of Music, California State University – Fullerton, Fullerton, CA 92634 USA; [email protected]

THE JAZZ BIG BAND: INGREDIENTS TO

ASSURE GOOD ENSEMBLE PERFORMANCES
BY SCOTT COWAN

I
was afforded the opportunity to play in jazz big bands tion to the principle of “conducting little and directing much”
from my youth through higher education. I experienced is with a young or inexperienced rhythm section. Unfortunate-
many styles of leadership, some more effective than oth- ly, constant conducting may be required to prevent the ensem-
ers. Some ensembles I played in at the university level were at ble from falling apart.
a professional level. Others were mere reading ensembles sore- Repertoire selection
ly lacking in basic technique, intonation, improvisational skills
and appropriate feel. Throughout my nearly seventeen years of Picking the right jazz big band repertoire is a practical as well
directing jazz big bands and observing a myriad of world class as a philosophical issue. On the practical side, picking suitable
band leaders, I have observed a plethora of ingredients, so to repertoire for your ensemble is a critical ingredient for a suc-
speak, that have contributed to successful performances. The cessful jazz big band performance. Many publishers of jazz big
following ingredients reflect some of my observations. band literature indicate on their scores the difficulty level of
the chart. It is up to you, the director, to evaluate the strengths
Rehearsal technique and weaknesses of your ensemble and determine if your stu-
I would define rehearsal technique as the ability to extract dents will eventually thrive or will continually struggle with a
the best results from your jazz ensemble. Good rehearsal tech- chart. Some charts will push your students toward excellence,
nicians know their musical scores intimately. They have clear while others may prove a discouraging experience for everyone.
rehearsal agendas and goals and are able to meet these goals Mixing a program with a variety of rhythmic feels and levels of
through efficient use of rehearsal time. They seek to commu- difficulty generally provides an interesting program for the stu-
nicate what they want in a concise, clear, diplomatic fashion. dents as well for the audience. Unfortunately, I have witnessed
You may note that these observations differ very little from a jazz ensembles “unravel” during performances. This is a terri-
conductor of other musical genres. This is true; however, the bly embarrassing scenario for everyone. Probable causes for
jazz genre seems to breed many conductors/directors that are this could include that the ensemble was ill-prepared, under
simply too loose. Some are ill-prepared, unable to use rehears- rehearsed, the chart was chart too difficult, or the tempo was
al time efficiently, and end up “winging it” far too much. counted off too rapidly.
Effective jazz big band rehearsal technicians rarely “conduct;” On a more philosophical side there is a lot of current jazz big
that is, they don’t conduct a continuous pattern in front of the band literature available by living jazz composers/arrangers. I
ensemble. They reserve those moments for when the ensemble have no complaint regarding the selling and performing of the
“really needs them,” like out of tempo markings such as rubati work of current jazz artists. I am a published jazz big band
and accelerandi, or other examples of rhythmic “stretching.” composer and arranger myself. However, I am concerned when
Though it may be a matter of semantics, “director” is a better I adjudicate festivals and hear no performances of historically
term for someone who leads a jazz big band. A director gives important jazz literature. The historically important canon of
necessary cues and conducts only when needed. When con- jazz big band music is readily available today through the
ducting, a “less is more” non-flamboyant style is most appreci- Smithsonian Archives, transcribers, and certain publishers.
ated and effective for the jazz big band. Staying out of the way Finding the music of Fletcher Henderson, Duke Ellington, the
should be the goal and will garner the best results. Most tradi- Count Basie writers, Thad Jones, and others are a critical part
tional jazz big band literature is void of frequent tempo of educating jazz students. Audiences also need to be exposed
changes. Once a groove (time/subdivision) is established by a and educated to our historically important jazz big band
bassist and drummer, it can be non-productive and a nuisance library. After all, let us not forget this music is indigenously
having time dictated up front. Ideally, the horns (brass and sax- American and a national treasure.
ophones) will hear the groove/time from the rhythm section Aural versus verbal instruction
and adjust with them, creating a synergistic ensemble experi-
ence. Hence, the concept of jazz as a democracy rather than an A quick method to enable students to grasp a musical jazz
autocracy should be the goal in the jazz big band. One excep-
© 2007 International Trumpet Guild
Continued on Page 63
January 2007 / ITG Journal 61
 EDITOR’S CORNER
GARY MORTENSON, EDITOR
Editor’s Corner seeks to present material that does not typically fit into any regular column classification. Ideas and suggestions should be
directed to: Gary Mortenson, ITG Publications Editor, 109 McCain, KSU Music, Manhattan, KS 66506 USA; [email protected]

CONVINCING PERFORMANCE:
THE ART OF STAGE PRESENCE
BY KYLE KORONKA

T
hroughout our education as musicians, we learn what It is important to have a good performer as a role model.
it takes to play our instrument. We spend hours work- Think of artists that totally take the stage when performing.
ing on technique, sound, and other fundamentals. We From the time they step foot on stage, they are engaging the
practice hour after hour to prepare for upcoming performanc- audience. While performing you feel their confidence and do
es. These are essential elements to progress and improvement not question whether they are going to be successful. Their
as musicians, but what do we do when it comes time for the presence on stage captures you and you trust them.
performance? Too many musicians When you get ready to take the stage, picture
forget that we are indeed perform- this person in your head and “act as if” it was he
ers, not just practice room players. “Stage presence, just like the or she stepping on stage. This is a concept
We have all been to recitals and
performances where the person on
music, must be practiced.” found in a book by Maxwell Maltz entitled Psy-
cho-Cybernetics. For anyone struggling with per-
stage hardly acknowledges the formance anxiety, this book is most helpful.
presence of the audience. The performer is not intentionally The premise is that whether or not you fully trust yourself, you
being rude, but they often have little clue as to how to interact “act as if” you are totally in control and believe that the out-
with their listeners. Stage presence, just like the music, must be come will be successful.
practiced. When taking the stage, make a quick and deliberate
One characteristic I have observed in younger players is the entrance. Do not walk slowly or meander on your way to the
“deer in headlights” look on stage. It is perfectly natural to be place where you will stand. Get there quickly and take a bow.
nervous when performing, but the nerves should not For younger players,
get in the way of communication of the music to the “…whether or not you fully trust the bow often ap -
audience. Musicians must convey confidence and con- pears uncomfort-
trol to the audience so that they can relax and listen yourself, you ‘act as if’ you are a b l e . I t i s r e a l l y
and not feel uncomfortable about what is being pre- totally in control and believe that quite simple: the
sented on stage. Nervousness is contagious in per- audience applauds,
formance. When a performer seems unconfident and the outcome will be successful.” and you acknowl-
anxious on stage, that anxiety is transmitted to the edge their applause
audience. by a simple bow. Nothing elaborate is required, but there are
So how does one convey confidence to the audience? Being a few things to consider in order not to appear awkward.
aware of what you are doing on stage is the first step to When bowing, bend from the waist and look down at your
improvement. Eye contact with the audience is extremely feet. This is one situation where you should not look at the
important. You do not have audience. Put your feet together, hold
to constantly stare at the your instrument in a comfortable position
audience, but you should
“When a performer seems unconfi- (some hold the horn with one hand, oth-
look at them and acknowl- dent and anxious on stage, that anx- ers with both), and bow from the middle
edge that they are present. of your body. The bow should be a short,
They are after all taking iety is transmitted to the audience.” simple acknowledgement of the audience.
time out of their busy lives It is very important that you smile and
to come and listen to you. look like you are enjoying performing for them.
One way of practicing eye contact is finding one person at a You should bow for your audience before you do anything
time in the audience and focusing on them. The audience will else. Do not fidget with the music, your instrument, or music
not be able to tell exactly who you are looking at, but they will stands. You should try to have things generally in position
be drawn in by the fact that you are engaging them with your before you make your entrance. Have mutes, music, and other
eyes. items out on the stage before you enter.
62 ITG Journal / January 2007 © 2007 International Trumpet Guild
 After you finish the piece and the audience applauds, bow Emphasize the importance of playing a quality instrument to
once again to acknowledge their applause. At this point you maximize the effectiveness of all the hours spent practicing and
should exit the stage quickly, just as you entered. If the audi- studying. Encourage them to try out instruments at the local
ence really enjoyed the performance they will continue to
applaud and you can come out and take another bow. Once “…build your career and inspire people to
again, be sure to smile, as this is key in communicating your
appreciation of the audience’s support. enjoy and explore music.”

“If you love what you do, let it radiate dealer, or at the venue, if instruments are available. Above all,
build your career and inspire people to enjoy and explore
from within…” music. The more successful you are as a performer or teacher,
the more valuable you are as an artist.
In closing, make sure that you enjoy performing. After all,
we are entertainers. If you love what you do, let it radiate from About the author: Chase Sanborn is a jazz trumpet player
within so that those listening can temporarily escape into the based in Toronto, Canada. Chase teaches at the University of
experience of your performance. Toronto, and is the author of Brass Tactics, Jazz Tactics and his
newest book, Tuning Tactics. Chase is proud to be a Yamaha
About the author: Kyle Koronka received his bachelor’s Artist. For more information visit his web site
degree in trumpet performance from Baylor University in (http://www.chasesanborn.com).
2004. While at Baylor, he was a student of Wiff Rudd. Cur-
rently, Kyle is attending the Shepherd School of Music at Rice
University, pursuing his master’s degree in trumpet perform-
ance and studying with Marie Speziale. Kyle also served as
teaching assistant at the University of Illinois at Urbana-
Make Plans Now to Attend
2007 ITG Conference
Champaign, where he studied with Michael Ewald and Ronald
Romm. Kyle has been a participant at the Brevard Music Fes-
tival (North Carolina), the Hot Springs Music Festival
(Arkansas), and the Haus Marteau Brass Festival (Lichtenberg,
Germany). He has performed with the Champaign-Urbana May 30 – June 2, 2007
Symphony Orchestra, the Peoria Symphony Orchestra, the
Waco Symphony Orchestra, and the Waco Lyric Opera (prin-
cipal).
Amherst, Massachussets
Clinc continued from page 60 www.trumpetguild.org
• Put together a high-quality promotional package; give the
company something to work with when promoting you.
Maintain an informative web site and be able to send pic- Jazz continued from page 61
tures and bios electronically.
concept is to demonstrate it vocally or instrumentally. Jazz is
• Build a mailing list and become an important local source most certainly an aural tradition. Most students who have a
of information about upcoming events and promotions. propensity for music quickly pick up on aural demonstrations.
Presenting a concept this way and having the students imme-
• Compile a price list for your services, taking into account
diately emulate the example can be fun and quite effective.
all the different situations you might encounter as an artist
Teaching the concept of swing sensibility through a verbal
(clinics, concerts, adjudication, etc.)
explanation can be quite tedious and difficult. However, aural-
• Keep the company apprised of any upcoming projects or ly demonstrating jazz articulations, phrasing, and swing sensi-
high-profile gigs. Try to involve them whenever possible. bility can expedite the process. Recordings are also indispensa-
ble. There are many nuances in jazz that are only fully compre-
• Incorporate the company logo on your handouts and pro-
hended when heard aurally. If one is explaining the concept of
motional materials.
pitch bending to the saxophone section, “cut to the chase” and
• Understand and appreciate the relationship between the play an appropriate recording of the Count Basie saxophone
company and its dealers. As an artist you may find your- section or pick a recording of Ellington’s star lead saxophonist
self working with competing dealers. Knowledge and Johnny Hodges.
diplomacy are invaluable. To be continued….
During a clinic or performance, acknowledge your sponsors.
Explain briefly how corporate sponsorship helps to allow About the author: Scott Cowan has been a jazz specialist at
events like this one to take place. Emphasize the company’s Western Michigan University since 2001. He is an artist/edu-
role in promoting and advancing music education. Tell the cator clinician for the Conn-Selmer instrument company and
audience about the instrument(s) you are playing, including a published composer/arranger with UNC Jazz Press. He holds
the model, features etc. Explain how you evaluate an instru- degrees from the New England Conservatory of Music and the
ment and offer some tips for choosing their own instrument. University of Miami.

© 2007 International Trumpet Guild January 2007 / ITG Journal 63

 PEDAGOGICAL TOPICS
JON BURGESS, COLUMN EDITOR
Ideas and suggestions for Pedagogical Topics should be directed to: Jon Burgess, Pedagogical Topics Editor, School of Music, Texas Chris-
tian University, Fort Worth, TX 76129 USA; [email protected]

EFFICIENT PLAYING
PART II: APPLICATION/EXERCISES AND EXAMPLES
BY PAUL BHASIN
Introduction Practice when fresh
The first part of this article addressed trumpet playing habits Students often describe feeling unusually fatigued at the
and their formation. That article discussed how to develop an start of a stressful playing situation, like an audition or impor-
awareness of these habits and begin the habit shifting process. tant concert. Despite having practiced judiciously over the
In this second part, I will provide examples of practice materi- weeks leading up to the performance and feeling fresh at the
als as well as offer strategies to gradually shift habits from inef- start of the concert/audition, they still feel suddenly “spent”
ficiency to efficiency. For many students, high range is an area just a few minutes into the performance. Often, the cause of
of trumpet playing which is least forgiving of ineffective this fatigue is the years-old practice habit of playing when
habits; in this article I will discuss how to develop a reliable tired.
high register through habit shifting. New habits are learned best when the mind and chops are
fresh. Practicing new playing techniques (or practicing at all)
Upper Register: Requirements and Common Pitfalls when fatigued typically leads to the formation of poor habits.
Playing comfortably in the high register is contingent upon As the mind and embouchure tire, it’s all too easy to rely on
a few basic principles: improper playing techniques that can add ten minutes to your
• An energetic, free air stream practice session, or help squeeze out a high “C” at the end of
an important solo, but at great cost. Over time, we learn that
• Aperture control when needed, these “crutch” techniques can be called upon to
• Proper tongue position serve us when we need results the most; all the while, our bod-
While successful high register playing rests on many of the ies are subconsciously learning to depend on these techniques
same playing fundamentals as low/middle register playing, when stressed. Ironically, when nerves set in, we often find
many students encounter great difficulty with sound, control, ourselves using these “crutches” even when we are not fatigued!
and endurance in the high range of the trumpet. This issue Many of the range-limiting habits listed above are the result of
often arises when young students learn poor playing habits to “crutch” dependencies created out of performance necessity.
compensate for inappropriate range demands. Some common High register practice can be particularly unproductive if
ineffective playing habits are: attempted when fatigued. To sever the body’s link between
poor habits and nerves/fatigue, one should only practice new,
• Throat constriction more effective habits when fresh; this way, poor habits will be
• Incorrect tongue position removed from our playing vocabulary even when nervous or
• Unstable aperture fatigued.
• Excessive mouthpiece pressure Practice in short sessions
It’s important to remember that each of these incorrect There are two benefits to this strategy when learning new
habits affects different players in different ways; one habit may habits. First, by playing for shorter periods of time and ending
impede a player’s success while having little effect on another your practice session before the onset of fatigue your mind and
player. The key for students is first to become aware of whether body will never learn to associate the new habit with embou-
they are employing one or more of these habits, then to devel- chure fatigue. This way, over a period of weeks and months,
op a strategy for shifting these habits to put them in a position the new habits from these short sessions will gradually appear
for playing success. in your regular practice/playing day, often without you having
to think about it! Two twenty-minute sessions in the morning
Habit Shifting: General Practice Strategies
dedicated to a new technique can work wonders for your play-
Below are some general principles to help create a personal- ing. Second, by playing in short sessions with a new technique,
ized, daily practice regimen for upper register success. there is minimal loss of overall playing competency. After the
64 ITG Journal / January 2007 © 2007 International Trumpet Guild
initial investment in your morning practice, you will be able to Symptoms of throat constriction:
execute a habit shift without sacrificing your music-making • Pain in the throat when playing loud/high
ability. It’s important to remember that while we are commit-
• Feeling the need to cough after a loud, high passage
ted to improving on our instrument, the audience doesn’t
need to know! • Audible grunting or other throat noises on upward slurs
Play softly • Strained sound in the upper register
Below are three habit shifting methods that have brought
Once the delicate adjustments needed to play the trumpet
success in alleviating this problem.
correctly become habitual they soon become effortless. How-
ever, during the learning period, these new techniques do not Wind patterns
respond to playing stresses placed upon them too soon. Trum- Attributed to Vincent Cichowicz, wind patterns are an
pet players, inherently impatient, often sabotage their progress excellent way to train the mind and body to open the throat
by “testing” new habits before they are ready with music that while playing. With the trumpet away from the lips, simply
is too loud, too long in duration, and too high. I have found blow an energized airstream, mimicking the required air for
that practicing softly eliminates much of the “forcing” that
the note or passage being practiced. By removing the trumpet
leads to poor habit formation. As we ascend into the upper
from the equation, you can focus on practicing the quality and
register, the new, subtle adjustments described later in this
intensity of your airflow while thinking musically of your tone
article are easily overwhelmed and may collapse if attempted at
quality and phrasing. As a variation, I like to continue to hold
too loud a dynamic. Loud playing requires greater strength
the trumpet while fingering the notes in the wind pattern.
and coordination, and a new habit is inherently fragile. By
playing at a soft dynamic, you give your body a chance to Alternate between three wind patterns and one playing
develop the new habit at its own pace by removing a level of attempt, keeping the airstream focused and energized. After a
intensity that can be easily applied later. Students should not healthy breath, feel the wind rush out effortlessly and imagine
confuse “soft” with “pinched” or “small.” The soft sound must playing with that very airstream. If any of the symptoms above
be beautiful and ringing at all times. are still present, switch to easier material (sometimes just one
sustained note will do) and accept small improvements. Over
Be patient time, the wind pattern will “teach” your mind what it should
Accepting that habit changes do not come quickly or easily feel like while playing.
is the hardest part of this process. With careful, patient prac- Mouthpiece buzzing glissandos
tice, results will come. Interestingly, these results are often
“below the surface” of our playing until our habits have Also called “sirens,” simple slurred glissandos of a fourth,
become strong enough. This means that while we spend time fifth, or octave (ascending and descending) can be an effective
over a period of weeks and months perfecting a new habit, the tool against throat constriction. Often, the mouthpiece ampli-
benefits of our practice are often unnoticed, and they seem to fies issues on the trumpet. When combined with wind pat-
“appear” in our playing much later. Do not give up during this terns, mouthpiece glissandos are even more effective. Practice
period when results seem slow! with a medium soft volume with a very full sound, striving for
an even sound from start to finish, first with one repetition
Structure your practice day then repeating the glissando.
Many find that habit shifting practice sessions (one or two, Flutter tongue
at 15 to 20 minutes each) are most useful in the morning. The
low intensity, disciplined approach outlined here will not Many players have found that it’s virtually impossible to play
fatigue the player, and the new techniques will gradually the trumpet with a closed throat while flutter tonguing, espe-
appear during other parts of the playing day. Experiment; see cially up and down a scale. Try playing scales (ascending and
where in the day the habit shifting sessions work best for you. descending) with a flutter tongue used on each note of the
scale, continuously.
Habit Shifting: Four Playing Areas
These additional exercises can be practiced using the above
In this section I will offer specific practice strategies and methods. Try each at a medium soft volume with a very full
exercises dedicated to creating habits needed for reliable high sound.
register playing. The four playing areas covered are: airflow/ • Clarke Technical Study #1 (alternate chromatic movement
throat constriction, tongue position, aperture control, and with the outer tritone interval; let the air stream from the
mouthpiece pressure.
chromatic movement “teach” you how the interval should
feel/sound in terms of airflow.)
I. Throat Constriction
Constricting the throat blocks airflow to the lips. Playing • Schlossberg Daily Drills #11a and 12
with an open throat is the most crucial element of high regis- • J.B. Arban Method, page 41, #14
ter playing. Our lips are reactive tissue; they react to the airflow
they receive. Why does throat tightening take place as we II. Tongue Position
ascend? Just as we “bear down” and tighten our upper bodies While playing, the tongue position determines the speed
as we prepare to lift something heavy, when faced with the per- and path of the air by adjusting the shape of the oral cavity.
ceived difficulty of high playing, many students clench up and The shape of the space inside your mouth (oral cavity) must be
“prep” for high notes. appropriate to the register you are playing in.
© 2007 International Trumpet Guild January 2007 / ITG Journal 65
 Symptoms of inappropriate tongue positioning are: an idea of how this works, imagine playing very softly and high
• Dull sound, poor intonation for the smallest, most focused aperture shape, and low and
loudly for the most open aperture shape. Students often play
• Missing notes from below
with an inappropriate aperture shape for the register they are
• Inability to lip trill playing in, and rely on other poor habits to compensate. Once
• Poor flexibility, especially from low to high register the aperture, tongue level, and airflow are all working togeth-
Many jazz lead trumpet players describe leaping up octaves er in sympathy, then playing music on the trumpet becomes a
in the highest ranges just with the movement of the tongue! reflexive recruitment of effective habits.
Many students are skeptical of this—after trying to move the Usually, the lips form an aperture, which is either too
tongue in their mouth, they achieve little or no result. This is focused (closed) or not focused enough. “Airing out” is a prob-
because without applying the correct air volume and aperture lem which is symptomatic of both extremes, but there are also
shape, the tongue level alone cannot help change register (the some specific symptoms to each:
aperture will be discussed in the next section). You must find Too closed:
the correct balance of tongue position, air volume, and aper- • Missing notes from above
ture that works best for you—this comes with experimentation • Sound is sharp, anemic
and practice. Some describe the tongue position for high play- • High tones are difficult to center
ing similar to whistling a high note, others use the syllables
Too open:
“heee” or even “ssss” for lead players. Interestingly, “grunting”
and other noticeable issues with throat constriction are often • Massive mouthpiece pressure
present when a player is also inefficient with his tongue posi- • Lip pain
tion; if the space in the mouth is too large for a given high • Little high register response (student needs a “good day”
note, the player instinctively tries to focus and channel the air to play high)
earlier in the playing process: in the throat. Using the tongue • Unusually large mouthpieces feel comfortable despite
correctly will remove the need for this unnecessary manipula- poor response
tion of the air by the throat.
For preliminary practice, simple scales are best. Work With most college-aged players, I have found that a setting
upward, softly, and experiment with focusing the space inside that is too closed is more common. The issue is overcompen-
your mouth with your tongue for optimum tone and response. sation: to make up for an imbalance between airflow, tongue
position, and aperture shape, a player will “pinch” the lips and
Try whistling intermittently for a practice model; if you watch
crush the aperture, stopping vibration. To remedy this, try
yourself whistling an ascending scale in a mirror, you’ll notice
simple scales, softly and slowly, keeping the tone rich and full.
that the aperture does not change size much. This is because as
As you ascend, concentrate on pointing the chin downward
the tongue rises, the air pressure increases (you also blow a lit-
while keeping it flat and firm. This playing concept will grad-
tle harder), and pitch raises. This principle is the same as a
ually repair the “crushing” of the aperture while still allowing
teapot whistling: the aperture does not change in size, but for some focusing. In time, the sound will open, the tone will
pitch rises nonetheless! We must be mindful of this when play- become fuller with more overtones, and response will be more
ing the trumpet; too much attention to making our lips automatic. An added benefit to this approach is that the lips
“tighter” or “closer” can often be counterproductive. usually move less as a player ascends; overcompensating,
Additional tongue position exercises: “pinching” settings usually are accompanied by large, ineffec-
• Arban Method, page 39, #5. Slowly, and softly. Reverse tive lip movements.
the dynamics, so as you ascend you do not force out high An aperture setting that is too open is more common in
tones by simply blowing harder. Try to affect pitch change younger players. These players have not yet learned how to
primarily with the tongue, just as if you were whistling. focus the lips to produce higher vibrations. The practice hints
• Schlossberg #18. Ignore printed dynamics and play softly, below may seem silly, but they have proven effective:
channeling the air with your tongue position, and keep a • Buzzing the lips alone
ringing sound. • Forming the lips as if saying the syllable “mmm”
• Arban Method, page 44, #22. Slowly and softly. Also page Practicing buzzing the lips alone for five minutes a day can
41, #14. Upward leaps should be the result of syllable be enlightening for players with a prohibitively open setting…
changes as well as increased airflow. Playing softly will iso- practice buzzing ascending five-note scales, using plenty of air.
late this technique. Repeat with frequent rests. While ascending, imagine focusing the lips together as if say-
ing the syllable “mmm” or holding a grain of rice in place with
III. Aperture Control your lips. Over a period of weeks, the higher pitches will come,
When it comes to what to do with the lips when ascending, even if just a step or two. The minor adjustments made are
students are typically taught to keep the “corners firm” as well very similar to the adjustments needed when playing the trum-
as “firm up your lips.” There is more to be aware of in the high pet! The next step is to gradually incorporate what you have
register process, however. In addition to the areas of tongue learned: alternate buzzing upward with playing soft scales on
position and airflow, the size and shape of the aperture is cru- the instrument. Gradually you will learn to focus the aperture
cial to reliable high register production. The aperture is the in the same way, and high register playing will prove easier.
opening of the lips, which is set in vibration by the airstream.
The aperture must change shape in different registers. To get Continued on Page 68

66 ITG Journal / January 2007 © 2007 International Trumpet Guild

 TRUMPET TECHNOLOGY
MICHAEL ANDERSON, COLUMN EDITOR
Trumpet Technology is an expansion and refinement of ITG’s previous column titled Web Site Reviews. This column will con-
tinue to examine Internet locations of interest to trumpet players. It will expand to examine developments in the technology
associated with trumpet. Ideas and suggestions should be directed to: Michael Anderson, Wanda L. Bass School of Music, Okla-
homa City University, 2501 North Blackwelder, Oklahoma City, OK 73106 USA; [email protected]

