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. 3 Gary Mortenson, Editor March 2007

ARTICLES
6 No Boundaries: An Interview with Wayne Bergeron by John Almeida
17 The Sixth Concours de trompette Maurice André by Gary Mortenson
23 The Fourth International Romantic Trumpet Festival in St. Petersburg, Russia by Mark Clodfelter
25 Joe Wilder: Overcoming Obstacles with Grace and Integrity by Keith Winking
32 Understanding The Unanswered Question by Joel Treybig
36 Trumpets in Paradise: the Fourth Ionian Summer Music Academy by Sokratis Anthis, Gregory Jones, and
Panoyotis Kessaris
39 Remembrances of My Brother by Vladimir Dokshizer (edited by Joyce Davis)
Wayne Bergeron 42 Bert’s Basic Brass Trumpet Camp by John Irish
page 6 47 Three Decades and Counting in Cincinnati: An Interview with Phil Collins by Adam Hayes

COLUMNS
3 From the President; Jeffrey Piper
Main Menu
4 From the Editor; Gary Mortenson
5 ITG Calendar; Albert Lilly, Column Editor Search
53 E-flat Trumpet by Gustav Adolf Eschenbach ca. 1900; March 2007 ITG Journal
Sabine K. Klaus, Historic Instruments Column Editor
54 ITG Profile: Marion Frack Egge; Laurie Frink, Column Editor
55 ITG Young Artist Award: Adrianna Droz; Jean Moorehead Libs, Chair
56 The Twenty Minute Warm-Up Routine Before School by Jean Moorehead Libs;
Frank Campos, Clinic Column Editor
Maurice André Competition 58 Children and Hearing Loss by Kris Chesky, Health and Awareness Column Editor
page 17
59 A Higher Sense of Direction by Chuck Tumlinson, Jazz Corner Column Editor
61 Editor’s Corner: Ten Things Every Trumpet Player Needs to Know about Teaching Horn by Howard Hill
63 Rotating Warm-Ups by Timothy Zifer; Jon Burgess, Pedagogical Topics Column Editor
65 Home Recording Studios: A Primer by Bart Brady Ciampa;
Michael Anderson, Trumpet Technology Column Editor
68 Sitting in with the Symphony by Ray Nelson; Eric Bolvin, Studio/Commercial Scene Column Editor
69 Performance Suggestions for Bach’s 2nd Brandenburg Concerto by Chris Gekker;
Marc Reese, Chamber Music Connection Column Editor
71 Vance Woolf and the Louisiana Philharmonic Orchestra by James West,
Inside the Orchestra Section Column Editor
72 The Johnstown (PA) Symphony Orchestra Trumpet Section; Murray Greig, Column Editor
74 What Do You Do When a Semitone is Too Big? by Thomas Moore, Science Desk Column Editor
Joe Wilder 87 News from the Trumpet World; Neville Young, Column Editor
page 25
REVIEWS
76 Recording Reviews; Peter Wood, Column Editor
82 Music Reviews; Bryan DePoy and Luis Engelke, Column Editors
85 Book Reviews; John Korak, Column Editor

ADMINISTRATIVE
62 Index of Journal Advertisers
93 2006 ITG Business Report submitted by Kevin Eisensmith
101 2007 ITG Conference Information
106 2007 Carmine Caruso International Jazz Trumpet Solo Competition
Phil Collins 127 ITG Legacy Endowment Information
page 47 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.