BEYOND FANFARE:
PATHWAYS TO MUSICAL FREEDOM
BY MATT SHULMAN

A
t this past year’s ITG conference Michael Anderson pretty good right about now, with its vast unaccompanied solo
asked me if I would consider writing an article for the repertoire, lush production of harmony and counterpoint to
ITG Journal’s new “technology” section and discuss my dig into, and seemingly effortless production of tone… what’s
invention, the ShulmanSystem, as well as some of the perform- even worse is that the trumpet is so often considered to require
ance practices I employ with my trio. I agreed, and after hav- the help of said piano to achieve a complete and satisfying
ing given it some thought, realized that while I wouldn’t mind musical landscape.
explaining some of the technical aspects of the invention, what How then, can we begin to rectify these gross inequities?
I really wanted to impart was the reason for the invention: to We can start by embracing the new technologies available to
move beyond established limitations of the trumpet, and make us. Among these new approaches is the perception of the
more music. In keeping with that reason, the title of this arti- trumpet as an amplifier of multi-dimensional harmony. One
cle is meant to serve a dual function, by proposing moving realization of this is the multiphonic technique. An increasing
beyond the traditional role of the trumpet as a generally fan- number of trumpet players are learning to produce the sound
fare-like instrument, and moving beyond the stereotypical effect of creating more than one note at a time, either through
bravura and fanfare-like attitude of the trumpet player who simultaneous singing and playing, or through double buzzing.
often supports that limiting role. I prefer the use of the voice, for its sonorities and control, as
The traditional and historical perception of the trumpet is well as the addition of the emotional directness that only the
that of an amplifier of single note lines and melodies. It is not human voice can provide. However you might approach it, the
my aim here to propose that we disregard or abandon this nat- real parallel here lies in using multiphonics as a means for
urally established role of our instrument, but to suggest that by delineating harmony, counterpoint, and chordal accompani-
using new techniques and technologies—whether it’s a new ment, like our pianist’s left hand so often provides.. Such dis-
mouthpiece, accessory, or electronic device, we might add to it coveries might eventually lead to performance without the
new roles, and a new perspective which can open us up to new need of piano, and eventually to the joys of a diverse unaccom-
worlds of possibility, and lead us to a greater musical freedom. panied repertoire. This idea of stretching the established
In the world of jazz, two prominent schools of thought have boundaries of an instrument by approaching it as if it were
been widely disseminated: 1) Improvisational (compositional) another, or perhaps specifically a piano, is evident in Bach’s
freedom lies in the ability to adhere to and navigate within solo violin repertoire. Bach was a keyboard player, and it was
complex forms; and 2) Improvisational freedom lies in the likely that his keyboard approach to harmony and counter-
ability to create ideas within an absence of form. In recent point informed his compositions regardless of the instrument,
years, a merging of these two paths has occurred that has pro- especially—and in terms of technique, for the violin. At the
duced perhaps the strongest semblance of freedom yet: the time of their writing, his solo unaccompanied sonatas and par-
improvising musician who can move seamlessly from complex titas for violin introduced unprecedented techniques and
structures to the open void. Yes, this is exciting. But we’re not sounds which were considered extremely challenging, yet the
really here to discuss jazz improvisation; that’s just a metaphor. logic of his writing overrode those challenges, including the
We’re here to talk about the trumpet—something we all know initially rough sounding double and triple stops pervading that
to be the best musical instrument on earth… if such fanfare is body of work.
true, why, one might ask, does the trumpet rarely receive an Other avenues toward multiphonics and accompaniment
unaccompanied solo role? Why does the trumpet produce only might include the use of electronic effects, such as a looping
one note at a time? Why does the trumpet seem to limit many device. When I perform with my trio (trumpet, bass, and
musicians to about 20 minutes of continuous playing before drums), I often use multiphonics in counterpoint with the
fatigue sets in and a need for refueling occurs? Hmmm… the bass, as well as a backdrop of specific tones sampled continu-
piano (a most un-fanfare-like instrument) is actually looking ously through a Boss RC-20 Loop Station™ to create a sustain
© 2007 International Trumpet Guild January 2007 / ITG Journal 67
effect, such as you might hear in a left hand chordal ostinato performances and patented ShulmanSystem for Trumpet visit
figure from a pianist. http://www.mattshulman.com
In this newfound freedom of solo musical performance, we
might naturally desire the ability to play the trumpet for longer Pedagogical Topics continued from page 66
periods of time, with more consistency and endurance. One
avenue to this coveted ability is the exploration of ergonomic IV. Pressure
approaches, such as Alexander technique, or the utilization of Excessive mouthpiece pressure is the most common poor
a device that can effectively employ its benefits, like the inven- playing habit. Symptoms of this habit include:
tion I have been asked to discuss, the ShulmanSystem. The • Lip pain
three basic components of this system are: the player, a device • Cuts, dramatic lip swelling
featuring an adjustable “arm,” and a neck strap from which the • Little endurance
device suspends. With the trumpet placed in the system, the
“arm” and neck strap are then fixed into a player’s optimal Like throat constriction, excessive pressure is brought about
position in order to balance and stabilize the trumpet with by the perception of difficulty when preparing to play high. It
minimum effort. In this way the device can move with the is also brought about by repeated, failed attempts. The muscles
players as they breathe and make music, essentially function- of the arms and hands tighten as we ascend, and the added
pressure creates a slightly more secure feeling and lip firmness,
ing as an extension of their body. This system, through its pro-
which unfortunately does not last very long before the lips suc-
motion of tried-and-true fundamentals such as efficient
cumb to swelling and pain.
embouchure pressure, proper posture, relaxed breathing, body
Players use excessive pressure to compensate for an inability
alignment, and the addition of a laterally stable platform from
to control lip vibration using effective habits. When shifting
which to conduct our musical activity, encourages us to pro-
this habit, one must remember that reducing pressure will result
duce sound on the trumpet with the same ease as walking up
in a temporary loss of range and endurance. Without pressure,
to (our stable friend) the piano, and simply striking a note of
the other playing habits of airflow, aperture control, and tongue
our choice. These benefits can aid players in establishing a clos-
position will have to coordinate to produce higher tones. Over
er connection to their experience of resonance and vibration
time, a more efficient habit set will emerge (even under stress in
internally, and open players to a more finely tuned awareness
performance) especially if music is used as the primary source
of sound and phrasing throughout all aspects of their playing. of practice material during habit shifting sessions.
One of the more obvious results from approaching the trum- Simple melodies by Getchel, Arban, and Concone are fan-
pet in this way is the acquisition of an even and steady tech- tastic anti-pressure medicine. If players use very light pressure
nique. Such technique can allow for a continuo approach to and resist the temptation to add more as they ascend, they can
melodic accompaniment, found again in the left hand of much achieve great results with these melodies in a matter of months.
solo piano repertoire. Continuing again with this parallel, con- But be cautious: do not attempt melodies with too high a play-
sider now the existence of “piano reductions” of orchestral ing range. Determine your limits with simple scales—where
music. Just think about that… an entire orchestra can be does it feel necessary to push?
implied by the piano. How would it feel to pick up your trum- Getchel 1st and 2nd Book Practical Studies, Arban’s Art of
pet and anticipate the command of an entire orchestra in Phrasing, and Concone’s vocalises can all be practiced in this
palette and form? Wouldn’t it be great to impart this technical way. Gradually increase the range by transposing upward (or
attitude and sense of possibility to someone just beginning to choosing a higher study) and duration by adding studies with
play the trumpet? little or no rest.
All of this is not to say that pianists never envy trumpeters,
especially when it comes to the ability to create vibrato, micro- Conclusion
tonal inflection, breath-like qualities, dynamic ability, and a While the concepts in this article have been very helpful to
true sostenuto. These are pluses to playing the trumpet that me and to my students, they are merely helpful suggestions. As
most of us would like to preserve. This, in conclusion, brings part of becoming the best player possible, you must experi-
me to the proposition that if we were to add some of the pos- ment to find the best combination of ideas/strategies for you
sibilities mentioned in this article, even if only in conception, and your playing. As you become more self-aware of the habit
to our current palette, we could enrich all of our playing in shifting process, you will find correcting issues in your playing
such a way that we could become more informed of its role much easier the next time you attempt a habit change.
within a larger picture. Like the jazz analogy, our freedom as
trumpeters lies in the ability to experience it all; by exploring About the author: Paul Bhasin received his musical training
new technologies and taking on the role of producing the big at the Northwestern University School of Music and the Uni-
musical picture ourselves through this newly defined “orches- versity of Michigan School of Music. After three years as trum-
tral” approach, we might actually play our simple fanfares with pet professor at the University of Wisconsin Green Bay, he
a more true bravura, the bravura of freedom! joined Triton College in River Grove, IL as Director of Bands
and instructor of trumpet in 2006. He has performed with the
About the author: Matt Shulman is a Jaggo Records Record- New World Symphony, Civic Orchestra of Chicago, and the
ing Artist, and resides on New York City’s Upper West Side. Chicago Opera Theater. As a soloist, he has performed in the
His newest recording, So It Goes, is scheduled for a fall 2006 USA and in Europe as well as being featured at the Aspen
release. Matt has been a member of the ITG since high school, Music Festival, the Chautauqua Music Festival, the Interna-
and won first place in the 1996 ITG Jazz Solo competition. To tional Computer Music Conference, and on Wisconsin Public
hear samples of his music, or for information on his upcoming Radio.
68 ITG Journal / January 2007 © 2007 International Trumpet Guild
 STUDIO /COMMERCIAL SCENE
ERIC BOLVIN, COLUMN EDITOR
Studio/Commercial Scene seeks to present information on issues related to the trumpet’s role in the music industry in today’s
ever-changing environment. Ideas and suggestions should be directed to: Eric Bolvin, 816 Blossom Hill Road #4, San Jose, CA
95123 USA; [email protected]

LET’S TAKE IT AT THE MOÑA:

NAVIGATING THE ROADMAP OF A SALSA CHART
BY EDDIE LEWIS
Introduction balero (timbale player) switches to the mounted “Mambo bell”
Playing Latin or salsa music has long been a great source of and the bongero (bongo player) puts his drums down and
employment and playing opportunities for trumpet players. picks up a cowbell. The entire feel of the music changes at this
Almost all Latin bands use at least one trumpet player and point. The rhythms come alive and the sound becomes more
many hire two, three, or even four. Once limited to the Latin electric and exciting.
countries and the larger American cities, Latin music has The Montuno is the salsa version of “trading fours.” The
grown in popularity and is now heard the world over and is an lead singer improvises between short repeated choir sections
excellent avenue for the up and coming trumpet player to pur- called “Coros.” On the written music, the Montunos will be
sue. notated either as “Montuno” or as “Coro.” These terms indi-
When performing with a salsa band, it helps to know the cate that the “field holler” section of the music has begun.
standard form of the music. The traditional salsa form is in Sometimes the Coros will sing for four bars and the Soneo
three parts consisting of the Verse, the Montuno, and the (also called Insperation or Pregon) will answer for four bars.
Mambo. It is called a three part form, but the second and third Sometimes it is eight bars of Coros and eight bars of Soneo,
parts alternate, repeating indefinitely for as long as the singer two and six, or four and eight. No matter how long it is, the
wishes. Knowing the three major sections of the salsa form and same question and answer exchange is repeated indefinitely
learning how to determine when they change from one to the until the singer is ready to move on.
next makes it easier to get through the gig without getting lost. The most important thing for us to know about the Mon-
tuno is that, as trumpet players, we rarely play during this part
The Verse of the song. On some occasions the horns might play the
The beginning of the Verse is sometimes notated with the “Coros” before the voices sing it. Or sometimes a horn player
word “Voz.” This is the part of the salsa tune when the singer will improvise between the voices before the lead singer begins
tells a story through the written lyrics. It makes sense to his vocal improvisation. However, most often the Montuno is
remember that the horns are not featured in this part of the a time for us to dance or look ahead at what is left of the
form. The trumpet parts usually fit between the rhythmic gaps roadmap.
in the melody and serve only to highlight the lyrics. Often times the Montuno is not notated musically. If you
Usually the verse is repeated at least once. There will be spe- get to the end of a staff and it says, “Montuno” or “Coros,”
cific directions when to play and when not to play. It’s not then this means stop playing. Do not go on to the next staff
uncommon to tacit a figure the first time and play it the sec- until you are cued. What happens in a lot of the charts is that
ond time. Sometimes repeats will be nested within the repeat the first Montuno will be written out with a set number of
of the verse in its entirety. If the chart does not have precise measures within a repeat. You might see “Montuno ad lib”
directions about whether those repeats apply the second time, above the first measure of that repeated section, but subse-
find out during the rehearsal and follow the good practice of quent Montunos are not always written out this way. It’s not
penciling them in yourself. uncommon to have nothing more than a single word (“Mon-
tuno” or “Coros”) to indicate that the music has reached an
The Montuno open part of the form and that it’s now time to wait for the
Up until the Montuno, there isn’t much difference between next cue.
playing a salsa chart and reading a big band chart. With both The cues are very important during the Montuno. For the
you simply “read the part down.” The directions in a salsa horn players, getting out of the Montuno is sort of like trying
chart are more explicit and involved, but as far as reading goes, to jump onto a train which is already moving. This is where
they are similar. However, that all changes once you get to the most problems occur on a salsa gig. You have to always be
Montuno. aware of who is giving the cues and keep that person in your
You’ll know you’ve reached the Montuno when the tim- peripheral vision at all times. It’s also very important to know
© 2007 International Trumpet Guild January 2007 / ITG Journal 69
how many measures the cue is for. If this information is not likely a Moña which was added to the chart after the arrange-
already written on the part, then write it down. Each cue will ment was already completed.
have a set number of measures, anywhere from two to six. Summary
Don’t try to remember this because each tune will have at least
two of these cues, adding up to as many as thirty per gig. Write Knowing the three major sections of the salsa form is vital to
it down to be certain you get it right. a confident performance. When you know the roles we play in
the Verse, Montuno, and Mambo, you can see how our part
Mambos, Moñas, and Special fits with the whole. This is the first step in learning how to read
The third part of the traditional salsa form is the Mambo this exciting style of music.
section. A Mambo is a section of the tune which features coun-
terpoint between the horns and the rhythm section. There can About the author: Eddie Lewis is a Christian trumpet player
be as many as three or four simultaneous contrapuntal mel- who maintains a vibrant and stylistically diverse career as a
odies in any given Mambo. freelance trumpet player in Houston, TX. He is also active as
What sets the counterpoint of the Mambo apart from more a composer/arranger, with over 300 original compositions,
traditional counterpoint is the repetition and staggered and as a part time music educator with over twenty-five years
entrances. This is important to know because if you under- of experience. Visit Eddie Lewis online at his web site
stand how a Mambo works, you will know that we, as trumpet (http://www.eddielewis.com).
players, rarely play the first few times the Mambo is played and
repeated. You may have an eight measure Mambo that repeats

COMING IN THE
four times, but most likely, you will only play the third and
fourth times and tacit the first and second.
This information should always be written into the part.
Most writers are meticulous about this kind of information
because this is what gives the Mambo its character. It’s an MARCH 2007
ITG JOURNAL
amazing thing to hear. The contrapuntal melodies are stacked
on top of each other one at a time. The beauty of this kind of
writing is that it gives our ear time to adjust to each melody
before the new level of complexity is added.
Usually the Mambo will begin with a melody or rhythmic • No Boundaries: An Interview with
pattern played by the bass and piano. This will repeat twice
before the trombones or saxes enter with the first layer of Wayne Bergeron by John Almeida
counterpoint. Our part usually comes in last and what we play
weaves in and out of the two melodies that were already estab- • The 2006 Maurice André
lished before we entered.
Each Mambo usually ends by going into another Montuno
International Solo Competition
section. As mentioned earlier, the Montunos alternate with the by Gary Mortenson
Mambos. However, these horn features are not always called
Mambos. There are other Mambo-like horn features called • Twentieth-Century Brazilian Solo
“specials” and Moñas.
Moñas are generally shorter than Mambos and have less Trumpet Works by Luis Engelke
counterpoint. Where a Mambo is typically eight to sixteen
measures long, a Moña is more often half that length: four to • Trumpets in Paradise: the Fourth
eight measures long. Moñas are often improvised by the horn Ionian Summer Music Academy
section. Someone gets an idea during one of the Montunos,
then the horn players huddle around in a circle to pick up the by Sokratis Anthis, Gregory Jones,
idea. When the Montuno is over, they play the newly created and Panoyotis Kessaris
lick. Not all Moñas are improvised this way, but it helps to
know the tradition behind this part of the music. • Understanding The Unanswered
Another common feature of Moñas is that sometimes trum-
pet or trombone players are encouraged to play high note solos Question by Joel Treybig
over the rest of the horns while they play the Moña. This may
not be written into the part. Sometimes the singer will turn • Three Decades and Counting in
around to the horns and motion for someone to take a solo. It’s Cincinnati: An Interview with
not always so structured. A Moña isn’t always explicitly writ-
ten into the part. Phil Collins by Adam Hayes
In fact, often times the Moña will be penciled in at the end
of the chart, or even sometimes on the back of the page if the • Plus columns, news, reviews,
front side doesn’t have enough room. So that’s something to
keep your eye out for… if you see what looks like unprofes-
clinics, and much more!
sional chicken scratch after the end of the song, this is most

70 ITG Journal / January 2007 © 2007 International Trumpet Guild

 CHAMBER MUSIC CONNECTION
MARC REESE, COLUMN EDITOR
Chamber Music Connection is a forum for ideas concerning the trumpet’s role in the expanding literature in all types of cham-
ber music. Ideas and suggestions should be directed to: Marc Reese, Empire Brass, Lynn University Conservatory of Music, 3601
North Military Trail, Boca Raton, FL 33431 USA; [email protected]

FIRST STEPS TO WRITING FOR THE

FRENCH HORN, TROMBONE, AND TUBA
BY KENNETH AMIS

D
o you know how to score for the French horn, trom- presence of articulation in a brass chamber group can provide
bone, and tuba? As a trumpet player, you have an an accompaniment that is full sounding, yet sonically less
advantage over non-brass players when making a first competitive with the solo line than a straight bore instrument.
attempt at writing for these instruments: you already know When scoring a solo line for the French horn, writers should
most of the difficulties associated with playing a brass instru- take care not to overload a brass accompaniment with the fol-
ment. Unfortunately, this can lead to a misguided approach to lowing:
scoring.
• Excess counterpoint. More than two rhythmic lines in the
Often a beginning orchestrator who possesses some knowl-
accompaniment will easily challenge the French horn’s pres-
edge of the technical aspects of writing for other brass instru-
ence as a soloist.
ments will begin to score for them based on what lies most
comfortably within each instrument’s range of abilities. This • Tessituras for an accompanying brass instrument that make
technical approach to orchestration may produce a playable that instrument’s timbre more aggressive. Obviously, a high
transcription but is somewhat uninspired and leads away from accompaniment will draw attention away from the French
the path of artistry. Good orchestration is not simply an appre- horn soloist; however, so can a pair of trumpets bouncing
ciation of the technical differences in each instrument—it’s an around below low A at a moderate volume.
appreciation of the aesthetic differences between one instru-
• Too many instruments playing—especially straight bore
ment and another. First, orchestrate the music; this is an artis-
instruments. The direction of a French horn bell and its rel-
tic process. Then, tackle the puzzle of “making it playable” by
atively mellow sound both con-
applying your knowl-
tribute to the difficulty French
edge of instrumenta- “Good orchestration is not simply an apprecia-
hornists have in projecting as a
tion. Do not begin
with the question, tion of the technical differences in each instru-
soloist from within a brass en-
semble. An orchestrator should
“What instrument ment; it’s an appreciation of the aesthetic dif-
ensure that the scoring does not
can play these partic-
ular notes?” Instead ferences between one instrument and another.”
demand that the French hornist
perform a solo at a high volume
ask yourself, “What
simply to be heard as the solo instrument. This is especially
instrument can best produce the effect I need here?” With this
important given the potential for the instrument’s timbre to
in mind, let us explore some of the important aesthetics mak-
change dramatically at high volumes.
ing the French horn, trombone, and tuba more than just pitch
generators for filling out chords. Write for French horn with similar aesthetic considerations
The French Horn that you would have if you were writing for a flugelhorn in a
trumpet ensemble.
A keen awareness of the wide variation in timbre between
high and low, and loud and soft notes makes the difference The Trombone
between convenient voicing and artful orchestration of the The qualitative characteristics of the trombone sound make
French horn. The horn can soften the aural texture in mid and it extremely effective for reinforcing a line. When orchestra-
low volumes and, by contrast, can brighten it more dramati- tional inadequacies inherent to other instruments threaten to
cally than the other instruments when played at loud dynam- reveal themselves in a given passage, a trombone doubling can
ics or in high registers. This provides a means by which an offer just the right compensating qualities: when in octaves
orchestrator can regulate the intensity of any line with great with a trumpet, it adds depth without significantly changing
effectiveness. the bright, straight-bore quality of the line; when in unison
When not in the high register, the French horn’s timbre and with the horn, its forward facing bell affords the line a more
© 2007 International Trumpet Guild January 2007 / ITG Journal 71
direct presence while easily permitting the French horn sonor- sound of the tuba is rounder, darker and lower than the other
ity to remain dominant; and when in octaves with the tuba, instruments. As soon as another instrument begins to play,
the higher pitches and the relatively brighter articulation can that other instrument draws the listener’s attention due to that
lend much needed clarity to a low voice. The trombone, like fact that it is brighter sounding. When giving the solo line to
no other instrument in a the tuba, like with the French
brass ensemble, addresses “The trombone, like no other instrument in horn, you must not overload the
orchestrational concerns accompaniment. Even accompani-
of each of the other inst- a brass ensemble, addresses orchestra- mental upbeats, if they are scored
ruments directly, effec- tional concerns of each of the other instru- in a high register, can undermine a
tively, and discreetly. solo tuba’s function. Tuba solos are
As a soloist, the trom- ments directly, effectively, and discreetly.” among the trickiest passages to
bone sound is appropriate score.
in almost any type of music. Its penetrating power is unique in Consider the tuba to be a powerful and reliable bass line spe-
that it is uniform throughout all but the extremities of the cialist whose unassuming nature as an accompanimental inst-
instrument’s range. This makes the trombone somewhat less rument is equal to its unassuming nature as a soloist.
vulnerable to an overloaded accompaniment than a French We don’t have the space in this issue to explore those techni-
horn or tuba soloist (of course, this does not give an orchestra- cal and mechanical hurdles particular to each of the low brass
tor license to disregard the need to leave a soloist acoustic space instruments. Fortunately, as trumpet player, you already know
for the execution of inspired performance subtleties). most of the hardships faced by all brass instruments: high
Along with its soloistic prowess, the trombone is the instru- notes are tiring; low notes are hard to articulate quickly and
ment that most effectively mitigates the common orchestra- clearly; coming in on a very high or low note can be precari-
tional shortcomings of the other brass instruments. ous, especially at a soft dynamic; wide leaps are harder than
The Tuba narrow ones; breathing is not optional; and nonstop playing is
debilitating.
The relatively large size and low range of the tuba makes Since so many technical difficulties are created or exacerbat-
variation in its orchestration somewhat of a rarity in a brass ed by the register/tessitura to which the instrument is assigned,
ensemble. The difference in sonic weight between it and the I’ll leave you with a conservative, easy-to-remember set of
other instruments in combination with its low notes tends to ranges in which you can begin scoring your low brass parts; see
make it sound harmonically and/or contrapuntally unbalanced the bottom of this page.
when playing anything other than a melody or bass line. A way Professional players are expected to be consistent on notes
around this effect is to be sure that any nonmelodic line (i.e., outside of these ranges, but by simply remembering A flat to A
harmonization, countersubject, rhythmic counterpoint, etc.) flat you’ll be sure to write within the abilities of almost any
assigned to the tuba can also function as a player with at least four years of playing
bass line. Whether this works will depend “…it takes quite a bit of experience.
on and vary with your source material The key to writing well for any instru-
and the degree to which you want to attention to overcome the ment is to first hear in your head the instru-
rewrite it. Another somewhat more pre- accompanimental nature ment’s sound, with all its aesthetic qualities
carious technique is to avoid having and characteristics, as it plays the notes in
another instrument play the bass line of the tuba sound.” question. Only consider the technical
while the tuba is playing something other aspects of assigning a line to that instru-
than the bass line. ment after you are satisfied that the sound that it creates on
The tuba’s power, size, and depth of sound are perfectly those notes is appropriate and effective. By playing with non-
adapted for providing an accompaniment, and it takes quite a trumpet players, you can develop and strengthen your ability
bit of attention and skill to overcome this fact when writing to imagine the sounds of other instruments. It all begins by
soloistically for the instrument. A careless orchestrator may attentively listening to the aesthetics of these other instruments
write an accompaniment that may be distracting when played as they converse in each of their distinctive voices.
on a tuba. Notes in its upper register, trills, moderately fast
arpeggiated figures (with the exception of a walking bass line) About the author: Kenneth Amis is the tuba player of the
and other techniques, which may be unremarkable accompa- Empire Brass and the Palm Beach Opera Orchestra, assistant
nimental figures on another instrument, can easily direct an Wind Ensemble conductor at MIT, and teaches tuba at the
audience’s attention away from the solo line when performed Longy School of Music and Boston Conservatory of Music.
on a tuba. His many compositions, transcriptions, and arrangements
As previously mentioned, it takes quite a bit of attention to are available from Boosey & Hawkes, Inc. and online
overcome the accompanimental nature of the tuba sound. The (http://www.AmisMusicalCircle.com).
problem is not that the tuba cannot play loudly; it’s that the

Range samples, L – R: Horn in F, Trombone, Tuba. Black noteheads show the actual sounding pitch.

72 ITG Journal / January 2007 © 2007 International Trumpet Guild

 INSIDE THE ORCHESTRA SECTION
JAMES WEST, COLUMN EDITOR
Inside the Orchestra Section seeks topics of interest to the orchestral musician. Ideas and suggestions should be directed to: James West, Inside
the Orchestra Section Editor, School of Music, Louisiana State University, Baton Rouge, LA 70803 USA; [email protected]

MUTES FOR E-FLAT TRUMPETS

BY JAMES WEST

A
new line of mutes designed for E-flat trumpets is now Cup mute
available from TrumCor. I had a chance recently to try The Arutunian Trumpet Concerto can be played on an E-flat
them out. Here are the results of my tests for the four trumpet, so I played the cup muted lyrical section. The mute
mutes available from TrumCor. They make a metal straight has an adjustable cup that can be placed all the way down onto
mute, a “Lyric” (soft) mute, a cup mute and a “Stealth” prac- the bell of the trumpet without sacrificing intonation. The cup
tice mute. As with the other mutes designed by TrumCor, sound is nice and mellow.
intonation is one of the para- Again, the listener will have
mount concerns. I tested the a difficult time telling that
mutes using Yamaha and the passage is being played
Schilke 3-valve E-flat/D trum- on a small trumpet.
pets. The small mutes fit the
horns well, had a good charac- Stealth mute
teristic sound, and did not The “Stealth” is an even
make the horns change pitch. I softer version of the Lyric
tried the mutes on the follow- mute. It’s a good choice for
ing pieces. the Fêtes excerpt if you real-
Straight mute ly want to sound far away.
If you must practice in an
A part that calls for a muted apartment, or a dorm room,
D trumpet is to be found in the stealth mute might just
Stravinsky’s Rite of Spring. The be a lifesaver. Practicing at
metal mute has plenty of carry- home, I often must use a
ing power. Because you are mute to avoid disturbing
playing in the “middle” of the my family. This mute plays
partial range of the D trumpet, the entire register of the
you can attack notes almost horn, and cuts out a lot of
brutally without fear of the note sound. Some practice mutes
shattering. The mute gets a are stuffy, and while there is
nice, “buzzy” sound allowing more resistance than from
the audience to think that they the open trumpet, the dif-
are listening to a larger trumpet. ference is easy to get used
Lyric mute to.
Soft, high exposed passages The E-flat mute was de-
abound in orchestral literature. signed for normal sized E-
More and more trumpeters are flat bells. I have a Yamaha
opting for the added security of playing these treacherous ex- 4-valve E-flat that has a
cerpts on smaller instruments. One such passage occurs in the large bell. The E-flat mutes will not work in that horn. How-
Shostakovich First Symphony. The passage is slow, soft, very ever, the normal TrumCor mutes work just fine.
exposed, and delicate. It lies very well on the E-flat instrument.
I found it almost relaxing to play. Another excerpt is the muted About the author: James West teaches trumpet at Louisiana
trumpet trio in Debussy’s Fêtes. In this passage, the outstand- State University in Baton Rouge. He serves as principal trum-
ing intonation qualities of the mute really help to make the pet of the Baton Rouge Symphony. West is active in solo,
passage easy to tune. The mute is nicknamed the “job saver,” chamber, and orchestral realms of trumpet performance.
and I can see why!
© 2007 International Trumpet Guild January 2007 / ITG Journal 73
 ORCHESTRA SECTION PROFILE
MURRAY GREIG, COLUMN EDITOR
Orchestra Section Profile is a “snapshot” of an orchestral section at a specific time in its history. The column seeks to include sections from all
levels of orchestras. Ideas and suggestions should be directed to: Murray Greig, Orchestra Section Profile Editor, Springfield Cottage, Forest
Hill Road, Outlane, Huddersfield, HD3 3FB, UK; [email protected]

THE SAN ANTONIO SYMPHONY

TRUMPET SECTION
History phony musicians contribute to the cultural life of San Antonio
The San Antonio Symphony was founded in 1939. The through no fewer than seven musical organizations performing
largest performing arts organization in South Texas, the chamber concerts in a number of different venues—all organ-
orchestra boasts one of the nation’s oldest and most extensive ized and controlled by musicians. The Symphony performs its
music education programs. Many of members are young musi- classical concerts in the Majestic Theater, a renovated movie
cians drawn to San Antonio, in part, for its reputation as an theatre built in the 1920s—a historic landmark!
excellent ensemble in which to train and prepare for successful The Section
auditions. Former members of the San Antonio Symphony can John Carroll, principal
be found in virtually every major American orchestra. Current- Instruments. C trumpet: Bach CL (1974) with Bach (43)
ly the Symphony has 16 full-time staff members, five part-time lead pipe and Osmun reverse tuning slide fitted with tuning
employees, and 72 musicians. They perform a 26-week season ring (1976). This is my principal performing instrument in
the orchestra. C rotary: Gantner.
A/B-flat cornet: Hen ry Distin
(1907); C cornet: Bach. Baroque
trumpet: Tomes Ehe. Piccolo trum-
pets: Selmer 4-valve, Schilke P5-4,
and Schilke C5-4 (C piccolo);
D trumpet: Bach Mt. Vernon; E-
flat trumpet: Schilke E3L (solo), E4L
(orchestral) and G1L (prefer “F”
bell). Flugelhorns: Getzen 4-valve
and Couesnon (1927). B-flat trum-
pets: Bach 43L and Schilke B5L
(beryllium bell) for lead playing.
Mouth pieces. C trumpet: Mt.
Vernon 1C; C rotary: Breslmair
G21; A/B-flat cornet: Distin #1
Levy Model. C cornet: Bach 1C
and 1D; Baroque trumpet: Nau-
mann E; Piccolo trumpet: Bach
Mt. Vernon 1¼C, Bach 7DW, and
Schilke 14A4C; B-flat trumpet
(lead playing): Rudy Muck 19C.
John Carroll studied trumpet
with Austyn R. Edwards, Ray
Makeever, and Ron Modell in
The San Antonio Symphony Trumpet Section high school. He obtained a B.M.
L – R: Jan David Roller, Lauren Eberhart, John Carroll in Trumpet Performance and a
Performer’s Certificate from Indi-
of twelve classical and six pops weeks, four weeks of education- ana University where he studied with Louis Davidson and
al concerts, and various “specials” including the Nutcracker, “A Charles Gorham. John’s interest in jazz placed him as lead
Night in Old Vienna” (New Year’s Eve), Salute to Service! (Vet-
erans Day), and free community concerts. San Antonio Sym-
© 2007 International Trumpet Guild
Continued on Page 76
74 ITG Journal / January 2007
 SCIENCE DESK
THOMAS MOORE, COLUMN EDITOR
Science Desk presents information on the physics and science of acoustics as it relates specifically to trumpet playing. Ideas and suggestions
should be directed to: Thomas Moore, Science Desk Editor, Department of Physics, Rollins College, Campus Box 2743, 100 Holt Ave.,
Winter Park, FL 32789 USA; [email protected]

G-SHARP AND A-FLAT:

THE DIFFERENCE BETWEEN GOOD AND GREAT
BY THOMAS MOORE

D
epending upon the key signature of the composition, entists usually refer to a pitch using only the frequency, so
the note that is one half step below the A440 and instead of referring to an A440 scientists will often merely refer
played with the second and third valves depressed on to the pitch as being 440 Hz.
a C trumpet may be written either as an A-flat or an G-sharp. It is important to recall that the frequency being referred to
Either way, the fingering is the same. When playing a piano it here is the frequency of repetition of the high and low pressure
is obvious that the A-flat and G-sharp are identical notes; wave that makes up the sound. Thus, when playing an A440
when you encounter either note on your score, you press the your lips are opening and closing inside the mouthpiece 440
same key. Yet the A-flat and times every second. Likewise, the sound
G-sharp are really two com- “The distinction between the two reaching your ear causes your eardrum to
pletely different notes. move back and forth 440 times every second.
The distinction between notes is a subtle one and is direct- This is all the physics that is required to un-
the two notes is a subtle one ly traceable to the mathematics derstand the difference between an A-flat and
and is directly traceable to G-sharp, but it is important to keep in mind
the mathematics that de - that defines Western music.” that it is the interval between notes that is
fines Western music. This really important and not the absolute pitch.
mathematical formalism begins with the fact that Western (Would you really care if the tuning standard was A444?)
music is defined by the intervals between pitches. That is, if we The fundamental interval for both musicians and scientists
are to play two notes at the same time, there are only certain alike is the octave. By definition, an octave is the interval that
intervals between the notes that sound good to our ears. The occurs when the frequency of any note is doubled. Therefore,
origin of these intervals dates back over 2500 years to the the octave above the A440 occurs at 880 Hz and is called the
Greek mathematician Pythagoras, and while psychoacousti- A₅. Mathematically all musical intervals are referred to by the
cians have determined that the decision as to what sounds ratio of the frequencies of the two notes, so the octave has a
good is actually learned in some cases, there are good physical frequency ratio of 2:1. Another important musical interval is
reasons why the intervals used in Western music sound pleas- the fifth, where the ratios of the two frequencies are 3:2. It is
ing when played together in sustained tones. no coincidence that these intervals are whole numbers; it was
The reason that the major-third interval, for example, Pythagoras’ hypothesis that the frequencies of all consonant
sounds good to us is explicable but not pertinent here; all that intervals are small, whole number ratios. The musical fourth
is important is we accept the fact has a frequency ratio of
that the interval is consonant. “The problem is that three major thirds do 4:3, the major third a
Given that, we can construct a situ- ratio of 5:4, and so
ation where it is obvious that the A- not equal an octave. Increasing the ratio of forth.
flat is a different note than the G- notes by 5:4 three times results not in a Now let us suppose
sharp. However, to do so requires a that we want to play a C
little background in how the conso- ratio of 2:1, but rather in a ratio of 125:64.” augmented triad to as-
nant musical intervals are defined. cend from C₄ to C₅, so
A musical pitch is often referred to by the name of the note we play C₄-E₄-G-sharp₄-C₅. In this way we have progressed an
and the octave on the piano where it can be found. For entire octave so the frequency of the C₅ is twice that of the C₄,
instance, the pitch that an orchestra usually tunes to is A₄. This and we have arrived at this note by successive combinations of
note is also commonly referred to as A440. In this latter case major thirds, each note of which has a ratio of 5:4 with the
the number 440 refers to the frequency of the note in cycles previous note. The problem is that three major thirds do not
per second. (The unit “cycle per second” is called a hertz, equal an octave. Increasing the ratio of notes by 5:4 three times
abbreviated Hz.) Thus the A₄ has a frequency of 440 Hz. Sci- results not in a ratio of 2:1, but rather in a ratio of 125:64.
© 2007 International Trumpet Guild January 2007 / ITG Journal 75
Thus the ratio between the C₄ and C₅ must be 1.95:1. This of the Tanglewood Fellowship Orchestra in 1975 – 76),
might not be too much of a problem if we always restricted our Thomas Stevens (while attending the Music Academy of
playing to the key of C; we could merely stretch the frequency the West in 1974), and Larry Schmidt. Carroll was previ-
difference between the G-sharp₄ and C₅ so that the frequency ously principal trumpet of the Boston Opera (1977),
ratio is slightly more than 5:4. But at some point we may want third/assistant first trumpet of the Springfield Symphony
to play something in A-flat major and this would require that (1976), and fourth/utility trumpet of the Detroit Sym-
the C₅ have a ratio of 5:4 with the A-flat₄ below it. Thus, there phony (1977 – 79). He has also played principal trumpet
must be a difference between an A-flat and a G-sharp! A quick with the Columbus Symphony (Summer Season 1988),
calculation reveals that the G-sharp₄ must have a frequency the Sunriver Music Festival Orchestra (1983 –) and the
that is about 7 Hz below the A-flat₄. When the two notes are Cactus Pear Music Festival (1997 –). A collector of instru-
played together this difference is easily discernable even by ments (over 3,000) he owns 77 vintage cornets, hundreds
those who are not musically trained. of mouthpieces and an untold number of trumpets.
Naturally, the problem of the A-flat and G-sharp is not
unique to these two notes. Furthermore, the problem becomes Lauren Eberhart, 2nd trumpet
worse as you extend your play over more than one octave. This Instruments. C trumpet: Bach Stradivarius L bore 229
problem was recognized very early in the history of Western bell; B-flat trumpet: Bach Stradivarius ML bore, 137 bell;
music and people have been trying to deal with it ever since. Piccolo trumpet: Yamaha Custom B-flat/A; Rotary trum-
The result has been to keep the octave as the fundamental pet: Monke
interval so that all octaves have a ratio of 2:1, and hope that the Mouthpieces. C and B-flat trumpets: Bach Mount Ver-
musician knows how to make the adjustment necessary to play non 1; Piccolo trumpet: Stork Custom and Breslmair BB;
an A-flat or a G-sharp. The composer is supposed to help the Rotary trumpet: Breslmair
player by writing the correct note on the score, but if you think Lauren Eberhart earned a B.M. Degree from Baldwin
an A-flat and G-sharp are the same note it does you no good. Wallace College in 1990 and a M.M. Degree from South-
To play the correct note requires that you be cognizant of the ern Methodist University in 1992. Her principal teachers
music and what those around you are playing. You must listen were James Darling, Mary Squire, and Thomas Booth.
to the other players and study the music closely. However, if Ms. Eberhart’s orchestral career started with the principal
you are playing with a piano you do not have this luxury; on a trumpet position in the Waco (TX) Symphony (1993).
piano an A-flat really is the same as a G-sharp. In this case you This was followed by the second trumpet position with
must adjust to the tuning of the piano. the Savannah Symphony (1994 – 96). In September
When tuning a piano the piano tuner must somehow add 1996, she joined the San Antonio Symphony as second
frequencies into the octave without detuning the thirds (or trumpet. Ms. Eberhart is also a member of the San Anto-
fifths, or any other musically consonant interval). Deciding nio Opera Orchestra and the Cabrillo Festival Orchestra
where the extra frequencies are added within the octave is (Santa Cruz, CA). She has played principal trumpet for
called tempering, and the correct tempering depends on the the Charleston (SC) Symphony Orchestra numerous
music being played. On most pianos the extra few hertz are times and has performed as an extra with the Dallas Sym-
evenly distributed throughout the 12 notes between octaves, phony Orchestra.
which is a process called even tempering. But this is by no
means the only way (or the best way) to temper a piano. Jan David Roller, third/assistant first
Regardless of whether you are accompanied by a piano or Instruments. C trumpet: Bach 229 with Ken Larsen
playing in an ensemble, you need to be acutely aware of the lead pipe; B-flat trumpet: Benge (5X Burbank) with Ken
intervals. This requires study, practice, and sometimes more Larsen lead pipe; Piccolo trumpet: Schilke P5-4; Cornet:
thought than we often give the music. Years of playing can H. N. White (1895).
result in a natural tendency to adjust the pitch correctly and Mouthpieces. C and B-flat: Schilke 1CH; Cornet and
many of the best players never think of this subtle problem; Piccolo: Use custom mouthpieces made by Renold
they just play so that it sounds right. But whether you do it Schilke many years ago.
consciously or unconsciously, if you play an A-flat and G-sharp Jan David Roller received the Bachelor of Music Degree
as the same note you can be good, but you will never be great. from the University of Houston where he studied with
James Austin, and the Master of Music Degree from the
About the author: Thomas Moore is associate professor of Eastman School of Music, studying with Sidney Mear.
physics at Rollins College in Winter Park, Florida, where he is
Other teachers have included Daniel Patrylak, George Bled-
teaching and directing an experimental research program ded-
soe, Vincent Cichowicz, John Thysen, Seymour Rosenfeld,
icated to understanding the physics of the modern trumpet.
and John Marsteller. In addition to his duties as third and
He has worked as a research scientist at the Lawrence Liver-
assistant first trumpet of the San Antonio Symphony he
more National Laboratory and spent several years on the fac-
serves as guest lecturer in trumpet at The University of
ulty at West Point.
Texas at San Antonio and Trinity University. During the
Orchestra Section Profile continued from page 74
summers, he teaches trumpet and brass ensembles at the
Interlochen Arts Camp in Michigan. He has played with
trumpet in David Baker’s Jazz Ensemble at I.U., a posi- the Rochester Philharmonic, Houston Symphony, Houston
tion held for eight consecutive semesters. Other teachers Grand Opera, Houston Ballet, and the Royal Christchurch
include Armando Ghitalla (while attending the New Eng- Musical Society in New Zealand. Mr. Roller is very active
land Conservatory as a graduate student and as a member as a recitalist throughout the Southwest.
76 ITG Journal / January 2007 © 2007 International Trumpet Guild
 RECORDING REVIEWS
PETER WOOD, COLUMN EDITOR

Recording Reviews appear regularly in each issue of the ITG Journal. Recently released solo trumpet, trumpet ensemble, brass
ensemble, or jazz recordings may be submitted by the artist, agent, recording company, or distributor. Reviewers and items for
review are selected by the editor and will not be returned. Journal publication deadlines require that reviews of selected items
appear at least six months after they are received. Qualified ITG members are invited to review recordings submitted based on
their area of expertise (e.g., solo trumpet, brass quintet, jazz). Copies of the discs will be forwarded to selected reviewers.
Reviews reflect the opinions of individual reviewers and not those of the International Trumpet Guild. The editor strives to
present unbiased reviews written by musicians unaffiliated with the recording artists. To submit a recording for review consid-
eration or to request to join the review staff, please contact: Peter Wood, Department of Music, 1150 Laidlaw Performing Arts
Center, University of South Alabama, Mobile, AL 36688 USA; [email protected]; phone: 251-460-7821.

Austin, Trent—Two-Toned Reynolds: Concertare 1 for brass quintet and Percus-

Trent Austin, trumpet, flugelhorn, cornet and valve trom- sion; Fux (Reynolds): Centone 2; Reynolds: Concertare
bone; Benny Green, piano; Jon Wheatley, guitar; Paul 4 for brass quintet and piano; Reynolds: Suite for Brass
Odeh, piano; Ryan Parker, piano; Thomas Snow, piano Quintet.
Ryan Parker Recording Studios, Boston, MA; Drawing upon Eastman
http://www.waterwayproductions.com Brass Quintet performances
Petkere: Lullaby of the Leaves; Kern: I’m Old Fashioned; from the 1970s, Summit has
Austin: 8pak, Two-Toned, Three Wheeler; Porter: issued a well-deserved aural
What Is This Thing Called Love; Daugherty/Reynolds: tribute to this noted ensemble.
I’m Confessin’ That I Love You; Parker: Stupendous; No doubt, listeners who actu-
Terry: Jones; Corea: Armando’s Rhumba. ally heard these performances
Two-Toned is Trent Austin’s will have fond memories rekin-
second CD. This time he dled. In addition, a younger
showcases eight intimate duets audience will be introduced to
with piano and two with gui- a group that, along with others
tar. Written by Alan Chase, the like the New York Brass Quintet and Canadian Brass, helped
liner notes give a nice perspec- create a frenzy of compositional and performance activity for
tive of the music and musi- brass quintets. Eastman horn professor Verne Reynolds was a
cians on the recording. The leader during this time in composing and arranging for brass-
sidemen all sound fantastic, es. Appropriately enough, his works are solely featured on the
provide great solos and are an two-disc set. Centones 1, 2, and 8 display textbook examples of
absolute joy to hear. The open- correct balance, blend, and intonation. It is hard to imagine a
ing track, Lullaby of the Leaves, has the classic piano sound of better set of study pieces for aspiring brass quintets. Many of
guest Benny Green, coupled with Austin’s loosely employed the shorter selections, such as Weelkes’ I Love and Have My
plunger. Jon Wheatley’s calm, yet swinging guitar work on I’m Love Regarded and Christopher Tye’s Come Holy Ghost, are
Old Fashioned is fantastically simple, and his pleasant sound accessible to younger performers and are appropriate for solo
works perfectly with Austin’s subtly swinging cup-muted solo. and ensemble contest. On the other hand, Reynolds’s arrange-
Austin’s original composition 8pak is perhaps the most ambi- ment of Claude LeJeune’s Revecy Venir du Printans proves to be
tious and enjoyable work on the disc. The fast-moving work is a dazzling display of technique and an inspiration to players at
full of energy and provides the listener a welcome change of any level. Concertare 1 and 4 are extended works, with the lat-
pace. Most of the playing, however, is subdued and mellow, ter being in excess of twenty-one minutes. Featuring percus-
providing a relaxing feel and overall sound. The future holds sion and piano, respectively, these works represent the trend
great things for Austin as we look forward to more of his skill- toward the composition and performance of major works for
fully written tunes and his developing solo style. (Kurt brass quintet during the 1970s. The quality of the recording,
Zemaitaitis, adjunct faculty, Joliet Junior College, freelance along with the variety of music presented, makes 1975 Archive
trumpeter, Plainfield, IL) an excellent selection for any brass enthusiast’s library. (Gary
Barrow, professor of trumpet, Arkansas Tech University, Rus-
Eastman Brass Quintet—1975 Archive sellville, AR)
Daniel Patrylak, trumpet; Allen Vizzutti, trumpet; Verne Rey-
nolds, horn; Don Knaub, trombone; Cherry Beaure- Laurence Gargan—The Lyric Trumpet and Organ: Music
gard, tuba Old and New for Trumpet and Organ
DCD449 (CD); Summit Records, Box 26850, Tempe, AZ Laurence Gargan, trumpet; George McPhee, organ
85285 GMLG01CD (CD); http://www.lauriegargantrumpet.com
Various (Reynolds): Centone 1; Posch (Reynolds): Centone 8; Reiche: Fanfare; Clarke: Voluntary; Saint Saëns: My Heart
© 2007 International Trumpet Guild January 2007 / ITG Journal 77
at Thy Sweet Voice; Bach: Jesu, Joy of Man’s Desiring; ation. The rest of the group is
Haydn: Concerto in E-flat, 1st movement; Sullivan: The Lost also outstanding. Violinist
Chord; Hummel: Concerto in E, 2nd movement; Bach: Bist Keen often trades melodic
du Bei Mir; Stanley: Trumpet Tune; Burns: My Love is Like phrases or plays lower har -
a Red, Red Rose; Adams: Holy City; Purcell: Trumpet Tune. mony parts. All members of
This is an attractive CD of the group move easily between
familiar music arranged for supporting and solo roles. The
trumpet and organ, played by ensemble is tight and well bal-
performers who are masters of anced throughout. Percussion-
their instruments. Scottish ist Yuval Edoot transitions ef-
trumpeter Laurence Gargan is fortlessly from trap set to dum-
principal trumpet of the Singa- bek, tambourine, bongos, and numerous other instruments as
pore Symphony, and organist required. The repertoire on the album includes traditional
George McPhee is Director of Eastern European folk melodies and several interesting fusions
Music at Paisley Abbey in Pais- of Klezmer with other styles. Baroque Klezmer starts and ends
ley, Scotland, where this rec- with a slow Bach melody that is then given an energetic up-
ording was made. The “lyric” part of the album consists of the tempo Klezmer treatment. The Latin Freilach begins with a
second movement of Hummel’s Concerto in E, two of Bach’s slow rubato introduction, switches to a fast freilach (a Yiddish
most familiar melodies, and four much-loved songs from the dance), and finally changes to a Latin groove with improvised
Victorian era. Both the repertoire and the excellent program solo turns by the trumpet, drums, and accordion. Klezmer in
notes by Andrew Bruce make this an album with appeal both the Orient is an evocative pentatonic Chinese inspired piece.
to general listeners and trumpet players alike. The album The recording quality is excellent, although it would have been
begins with a spectacular performance of the Fanfare by Got- nice to get more information about the origins of individual
tfried Reiche, the man in the well-known portrait where pieces in the liner notes. This CD should be of interest to those
Reiche, Bach’s trumpeter, is shown holding a coiled natural who seek new treatments of traditional Klezmer repertoire and
trumpet and a page of music paper with the notes clearly visi- to those who are interested in hearing new and exciting
ble. Clarke’s Voluntary and the two Trumpet Tunes receive settings for the piccolo trumpet. (Mark Nemoyten, performer,
spirited and brilliant performances. Gargan plays Haydn and teacher, recording engineer, San Francisco Bay Area)
Hummel with skill and authority, and his impressive cadenza
in the opening movement of the Haydn covers a range of three Jouko Harjanne—Symbiosis
octaves. The heart of the recording is the songs and melodies; Jouko Harjanne, trumpet; Kuopio Symphony Orchestra, Yuri
Gargan plays these with taste and excellent control. He has a Nitta, conductor
beautiful tone in all registers and makes it sound easy. The Cryston OVCC-00025 (CD/DVD); Octavia Records Incor-
organ sound is spacious, but distant, while the trumpet is porated, Japan; http://www.octavia.co.jp/index2.html
seemingly close-miked, creating some balance issues at times. Nagao: Fertile Tears; Holmboe: Concerto No. 11 for Trumpet
However, this is an impressive first for Gargan; his lovely tone and Orchestra, Op. 44; Riisager: Concertino for Trum-
quality and choice of repertoire make this an attractive record- pet and Strings, Op. 29; Nagao: Symbiosis for Solo
ing to own. (Stephen Chenette, ITG Past President) Trumpet and Orchestra.
Trumpet virtuoso Jouko
David Glukh International Ensemble—Klezmer Travels the Harjanne has released an out-
World standing recording of contem-
David Glukh, piccolo trumpet; Ronn Yedidia, accordian; porary music for trumpet. As
David Keen, violin; Eddy Khaimovich, bass; Yuval on his previous recordings,
Edoot, percussion Harjanne produces a beautiful
#5106 (CD); David Glukh Enterprises, Inc.; tone with seemingly effortless
http://www.glukh.com control throughout the entire
Odessa Bulgarish/Nakht in Gan Eydn, Nigun Atik, Grichisher range of his instrument. Of the
Tantz, Firn Di Mekhutonim, Gypsy Craze, Unzer works on this disc, only the
Toyrele/Russan Sher, Baroque Klezmer, Latin Freilach, Riisager Concertino was previ-
Chuperlika, Klezmorim in Orient, Meorav Yerushalmi, ously familiar to this reviewer. The Concerto No. 11 by Danish
Der Heyser Bulgar. composer Vagn Holmboe is contemporary without being
The David Glukh Ensemble is a unique New York-based harshly dissonant, and the influence of Bartok can be heard
ensemble that performs extensively in the northeastern U.S. throughout the three movements. The two works by Japanese
This CD shows the breadth of the group’s Klezmer repertoire. composer Jun Nagao are the newest selections on the disc, and
The most striking element in the group is the four-valve rotary they prove to be the most exciting. Premiered by Harjanne on
piccolo trumpet playing of Gluhk. He plays with fluid agility, November 15, 2005, Nagao’s Fertile Tears, a twelve-minute
an expressive vibrato, and an unstrained and exuberant sound. single movement work. Symbiosis, also composed in one move-
His tone is appropriately bright, filling the role usually given ment, is just over twenty-four minutes in length. Both of these
to a Klezmer clarinetist. This recording should be of interest to pieces begin with atonal introductions followed by passages of
ITG members if only to hear Glukh navigate florid lines with lush harmonies and beautiful melodies. With this release, Har-
ease, bend notes, and generally add the required ethnic color- janne has proven himself once again to be one of the world’s