2005 – 2007 Officers
President: Jeffrey Piper
Dept of Music, University of New Mexico, Albuquerque, NM 87131
president@trumpetguild.org
Vice-President/President-Elect: William Pfund
35629 WCR 41, Eaton, CO 80615-8910
vicepresident@trumpetguild.org
Secretary: Kevin Eisensmith
Department of Music, 101 Cogswell Hall, Indiana University of
Pennsylvania, Indiana, PA 15705; secretary@trumpetguild.org
Treasurer: David C. Jones
P.O. Box 1308, Westfield, MA 01086-1308
treasurer@trumpetguild.org
Past President: Stephen Chenette
17 Bridgeview Road, Toronto, Canada M6S 4M9
pastpresident@trumpetguild.org
2005 – 2007 Board of Directors
Michael Anderson, Frank G. Campos, Zhonghui Dai, Joyce Davis,
Kim Dunnick, Brian Evans, Laurie Frink, Murray Greig,
Patrick Harbison, Frank Kaderabek, Cathy Leach, Gary Mortenson,
James Olcott, Vera Hørven Olcott, Anatoly Selianin, Alan Siebert,
Roger Sherman, Michael Tunnell, Neville Young
Executive Staff
Affiliate Chapter Coordinator: Larry Johansen
P.O. Box 141, Redlands, CA 92373; chapters@trumpetguild.org
Director of Public Relations: Brad Ulrich
Western Carolina University, Music Department, Cullowhee,
NC 28723; pr@trumpetguild.org
General Counsel: Mark Haynie
Haynie, Rake, and Repass; Dallas, TX
Membership and Development Coordinator: David Scott
Department of Music, McNeese State University, Lake Charles,
LA 70609; info@trumpetguild.org
ITG Journal Staff
Editor: Gary Mortenson
Department of Music, 109 McCain Auditorium, Kansas State
University, Manhattan, KS 66506; phone 785-532-3828,
fax 785-532-6899; editor@trumpetguild.org
Assistant Editor/Principal Proofreader: Kristin Mortenson
Editor, itg journal, jr.: Douglas Wilson
1114 Bradfield Dr SW, Leesburg, VA 20175-4304;
junior@trumpetguild.org
Subscriptions, Address Changes, Back Issues, Damaged or Missing
Journals: David C. Jones, ITG Treasurer; fax 413-568-1913;
treasurer@trumpetguild.org
Advertisements and Production Manager: Joseph Walters
5604 Brockton Ct NE, Albuquerque, NM 87111-6625;
fax 505-797-0448; ads@trumpetguild.org
Book Reviews: John Korak
Box 1771-Department of Music, Southern Illinois University,
Edwardsville, IL 62026; bookreviews@trumpetguild.org
Calendar Editor: Al Lilly
980 Centennial Rd, Martinsville, IN 46151;
calendar@trumpetguild.org
Chamber Music Connection: Marc Reese
Empire Brass, Lynn University Conservatory of Music, 3601 North
Military Trail, Boca Raton, FL 33421; chamber@trumpetguild.org
Clinic Editor: Frank G. Campos
School of Music, Ithaca College, Ithaca, NY 14850;
clinic@trumpetguild.org
Health and Awareness Editor: Kris Chesky
Texas Center for Music and Medicine, 3500 Camp Bowie Blvd,
Fort Worth, TX 76017; health@trumpetguild.org
Historic Instruments Editor: Sabine K. Klaus
historicinstruments@trumpetguild.org
Inside the Orchestra Section: James West
Louisiana State University, School of Music, Baton Rouge, LA
70803; orchestra@trumpetguild.org
Intern Assistant Editor: Kari Brooks; interneditor@trumpetguild.org
2 ITG Journal / March 2007
ITG Profile Editor: Laurie Frink; 240 West 98th #7G, New York, NY
10025; profile@trumpetguild.org
Jazz Corner: Charles Tumlinson
Department of Music, California State University – Fullerton,
Fullerton, CA 92634; jazzcorner@trumpetguild.org
Jazz Editor: Tom Erdmann
Music Department, Elon University – CB 2800, Elon, NC 27244;
jazz@trumpetguild.org
Music Reviews: Bryan DePoy and Luis Engelke
Bryan DePoy, Southeastern Louisiana University, Department of
Music, SLU 815, Hammond, LA 70402, fax 504-549-2892;
musicreviews@trumpetguild.org;
Luis Engelke, Music Department, Towson University, Center for the
Arts Bldg., Room 459, Towson, MD 21252;
musicreviews2@trumpetguild.org