78 ITG Journal / January 2007 © 2007 International Trumpet Guild

finest musicians. The orchestra, led by conductor Yuri Nitta, (Thomas Erdmann, professor of music, Elon University,
is excellent. The recording quality of the disc is first-rate, but Elon, NC)
the extensive program notes, since they are written in Japan-
ese, will be of no use to a non-Japanese audience. (Douglas Raymond Mase, American Brass Quintet, et al—Dectet: The
Lockard, associate professor of trumpet, East Texas Baptist Music of David Sampson
University, Marshall, TX) Raymond Mase, flugelhorn; Czech Philharmonic Chamber
Orchestra, Paul Polivnick, conductor; Scott Brubaker,
Bob Levy—Did You Ever Cross Over To Sneden’s? horn; Ron Levy, piano; Kevin Cobb, trumpet; David
Bob Levy, trumpets; Mike Hale, trumpet; Walt Weiskopf, ten- Wakefield, horn; Michael Powell, tenor trombone; John
or saxophone; Tom Washatka, tenor saxophone; Woody Rojak, bass trombone; Wihan String Quartet; Afflatus
Mankowski, tenor saxophone; Nick Keelan, trombone; Wind Quintet; Richard Ormrod, piano
Ken Schaphorst, piano; John Harmon, piano; Steve TROY780 (CD); Albany Records U.S., 915 Broadway,
Grismore, guitar; Phil Coe, guitar; Nick Utrie, guitar; Albany, NY 12207; http://www.albanyrecords.com;
Mark Turner, cello; Dave Stallsmith, bass; John Gibson, 518-436-8814
bass; Ryan Korb, drums; Dane Richeson, drums and All compositions by Samp-
percussion; Jamie Ryan percussion; Janet Planet, vocals son: Serenade for flugelhorn
STEL 1003 (CD); Stellar Sound Productions; and string orchestra; Sonata
http://www.janetplanet.com Forty for horn and piano; Stra-
Weiskopf: Southwest Blues; Levy: Overton Lane Games; Levy ta for brass quintet; Dectet for
(Schaphorst): Hillside; Wilder (Harmon): Did You Ever oboe, clarinet, horn, bassoon,
Cross Over To Sneden’s?; Roebke: Sometime Later… 2 violins, viola, cello, double
And After; Schaphorst: Catching Up; Levy (Schap- bass, and piano.
horst): Dark Shadow; Harmon: Cousin Bill; Levy This very interesting record-
(Schaphorst): Sister “M”; Levy (Schaphorst): One For ing features music composed
Jake; Harmon: A Father’s Dream; Levy: The Toad by David Sampson, a trumpet
Thing. player and composer of many superb brass works. Of the four
Former Lawrence Conserva- pieces on the CD, two include trumpet or flugelhorn. The
tory of Music Jazz/Trumpet/ opener, Serenade for flugelhorn and string orchestra, is per-
Conducting professor Bob formed masterfully by Ray Mase and the Czech Philharmonic
Levy originally released this Chamber Orchestra. This piece is a sectionalized musical
mixed bag of styles, effects, depiction of the personalities in Sampson’s family: himself, his
and highly energized trumpet wife, and his two energetic sons. Ray Mase performs the very
jazz in 1997. Levy’s shifting poignant opening, reminiscent of Barber’s Adagio, especially
cast of bandmates and ensem- soulfully; and he meets the technical and articulation demands
ble configurations come to- with clarity and ease. Mase correctly states, “Sampson has
gether to fashion a disc where composed an expressive vehicle for this instrument that
everybody dedicates them- stretches far beyond its haunting tone and silky legato.” The
selves fully to each of the widely diverse musical areas third piece on the recording is Strata for brass quintet, per-
explored. From tour-de-force rippers like Southwest Blues, to formed by the American Brass Quintet. Intended to expand
all-out blow-fests such as Hillside, and electronically augment- upon and refer to Sampson’s two previous quintets written for
ed experiments like Overton Land Games, Levy plays with the ABQ, Morning Music and Distant Voices, this exciting work
conviction and strength, a hallmark throughout his career. contains a wide variety of styles. The first movement’s opening
Even on some of the more “outside” pieces like Dark Shadow, with slowly moving notes that ebb and flow is a study in sonor-
Levy’s ability to fit his improvised lines into the ever-shifting ity and harmony. It then transitions into a pointillistic muted
textures and accompanying groups only serves to highlight his section. The middle movement is an introspective dirge, rem-
skillfully crafted genre-traversing abilities. On the touching iniscent of the music of Arvo Pärt. Jazzy rhythmic material is
title cut ballad, featuring the superb vocalist Janet Planet, developed throughout the third movement, creating an inter-
Levy leaves his high-flying acrobatics and trades them for a esting conclusion to a very enticing work overall. This excel-
warmly lush tone perfectly suited to match Planet’s smoothly lent recording, which also contains Sonata Forty for horn and
caressing syllabic phrases. On the classically informed and piano and Dectet for string quartet, wind quintet, and piano,
influenced Sometime Later… And After, Levy is able to nego- is highly recommended for those who want to hear music by
tiate cellist Mark Turner’s tightly packed wavering lines by one of the great composers of our day as performed by the
dipping and swooping within and through them with polish always impeccable artistry of Ray Mase and the American
and flair. The Steely Dan-inspired Cousin Bill provides Levy Brass Quintet. (Peter Wood, assistant professor of trumpet,
with some of his greatest challenges and subsequent rewards. University of South Alabama, Mobile, AL)
Finding a harmonic language that fits both within and outside
of the openness of the upper-partial chordal structure, not to Sergei Nakariakov—Haydn-Hoffmeister-Mendelssohn
mention the clipped and building rhythmic background, Levy Sergei Nakariakov, trumpet and flugelhorn; Jörg Faerber, con-
does his best work on the CD. While the divergent assem- ductor; Württembergisches Kammerorchester Heil-
blage of charts lacks a coherent sense of flow, Levy is able to bronn
expertly negotiate all the curves with great skill and cunning. Teldec Classics International 3984-24276-2 (CD); Warner

© 2007 International Trumpet Guild January 2007 / ITG Journal 79

 Music Group, 75 Rockefeller Plaza, New York, NY er. As expected, the playing is
10019; http://www.teldec.com effortless and lyrical, and dem-
All works arranged by Mikhail Nakariakov: Haydn: Concerto onstrates the breadth of Nak-
in C major Hob.VIIb:1 (originally for violoncello and ariakov’s abilities. The work by
orchestra); Hoffmeister: Concerto in D major (original- Saint-Saëns begins the record-
ly for viola and orchestra); Mendelssohn: Concerto in D ing with a flurry of virtuosity.
minor (originally for violin and orchestra). Extended passages of multiple
Sergei Nakariakov, the great tonguing make the violin solo
young Russian virtuoso, ex - sound perfectly natural on
plores Classical and early Ro- trumpet. The middle four
mantic string repertoire on the works are performed on flugel-
CD Haydn-Hoffmeister-Men- horn, which provides a beautiful backdrop for these lyrical
dels sohn. This recording, re - works, especially the cello transcriptions. These pieces show-
leased in 1999, features three case Nakariakov’s warm, rich sound and singing style in all tes-
works skillfully arranged by situras, including the pedal register. Once again, the passages
Nakariakov’s father, Mikhail. of broken octaves and arpeggios common in cello works are
The Württembergisches Kam- conveyed with ease and beauty. The disc closes with a bright,
merorchester Heilbronn, con- rousing rendition of Dokshizer’s transcription of Rhapsody in
ducted by Jörg Faerber, provides sensitive collaborative artistry. Blue. The trumpet playing throughout the entirety of this disc
Throughout the album, Nakariakov convinces the listener that is flawless and always musically conceived. Nakariakov aptly
these masterworks for cello, viola, and violin, respectively, illustrates the disc’s title by adding the most unlikely solo
might well have originally been written for the trumpet (or works to our trumpet repertoire. (David Bohnert, associate
flugelhorn). Nakariakov, with his sparkling passagework filled professor, Wayne State College, Wayne, NE)
with remarkable clarity and lightness of articulation, possesses
amazing flexibility and perfect intonation. Every note is heard Paul Neebe—American Trumpet Concertos
clearly, even in the fastest passages. Nakariakov’s sound on Paul Neebe, trumpet; Slovak Radio Symphony Orchestra,
both the trumpet and flugelhorn is beautiful, clear, and expres- David Wiley, conductor
sive from low register to high. He uses a Courtois four-valve TROY 805 (CD); Albany Records, 915 Broadway, Albany, NY
flugelhorn for the Haydn cello concerto. Of particular note is 12207; http://www.albanyrecords.com; 518-436-8814;
the soulful singing quality of the second movement. Nakari- fax 518-436-0643
akov uses the trumpet for both Hoffmeister and Mendelssohn. Roskott: Concerto for Trumpet and Orchestra; Green: Con-
In the Hoffmeister, Nakariakov produces a wonderful sound certo in C; Bradshaw: Sonata for Trumpet and Strings;
throughout the total range of the instrument and combines the Tillis: Spiritual Fantasy No. 6 “Sinner, please don’t let
buoyant dancing quality with a beautiful lyricism. The first this harvest pass.”
movement of the Mendelssohn showcases elegant long lines On his latest release, trum-
(in the reviewer’s opinion, only possible through circular peter Paul Neebe joins forces
breathing). What truly seems to make Sergei Nakariakov a with David Wiley and the Slo-
great artist is the range of emotions evident in his music mak- vak Radio Symphony Orches-
ing. For example, the second movement of the Mendelssohn tra in a splendid offering of
possesses a sorrowful, lamenting quality that can move the lis- world-premier recordings of
tener to tears, whereas his third movement is very playful and four appealing works for trum-
fiery. The entire album is a joy to hear, and one might even be pet and orchestra. Neebe, prin-
tempted to shout “Bravo!” and “Encore!” and play the CD cipal trumpet of the Roanoke
again! (Michael Tunnell, professor of trumpet, University of Symphony Orchestra and fac-
Louisville, Louisville, KY) ulty member at the University
of Virginia (Charlottesville), performs flawlessly and with
Sergei Nakariakov—No Limit effortless vitality. Carl Roskott describes his neo-romantic
Sergei Nakariakov, trumpet and flugelhorn; The Philharmonia Concerto as at times “melodic and heroic” and at other times
Orchestra, Vladimir Ashkenazy. conductor “sinister and foreboding.” Neebe nails each section’s character
Teldec Classics International 8573-80651-2 (CD); Warner with panache and verve. In the quite vigorous and exciting
Music Group, 75 Rockefeller Plaza, New York, NY opening movement, the first thing I noticed about Neebe’s
10019; http://www.teldec.com playing was his full-bodied clear sound, tasteful warm vibrato,
Saint-Saëns (M. Nakariakov): Introduction and Rondo and dead-on intonation accuracy, especially on the wide leaps
Capriccioso; Tchaikovsky (M. Nakariakov): Andante in Roskott’s writing. The second movement, with its hymn-
Cantabile; Tchaikovsky (M. Nakariakov): Variations on like style, long sinuous phrases, and soaring melodies, is lush
a Rococo Theme; Bruch (M. Nakariakov): Canzone; and gorgeous; and Neebe makes the slow, gradual ascent into
Massenet (M. Nakariakov): Méditation; Gershwin the upper register sound most natural and unforced. In the
(Dokshizer): Rhapsody in Blue. final movement, Neebe handles the wide intervals with ease,
No Limit is an appropriately titled 2000 release by Sergei playing at all times with a ringing tone and crisp articulation.
Nakariakov. This recording contains five transcriptions by On Edward Green’s brilliant Concerto in C, Neebe again makes
Sergei’s father, Mikhail, and one by the great Timofei Dokshiz- everything sound easy. His musicality is at all times evident,

80 ITG Journal / January 2007 © 2007 International Trumpet Guild

especially in the beautiful and expressive middle movement. Canada B1Y1Z7; http://www.lakewind.com
Robert Bradshaw’s Sonata, which many trumpet players know Brunkhorst/Tynan: Being There; Tynan/Brunkhorst: Babel;
from the 50 States Premier Project in 2003, is recorded here for Brunkhorst: Our Foreign Policy; Tynan: The Chair;
the first time with full orchestra. The piece sounds great with Brunkhorst: My Next Wife; Brunkhorst: How Space-
strings; Bradshaw’s writing is very idiomatic. The orchestra men Lose Weight; Brunkhorst: Sorry Please.
adds warmth to the texture, and Neebe performs with a If you’re looking to add
remarkable clarity of articulation on the four-movement something new and different
Sonata. The solo playing throughout the disc is consistently to your music collection, check
impressive. Neebe plays with great power and intensity and out Paul Tynan’s recent release
sounds equally at home in all registers of the instrument. His Digital/Spiritual. Despite the
centered sound is an excellent model for all trumpeters. All of relatively sparse liner notes, the
the works performed are welcome additions to our solo reper- music on this disc speaks for
toire. (Peter Wood, assistant professor of trumpet, University itself. It contains a blend of tra-
of South Alabama, Mobile, AL) ditional jazz with digitally
manipulated sounds to create a
Michael Tunnell—The Morning Trumpet new and engaging soundscape.
Michael Tunnell, trumpet; J. David Wagner, organ; Meme At times the electronic events augment the acoustic ensemble,
Tunnell, piano; Reese Land, trumpet while at other times the digital sounds serve as the foundation
CRC2793 (CD); Centaur Records; of the piece. In Being There, Tynan plays a lush lyrical trumpet
http://www.centaurrecords.com line over a digital background; his expressive improvisatory
Speck: The Morning Trumpet; Friedman: Sonata; Rautavaara: melody contrasts the storm and stress present in the accompa-
Hymnus; Satterwhite: Sorrow is almost violet; Nelhy- niment. On the other hand, a more traditional work, My Next
bel: Metamorphosis; Gardner: Sonata da Chiesa sopra Wife, pairs an elegant trumpet melody with acoustic guitar
un tema di Claudio Monteverdi. accompaniment. One of the most interesting tracks on the disc
In his latest solo recording, is Babel, in which Tynan’s creative genius shines as he plays the
Michael Tunnell delivers a muted trumpet in a manner that sounds convincingly like
beautiful collection of works human speech. Babel is coupled with guitarist Brunkhorst’s
that showcase colors and tex- Our Foreign Policy on the same track, which ends with a beau-
tures of the early morning. tiful lyrical duet between Brunkhorst and Tynan. This duet
Tunnell is professor of trumpet sharply contrasts with the earlier frantic material heard in
at the University of Louisville Babel. Overall, this disc achieves a nice balance of natural
and a member of the ITG sounds and digital effects. Trumpet players interested in
Board of Directors. His fifth exploring the trumpet’s capabilities within a digital soundscape
solo recording The Morning should be sure to check out this creative and innovative disc.
Trumpet features music that (Jason Dovel, doctoral student, University of North Texas,
fits perfectly with the cover art. As the sun rises slowly in the Denton, TX)
east, the sound of the trumpet is heard, playing melodies with
a variety of colors: blues, greens, reds, and yellows. Beginning The Gary Urwin Jazz Orchestra—Kindred Spirits
with Frederick Speck’s The Morning Trumpet and continuing Gary Urwin, leader/arranger; Bill Watrous, trombone; Pete
with Stanley Friedman’s Sonata, both works are inspired by the Christlieb, tenor saxophone; Kim Richmond, Rusty
traditional hymn tune The Morning Trumpet. Both works draw Higgins, Pete Christlieb, Dan Higgins/Jeff Driskill,
freely from the hymn tune, but each also takes its own unique John Mitchell, saxophones, flutes, clarinets; Wayne
course. While Speck’s work embraces more traditional tonali- Bergeron, Bobby Shew, Rick Baptist/Mike McGuffey,
ties, Friedman weaves between tonal and atonal, using gestures Warren Leuning/Ron King, John Thomas/Dan For-
and complex rhythms to give the piece a sense of unity. Tun- nero, trumpets and flugelhorns; Charlie Loper, Alex
nell’s performance is inspired as he infuses deep feeling and Iles, Dave Woodley, Rich Bullock, trombones; Chris-
inflection into his phrases, drawing out the unique character in tian Jacob, Frank Browne, Trey Henry, Ralph Razze,
each work. Tunnell’s piccolo playing on Nelhybel’s Metamor- rhythm section; John Yoakum, English horn; Amy
phosis is of particular note. Graceful and charming in places, Shulman, harp; Michito Sanchez and Richie Gajate-
and powerful and striking in others, it was a pleasure to hear. Garcia, percussion
Filled with complex, exciting performances of newly com- Summit Records DCD 488 (CD); Summit Records, Tempe,
posed works, this is a notably interesting release. (Joseph Bow- Arizona; http://www.summitrecords.com
man, assistant professor of trumpet, Mahidol University, All selections arranged by Gary Urwin: Young: Lester Leaps In;
Bangkok, Thailand) Goldsmith: Theme From “Chinatown;” Hefti/Troup:
Girl Talk; Young/Gillespie: Beautiful Love; Young/
Paul Tynan and Kevin Brunkhorst—Digital/Spiritual Washington: My Foolish Heart; Urwin: Kindred Spir-
Paul Tynan, trumpet, pocket trumpet, flugelhorn, and cym- its; Traditional: Danny Boy; Shorter/Davis: E.S.P.;
bals; Kevin Brunkhorst: electric guitar, acoustic guitar, Brown/Fain: That Old Feeling; Weill/Gershwin: My
digital effects, loops, and cassette player Ship; Jobim: No More Blues; Kahal/Fain: I’ll Be Seeing
Lakewind NJCD7204 (CD); Lakewind Sound Studios, 814 You.
Point Aconi Road, Cape Breton Island, Nova Scotia, West Coast composer/arranger Gary Urwin has assembled a

© 2007 International Trumpet Guild January 2007 / ITG Journal 81

 big band of the finest studio for an alphorn duet and a piece
players and jazz artists from featuring didgeridoos. This
the Los Angeles area for this, group can change style and
his third CD. This collection color to suit any occasion.
of fresh interpretations of stan- Baroque pieces are treated with
dard tunes from the jazz and tasteful ornamentation, and
American songbook idioms German Romantic orchestral
features two veteran virtuoso style is admirably displayed in
jazz soloists. Tenor saxophonist the Wagner. There is even a
Pete Christlieb and trombonist very creditable impersonation
extraordinaire Bill Watrous of Harry James to close the
carry the lion’s share of front line and solo duties. Urwin wrote program. Two of the group’s trumpeters show exemplary abil-
all the arrangements to feature the two soloists specifically for ity as arrangers and excel at bringing out the best in their col-
this recording. The set opens with the old Lester Young up- leagues. The Zephir Trumpet Ensemble, from the sounds on
tempo rhythm changes riff tune Lester Leaps In and finds both this wonderful CD, is a group from which we will undoubted-
featured artists in impressive form. There are also individual ly hear great things in the future. (Lee Weimer, assistant pro-
ballad settings for each soloist to explore. Christlieb shines on fessor of music, Lambuth University, Jackson, TN)
My Foolish Heart and Kurt Weill’s My Ship, and Watrous stands Briefly Noted
out on Chinatown and on an appealing interpretation of the
traditional Danny Boy. Both players close the set with pianist Arthur Pryor and His Band—Echoes from Asbury Park
Christian Jacob in a short but sweet trio version of I’ll Be See- ARCH 5008 (CD); Archeophone Records, 2244 Jeffery Drive,
ing You. In addition to the excellent writing and playing of the St. Joseph, IL 61873; http://www.archeophone.com
band all through this album, of special interest to trumpet This recording takes the listener back 100 years to the
players are three all-too-short solo appearances by Bobby Asbury Park resort on the New Jersey shore. Included are orig-
Shew, who makes his presence felt on Beautiful Love, My Fool- inal recordings of Arthur Pryor’s band from 1903 – 1913, with
ish Heart, and Jobim’s No More Blues. I don’t think you can the pieces sequenced according to the programming style of the
find a stronger trumpet section than the one here, led by era in order to simulate two different concerts that audiences
Wayne Bergeron. His work is superior throughout. Bergeron might have heard at the luxurious vacation spot. Although
makes some convincing upper register comments over the rest there is a great deal of hiss and scratchiness on the recording,
of the band on the out chorus of Kindred Spirits, an original much like the sound of an antique Victrola, it is great to hear
medium-tempo blues, capping the final chord with a double the maestro’s actual interpretations as both conductor and
high C. The sound quality and balance are generally excellent, trombone soloist and to see the style of band concert program-
except for some occasionally overdone reverb. I thoroughly ming of the day. It is also interesting to hear the vibrato uti-
enjoyed hearing this exciting band and look forward to their lized by trumpeters and trombonists at the time. The packag-
next release. (David Johnson, professor of harmony, Berklee ing includes extensive and very informative liner notes. This
College of Music, Boston, MA) recording is an excellent resource for band directors and musi-
cians, as well as historical band recording aficionados.
Zephir Trompetenensemble—Zephir
Patrik Arnold, George Birner, Petra Böhm, Gilles Burglund, Kermit Ruffins with the Rebirth Brass Band—Throwback
Ingmar Kreibohm, Daniel Reiter, trumpets; Benjamin BSR 0105-2 (CD); Basin Street Records, 4130 Canal Street,
Niklas, percussion and timpani; Bernhard Müllers, New Orleans, LA 70119; [email protected];
organ http://www.basinstgreetrecords.com; 888-45BASIN;
GEMA HB 60400 (CD); http://www.zephir-trompeten.de fax 504-483-7877
Miller: Fanfare ala Tromba; Praetorius: Französische Tanze; If you’re looking for some music to put a skip in your step
Clarke: Trumpet Tune and Air; Haydn: Choral aus der as you head off to work on Monday morning, then this is the
Schöpfung; Mouret: Suite de Fanfares; Françaix: CD for you! The Rebirth Brass Band, founded by trumpeter
Marche Triomphale; Fauré: Pavane; Wagner: Lohen- Kermit Ruffins and others in 1983, is one of the leading New
grin, 3 Akt, 3 Szene; Mendelssohn-Bartholdy: Denn Er Orleans bands that tours worldwide, and it is easy to see why
hat seinen Engeln; Kolly: Am Murtensee; Horton: Irish after hearing this recording. Although released almost five
Folk Song Suite; Pirchner: Almweib-Edelrausch; Krei- months prior to Katrina, the opening track Make Way for the
bohm: Didgameleon; James: Trumpet Concerto. Rebirth seems perfectly apropos for the New Orleans rebuild-
This self-titled release by Germany’s Zephir Trumpet ing effort. This highly spirited and refreshing CD of happy
Ensemble starts with a veritable slap in the face by R. J. Miller. party music in the Big Easy consists of many up-tempo blues
Miller’s Fanfare immediately establishes the group’s high, fast tunes and escorts the listener to an old fashioned march down
and loud credentials. However, one soon discovers that high, Bourbon Street. Every track makes it extraordinarily difficult
fast and loud is merely the tip of the iceberg with this group of to sit still. What Is New Orleans, Part 2 is a litany of cultural
excellent young trumpeters. An entire program of trumpet references to life there; Ray Charles’ I Got a Woman adds a
ensemble music may seem a bit daunting to all but the most soulful twist; and Happy Weekday Blues puts a whole new spin
hardened trumpet geek. But rest assured that there is enough on working through the week. Ruffins’ vocals sound remark-
variety on this program to satisfy anyone. Included are fresh ably like Satchmo, and his trumpet playing sparkles. Infre-
readings of such standards as the Clarke and Mouret with stops Continued on Page 86

82 ITG Journal / January 2007 © 2007 International Trumpet Guild

 MUSIC REVIEWS
BRYAN DEPOY AND LUIS ENGELKE, COLUMN EDITORS
Music reviews appear regularly in each issue of the ITG Journal. ITG members are invited to participate in this column
as reviewers. Please contact one of the music reviews editors and state your qualifications and areas of interest (Baroque,
contemporary, jazz, brass quintet, etc.). Items for review and reviewers are selected at the discretion of the music review editors.
Unsolicited reviews will not be accepted. Publishers are encouraged to submit serious publications and pedagogical materials
for trumpet.
The Music Received list is located on the ITG Web Site: http://www.trumpetguild.org/journal/journal.htm
The ITG Music Review editors are Bryan DePoy (EMail [email protected]) at Southeastern Louisiana Univ-
ersity and Luis Engelke at Towson State University (EMail [email protected])
Please send all new publications and correspondence to: Bryan DePoy, Southeastern Louisiana University, Department of
Music SLU 815, Hammond, LA 70402 USA; fax 504-549-2892.

Indeed, as one would expect from a virtuosic Méndez

arrangement, this four-minute work is still a tour-de-force for
the trumpet soloist, stretching the limits of technique and dou-
ble-tonguing. This arrangement is extremely flamboyant and
most appropriate for either light recitals or toward the end of
varied programs. While requiring considerable practice time to
perform successfully even by an advanced player (upper-divi-
Abreu, Zequinha de. Tico-Tico. Arranged by Rafael Méndez. sion undergraduate through professional), the adaptation is
Trumpet and Piano. Hickman Music Editions, 2005. well worth the time and sure to be greeted with enthusiasm
With the release of Carl Fischer’s The Méndez Collection in from all concertgoers. (Luis C. Engelke, Music Reviews Edi-
1996 numerous arrangements by Rafael Méndez fortunately tor)
became accessible in one reasonably priced volume. Nonethe-
less, many of his trumpet solos were still not published, and Albrici, Vince nz o. Sonate. Two [Natural] Trumpets and
with nineteen copies of Tico-Tico for various instrumentations Organ. Wolfgang G. Haas-Musikverlag, 1996.
from trumpet and orchestra to trumpet and accordion housed At long last, another gem has emerged from the Baroque era
in the Méndez Library, this was one of the virtuoso’s most pop- for two trumpets (with two violins and continuo). Paul Wis-
ular works. Hickman Music Editions has initiated a series of skirchen and the editor Wolfgang G. Haas arranged the piece
authorized Méndez works not available in the aforementioned for two trumpets and organ. Italian composer and church
compendium, including the present work originally titled musician, Vincenzo Albrici was born in Rome on June 26,
Tico-Tico no Fubá and made famous by Carmen Miranda in 1631, and after extensive travels and work in some of the best
the 1947 film Copacabana. This innovative arrangement for music capitals throughout Europe, died in 1696. Conceived
trumpet was performed hundreds of times in the 1930s around 1660, while the composer was working in Dresden,
through ’50s. Germany, Albrici’s work is a fine addition to the Baroque
Méndez’s arrangement departs dramatically from the origi- repertoire.
nal with several tempo changes. In the original for a Brazilian The composition is written for two trumpets in the key of C
chôro ensemble, a clarinet or flute would have been featured major. The arrangement also has trumpet parts in the key of D
with an accompaniment of a small rhythm section consisting for two B-flat trumpets if modern instruments are desired. The
of pandeiro (tambourine), guitar (usually with seven strings), first movement is marked, Maestoso, in common time, and 32
and cavaquinho (small instrument similar to a ukulele). The bars in length. The second movement is in 3/4 time and
unwavering brisk tempo of the work in the original form is marked Allegro. This second movement has 111 measures,
useful in conveying a bird (Tico-Tico) trying to get into the with a repeat, plus an additional 19-measure cadenza followed
porridge (fubá) as the title suggests. Méndez’s departs greatly by a two-measure section marked Grave. The movement is
from the original version and begins with an introduction fol- approximately four minutes long. On a scale of 1 to 6, the level
lowed by a lyrical presentation of the main theme. The second of difficulty for the natural trumpet parts would rate a 4
theme is presented in a moderato tempo, alla breve, swung (advanced) due to the accuracy requirements and range. The
(once again departing from the original since this would have range for the first part extends from g´ to c´´´, while the sec-
been performed with a Latin feel). A brief section also marked ond part covers a range of c´ to b-flat´´. If the piece is played
moderato but slightly slower is executed by the piano, giving on modern instruments it would be easier to play the piece on
the trumpet soloist an opportunity to rest before the most vir- B-flat or A piccolo trumpets or G trumpet, due to the higher
tuosic sections of the arrangement. Notably, the next section tessitura requirements, as one would expect from a Baroque
marked vivo is in concert A minor, which succeeds to concert work written for trumpet.
A major (B major for the B-flat trumpet) in the most challeng- There are appropriate rests for the trumpeters, and both
ing technical sections of the work. movements feature each trumpet player with solo sections.
© 2007 International Trumpet Guild January 2007 / ITG Journal 83
The organist is featured in both movements initially with Choral, Final for trumpet in C or A piccolo and organ. As the
trumpets repeating the phrase. The first movement requires title implies the work consists of three movements. Tonal
pedal technique, and all movements are written in the appro- throughout with frequent modal colors and diatonic in struc-
priate three-stave system for organ. The range allows the work ture, the composition is accessible for the quality amateur and
to be played easily on a Baroque organ (tracker action) or a professional trumpet player. This piece could be performed on
contemporary instrument. a recital but might also be acceptable for church services as
G. B. Viviani wrote two sonatas for trumpet and organ in well. Each of the movements can stand alone if desired.
1678, and this work by Albrici has a very similar appeal. The The three-movement piece includes variety in style and
piece is a welcomed addition to the natural trumpet duet tempi with the first movement marked (quarter note = 92) in
repertoire from the Baroque era. (Philip T. Cansler, trumpet 3/4 meter; the second movement is marked Ruhig which
and bands, University of Portland, Portland, Oregon) means quiet or calm, and uses three different meters, but the
quarter note remains constant; and the last is marked sehr
Carrillo, Isolina. Dos Gardenias. Arranged by Richard Payne. rasch, meaning very fast, and is in common time or 4/4. All
Solo Trumpet, Solo Flugelhorn, Five Trumpets, three movements include sixteenth note rhythms, while the
and rhythm section. Cala Music Publishing, 2002. second and the third movements introduce triplet patterns.
Readers may be familiar with The London Trumpet Sound, The C trumpet part is in the tonality of C in all movements
two recordings released by Cala Records in 2002 and 2003 fea- with several chromatic passages along the way. The same part
turing many of London’s finest musicians in new attractive and is written out for piccolo trumpet in A. The entire work is
virtuosic arrangements for trumpet ensemble. These excellent approximately eight minutes in length with the first movement
adaptations have also been published. From extremely chal- being the shortest at two minutes. On a scale of 1 to 6, the
lenging orchestral transcriptions such as Copland’s Hoedown, trumpet part can be classified as a 5 (very advanced) due to the
Rossini’s The Thieving Magpie Overture, and Handel’s Royal accidentals, technical requirements, and range for the A picco-
Fireworks Music utilizing a variety of instruments including lo trumpet that continually tests the player’s range going from
piccolo trumpets, bass trumpets, and orchestral percussion, to f to g´´ (sounding one octave higher). Because of the range
swing, commercial, or Latin works such as Prima’s Sing, Sing, demands, this writer suggests the piccolo trumpet would be
Sing, Sandoval’s Mambo Caliente, and Garner’s Misty, there are the best choice for accuracy reasons. Although rest periods
a wide assortment of styles present in these editions for soloists exist for the trumpet it is an endurance challenge to play the
with varying specialties. sounding f´´´ (on piccolo trumpet) at the end of the work.
Dos Gardenias is an enthralling three-minute-long setting The piece is marked for organ on the cover, but the first
marked Tempo di Bolero. The rhythm section for this partic- movement is listed as Klavier, and no movement has a separate
ular arrangement consists of piano, guitar, bass, maracas, con- bass clef pedal part. There are several places marked “pedal” in
gas, and udu drum. Throughout, the solo trumpet and flugel- the bass clef where the music requires the pedals to play, and
horn trade off on the melody, while a chorus of five trumpets cannot be handled in the hands. The interplay between trum-
provides background, supports the melody with rich har- pet and organ is especially intriguing in the first and third
monies, and occasionally provides short interludes. Beautiful movements. A piano player with a few lessons on organ could
and flowing melodic lines and a variety of colors provided play movement two, with the long tone tertian chords in the
from the various percussion instruments, interesting textures hands, and single note pedal part. (Philip T. Cansler, trumpet
set in the accompaniment including a quick exchange of and bands, University of Portland, Portland, Oregon)
arpeggiated lines, and several shifts of timbre with fast
exchanges of mutes help make this arrangement quite attrac- Gekker, Chris. Fifteen Studies for Piccolo Trumpet. Charles
tive. Colin Music, 2006.
The many arrangements in the London Trumpet Sound series Chris Gekker’s new book is an important addition to the
vary in difficulty. Dos Gardenias is one of the few that can be limited amount of study materials for the piccolo trumpet, as
approached by intermediate level players (advanced high it offers a unique perspective on how to practice and improve
school, lower division undergraduates, or enthusiastic ama- on the instrument. As one of the top piccolo players in the
teurs). Only one of the solo parts extends to sounding a-flat´´, country, Gekker brings a wealth of experience to the topic. In
ample rest is provided in this short setting and the idiomatic many ways, this book serves as a window to view the practice
key of G minor and relatively simple Latin rhythms limit tech- habits of a first-rate performer.
nical demands. Many of the other editions in this series are These scale and chord studies encourage us to learn to play
extremely challenging with regard to range, technique, and the instrument smoothly in all keys. Gekker offers specific
endurance. All of the new Cala Music Publishing series are advice on how these studies should be practiced to optimize
highly recommended as additions to the continually growing improvement. He suggests striving to play efficiently with a
first-rate literature available for trumpet ensemble. (Luis C. vocal tone quality and legato tongue, and to avoid over blow-
Engelke, Music Reviews Editor) ing the instrument. Also included is a section on stylistic con-
siderations, equipment, and how to approach the repertoire.
Deutschmann, Gerhard. Präludium, Choral, Final, Opus 42. The section entitled In General succinctly covers performing
Trumpet and Organ. Wolfgang G. Haas-Musikverlag, on the piccolo, as well as important issues in trumpet peda-
2004. gogy and performance anxiety. In addition, Gekker includes
German composer, choir director, and music critic, Gerhard two “summer practice” guides written for his students at the
Deutschmann (b. 1933) has conceived an interesting work for University of Maryland. Not intended for the piccolo, these
the trumpet and organ combination with his Präludium, guides describe practice routines that can be done over the
84 ITG Journal / January 2007 © 2007 International Trumpet Guild
course of several weeks. This is a very accessible work and rather facile in its techni-
Although the focus of the text is on the piccolo, all serious cal and rhythmic demands. Its range of a-flat to c´´´ is some-
trumpeters will want to read this book. Gekker has emerged as what unevenly distributed among the eight parts. The princi-
a thoughtful and insightful contemporary writer on the subject pal parts of each choir impose significantly greater range
of playing the trumpet. His text covers a blend of information demands than the supporting parts, making this an excellent
on specific practice habits and technical advice, along with work to be performed by a trumpet ensemble in which two or
observations on musicianship and performance careers. three players are substantially more experienced than the rest
(Richard Roper, Trumpet Instructor, California State Univer- of the section. Both the organ and timpani parts are very
sity Stanislaus, San Francisco Conservatory of Music Prepara- straightforward and easily integrated, making this a desirable
tory Division) selection for any serious trumpet ensemble. (Jason Dovel, doc-
toral candidate, University of North Texas, Denton, Texas)
Graap, Lothar. Fröhlich soll mein Herze springen. Trumpet
and Organ. Wolfgang G. Haas-Musikverlag, 2003. Mendola, Ro n (Arranger). Swingset No. 1. Brass Quintet.
Composer, choir director, cantor, and organist, Lothar Timber Ridge Music, 2004.
Graap (b. 1933) has written an interesting work for the trum- For this set of three famous swing tunes, Ron Mendola chose
pet and organ combination with his Choralpartita, Fröhlich soll Count Basie’s One O’Clock Jump, Johnny Mercer and Harold
mein Herze springen for C trumpet and organ. The work was Arlen’s One for My Baby, and Sid Garris and Sy Oliver’s Opus
written in 1995, in seven movements with the first and third One. The arrangements use a variety of textures and accompa-
movements for solo organ. The melody for the piece was writ- niments as all five of the brass instruments are featured in well-
ten in 1653 and is attributed to Johann Crüger. The composi- written solos. In fact the first tune, One O’Clock Jump begins
tion is tonal throughout with frequent modal colors. While with a short unaccompanied trumpet solo with the brass enter-
intended for church services, this piece could be performed on ing with syncopated hits before the horn assumes the solo line
recitals. with a walking bass in the tuba. The solo lines build as the
All seven movements are centered in E-flat major, with no accompaniment becomes more involved, and finally, after a
tempo markings or time signatures. The second and fourth total of 30 measures, the main melody enters. The relatively
movements have sixteenth note rhythms, while the other short rendition of 83 measures continues with riffs eventually
movements are less complex. The C trumpet part is a duplicate being interchanged very quickly throughout the ensemble.
of the organ score, so this makes it easier to rehearse, but more Overall, the interesting setting and short presentation of Basie’s
difficult to read. Few accidentals are found, making the work standard is quite effective for drawing any audience’s attention.
very accessible for the amateur musician. The entire work is The slower ballad, One for My Baby, provides contrast to the
approximately eight minutes in length, depending on your two up-tempo tunes. Once again all of the voices are offered
tempos. On the grading scale of 1 to 6, the trumpet part is a solo lines; in this movement, however, they are beautiful lyri-
grade 3 (intermediate), due to rests in appropriate places, and cal ones with lush harmonies. Particularly effective is the end
the range of only one and a half octaves, from e-flat´ to a-flat´´. when the solo lines are passed from high voices to low, eventu-
The piece is marked for organ, but only the third movement ally ending with a nice tuba solo. Dense harmonies, a much
has a separate bass clef pedal part. There are several places slower tempo, and the lyrical setting all are useful in contrast-
marked “ped.” in the bass clef where the music requires the ing the outer movements.
pedals to play, and cannot be executed with the hands alone. Opus One concludes the trilogy appropriately with an excit-
The interplay between trumpet and organ is especially intrigu- ing ending. The brisk tempo is combined with syncopated riffs
ing in the second and fourth movements. (Philip T. Cansler, and fast interchanging lines. Similarly to the first movement, a
trumpet and bands, University of Portland, Portland, Oregon) variety of textures quickly alternate between short unaccompa-
nied solo passages or melody with bass line to full tutti state-
Krol, Bernhard. Hymnus: Victimae Paschali Laudes. Eight ments marked fortissimo. Containing three excellent quintet
Trumpets, Timpani and Organ. International Music adaptations, Swingset No. 1 is useful for both concert settings
Publishing, 2005. as well as background music for receptions or other civic
Hymnus: Victimae Paschali Laudes was written for the 20th events. (Luis C. Engelke, Music Reviews Editor)
World Youth Day in Cologne by German composer Bernhard
Krol. This work is based on a 10th-century chant written by Pfiester, Jergen. Choralpartita. Trumpet and Organ. Wolf-
Wipo of Burgundy: Victimae Paschali laudes immolent Chris- gang G. Haas-Musikverlag, 2001.
tiani (Christians, to the Paschal victim offer sacrifice and German composer, instrumental teacher, and church musi-
praise). While a large number of works have already been com- cian, Jergen Pfiester (b. 1955) has added a successful work to
posed using this chant, Krol’s composition offers a blend of the trumpet and organ repertoire with his Choralpartita (2001)
ideas both conventional and cavalier to project his message in for B-flat or C trumpet and organ. The piece consists of four
a new and exciting way. This work utilizes ominous harmonies movements: I. Cantus und Intrade, II. Meditation, III. Scher-
to project the sacrifices portrayed in the chant text. Occasion- zo, and IV. Toccata und Choral. Each movement is based on
al major chords at climactic points provide a glimpse of an the melody, Erfreue dich, Himmel, erfreue dich Erde (Be joyous
exultation of tremendous sacrifice. Krol divides the eight ye heavens and earth). The work is tonal throughout with fre-
trumpets into two choirs of four. In general, the two choirs are quent modal colors and diatonic in structure, making it acces-
independent of each other, sometimes exchanging imitative sible for both the dedicated amateur and professional trumpet
melodic lines while at other times engaging in entirely differ- player. This piece could be performed on a recital but is suit-
ent melodic and rhythmic ideas. able for church services as well. Additionally, the movements
© 2007 International Trumpet Guild January 2007 / ITG Journal 85
stand alone in musical quality and can be played separately ments will engage audiences instantly. (Luis C. Engelke,
during a church service. Music Reviews Editor)
Overall, the four movement piece includes variety with the
first movement marked in both 6/4 and 4/4 meters (quarter
note = 116), the second movement in 4/4 time (quarter note
= 72), the third movement in 9/8 time (dotted quarter note =
112), and the final movement in 4/4 and 6/4 time (quarter Make Plans Now to Attend
note = 120). Both the first and fourth movements include a
majority of sixteenth note rhythms with their lively tempos,
while the second contrasts with a lyrical setting and slower
2007 ITG Conference
tempo. The third movement calls for a mute for the trumpet,
but requires technique and a staccato articulation to produce May 29 – June 2, 2007
the necessary energy. The entire work is approximately 11

University of
minutes in length with the last movement being the longest at
four minutes. On a scale of 1 to 6, the trumpet part is a 4
(advanced), due to the accidentals, articulation, and technical
requirements, and range for the B-flat trumpet from a to c´´´.
The organist is featured in every movement except the sec-
ond, and the interplay between trumpet and organ is especial-
Massachusetts
ly intriguing in the third movement. The first movement
requires excellent pedal technique, and the fourth movement Amherst, Massachussets
has several challenging pedal solos as well. The range for the
pedal part is F to c´, while the manuals have a range of D-flat
to e´´´. This range allows the work to be played easily on a
Eric Berlin, Host
Baroque organ (tracker action) or a contemporary instrument.
Movements one, two, and four, are set in B-flat, and the third Visit the ITG Web Site
movement is in the key of C. (Philip T. Cansler, trumpet and
bands, University of Portland, Portland, Oregon) frequently for updates
Purcell, Henry. Suite from “The Indian Queen.” Arranged by and news!
Paul Wisskirchen and Wolfgang Haas. Trumpet and
Organ. Wolfgang G. Haas-Musikverlag, 2001.
With many of the day’s finest trumpeters at his disposal,
Henry Purcell contributed excellent works including trumpet www.trumpetguild.org
in his operas, oratorios, and even sonatas. This is true in The
Indian Queen, and this suite includes six short and festive
movements taken from the opera: Trumpet Overture, Can-
zona, Intrada, Air, Trumpet Air, and March. There is substan- Recording Reviews continued from page 82
tial interaction between both parts, and only in the Trumpet
quent pitch discrepancies do occur, but the high level of spirit
Overture and Intrada is the trumpet soloist called to carry the
and energy far outweighs any minor intonation issues. Let the
melody throughout.
good times roll!
This set of short works is reminiscent of Jeremiah Clarke’s
suite in regard to the number and length of movements and Washington Symphonic Brass—Voices of Brass
styles presented. The keyboard part is intended for the organ, MS 1159 (CD); MSR Classics, Squires Productions, Inc., 2
and substantial passages require the use of pedals. An optional Westchester Plaza, Elmsford, NY 10523;
part for bass, cello, or bassoon that doubles the pedal through- http://www.msrcd.com
out is provided. The suite is set in C major with the range The Washington Symphonic Brass, conducted by Milton
encompassing mostly the clarino register from c´´ to a´´, with Stevens, has produced another memorable large brass ensemble
only one passage ascending to b´´ and only a few dips into the recording. This disc, the group’s fourth, features sixteen exciting
principale register and c´. Obviously, the natural trumpet movements from Carmina Burana, as well as a number of other
would be an excellent selection for the soloist; however, G transcriptions from the orchestral repertoire, such as Berlioz’s
trumpet, piccolo trumpet in A, or possibly even C trumpet “March to the Scaffold” from Symphonie Fantastique and the
depending on the facility of the soloist are fine selections as finale from Saint Saëns’ Organ Symphony. Phil Snedecor, a
well. The overall difficulty makes the work very approachable trumpeter in the group, did all the arrangements. The ensem-
for performers with minimal experience on smaller trumpets. ble’s rendition of “Nimrod” from Elgar’s Enigma Variations is
Editions of this suite are available from the same publisher quite powerful and moving; the group does a great job melding
for trumpet and orchestra, as well as a transposed version in F its sound and seamless phrasing with that of the accompanying
major for younger soloists. The festive music of Purcell and organ. The group performs with a huge round sound, always
this arrangement in particular are perfect for Baroque recitals, perfectly in tune, and with a powerful sense of expression. This
varied programs, and as prelude music. In particular, the is definitely a peak sonic experience.
immediately recognizable motives from several of the move-
86 ITG Journal / January 2007 © 2007 International Trumpet Guild
 BOOK REVIEWS
JOHN KORAK, COLUMN EDITOR

Please send correspondence, review copies of books, dissertations, videos, and requests to write reviews to John Korak, ITG
Book Reviews Editor, Box 1771-Department of Music, Southern Illinois University – Edwardsville, Edwardsville, IL 62026;
[email protected]

Campos, Frank. Trumpet Technique. New York, New York: including the use of yoga, diagnosis of physical ailments, and
Oxford University Press, 2005. Softcover, 188 pp. embouchure analysis among numerous other topics.
Frank Gabriel Cam- Campos acknowledges his debts to teachers, among whom
pos’s Trumpet Tech- John James Haynie and his videofluorographic study of trum-
nique has the most un- pet performers receives significant discussion. Maurice André,
assuming short title of who participated in the study, for instance, did not realize what
any major contribu- his tongue was doing when ascending into the upper register.
tion to the physical, The most informing voice throughout the text, however, is
psychological, artistic, that of Arnold Jacobs’s emphasis on proper breathing, relax-
and pedagogical as - ation, and stance: “Use your body at its tallest and longest with
pects of learning and a relaxed frontal wall” and “Weakness in [the abdominal wall]
performing. Professor is your friend” (Campos 42).
of trumpet at Ithaca While Campos covers the topic of dystonia (134), it is not
College’s Whalen Cen- listed in the index. Passing reference is made to Carmine Caru-
ter for Music and so but without a bibliographic reference. Outside of dental
Clinic Editor for the appliances to aid the performer, Campos does not discuss
ITG Journal, Campos equipment, with the exception of the Shulman System (a
brings years of experi- device for physically supporting the trumpet to alleviate ten-
ence through tri- sion and pressure on the embouchure) and BERP (a buzzing
umphing over failures aid), also not listed in the index. Thus, there is no discussion
to the art of both play- of trumpet mouthpieces. Considering Campos’s insights and
ing and teaching. Pri- clinical experience, one wishes that he had devoted a portion
marily ad dres sed to of his text to mouthpieces. Stylistically, one would also like to
students at the college level and written academically from the see the end to bifurcated genders: “s/he” (16) and “his/her”
perspective of a performer and teacher, Trumpet Technique is (16). However, the sheer mastery of the topic and the sound,
readable by any aspiring player from high school onward, and
concise advice presented in the text easily dismisses any such
it surely should be required reading for every teacher and band
minor carping. Trumpet Technique has set a standard to which
director at any level.
others will have a great difficulty surpassing. (Arthur A. Moli-
In six carefully researched and documented chapters, Cam-
tierno, associate professor, Wright State University Lake Cam-
pos covers almost all aspects of playing: skill (efficiency, the
pus)
primary goal); breath (relaxation and blowing); embouchure
(resting, using pedal tones, making any changes gradually);
oral cavity, tongue, and jaw (everything from triple and dorsal Dudgeon, Ralph. The Keyed Bugle, Second Edition. Lanham,
tonguing to jaw position; the body (everything from posture to MD: Scarecrow Press, 2004. Hardcover, 371 pp.
biofeedback and dystonia, a chronic trembling of the With its first publication in 1993, Ralph Dudgeon’s The
embouchure); and performance psychology (meditating, visu- Keyed Bugle established itself as the authoritative reference on
alizing techniques, reducing stress, and beta blockers). The last this neglected instrument. Dudgeon describes this second edi-
short chapter is devoted to eight directives to his students in tion as “ultimately more an expansion than a revision.” In
the form of a letter which should be on the wall of every class- response to the reviews of the first edition, the chapter on per-
room since it articulates the limitations and the responsibilities formance practice has been expanded. Ongoing research has
of both student and teacher, the end result of practice and suc- led to the expansions of all chapters, in particular Chapter 7,
cess being in the hands of the students and the teacher assum- “Performers,” and Chapter 8, “Makers and Sellers.” Entirely
ing no credit for the student’s success, only the duty to help the new to the second edition is Chapter 9, “Acoustics and Con-
student “realize as much… potential as possible” (Campos struction.” Although the printing errors pointed out in a
166). Galpin Society Journal review (March 1996, 255 – 256) have
Campos’s text is one of the best and most clearly writ- been corrected, the occasional untranslated foreign phrase will
ten overviews of everything a trumpet player and teacher frustrate readers who are unfamiliar with German or French.
should know about building the body, mind, and musical abil- Although the index is accurate, more detail would be useful.
ity. The 220 items in the bibliography alone indicate Campos’s The thorough discography included in Chapter 3, “The
mastery of the most recent and influential trumpet literature, Revival,” for example, is not mentioned in the index.

© 2007 International Trumpet Guild January 2007 / ITG Journal 87

 A master of minuti- cises include mouthpiece buzzing, pitch placement, lip slurs,
ae, Dudgeon is not and chromatics. Difficulty levels progress from the first begin-
without a sense of hu- ner whole notes to examples covering the entire range between
mor. “The keyed bugle low f-sharp to g´´. Once a stage is mastered, students are en-
is basically used in couraged to log on to http://www.mysterytomastery.com and
ensembles, and one receive their award certificate.
would have a very Beginning students will find a wealth of information as well
short career by per- as motivation via an innovative format that is geared toward
forming only the solo t h e ir y ou th. A side
works for the instru- from minor concerns
ment. Believe me, I’ve regarding emphasis on
tried it” (218). In his anatomical detail and
discussion of the diffi- the resulting potential
culties of determining for “paralysis by analy-
the manufacturers of sis,” there are numer-
unidentified instru- ous benefits for the
ments, he writes, “We novice. Secondly, play-
will need to make pho- ers going through
tos, take specific meas- embouchure change
urements, and write up might find the sequen-
detailed reports on sur- tial exercises reinforc-
viving keyed bugles. It will be the work of the proud, the few, ing during their trials
and the extremely anal” (322). and tribulations. In
In addition to documenting the brief period when the addition, non-per-
instrument flourished and its recent revival, perhaps Dud- formers on trumpet
geon’s greatest accomplishment will be the future research who teach the instru-
inspired by his diligent efforts. His mention of the role of ment will no doubt
British military bands during the 1815 occupation of Paris appreciate the wealth
(21), his discussion of the first integrated concert in the Unit- of pedagogical information provided. For any of the above,
ed States (66), and his comparison of the dedications of trum- The Only No Mystery Guide to Trumpet Mastery merits a hearty
pet methods from Fantini (1638) to Dauverne (1857) to illus- recommendation. (Gary Barrow, professor of music, Arkansas
trate shifts in patronage (137) are just a few examples of refer- Tech University)
ences that sent me to the library seeking more detail. The Keyed
Bugle has earned its place in the collections of historically
minded trumpeters, alongside such essential works as Tarr’s
The Trumpet, Baines’ Brass Instruments, and Smithers’s Music
and History of the Baroque Trumpet Before 1721. (Matt Stock,
doctoral student, University of Oklahoma)
DID YOU KNOW…
…that itg journal, jr., is intended to be copied
Spence, Greg. The Only No Mystery Guide to Trumpet Maste r y :
A Ste p - b y -S te p G ui de to Ex c e l l e nc e , B oo k 1 . Victoria,
and distributed?
Australia: Mystery to Mastery Publishing
(http://www.mysterytomastery.com), 2004. Softcover, • ITG owns the copyright on the material, but
73 pp, CD. authorizes copying of junior without restric-
Australian trumpeter and author Greg Spence is to be com-
mended for presenting materials in a variety of ways, several of
tion.
which will be especially engaging to younger players. Visual • Do you know any young trumpet players
images appear to be a key concept here presented in the form who might be interested in what ITG has to
of stick figures, pictures, and illustrations. Attention-getting offer? Give them a copy!
light bulbs appear throughout, accompanied by words of wis-
dom such as “project the sound out through the instrument
• Do you have students in band or orchestra
and fill the room with big, rich sound.” programs at school? Give them multiple
At the beginning and spread throughout the book are con- copies to pass out in their trumpet sections!
cise essays covering the basics of trumpet playing including • You know what ITG does for you. Imagine
tone, breathing, tongue arch, articulation, practice, and warm
up. In terms of pedagogy, little is controversial, as most con- what it could have done if you’d known
cepts have been previously published in the writings of Mén- about it earlier…
dez, Irons, Arban, and others. The accompanying play-along
CD presents a positive tonal image, and no doubt will height- http://www.trumpetguild.org
en the enjoyment of a practice session.
Organized according to bronze, silver, and gold stages, exer-

88 ITG Journal / January 2007 © 2007 International Trumpet Guild

 NEWS FROM THE TRUMPET WORLD
NEVILLE YOUNG, COLUMN EDITOR

Please send correspondence, inquiries, and all materials related to the news to Neville Young, ITG News Editor, 49 Muswell
Avenue, London N10 2EH, United Kingdom; EMail: [email protected] For more detailed information on many of
the news items included in this column, and for additional stories omitted due to space restrictions, visit the ITG Web
Site (http://www.trumpetguild.org/news).

TRUMPET AND BRASS NEWS Akhmadullin’s Russian recitals

Iskander Akhmadullin, assistant professor of trumpet at the
Matt Leder brings New Orleans to the Northeast US University of Missouri – Columbia, together with his wife,
Earlier this year, ITG member Matt Leder coordinated a pianist Natalia Bolshakova, gave two recitals in Russia in
“Tribute To New Orleans” concert. Hurricane Katrina has March 2005.
had a huge effect on New Orleans and the Gulf Coast Region. The first recital was held at the Rimsky-Korsakov College of
Leder had the privilege of living in New Orleans for the past Music in St. Petersburg. Despite a barely-above-freezing tem-
four years; he wanted to bring a taste of the Big Easy to the perature in the recital hall, the audience warmly welcomed the
Northeast. He saw first-hand what happened to New Orleans performers. Two of the recital selections were given their pre-
and wanted to reflect on his experiences. miere performances in Russia: Ballade for trumpet and piano
On February 19, by James Wintle and Nightsongs for flugelhorn, trumpet and
2006, Leder put on piano by Richard Peaslee. Moscow’s Central State Museum of
“A Tribute To New Musical Arts, named after Glinka, was the venue for the last
Orleans” as part of concert. Full details of both concerts are available on the
the Navy Band ITG Web Site (http://www.trumpetguild.org/news/news06/
Northeast Recital 541iarussia.htm).
Series. The concert Source: Iskander Akhmadullin.
was held in Spru-
Western Carolina University Trumpet Festival
ance Hall at the
U.S. Naval War Col- The 2006 Western Carolina University Trumpet Festival
lege in Newport, continued a trend of impressive festivals hosted at this Univer-
Rhode Island. The sity. The 2006 festival numbers reached 150 participants from
program embraced thirteen states and nine exhibitors.
the charm of New The headliners were Byron Stripling and Chris Martin.
Orleans and provid- Stripling, the jazz clinician, is noted for his warm stage pres-
ed a dedication to ence, powerful trumpet playing, and his Broadway depiction
those affected by of Louis Armstrong in Satchmo. The classical artist was Chris
Hurricane Katrina. Martin, the recently tenured principal trumpet of the Chicago
Selections included Symphony Orchestra. The guest university trumpet scholars
both traditional New for this year were Rick Bogard from the University of Texas at
Orleans jazz and the Arlington, Grant Peters from Missouri State University, and
modern sounds of Matt Leder Mark Clodfelter from the University of Kentucky. To read
today’s New Orleans the entire report of the festival, visit the ITG Web Site
jazz musicians (such as Terrence Blanchard, Nicholas Payton, (http://www.trumpetguild.org/news/news06/542wcufest.htm).
Irvin Mayfield, and Wynton Marsalis). During the course of Source: Ross Jones, Teaching Assistant, WCU Trumpet Stu-
the concert a slide show of New Orleans both before and after dio.
Hurricane Katrina played as the backdrop. There were many
Vienna Trompeterchor Revived in Baltimore
people displaced from Hurricane Katrina and some even
ended up in Rhode Island. Leder worked with Red Cross rep- Brass ensemble music not heard in over sixty years resound-
resentatives to arrange for transportation to the concert for ed on June 29, 2006, in Baltimore’s Villa Julie College Theater.
those who had been relocated. The music was that of the Trompeterchor der Stadt Wien
It was Leder’s hope when putting this program together that [Brass Choir of the City of Vienna], the ensemble for which
the concert would entertain, bring a taste of the Big Easy to the Richard Strauss composed his rousing Festmusik der Stadt
Northeast, and remind those relocated of home. Leder Wien. Although it may have been one of the first professional
reminds us, “New Orleans is an important part of the music brass ensembles of the 20th century, the Vienna Trompeter-
industry. New Orleans was nearly destroyed in September of chor (most active between 1931 and 1944) and its repertoire
2005 and it is important to remember that this great city gave have languished in obscurity due to the group’s Nazi associa-
a uniquely American art form to the world. We must keep tions.
both traditions and the music alive.” Source: Matt Leder. Trumpeter Bob Suggs, professor of music at Villa Julie Col-
© 2007 International Trumpet Guild January 2007 / ITG Journal 89
 through 19. Oblivious to the brackets and basketball fever of
March Madness, trumpeters participated in an inspiring blend
of clinics, competitions, and concerts presented by the NTC.
The results of the seven competitions are as follows:
Middle School Division (Noteworthy Tours, Sponsor). 1st place
winner: 13 year old Kyla Moscovich. Teacher: Vincent Pen-
zarella. Kyla performed the Boliart Tres Divertiments. Prize:
Bob Suggs conducts the ensemble at the concert
Bach B-flat trumpet. 2nd place: Anthony Bellino of New York
photo: Danielle Robinson
performed the Barat Fantasie in E-flat. 3rd place: Gabriel
Medd of Iowa City, Iowa, performed the Ropartz Andante and
lege and former member of the Annapolis Brass Quintet and Allegro.
the United States Army Band, organized the event to showcase
the music of Karl Pilss (1902 – 1979). Pilss, the subject of
Suggs’s dissertation, composed a wealth of music for the Vien-
na Trompeterchor, much of which is not published. Suggs
acquired copies of the unpublished Pilss manuscripts from
Robert King and created new performing editions of the
music. Suggs’s article detailing his research, Brilliant Music for
a Dark Era: Karl Pilss, Helmut Wobisch, and the Trompeterchor
der Stadt Wien, appeared in the January 2004 issue of the ITG
Journal (p. 12). For a full report of this event, see the
ITG Web Site (http://www.trumpetguild.org/news/news06/
580viennabaltimore.htm).
Source: Elisa Koehler
ITG Membership Team continues to sign new members
As part of his duties as ITG Membership and Development
Director, David Scott organized a booth at the 2006 Texas Middle School Division: 1st, Kyla Moscovich, center;
Music Educators’ Association (TMEA) Convention, February 2nd, Anthony Bellino, right; 3rd Gabriel Medd, left.
16 – 18, 2006. Along with John Irish and Jean-Christophe Behind: sponsors and prize givers.
Dobrzelewski, the team signed up 26 new ITG members, 21 High School Division (Schilke, Sponsor). 1st place winner:
of whom committed to two-year memberships. For the three Bryce Schmidt. Teacher: Jamie Hall. Bryce performed Bozza’s
days of the convention, the ITG booth was seen by thousands Rustiques and lives in Salem, Oregon. Prize: Interlochen—Full
Tuition Scholarship. 2nd place: Steve Pilcher. Teacher: Paul
Morton. Steve performed the Arutunian Trumpet Concerto and
lives in Lafayette, Louisiana. 3rd place: Daniel Kirk. Teacher:
Kenneth Kirk (his father). Daniel performed the Davies
Sonata.
College Division (Vincent Bach, Sponsor). 1st place winner:
Michael Martin. Teacher: Charles Geyer, Northwestern Uni-
versity. Michael performed the Desenclos Incantation, Threne,
and Danse. Prize: Bach B-flat or C trumpet and $500. 2nd
place: Mikki Gramoll. Teacher: Karl Sievers, University of
Oklahoma. Mikki performed the first movement of the Addi-
son Concerto. 3rd place: Robby McCabe. Teacher: Richard
Stoelzel, Grand Valley State University. Robby performed the
Tartini Concerto on piccolo trumpet.
Masters Division (Blackburn Trumpets, Sponsor). 1st place
L – R: Scott, distinguished visitor Leonard Candelaria, winner: Gareth Flowers. Teacher: Mark Gould, The Juilliard
Irish and Dobrzelewski School. Gareth performed the Davies Sonata. Prize: $1500.
2nd place: Mark Mashburn. Teacher: Terry Everson, Boston
of convention attendees, ITG brochures were given to hun- University. Mark performed the first movement of the Love-
dreds of trumpet enthusiasts, and many bought CDs produced lock Concerto. 3rd place: Kelley Corbett. Teacher: Vincent Pen-
by the ITG. The Guild also maintains a regular presence at the zarella, Mannes College. Kelley performed Enescu’s Legend.
National Trumpet Conference (Fairfax, Virginia, March) and Trumpet Ensemble Division (Southern Ohio Music Co., Spon-
the Midwest Band and Orchestra Clinic (Chicago, Illinois, sor). 1st place winner: Grand Valley State University perform-
December). Source: John Irish. ing Path of Discovery by Erik Morales. Teacher: Richard
The 2006 National Trumpet Competition Stoelzel. Prize: $3000 donated by the International Trumpet
Guild. 2nd place: Boston University performing Idea #4 by
The 2006 National Trumpet Competition, hosted by Den-
Terry Everson. Teacher: Terry Everson. 3rd place: University of
nis Edelbrock and his dedicated volunteer team, took place at
Oklahoma performing Graffiti in Four Movements by Roland
George Mason University in Fairfax, Virginia, March 16
90 ITG Journal / January 2007 © 2007 International Trumpet Guild
Barrett. Teacher: Karl Sievers. There was a three-way tie for the student musicians of Thailand were fortunate that so many
fourth place among ensembles from Cincinnati Conservatory, talented and caring performers and teachers were able to come
Sam Houston State University, and the University of Kansas. together for this memorable festival. Source: Joseph Bowman,
Jazz Division (Dillon Music, Sponsor). 1st place winner: Eti- ITG Asia News Correspondent.
enne Charles from Florida State University. Etienne performed Phil Smith and Joe Turrin residency, University of Louisville
Setembro. Prize: Trumpet Tech Trumpet and an expense-paid
trip to get the horn “tweaked.” 2nd place: Alexander Nguyen The Phil Smith and Joe Turrin residency took place at the
from the University of North Florida. Alex performed Never University of Louisville from October 13 – 16, 2005. It was
Let Me Go on flugelhorn. 3rd place: Justin Stanton from the organized by Michael Tunnell and made possible with the sup-
University of North Texas. Justin performed Yesterdays. All port of the University of Louisville Trumpet Ensemble, School
contestants performed Have You Met Miss Jones in addition to
the piece of their own choosing.
Historic Division (Naumann Trumpets, Sponsor). “Fantini
Award”—Julie Willis. Prize: $500. “Reiche Award”—Kristin
Hetland. Prize: Naumann Baroque Trumpet. “Ensemble
Award”—University of North Texas. Prize: $300. There were
no contestants for the “Shore Award,” the 18 years and
younger age group. Two contestants competed for the Fantini
Award and six tried for the Reiche Award.
All finalists in this year’s competition receive a DVD of their
performance as well as comment sheets from the judges.
Source: Amanda Collins, student, Wichita State University.
2006 Thailand Brass Festival
The 2006 Thailand Brass Festival was held on March 15 – Phil Smith in action at the U of L masterclass.
17, 2006 on the campus of Rangsit University in Bangkok, Photo by Tom Fougerousse
Thailand. The festival brought together clinicians and per-
formers from seven different countries, and over 400 students of Music, University of Louisville Student Government, the
from Thailand attended the event. Hosted by Lertkiat Chong- International Trumpet Guild, local music stores, and church-
jirajitra (Professor of Trumpet, Rangsit University) and Festival es. All through his residency, Philip Smith inspired the audi-
Director Edmund Cord (Professor of Trumpet, Indiana Uni- ence with his incredible display of musicality and mastery of
versity), this event is the first of what is hoped will become a his instrument. For a full report of the residency see the
yearly event in Thailand. ITG Web Site (http://www.trumpetguild.org/news/news06/
553smithmcul.htm).
Source: Matthew Janssen and Kevin Byrne.
Cascades Brass Quintet wins at Coleman Chamber Ensemble
Competition
The University of British Columbia School of Music (Van-
couver, Canada) has announced that the Cascades Brass Quin-
tet from the school won the Coleman-Saunderson Prize for
Woodwinds & Brass of the Coleman Chamber Ensemble
Competition held in Pasadena, California, April 27 – 30,

L – R: Sompop Puengpreeda, Dr. Denny Euprasert, and

Festival Host Lertkiat Chongjirajitra

For an extensive report of the 2006 Thailand Brass Festival

visit the ITG Web Site (http://www.trumpetguild.org/
news/news06/552thailandbrfest.htm).
Events like this are wonderful and collaborative efforts, and
Cascades Brass Quintet
© 2007 International Trumpet Guild January 2007 / ITG Journal 91
2006. The members of the Cascades Brass Quintet are Al Can-
non and Malcolm Aiken—trumpets, Micajah Sturgess—horn,
François Lévesque—trombone, and Daniel Pain—tuba. The
Cascades Brass Quintet competed against fourteen ensembles
from Juilliard, Manhattan, Eastman, USC, North Texas, and
UCLA, among others, placing first among three woodwind
quintets, two saxophone quartets, and one other brass quintet.
The grand prize went to the Attacca String Quartet from Juil-
liard.
More information about the competition and winners may
be found online (http://www.colemanchambermusic.org).
The Cascades Brass Quintet was formed in September of
2002 and performs at various events in and around the Van-
couver area. In March 2006, they were the Second Prize Win-
ners of the Vancouver Friends of Chamber Music Competi-
tion, competing against three string/piano ensemble finalists.
Also in March 2006, they were accepted into the Fischoff
Chamber Music Competition in Indiana. In May 2006, Cas-
cades recorded for CBC in British Columbia.
More information on Cascades will be found online
(http://www.cascadesbrass.com). Source: University of British
Columbia School of Music.
Brian Shaw and W. David Hobbs commission new works,
perform recital tour
Brian Shaw, winner of the 2002 ITG Solo Competition,
2001 Mock Orchestral Competition, and second prize winner
in the 2004 Ellsworth Smith Competition, performed a series
of recitals of new music in March 2006. W. David Hobbs, pro-
fessor of piano at Eastern Illinois University, was his accompa- Huw Morgan
nist. The duo presented this program, most of it newly com- part in the Concerto Finale at The Sage, Gateshead, UK, in
missioned, at the University of Texas at Austin, Oklahoma May 2006, with the Northern Sinfonia conducted by Jan Pas-
State University, the University of Evansville (Indiana), and cal Tortelier. Morgan’s performance of the Tomasi Concerto
Eastern Illinois University. won wide acclaim from public, orchestra, and judges, the lat-
The new works performed included a piece entitled Two ter including Sergei Nakariakov. The Times newspaper com-
Images for unaccompanied trumpet and flugelhorn by Joseph mended the “high intelligence and immaculate professional-
Turrin, Three Microcosms for trumpet and percussion by East- ism” of Morgan’s “sun-kissed yet super-cool” Tomasi, and pre-
man’s Dave Rivello, Sonata for trumpet and piano by Los dicted: “Morgan… will surely make it to the top.” The overall
Angeles composer Michael Hay, Duo Sonatine for trumpet and
Young Musician of the Year title was taken by clarinetist Mark
piano by Jonathan Schwabe, and two new works by Shaw,
Simpson.
including a trumpet quartet based on photographs of Ansel
Morgan, a former student of John Dickenson and Murray
Adams and a new vocalise titled Only Space. Also included in
the program were two French impressionist works, including Greig, was principal trumpet of the National Youth Orchestra
Debussy’s Syrinx (originally for flute) performed by Shaw and of Great Britain for three years. Among his other competition
Ravel’s “Ondine” from Gaspard de la Nuit performed by successes are prizes in the ITG Youth Competition in 2002
Hobbs. and the Texaco Young Musician of Wales in 2003. He is now
Shaw says: “This program represents the culmination of a in his first year of study for a music degree at Oxford Univer-
goal I have had for several years; that is, to present a recital of sity. His trumpet studies will continue with James Watson and
almost entirely newly composed works for the trumpet by Håkan Hardenberger. A concert at the Wigmore Hall, London
some of my favorite composers. It is very humbling to be a part (a well-known starting point for many solo careers), in
of adding some vibrant new music to the trumpet’s repertoire, November, is just one result of Morgan’s placing as a BBC
and I hope that this project generates interest in not only these finalist.
works but inspires other musicians to commission new works The next BBC Young Musician of the Year competition
as well.” These pieces are available directly from the composers. takes place in 2008. Application forms and online entry forms
Contact Brian Shaw ([email protected]) for more are available now. The closing date is April 1, 2007. Please see
information. Source: Brian Shaw. the web site (http://www.bbc.co.uk/youngmusician) for more
information.
Morgan takes brass prize in BBC Young Musician 2006
Airmen of Note featured at Mississippi State University
Welsh trumpet player Huw Morgan, winner of the 2005
ITG Solo Competition in Bangkok, has won the brass division On May 1 and May 2, 2006, the Music Department at Mis-
of the BBC’s Young Musician of the Year competition for sissippi State University in Starkville, Mississippi, was pleased
to host a visit by the Airmen of Note, the premier jazz ensem-
© 2007 International Trumpet Guild
2006. The five finalists (one each from brass, strings, etc.) took
92 ITG Journal / January 2007
ble for the USAF Band in Washington, DC. On May 1, they begun programming the composition with orchestras, wind
presented a clinic with the Mississippi State University Jazz ensembles, chamber groups and piano.
Ensemble. In this clinic, Joe Jackson, the musical director for Part I (upcoming 2006 – 2007 concert season)
the Airmen of Note, rehearsed the MSU Jazz Ensemble, Courage of the Olympian: messenger of peace
addressing various aspects of performing successfully in this With the courage of the Olympian, Sarajevo rose again, like the
type of group. The clinic culminated in a performance of the phoenix, from the fiery ashes of war.
MSU Jazz Ensemble’s repertoire by the Airmen of Note fol- In 1984, Sarajevo hosted the Winter Olympics. Soon after,
lowed by a “mini concert” performed by the Airmen of Note the city was destroyed by civil war. In the face of this tragedy,
for the MSU Jazz Ensemble. On May 2, the Mississippi State the citizens rebuilt their beautiful city—as they have had to do
University Trumpet Studio was pleased to present Brian Mac- many times throughout their rich history. This composition
Donald and Kevin Burns, both members of the Airmen of celebrates their resiliency, determination, strength and
Note trumpet section, in an informal master class. Brian and courage.
Kevin spoke about performing jazz, making a living playing The finale of the concerto is a brass and percussion fanfare
the trumpet, and what it takes to win in an audition situa- titled Courage of the Olympian. Under the direction of Jeffrey
tion. The Airmen of Note presented a fantastic concert that Renshaw and Reed Thomas, wind ensembles at the University
night to a full house at the McComas Hall Auditorium. of Connecticut and Middle Tennessee State University (respect-
Source: Michael Huff. ively), will be performing Courage of the Olympian during the
Blutman at Lynn University 2006 – 2007 concert season. MTSU is also the first wind
ensemble to join the Concerto Premiere Project, with soloist
Michael Blutman gave a clinic at Lynn University’s Conser- Michael Arndt preparing to perform the complete work dur-
vatory of Music on May 3, 2006. Lynn trumpet teacher Marc ing the 2007 – 2008 concert season. Courage of the Olympian
Reese of the Empire Brass served as host. The clinic focused on is available on the web (http://www.beauportpress.com/
the benefits of transcribed vocal literature and efficient practice ensemblebrass.html).
habits. The class started with a performance of Blutman’s tran- Part II (2007 – 2008 concert season)
scription of I felt a funeral in my brain, an Aaron Copland set- Concerto Premiere Project
ting of an Emily Dickinson poem. After the performance, “There is nothing more inspiring than having the opportu-
Blutman prompted a discussion about the character of the
nity to compose a work for musicians around the globe!” said
music without reading the poem nor revealing the composer or
Bradshaw. “All is moving along smoothly, both with compos-
title. Then Blutman read the poem in the rhythm of the song
ing and securing performances for the premiere.” Additional
and demonstrated how an instrumentalist can try to imitate
soloists and ensembles are contacting Bradshaw daily with
the text by literally imitating the sounds of the consonants and
requests to participate. The goal of the project is monumen-
vowels as well as through using the poem’s text to drive the
tal—to exceed 100 performances of the concerto in a single
effect of the line. Blutman next focused on how to approach
concert season! A list of participants will be made available in
difficult passages in practice sessions. He took out a copy of
Spring 2007 with frequent updates throughout the year. This
Bitsch’s twenty etudes and asked the class to call out a number
between one and twenty. After a number was called out, Blut- list will also be included in the publication of the work in
man grumbled as he looked at the corresponding etude, com- 2008.
menting that he “regrets asking for their suggestion!” He During 2003 – 2004, Bradshaw’s Sonata for trumpet and
worked through phrases of the etude verbalizing efficient prac- strings (or piano) was premiered in a project that included per-
tice suggestions as he went along. For more information on the formances that reached almost every state. An article about the
Lynn University Conservatory of Music please visit their web collaboration is available online at Bradshaw’s web site
site (http://www.lynn.edu/music). Source: Lynn University. (http://www.robertjbradshaw.com), where readers will also
find more information on the composer. Source: Robert J.
New Affiliate Chapter in Appalachian Valley Bradshaw.
Les Paul writes with news of the launch in June 2006 of the Bernard Fitzgerald Commemorative Concert
Appalachian Valley Chapter, an affiliate chapter of ITG. The
chapter area includes Western West Virginia and Southeastern On February 19, 2006, brass players from throughout the
Ohio along the Ohio River. “We plan to hold clinics each Commonwealth of Kentucky, family members, and communi-
month. Our first two meetings featured clinics by Les Paul, ty members at large gathered at Centenary United Methodist
freelance trumpeter and private teacher, and Harry Rich, Church in Lexington, Kentucky, for a commemorative concert
retired professor of brass instruments at Glenville State (WV) to pay tribute to Bernard Fitzgerald (1911 – 2005) at the one
College.” For more information on the Appalachian Valley year anniversary of his death.
Chapter, contact Les Paul via EMail ([email protected]). There could be no more fitting way to honor the life and
For more information on ITG Affiliate Chapters please visit work of such a distinguished journeyman in the music world
the ITG Web Site (http://www.trumpetguild.org/about/ than to celebrate his life through his music. When he died at
chapters.htm). Source: ITG Appalachian Valley Chapter. age 93, he left a legacy of 45 years of teaching, having retired
from the University of Kentucky School of Music in 1976.
Bradshaw launches new international concerto project During his 20-year tenure at UK, Fitzgerald served as Director
Spanning two concert seasons, a new trumpet concerto by of Bands, Professor of Trumpet, and even Chairman of the
Gloucester composer Robert J. Bradshaw will be performed Department of Music. Prior to UK, Mr. Fitzgerald also taught
throughout the USA and in many countries around the world. at Jordan College of Music, Emporia State Teachers College,
Over forty soloists have already expressed an interest or have University of Idaho, and the University of Texas.
© 2007 International Trumpet Guild January 2007 / ITG Journal 93
 in an ECU Brass Day where the ensembles col-
laborated with the Meridians in a public per-
formance.
Most recently, the second Meridian Seminar
at ECU took place from June 11 – 18, 2006.
Seven participant brass chamber ensembles
received coaching twice daily for four hours by
MAE members and guest master teacher John
Swallow of the New York Brass Quintet. Partic-
ipants also had individual instrument classes, a
Baroque brass performance practice class by
Thomas Huener and Barry Bauguess, a special
master class by John Swallow, a mock orchestra
trial, an improvisation class by Brian McWhort-
er, and yoga lessons from Melissa Joplin.
MAE gave a public concert premiering a
major new quintet by Ed Jacobs and collaborat-
ing with Seminar participants on music by
Gabrieli, Theurer, and Prieto. Students also per-
formed for Cypress Glen Retirement Center, the
Greenville Town Commons, and in their own
Fitzgerald Commemoration: front row L – R: Gresham, Lewis, Holtz, DiMartino,
public recital where they received recordings of
Clarke; 2nd row L – R: Clodfelter, Martin, Wing, Byrd, Craswell
their performances and comments from the
The selections performed on the afternoon’s concert featured Seminar faculty.
the works of Bernard Fitzgerald and included a wide range of
other music. The participating artists included: Vincent
DiMartino, H.M. Lewis, James Curnow, W. Harry Clarke, the
Victory Brass Quintet, Richard Byrd, Mark Clodfelter, Bran-
don Craswell, Jonathan Gresham, Paul Hickner, Jonathan
Martin, Greg Wing, and the Lexington Brass Band under the
direction of Ronald W. Holz.
In all, this was a concert with great appeal and diversity in
programming. Everyone who participated deserves accolades
beyond which practicality in this article permits, but suffice it First Meridian Seminar at ECU participants with Toby Hanks
to say that all present were uplifted and moved by the musical and Meridian Arts Ensemble in front of ECU Recital Hall
offerings. It was well planned by Ron Holz, who did a master- The Meridian Arts Ensemble is a standard-bearer for con-
ful job of leading the Lexington Brass Band in both their fea- temporary brass chamber performance. With eight CDs and
tured selections as well as being a sensitive accompanist behind numerous international awards, their concerts are consistently
the virtuosic artistry of Vincent DiMartino, whose playing bold, polished, and ambitious. Source: Britton Theurer.
was, true to form, a joy and an inspiration! Ron submitted the
Guest Workshops and Master Classes at Louisville
following when asked about his relationship with Mr. Fitzger-
ald: “Bernie Fitzgerald greatly encouraged me in my early years The University of Louisville trumpet studio sponsored sev-
as a college teacher. He had a remarkably open, inquisitive eral events during 2005 – 2006. The Illinois Brass Quintet
mind, and a joyful, witty spirit. It was joy for me to know him, presented a master class and recital on September 20, 2005.
to work with him. And it also was a joy to put on this tribute The class was given as a group, and several student brass quin-
to him.” Source: Mark Clodfelter, assistant professor of trum- tets were coached as well as work with several individual stu-
pet, University of Kentucky. dents. During the recital, Louisville Brass joined the Illinois
Brass Quintet for some antiphonal Gabrieli.
Meridian Arts Ensemble at East Carolina University
Trumpet maker Andy Taylor visited on January 9, 2006, and
East Carolina University (ECU) and the Meridian Arts presented an informative class focusing on the acoustics of
Ensemble (MAE) have developed a close working relationship trumpet making. On March 24, 2006, renowned trumpet
over the past four years. Beginning in April of 2003, MAE per- artist and composer Anthony Plog presented both trumpet
formed for the New Music at ECU festival. The following year and composition classes at the university. Professor at the
they served as ECU’s Robert L. Jones Visiting Distinguished Staatliche Hochschule für Musik in Freiburg, Germany, Plog
Professors with the group in residence three times, and each showed his great skill as a teacher, and was very generous with
individual member offering clinics and recitals, making nine his time, as he worked with twelve trumpet students on solo
visits in all. and orchestral repertoire. In a separate composition class, Tony
Last year, through a Chamber Music America Outreach Res- talked about the business of being a composer as well as his
idency Grant, the Meridians helped establish brass chamber current work on children’s operas.
music programs in Eastern North Carolina public schools. Terry Everson, professor of trumpet at Boston University,
Four high schools formed student brass chamber groups that presented a master class on March 30, 2006. Work in the class
were coached by the Meridians and ECU faculty, culminating
© 2007 International Trumpet Guild
included solving the physical problems of playing the trumpet
94 ITG Journal / January 2007
as well as his wonderful insights into developing musicality. Championships in both 2004 and 2005. In April of 2006, the
Source: Michael Tunnell. band recorded their second CD titled ’Tis a Gift, which was
Brass Band of Central Florida travels to the UK released this past fall. More information about the BBCF is
available on their web site (http://www.bbcf.net). Source:
In November of 2006, the Brass Band of Central Florida Charlie Peshek
(BBCF) traveled to England to compete in its second UK brass
band competition. Based on their first place finishes in the University of Missouri Faculty Brass Quintet tours Russia
North American Brass Band Association (NABBA) competi- In September 2005 the Faculty Brass Quintet from the Uni-
tion and US Open Brass Band Championships along with versity of Missouri School of Music, together with the pianist
their unique blend of British brass band style with an Ameri- Natalia Bolshakova, was invited to present several recitals and
can twist, the BBCF has caught the attention of the brass band clinics in Moscow and St. Petersburg. The first recital, held at
world. the Moscow Military Music College, was warmly received by
the cadets and the faculty. The Brass Quintet gave two more
recitals in Moscow’s legendary musical institutions: at the
beautiful Rachmaninov Hall of the Moscow Conservatory and
at the Chamber Recital Hall of the Gnessin Academy of
Music. Each faculty member also gave a master-class at the
Moscow Conservatory. For a full report see the ITG Web Site
(http://www.trumpetguild.org/news/news06/
589mufbqrussia.htm).
Source: Iskander Akhmadullin.

Brass Band of Central Florida

In September of 2005, the BBCF flew to England at the
invitation of organizers for the 153rd British Open Brass Band
Championships. The event was held at Birmingham’s Sym-
phony Hall and each of the eighteen invited bands performed
Bramwell Tovey’s test piece The Night to Sing written exclusive-
ly for the 2005 competition. The following day the BBCF
shared the stage with three of the top British bands including
the Black Dyke Band, the Buy As You View Band and the
Foden’s Richardson Band at the “Brass on Sundays” gala con-
cert. The BBCF opened the concert and delighted the audi-
ence with their all-American performance and then joined
forces with the Foden’s Richardson Band for the concert finale.
In November of 2006, the BBCF returned to England after
accepting an invitation to perform as one of two featured
bands at the World of Brass Gala Concert at The Sage, Gates-
head. This time the BBCF took the stage with the Grimethor-
pe Colliery (UK Coal) Band, stars of the movie Brassed Off and
long-time winners of the Brass in Concert Championships.
The next day the BBCF performed a 23-minute entertainment
program competing against the world’s best names in brass
banding including Brighouse & Rastrick, Buy As You View,
Fairey, Leyland, Mount Charles, Polysteel, Reg Vardy, Scottish
Co-op, Sellers International, Whitburn and defending cham-
pions Grimethorpe Colliery (UK Coal). Preceding their
appearances at The Sage, the band performed concerts in Lon- MU Faculty Brass Quintet in Red Square.
don, Birmingham, and Peterborough, and recorded a CD in a Photo by Natalia Bolshakova.
marathon two-day session. Dennis Ferry performs and records
Founded in 1999, the all-volunteer 30-member band has an Rose Variations with band
active performance schedule including concerts, competitions,
and Central Florida school music seminars. Conductor/Musi- ITG member Dennis Ferry has recorded Rose Variations
cal Director Michael J. Garasi leads the BBCF and was the first (Robert Russell Bennett) with the Denver Concert Band under
American brass band conductor to be nominated by the on- the direction of Gerald Endsley. Ferry, principal trumpet of the
line brass band magazine, 4 Bars Rest for the “Newcomer of the Orchestre de la Suisse Romande in Geneva, performed the
Year” Award in 2004. As an arranger, Michael won the “Best work in concert during the summer of 2005 and recorded it at
New Arrangement” Awards at the U.S. Open Brass Band the Denver Performing Arts Center on August 7, 2006. This is

© 2007 International Trumpet Guild January 2007 / ITG Journal 95

a world premiere recording of the work in its original form for formed part of the fabric of daily life for participating brass
trumpet with band accompaniment. For further information players, including Californians and musicians from as far away
contact Dennis directly ([email protected]). Source: as Hong Kong and Argentina. After hours spent rehearsing
Dennis Ferry. specific music selected during the week, participants per-
Adolph Herseth and Bay Brass at Menlo: formed in a large ensemble concert conducted by Jeff Budin
The Art of Sound Summer Brass Institute and Festival enjoys and Vicky Greenbaum, in the Herseth Birthday Concert, and
a fourth summer in a chamber music concert at the Festival’s conclusion.
For information about the Summer Brass Institute and
The fourth annual Summer Brass Institute and Festival Fes t i val i n s um m e r 2 0 0 7 , p le a se v i s i t t h e web s ite
offered bountiful opportunities for the many trumpeters who (http://brass.menloschool.org). Source: Summer Brass Insti-
attended, anticipating the chance to work with Adolph “Bud” tute.
Herseth and the Bay Brass. The weeklong institute provided
ten quintets and eight large ensembles with plenty of rehears- Louisville Brass in Japan
al and coaching each day. Festival events attracted skilful, In August of 2006, the Louisville Brass enjoyed a one-week
enthusiastic participants and interested audiences. The Bay residency in Hirosaki, Japan. During the week, members
Brass, a 13-member ensemble, includes leading players from Michael Tunnell and Herb Koerselman, trumpets; Bruce
five Bay Area orchestras who serve as faculty members, includ- Heim, horn; Brett Shuster, trombone; and John Jones, tuba,
ing trumpeter and ITG member David Burkhart, professor of were involved in four performances and presented several clin-
trumpet at the San Francisco Conservatory; James Dooley, ics for brass players of all ages. Two of the concerts were noon-
principal trumpet, San Jose Symphony; and Glenn Fischthal, time concerts of lighter music, and two were in Hirosaki’s
principal trumpet for 28 years with the San Francisco Sym- beautiful Civic Hall. For complete details on this residency see
phony. the ITG Web Site (http://www.trumpetguild.org/news/
Bay Brass trumpeter Glenn Fischthal engaged participants news06/597louisvillejapan.htm).
in his master class, “The Lyric Art of Trumpet” starting with a Source: Michael Tunnell.
performance of Bach’s Jauchzet Gott in Allen Landern with a
singer to showcase the lyric quality of this music. He per-
formed from memory many passages from the symphonic
repertoire in conjunction with performances by participants
who sought his commentary. Finally, participants were invited
to try Fischthal’s assortment of trumpets.
Adolph Herseth gave a master class rich with sage advice,
witty anecdotes, and musically inspiring demonstrations. He
began the class by performing the second movement of
Haydn’s Trumpet
Concerto, accompa- Louisville Brass in Japan
nied by an ensemble Lill seeks Benge information—can you help?
of brass players in a
unique arrange- Elden Benge and the Chicago Benge Trumpet is the name of
ment. On the next Joe Lill’s dissertation for the D.M. degree at Northwestern
evening, he joined University. He is actively seeking information from those who
Bay Brass trum- knew Elden Benge and gathering information on all Benge
peters in a set of trumpets with serial numbers under #10,000. Please contact
trios for his “85th Joe Lill at [email protected], and please visit Lill’s very interest-
birthday” concert; ing Chicago Benge Resource Site, where you can see Lill’s work
he also offered an in progress and learn more about this period in instrument his-
inspiring master tory (http://www.musicbyjoelill.com/benge). Source: Joe Lill.
class, and taught Wilson’s Leader Lieder receives orchestral premiere
most of the Insti-
tute’s nineteen Dana Wilson’s trumpet concerto Lieder Leader was pre-
trum peters in pri- miered last summer in its new version for trumpet and orches-
vate lessons and tra. The performance took place on August 4 in Xiamen,
coached a sym- China, with Rex Richardson as the trumpet soloist, and the
phonic section class Xiamen Symphony Orchestra, directed by Jindong Cai. Lieder
in a rehearsal of Leader was commissioned by ITG and received its world pre-
Mahler’s Symphony Herseth teaching Sandra Laverty mière at the 2002 Conference in Manchester, England. The
#5. Everyone remarked on his musicianship, extensive orches- version premiered then was the arrangement for trumpet and
tral experience, clever wit and lively anecdotes, and his ability wind ensemble and featured soloist James Thompson with the
to offer a wealth of advice consistently focused on musical Royal Northern College of Music Wind Orchestra. A new CD
interpretation. of that version has just been released by the Eastman Wind
Plentiful demonstrations, extra lessons, and a trip to the San Ensemble, under the direction of Mark Scatterday, again with
Francisco Symphony to hear faculty members in action James Thompson. Sources: Dana Wilson and Kim Dunnick.

96 ITG Journal / January 2007 © 2007 International Trumpet Guild

 Tine Thing Helseth in Eurovision Young Musicians final weekend, Bensdorf performed as soloist with the US Coast
On Friday evening, May 12, 2006, outside the Vienna Guard Band, and as part of his award was booked to solo with
Rathaus (town hall), more than 40,000 people saw and heard the Berkshire Symphony Orchestra under conductor Ronald
Tine Thing Helseth, an 18-year-old Norwegian, performing Feldman.
the first movement of the Haydn Trumpet Concerto. Helseth
was one of the finalists in the Eurovision Young Musicians
competition. Eighteen young musicians from all over Europe
participated. The final round of the competition was organized
as the outdoor grand opening event of the prestigious Wiener
Festwochen with a live audience and was broadcast to most
European countries. The results were: Winner, Andreas Bran-
telid (Sweden, cello); First runner-up, Tine Thing Helseth
(Norway, trumpet); and Second runner-up, Dmitry Mayboro-
da (Russia, piano).
Helseth has also participated in other competitions, both in
Norway and abroad. In 2005, she was awarded the second
prize in the first “Theo Charlier” International Trumpet Com-
petition held in Brussels, Belgium. She is currently a student at
The Barratt Due Institute of Music in Oslo. Her main teacher
is Arnulf Naur Nilsen, co-principal of the Oslo Philharmonic
Orchestra. She also has occasional lessons with the world- First place Armando Ghitalla Award winner Ethan Bensdorf
renowned trumpet artist Ole Edvard Antonsen. Helseth start- performs with the U.S. Coast Guard Band. Photo: Scott Barrow
ed playing the trumpet at the age of seven and her first teacher
The three runner-up finalists were Adam Bhatia of Los
was Heidi Johannessen, trumpet player with the Norwegian
Angeles, a master’s student at the University of California, Los
National Opera. Most children starting the trumpet in Nor-
Angeles (UCLA); Gareth Flowers of New York, a graduate of
way also join a wind band. Tine did this and was first a mem-
The Juilliard School; and Kevin Gebo of Los Angeles, a grad-
ber of two different school bands. She is currently a member
uate of the University of Michigan who is also a master’s stu-
of Sagene Janitsjar in Oslo.
dent at UCLA.
Asked how she works and practices, Helseth responds: “I try
The annual trumpet competition is sponsored by the Ghi-
to have my main focus on the music. Like everybody else I also
talla Foundation, which was founded by legendary trumpeter
work on my technique, but I want the audience to have an
Armando Ghitalla. Ghitalla’s impressive career included twen-
experience of the music I perform. The technique should never ty-eight years (fifteen as principal) with the Boston Symphony
be in the way of the musical expression. If there is a wrong note Orchestra. His Foundation’s goal is to encourage trumpet stu-
from time to time, it should not matter; the music should dents in the pursuit of their art form.
always be in the center.” Source: Ole J. Utnes. Empire Brass trumpeter Rolf Smedvig was a student of
$15,000 Awarded to Armando Ghitalla Trumpet Armando Ghitalla, and served as the volunteer organizer of the
Competition Winners at the 2006 Berkshire Brass 2006 Berkshire Brass Spectacular. “Empire Brass is honored to
Spectacular, hosted by Empire Brass have had the opportunity to host this incredible event,” he
The hugely successful Berkshire Brass Spectacular, present- said. “We hope that the festival can go to international levels,
ed by the Armando Ghitalla Foundation, was hosted by with 20 Brass Spectacular weekends each year in places such as
the Empire Brass quintet September 20 through October 1, Nagano, Japan; Salzburg, Austria; and several locations in
America.” Plans are to double next year’s total prize money to
2006. Empire Brass, which performs more than 100 con-
$30,000. Smedvig said he also is exploring broadening the
certs each year around the world and has recorded for the
Spectacular in future years to include string, woodwind, and
Sony-BMG, Telarc/Universal, and EMI labels, gave a sold-
percussion categories. Source: Christina Jensen / Empire Brass.
out concert called “Song and Dance” on Saturday evening
during the Spectacular. The festival attracted full houses INDUSTRY NEWS
throughout its run at Pittsfield’s 800-seat Colonial Theatre in
the Berkshire region of Massachusetts, and featured four con- Besson collapse leaves makers shocked but unbowed
certs, one master class, and an awards ceremony. Seven brass
The collapse over the New Year 2005 – 2006 of UK instru-
and jazz ensembles from throughout the region, plus the
ment maker Besson sent ripples through the industry.
United States Coast Guard Band, performed at the event.
Denis Wick contacted ITG News to reassure us that despite
One of the highlights of the Spectacular was the presenta-
the “horrifying descent” of Besson Musical Instruments Ltd.
tion of the Armando Ghitalla Trumpet Competition Awards,
into administration, business is carrying on as before and that
totaling $15,000 in prize money. More than 100 entries were
all distribution is now being handled by Wick’s own company,
received this year, with the first place $7,500 award going to
Denis Wick Products Ltd (http://deniswick.com). The web
Ethan Bensdorf of Chicago, Illinois. Bensdorf is in his final
site now offers details of Wick products and contact informa-
year at Northwestern University, and has performed with the
tion for trade enquiries: online purchasing is “coming soon.”
Chicago Chamber Orchestra and the Civic Orchestra of the
Wick added, “I am very sorry that Besson, with whom I have
Chicago Symphony, as well as at the Tanglewood Festival
been associated for more than 35 years, has suffered in this
under conductor James Levine. During the final concert of the
© 2007 International Trumpet Guild January 2007 / ITG Journal 97
way. This iconic company has a unique heritage of association complete information (US: http://www.patchmanmusic.com/
with the British band movement. I am sure we all hope that it mdt.html; http://www.morrisondigitaltrumpet.com outside
will emerge after these years of trial and tribulation to contin- the US). Source: Patchman Music press release.
ue its fine tradition.” Wick’s statement may be read in full in Custom mouthpiece maker Hammond
a press release on his web site. announces new company
Denis Wedgwood the cornet and trumpet maker also gave
his views on Boosey & Hawkes (Besson)—The True Story. Wedg- Custom mouthpiece maker Karl Hammond has announced
wood lays the blame for Besson’s decline firmly at the door of the creation of a new company making “the latest in mouth-
its former management, writing, “It’s said that the ‘death of a pieces” for brass players. The company, located in Franklin
company’ is when management has got rid of the ‘old gaffer’ Park, Illinois, promises to provide a new experience for the dis-
who could remember trying something twenty years before cerning brass player. An all-new line of trumpet and trombone
that didn’t work.” mouthpieces will be available for brass players of all levels, but
Readers who wish to see Wedgwood’s piece in full will find custom-designed mouthpieces and custom modifications will
his whole text online (http://www.themouthpiece.com, free continue to be a strong focus for the company. Owner Karl
registration required—enter his name in the search box). Hammond says, “I wanted to create a company that took all
Besson’s brand and certain assets were acquired by Buffet of the guess work out of selecting a high quality brass mouth-
Crampon in January 2006. At the time of writing on the web piece. Our goal is to provide brass players with the most con-
site, Buffet’s management tells us, “The tradition will contin- sistent line of standard mouthpieces in the industry, yet allow
ue” and in a press release the company explains that manufac- the discriminating player to have their mouthpieces cus-
turing will restart over the coming months. The web site was tomized or redesigned to fit their individual needs.” Ham-
marked “New site coming soon” and visitors were invited to mond Design will also offer duplication services for players
join a mailing list to be kept up to date with the Besson site’s who desire an exact replica of their current mouthpiece setup
progress under its new management. Sources: Denis Wick, or may want to use their current mouthpiece as the starting
Denis Wedgwood, Besson press release. point for a new mouthpiece design. For more information
about Hammond Design, please visit the web site
New Morrison Digital Trumpet (http://www.karlhammonddesign.com). Source: Karl Ham-
Australian company Marshall Morrison Instruments have mond Design.
released a new “digital trumpet” for brass musicians. The Mor- Bach releases “Chicago” C and new “entry-level” flugel
rison Digital Trumpet, or MDT, is a brass-style MIDI wind
controller invented and designed by robotics and electronics These two press releases from Conn Selmer celebrate the
expert Steve Marshall with the eminent Australian multi- issue of a new Bach C trumpet and flugelhorn.
instrumentalist James Morrison. The MDT has been specifi- Bach “ Chicago” C Trumpet Honors 50th Anniversary
cally designed for trumpet players to make it as easy as possi- In April of 1955, Vincent Bach completed and delivered six
ble to transition from the acoustic trumpet. Morrison has been C trumpets to the Chicago Symphony Orchestra. Four were
working with Steve Marshall for more than five years to create selected by individual members of the trumpet section and
an instrument that “feels right when first picked up by a trum- purchased by the orchestra. The remaining two were sold to a
pet player.” Although it has an ultra-modern look, it has a
familiar feel due to trumpet-like hand position, standard valve
movement, and normal trumpet mouthpiece. As a MIDI wind
controller, the MDT triggers and controls any MIDI-capable
sound device such as a MIDI synthesizer, MIDI sound mod-
ule, or computer running soft synths, etc. When connected to
the MIDI sound source, the MDT gives the player access to a
very wide range of sound possibilities.
Stradivarius “Chicago C”
music store for individual customers. Now, almost fifty years
later, these trumpets are still revered, still in use, and still the
property of the Chicago Symphony. Each instrument is
assigned to a specific section member. Conn-Selmer has intro-
duced the “new” Bach Stradivarius “Chicago C” trumpet, an
instrument closely based on these original designs. The model
(specifically model C180SL229CC) features a #229 bell and a
The Morrison Digital Trumpet #25 leadpipe, but this instrument design is faithful to the orig-
inal blueprints in many other details, as well.
Marshall Morrison’s press release lists a number of features of Extensive research on Vincent Bach’s 1947 to 1956 design
the MDT, including ease of connection to computer and period was conducted by Tedd Waggoner, director of market-
recording systems and all that that implies, ease of transposi- ing for Bach, and Roy Hempley, author of “Bachology”
tion, use of headphones for silent practice, and many others. (http://www.bachbrass.com). “Vincent was constantly experi-
The MDT is now shipping and available for purchase. Inter- menting and trying new designs,” said Waggoner. “He appar-
ested readers are encouraged to visit the MDT web sites for ently made constant advances to his designs for B-flat and C

98 ITG Journal / January 2007 © 2007 International Trumpet Guild

trumpets up to 1947. Design and production processes seemed the syndicated Dr. Demento Radio Show’s Funny Five. Every-
to stay fairly consistent from that time until 1956 when anoth- one with an interest in the trumpet and a sense of humor is
er phase of changes was adopted. The famous ‘Chicago C’s’ warmly invited to visit Hosaphone Headquarters on the web
come from this 1947-through-1956 design era.” Waggoner (http://hosaphone.com). Source: David A. Roth, Hosaphone
continued, “The more information we turn up on the design Headquarters.
and features of these horns, the more interested we became. We
Stonebrass The Magazine launches
have tracked down five of the original six horns and one other
made just a few weeks later, we have the original shop cards list- Stoneback Sisters & Stoneback Brass write with news of the
ing specific information (including customer names), and we launch of Stonebrass The Magazine. From the press release: “We
have the original design specifications in Vincent’s archives. The are excited at the release of our new on-line magazine, Stone-
50th anniversary of these instruments certainly is an appropri- brass The Magazine. As a friend of Stoneback Sisters & Stone-
ate time to make these instrument available again.” The new back Brass, you are formally invited to subscribe online for free
instrument is available through all authorized Bach dealers. at http://www.stonebrass.com! Over the past two years as
New Bach Flugelhorn From Conn-Selmer Stoneback Sisters & Stoneback Brass, we have had the honor
In an effort to provide more trumpet players with a Bach and privilege to meet many wonderful people—students,
flugelhorn option, Conn-Selmer has introduced the Bach Aris- teachers, professionals, and novelists—all working and enjoy-
tocrat FH600 flugelhorn. The instrument is an excellent value ing music and art as a lifestyle. We have learned so much from
for players looking for an entry-level flugelhorn. This value- so many that we thought it would be fun to highlight some of
priced instrument has many professional level features worthy of the individuals in the pages of a magazine. It is our hope that
the Bach name, including a .434" bore, new style “air-through” the chronicles from our travels will bring enthusiasm and
design, classic Bach-style tunable mouthpiece receiver, red brass encouragement through the stories of the people we have met.
first branch, third slide trigger and three water keys. The FH600 Please come on board as a subscriber right away!” (Full details
also includes nickel-silver outside slide tubes with brass inner of how to subscribe are in the web version of this story.)
slide tubes for trouble-free slide action. The plasma-welded bell Source: Stoneback Sisters & Stoneback Brass.
provides for full tonal vibration to the end of the bell.
Bach instruments are produced by Conn-Selmer, Inc., the Conn-Selmer “Cargo Cases” now available as
largest manufacturer of band and orchestral instruments and accessory items
accessories in the United States and a division of Steinway When Conn-Selmer surveyed almost 200 teenagers about
Musical Instruments, Inc. To contact Conn-Selmer, write to what they wanted in their next case, the result was a new case
P.O. Box 310, Elkhart, IN 46515-0310 USA, or visit the web design that Conn-Selmer dubbed “Cargo Case.” The new cases
site (http://www.conn-selmer.com). Source: Conn-Selmer were packaged with Bach, Selmer, and Emerson instruments
press releases. and, according to Conn-Selmer, “took the market by storm.”
Hosaphone Headquarters celebrates its ten-year anniversary Now these cases are available as aftermarket items for those
looking for a new and different case for their current instru-
The first web site focused exclusively on the “beloved,
revered and mostly plastic Hosaphone” celebrates its ten-year

ITG YOUNG ARTIST AWARD

anniversary. Hosaphone(tm) Headquarters started with an
FAQ (Frequently Asked Questions) released to the Internet on
April 1st, 1996, as an attempt to answer any and all questions to provide recognition for developing young trumpeters
relating to the Hosaphone. The Hosaphone is a low-cost valve-
less trumpet easily constructed with a mouthpiece, funnel for
the bell, and about eight feet of plastic tubing, which is com- Music teachers and private instructors are invited to
monly found in hardware stores. Among its many accomplish- nominate high school students (age 18 or younger at
ments, Hosaphone Headquarters has been listed in the ITG the date of nomination).
Top 25 Online Trumpet Resources, given a web site award by
the Philadelphia Inquirer online, and mentioned in the Wash- Letters of recommendation must include mailing
ington Post. Numerous educators have used the Hosaphone to addresses, phone/fax numbers, and EMail addresses of
develop students’ interest in music and sound. the teacher and nominee.
Ellis Workman, who invented the Hosaphone brand, and
David A. Roth, who composed an original work for the Hos-
aphone, have enjoyed entertaining trumpet players on the
Winners will receive a one-year membership to ITG
Internet now for ten years through their unique approach to and will be featured in the ITG Journal.
humor in explaining the Hosaphone and its importance.
Workman commissioned Roth to create an original composi- Please submit nominations to:
tion for the Hosaphone to feature its unique performance fea-
tures. This inspired a jazzy blues work, Codetta in C for Hosa- Jean Moorehead Libs
phone, which has been performed in the UK in Wantage, 2619 Essex Rd
Oxfordshire, by Hosaphone Soloist Graham Cross, where the Ann Arbor, MI 48104 USA
performance was awarded “best in class” in the Entertainment [email protected]
class of Wantage Band’s annual band contest by adjudicator
Helen Wright. Codetta in C was also broadcast as an “extra” on
© 2007 International Trumpet Guild January 2007 / ITG Journal 99
 C.G. Conn lubricants go child-safe
In response to US federal guidelines, Conn-Selmer has

DID YOU KNOW… introduced its C.G. Conn line of brass instrument lubricating
oils in new child-resistant containers. C.G. Conn valve oil,
slide oil, and bore oil each feature a special washer/cap combi-
…that the ITG Web Site is frequently updated? nation that prevents very young children from ingesting the
product. The Consumer Products Safety Commission is also
requiring child-resistant packaging for household products
• The Home Page is where you’ll find new late- such as baby oil, suntan oil, nail polish, and some gasoline
breaking information. additives. At least five children have died from ingesting prod-
• The News page keeps you up-to-date on all ucts such as these that contain hydrocarbons. The oil in the
the latest trumpet-related happenings. products coats the lungs and causes tissue damage. The chil-
dren did not die from poisoning but from chemical pneumo-
• The Calendar page keeps you posted on
nia. “While these incidents are small in number, we want to
what’s coming and when, often listing items comply with the safety regulations and provide our dealers
that will first see print in the Journal, even with products they know to be the safest on the market,” said
before the Journal is printed! Lori Szczypiorski, accessory manager for Conn-Selmer. “This
• The latest competitions rules are always upgrade is part of our continual improvement efforts going on
in all areas of the company.” The Consumer Products Safety
maintained, and any corrections or changes Commission did not issue a recall on these products without
show up here. childproof caps, but did recommend that consumers practice
• And much much more! Be sure to keep up safety in keeping these oils out of the reach of children or just
with this valuable trumpet resource. throwing the oils away. Source: Conn-Selmer.
Dawsons launch new Mirage trumpet line
http://www.trumpetguild.org Peter Pollard, trumpet specialist at Dawsons music shop in
Manchester, England, writes with news of their launch of
Mirage trumpets. “Over the last three years we have been
ments. The new Cargo Case line features silver metallic color researching our own line of Chinese-made brass and have
hard shells and silver interiors, but the key feature is the color- come up with something quite fantastic,” he writes. Pollard’s
ful pocket patch—a removable multi-pocket area designed for file of positive reviews of the Mirage line includes comments
specific applications. Pocket patches can hold CD or MP3 from freelance players and teachers such as Mark Gilbanks,
players, cell phones, water bottles, pencils, and many other Adrian Horn, Dave Copperwaite, and the BBC Philharmonic
Orchestra’s Mark Mosley. Please contact Dawsons for more
items. A patent is currently pending on the design. The new
details of the Mirage line (http://www.dawsonsonline.com).
accessory case line includes cases for other wind instruments as
Source: Dawsons.
well as trumpet. Cases should fit most makes of modern inst-
ruments. “With so many different instrument configurations, RECENT APPOINTMENTS
we needed to take some time to develop case nests that would
be as universal as possible,” said Lori Szczypiorski, accessories Upton’s season with the Beijing Symphony Orchestra
manager. “These cases feature the popular VH1 Save The One of Armando Ghitalla’s last students, Zebediah Upton,
Music logo and we are contributing a portion of our sales to spent a season as principal trumpet in the Beijing Symphony
VH1 Save The Music Foundation to support music educa- Orchestra. In his impressive roster of teachers Upton lists,
tion.” Source: Conn-Selmer. alongside Ghitalla, Seymour Rosenfeld, Marie Speziale, Robert
Sullivan, James Wilt, and Thomas Freas. Upton studied Trum-
Weril presents Brazilian performer in the United States
pet Performance at Rice University in Houston, Texas, where
Weril Musical Instruments, the market leader in the wind he was a student of Ghitalla until Ghitalla’s death in Decem-
segment in Brazil, and now exporting to over 60 countries, was ber 2001. He graduated in 2003 with a Bachelor of Music and
in New Jersey for ITG. For the first time, the Brazilian trum- in 2005 with his Master of Music. In 2005 he was also a recip-
pet player Anor Luciano was there performing as a Weril ient of the Voisin Trumpet Award at the Tanglewood Music
endorser. Luciano played in the New Music Solo Recital on Center where he was a Fellow, his position funded by the
June 10, 2006. Allan Ash, Weril’s manager for the US, and Armando Ghitalla Foundation. Although now back in the
Tony Colantonio, local representative, were also present at the USA following the completion of his contracted season, Zebe-
diah Upton returned in August to record Bartok’s Concerto for
Weril stand. Instruments displayed included professional
Orchestra with the Beijing Symphony Orchestra. Source:
trumpet models from the Regium II range such as the ET8170 Thomas Freas.
Symphonic trumpet and the ET7171 Soulhorn, together with
the Concert and Studio trumpets and the Weril flugelhorn Eric Baker to Midland-Odessa Symphony
and cornet. As an artist/clinician for Weril, Luciano has been Eric Baker recently won the position of co-principal trum-
very active in developing and designing new instruments. pet of the Midland-Odessa Symphony and Lone Star Brass
Source: Weril press release. Quintet in Texas. Baker began his duties with the orchestra in
100 ITG Journal / January 2007 © 2007 International Trumpet Guild
August, 2006. Baker of L trumpet faculty. He will teach jazz trumpet, coach com-
received his BME bos, and teach other courses in the jazz program. Originally
degree in 2004 from from Columbus, Ohio, Ansyn has performed with the leg-
the University of endary Hank Marr, Gene Walker, and Vaughn Wiester’s
Texas – Arlington Famous Jazz Orchestra. During his tenure in Indiana, Ansyn
where he studied frequently performed with the Buselli-Wallerab Orchestra and
with Rick Bogard. He quickly became a first-call musician throughout Indianapolis.
then studied with In addition to the jazz genre, Ansyn Banks has shared the stage
David Hickman at with The Mighty Dells, The Temptations, and other R&B
Arizona State Univer- artists. Ansyn has a Bachelor of Music degree in music educa-
sity where he received tion from Ohio Wesleyan University, a Master of Music in Jazz
his MM degree in Studies from Indiana University, and has completed his course
2006. During his work toward his doctoral degree in brass pedagogy (also at IU).
master’s degree, Baker In addition to David Baker and Bill Adam, Ansyn Banks has
was an active free- Eric Baker studied with Lar ry Griffin, John Rommel, Joey Tartell,
lance trumpeter in the Edmund Cord, and Patrick Harbison. Source: Michael Tun-
Greater Phoenix area and was Director of Bands at Tri-City nell.
Christian Academy in Tempe. He is a recipient of the Doc Sev-
erinsen Fellowship Award and a Regents’ Music Scholarship at IN MEMORIAM
ASU. He is the co-designer and maker of the new Sotto Voce
trumpet straight mute sold through Hickman Music Editions. Maynard Ferguson 1928 – 2006
Source: Arizona State University. Maynard Ferguson died at age 78 on August 23, 2006.
Ryan Nielsen to Brigham Young University-Idaho Please see pages 6 – 24 in this issue ITG’s tribute to this leg-
endary figure.
Ryan Nielsen was earlier this year named assistant professor
of trumpet at Brigham Young University – Idaho (BYU-Idaho) James B. Underwood 1948 – 2006
in Rexburg. His duties began in August of 2006. Mr. Nielsen Joyce Davis writes: Surrounded by his family, James (Jim)
recently completed a Master of Music degree in Trumpet Per- Underwood, 57, principal trumpet of the Columbus (Ohio)
formance at Arizona State University where he received the Symphony Orchestra, passed away on Friday, August 4, 2006
Doc Severinsen Fellowship Award and a Regents’ Music Schol- after a four-year battle with parotid (salivary) gland cancer.
arship. His trumpet teachers include David Hickman, Marcel- Born in Kokomo, Indiana, on August 19, 1948, Jim spent
lus Brown, Mark Lewis, and Steve Newton. Jazz studies have his formative years living in Garden City, Michigan, near the
been with Mike Crotty, Michael Kocour, Sandon Mayhue, and Detroit metropolitan area. Dr. Gordon Mathie, with whom
Mark Watkins. Mr. Nielsen’s teaching experience ranges from
Jim studied at National Music Camp, was one of Jim’s earliest
elementary to collegiate levels, his most recent posts including
teachers. Throughout Jim’s battle with cancer, Dr. Mathie had
instructor of trumpet at Mountain Pointe High School, and
been working on an article documenting the stages of Jim’s dis-
instructor of advanced trumpet and jazz at Foothills Music
figuring surgeries and Jim’s continuous resilience to continue
Center, both of which are located in the Greater Phoenix area.
performing. Dr. Mathie plans to complete this article for the
He also taught at BYU-Idaho as director of concert band and
ITG Journal. His friend and colleague, tubist James Akins,
as director of the jazz lab band while earning a BM degree
there in 2004. Ryan Nielsen received several awards for his jazz would make adaptations to Jim’s mouthpiece and instrument
performance including First Prize in the university soloists to keep Jim playing. After one of Jim’s last surgeries, he per-
division at the Lionel Hampton Jazz Festival in 2003. He has formed Mahler’s Symphony No. 5 with the Columbus Sympho-
also been a guest artist at the Gene Harris Jazz Festival as well ny this past May. Jim Akins could only praise Underwood’s
as performing the brilliant yet poignant performance as “amazing.”
solo trumpet chair At eighteen, Jim began his lifelong connection with Frank
in the Riverside Jazz Kaderabek, former principal trumpet of the Detroit and
Orchestra. Source: Philadelphia symphony orchestras. When the Michigan Youth
Arizona State Uni- Orchestra began at Meadowbrook, Kaderabek suggested Jim
versity. for principal trumpet. The conductor was, at that time, the
famous James Levine. Jim studied at the University of Michi-
Banks to Louisville gan with Professor Clifford Lillya. All who knew Jim and his
Ansyn Banks is playing marvelled at his impeccable performances and glorious
the newest member sound, but also his upbeat yet “laid back” personality. “Jim
of the Jazz division could play anything,” said Don Hazzard, former principal
at the University of trumpet of the Honolulu Symphony. Underwood and Haz-
Louisville, and joins zard were often paired together in the University of Michigan
Michael Tunnell, orchestras. But Jim was not only a “trumpet player;” he per-
John LaBarbera, and formed as solo cornet of the famous Leonard B. Smith Band in
Herb Koerselman as Detroit. After leaving the University of Michigan, Jim was
Ansyn Banks a member of the U Solo Cornet of “The President’s Own” United States Marine

© 2007 International Trumpet Guild January 2007 / ITG Journal 101

Band, performing for many dignitaries as well as the inaugura- that he always put all of his heart into the music. Every phrase
tion of President Richard M. Nixon. At the invitation of Frank had thoughtful nuances showing his personality. You always
Kaderabek in 1988, Jim played knew that Jim would raise the hair
second trumpet with the Phil - on the back of your neck on a Sat-
adelphia Orchestra on their urday night. What a thrill it has
South American tour. Following been!”
this tour, Jim Underwood was James Underwood held posi-
named principal trumpet of the tions with the Detroit Symphony
Columbus Symphony. He sound- Orchestra, the Michigan Opera
ed phenomenal; I heard him Theater, and was a soloist with the
when I played in the section or United States Marine Band and
while listening in the audience. the White House Orchestra. As a
His extraordinary sound touched well-known soloist, Jim was fea-
everyone; his generous, kind, and tured many times with the Col-
jovial personality was a bonus to umbus Symphony Orchestra. As a
all who knew this remarkable guest soloist he has performed
trumpet player and person. with the Houston Pops, at the
James Underwood is survived Meadowbrook Festival in Detroit,
by his family: Marty, his wife of and for many years was a featured
thirty years, daughters Sonya and soloist at the Blossom Center in
Jamie, and his son Alvin. The Cleveland.
Columbus Symphony dedicated Mathie’s note: James Under-
James B. Underwood
its concerts on September 15 and wood was an Interlochen student
16 to the memory of their colleague, James Underwood, prin- of mine and took my place when I left the Leonard Smith
cipal trumpet 1988 – 2006. Band. Sources: Joyce Davis, Gordon Mathie.
Gordon Mathie writes: “Jim was the epitome of courage and Edwin Williams 1947 – 2005
determination. In the words of Jim Akins, principal tuba of the
Columbus Orchestra, ‘Some players call in sick when they Edwin Williams died on July 14, 2005. He was 58 years old.
think they are getting a cold sore. With each surgery we would Williams held a bachelor of music degree with distinction
have to adapt his trumpet [and mouthpiece] because more of from DePauw University, the master of music degree in trum-
the right side of his face was removed… but he kept coming pet performance from Indiana University, and the doctor of
back.’ I personally witnessed his amazing recuperative strength musical arts degree from the College-Conservatory of Music at
twice, with sterling performances of Petroushka and Shosta- the University of Cincinnati. Former teachers included Billie
kovich’s Symphony No.8. Jim never uttered a word of complaint Taylor, Robert Grocock, William Adam, Carmine Caruso, and
to me after the cancer was diagnosed. He would call and ask Vincent Cichowicz. In 1972 he was awarded a Fulbright
for advice on ‘this problem’ but never asked for sympathy, just Scholarship for study with Helmut Wobisch at the Institute for
for technical help. A week before he died he called, asking not Music Vienna, Austria. Williams was chair of the music
for sympathy but for advice on the placement of his tongue to department at Northern Ohio University. He conducted the
avoid multiple sores. To me, he was a tremendous musician symphony orchestra, jazz ensemble I, symphony band, and the
and a very humbling person.” brass ensemble. He taught applied trumpet, music history, and
Words from Jim’s section colleagues—Tom Battenberg: “Jim brass methods. Williams performed as first trumpet and soloist
Underwood was a terrific human being, a first-class trumpet with orchestras and bands in both the United States and
player, and a wonderful friend and colleague. As principal Europe. He appeared as a soloist in Europe for the U.S. State
trumpet of the Columbus Symphony for the past 18 years, Jim Department in concerts featuring the music of Charles Ives.
led our section in a way that made us better players. He was an He was principal trumpet of Lima, Ohio, Symphony Orches-
inspiration to all who knew him and I truly believe he made tra from 1974 to 1984. He performed with the big bands of
the orchestra rise to a higher level when he was playing. Jim Bob Crosby, Ray Eberle, Ray McKinley, Tex Beneke, and War-
was a silent sufferer of the cancer that we all thought would ren Covington. He also performed with the Cincinnati Sym-
end his playing days much sooner than it did. He rarely com- phony, the Cincinnati Ballet Company, and the Cincinnati
plained and hardly any of us knew how bad the cancer really Opera Orchestras. Williams was the conductor of the Lima,
was. He came back after his first operation in 2002 to perform, Ohio Area Youth Orchestra for 30 years, a past president of the
among other pieces, Petroushka, and after his most recent oper- Ohio Association of Music Schools. He was a member of
ation, Mahler’s Symphony No. 5, both with spectacular results. Kappa Kappa Psi, an honorary band fraternity; Tau Beta Sigma
Jim’s leadership, showmanship, personality, sense of humor, honorary society (honorary member); Phi Mu Alpha, a profes-
and devotion to his art will truly be missed. We all have lost a sional music fraternity; the International Trumpet Guild; and
great friend and colleague.” Jeffrey Korak: “Jim was a great the International Association of Jazz Educators. Source: Billie
friend and colleague. From my first day at work back in Sep- Taylor.
tember of 1999, it has been nothing but a thrill to work with
and listen to Jim play. He was such an inspiring musician to *For complete stories and many more photos see the News
work with… he always had an innate sense for what ever style Section of the ITG Web Site (http://www.trumpetguild.org/
of music we were playing. The amazing thing about Jim was news/news.htm).

102 ITG Journal / January 2007 © 2007 International Trumpet Guild

Host Eric Berlin and the faculty and
staff of the University of Massachusetts
Amherst are delighted to invite you to attend
the 2007 ITG Conference! Top performers
and ensembles from around the world will
gather on this picturesque campus for 5 days
of outstanding concerts, masterclasses,
workshops, competitions, and networking.
Meet orchestral trumpeters from top
symphonies around the world, talk shop with
master soloists, learn performance techniques
from the scene’s hottest jazz players, and be
blown away by brass ensembles from the U.S.
and abroad. As a special tribute we will also

honor renowned artists Maynard Ferguson

and Roger Voisin. Trumpet players, teachers,
and enthusiasts will gather to meet old friends,
make new ones, and discover what is new and
exciting in the trumpet world. Browse this
brochure or visit our website at
www.trumpetguild.org for more information
on our guest artists, then use the application
on the last page to become a part of
ITG 2007.

May 29–June 2, 2007

SCHEDULED
TO APPEAR:
2007 ITG Conference
May 29 – June 2, 2007 • University of Massachusetts Amherst
Wayne Bergeron
Philip Cobb
Terry Everson
L ocated in Hampshire County, The University of Massachusetts
Amherst is in the heart of the picturesque Pioneer Valley of the
Connecticut River basin. Rolling farmland, dense woodland and the
German Brass foothills of the eastern Berkshires combine to make this one of the
most beautiful areas in New England. In addition to the beauty of
Brad Goode
the physical environment, the Pioneer Valley represents social and
Gordon Goodwin’s cultural diversity at its best. The New York Times called Amherst one
Big Phat Band of the nation's “Ten Best College Towns.”
JOE KUSHICK

Greg Gisbert Also in Hampshire County is the city of Northampton, home of the
Jeff Holmes Academy of Music (the oldest continuously operated theatre in Amer-
Eric Berlin ica), the Smith College Museum and botanic gardens, an array of fine
Billy Hunter Conference Host restaurants and galleries, festivals, and fairs. Surrounding Hampshire
Clay Jenkins County and offering a wealth of sightseeing are the Berkshires, with Tanglewood, Williamstown,
Ingrid Jensen Lenox, and Stockbridge; the museums and homes of historic Old Deerfield; Springfield and the Bas-
ketball Hall of Fame, and Old Sturbridge Village.
Manny Laureano
The UMASS Amherst campus is within 50 miles of Bradley International Airport between Spring-
Chris Martin field, MA and Hartford, CT and less than 100 miles from both Albany International Airport and
New England from Logan International Airport and the cultural mecca of Boston, MA. Merely 175 miles from
Brass Band New York City, Amherst is an easy commute from all of New England and the Northeast. Lodging
can be found in national hotel chains as well as numerous charming bed and breakfasts within a
Elvia Puccinelli
few miles of the campus!
Marc Reese
Rex Richardson
Thomas Rolfs, Jr. Hotel/Travel Information
Charles Schlueter A number of hotels close to the University are offering discounted conference rates:
Doc Severinsen University Lodge: 345 N. Pleasant St., Amherst (413) 256-8111 $89/night (1 block)
Holiday Inn Express: 400 Russell St, Hadley (413) 582-0002 $120/night (2 miles)
Crispian
Howard Johnson: 401 Russell St, Hadley (413) 586-0114 $89/night (2 miles)
Steele-Perkins
Econo Lodge: 329 Russell St., Hadley (413) 582-7077 $95/night (3 miles)
James Stephenson Quality Inn: 237Russell St, Hadley (413) 584-9816 $76.50/night (4.5 miles)
James Thompson Hampton Inn: 24 Bay Road, Hadley (413) 586-4851 $89/night (7 miles)
Clarion Hotel: 1 Atwood Dr, Northampton (413) 586-1211 $99/night (10 miles)
US Coast Guard
Band Participants are responsible for arranging their own travel. Please contact the hotel of your choice
by April 27, 2007 to receive the ITG discount rate. Be sure to mention your affiliation with the
Mike Vax & TRPTS International Trumpet Guild when making reservations.

Rebecca Wilt Travel Assistance: Conference designated travel agency, Travel Time Travel Agency,
Inc., has negotiated group discounts with various airlines for conference artists and
Jeffrey Work attendees. Please register your name with them on line at www.trvltime.com (click on
“Meetings,” then “Trumpet Conference”). They will contact you with flight options.
(Subject to change) Or you can call Carmella Rullo at (800) 343-9594 ext. 506 to discuss your travel options.
Driving Directions: http://umass.edu/umhome/visit_campus.html
For a current list of Parking: Free parking is available at satellites around the campus.
artists, please refer to Garage parking at the conference site is available for $5/day.
the ITG Web Site:
www.trumpetguild.org For more information, biographies and an updated list of artists please visit www.trumpetguild.org.
2007 Guest Artists (Subject to change)

Wayne Bergeron Philip Cobb Terry Everson German Brass

REX BULLINGTON

ANGELA JIMENEZ
Greg Gisbert Gordon Goodwin’s Big Phat Band Jeff Holmes Ingrid Jensen

Chris Martin New England Brass Band Elvia Puccinelli Marc Reese
C. Bruce Forster

BOB MOONEY

Rex Richardson Charles Schlueter Doc Severinsen Crispian James Stephenson

Steele-Perkins

US Coast Guard Band Mike Vax and TRPTS Rebecca Wilt Jeffrey Work
 CONFERENCE REGISTRATION FORM
Save $35.00 by registering before May 1, 2007.
CONVENIENT ONLINE REGISTRATION: For online registration please visit
http://www.aux.umass.edu/forms/conferenceservices/ucs_reg.htm

■ R E G I S T R AT I O N I N F O R M AT I O N : PLEASE PRINT NEATLY

_______________________________________________________________________________________________________
Name

_______________________________________________________________________________________________________
Spouse’s Name (if applicable)

_______________________________________________________________________________________________________
Address

__________________________________________________________________________________________________________________
City State/Province

__________________________________________________________________________________________________________________
Postal Code Country

__________________________________________________________________________________________________________________
Phone E-mail

■ R E G I S T R AT I O N F E E S : PLEASE REGISTER EARLY ■ PAY M E N T I N F O R M AT I O N :

ITG Member $255 $________ Method of Payment: ■ VISA ■ MasterCard
Non-ITG Member $295* $________ ■ AMEX ■ Discover ■ Check
Senior Citizen (65+) ITG Member $235 $________ ■ Purchase Order
Senior Citizen (65+) Non-ITG Member $260* $________ _______________________________________________
Card Number
Student ITG Member $210 $________
_______________________________________________
Student Non-ITG Member $235* $________ Expiration Date
Attending Spouse $125 $________ _______________________________________________
Cardholder Name
Banquet ($40 per person x _______) $________
_______________________________________________
Late Registration Fee (May 1 and after) $35 $________ Signature
Total $________
Make check or money order payable to
*Non-member rate includes a 1-year ITG membership for the membership year
beginning July 1, 2007. University Conference Services.
Fax credit card registrations to: 413-545-0050.
■ D O R M I T O RY R E G I S T R AT I O N : (includes linens)
■ C O M P L E T E R E G I S T R AT I O N :
Circle Nights: Tue Wed Thu Fri Sat
Please return this form with your payment to:
Single: No. Nights______ @ $42/night $________
(per person, single occupancy) University Conference Services CS07-34
Double: No. Nights______ @ $32/night $________ 918 Campus Center
(per person, double occupancy) University of Massachusetts
Amherst, MA 01003
Roommate: _______________________________________
(does not register this person) • For additional conference information call: 413-577-1582 or
e-mail: [email protected]. For registration questions
Special Needs: ______________________________________ call 413-545-0172.
• All fees are due with registration. Refunds will be made
■ M E A L P L A N : (Tuesday dinner through Sunday breakfast) (minus a $35.00 administrative fee) for cancellations received
in writing on or before May 15, 2007. No refunds will be
No. of Meal Plans ______ @ $121.80 $________ made after May 15, 2007.

Visit www.trumpetguild.org for the

■ GRAND TOTAL $________ latest conference information.