News from the Trumpet World: Neville Young
49 Muswell Avenue, London N10 2EH, UK;
news@trumpetguild.org
Orchestral Section Profile: Murray Greig
Springfield Cottage, Forest Hill Road, Outlane, Huddersfield,
HD3 3FB, UK; orchprofile@trumpetguild.org
Pedagogical Topics for Trumpet: Jon Burgess
School of Music, Texas Christian University, Fort Worth, TX 76129;
pedagogy@trumpetguild.org
Recording Reviews: Peter Wood
Department of Music, 1150 Laidlaw Performing Arts Center,
University of South Alabama, Mobile, AL 36688;
cdreviews@trumpetguild.org
Science Desk: Thomas Moore
Department of Physics, Rollins College, Campus Box 2743, 100
Holt Ave., Winter Park, FL 32789; sciencedesk@trumpetguild.org
Studio/Commercial Scene: Eric Bolvin
816 Blossom Hill Rd #4, San Jose, CA 95123;
studio@trumpetguild.org
Trumpet Technology: Michael Anderson
(see ITG Web Site entry below for contact information)
Young Artist Award: Jean Moorehead Libs
2619 Essex Rd, Ann Arbor, MI 48104; yaaward@trumpetguild.org
Journal Printer: Classic Printing, Nashville, TN
Proofreading: Mary Beave, Kristin Mortenson
ITG Web Site – http://www.trumpetguild.org
D irector: Michael Anderson
Wanda L. Bass School of Music, Oklahoma City University, 2501 N.
Blackwelder, Oklahoma City, OK 73106; website@trumpetguild.org
ITG Editorial Committee
Gary Mortenson, Editor, Kansas State University; Michael Anderson,
Oklahoma City University; Kris Chesky, University of North Texas;
Joyce Davis, University of Florida; Kim Dunnick, Ithaca College;
Michael Ewald, University of Illinois; Laurie Frink, New York Universi-
ty; Patrick Harbison, Indiana University; Ronald Holz, Asbury College;
H. M. Lewis, Georgetown College; Thomas Moore, Rollins College;
James Olcott, Miami University; Karl Sievers, University of Oklahoma
The ITG Journal is published four times each year in October, January,
March, and June. ITG memberships run from July 1 to June 30, and include
a subscription to ITG publications.
Ideas and opinions expressed in this issue are those of individual writers,
and are not necessarily those of the editors or of the ITG.
Deadlines for receiving information to be published: May 15 (October
Journal), August 15 (January Journal), October 15 (March Journal), January
15 (June Journal).
Membership Dues: $40 (regular), $75 (library), $25 (student or senior citi-
zen). Optional first class mail to USA address: $13. For international members:
the ITG Journal will be sent via air to the country of destination as part of the
cost of membership. All payments must be made in U.S. dollars and must be
payable through a U.S. bank. Payments by major credit card are accepted.
Please make check or money order payable to ITG, and mail to:
David Jones, ITG Treasurer
P.O. Box 1308, Westfield, MA 01086-1308 USA
fax: 413-403-8899
treasurer@trumpetguild.org • www.trumpetguild.org/join/join.htm
For Change of Address, notify ITG Treasurer David Jones (as above)
© 2007 International Trumpet Guild
 FROM THE PRESIDENT
In a past President’s column, I had mentioned the growing
problem of a lack of buglers for military funerals worldwide. I
urged trumpeters around the world to volunteer their services
in honor of fallen heroes. In the United States, I suggest trum-
peters register their willingness and ability to provide this serv-
ice with Bugles Across America. If you’re interested in BAA,
visit their web site (http://www.buglesacrossamerica.org).
On a different note, it is time to start thinking about travel-
ing to the 2007 ITG conference at The University of Massa-
chusetts in Amherst. Eric Berlin has put together a spectacular
lineup including Terry Everson, Brad Goode, Greg Gisbert,
John Hines Jeff Holmes, Ingrid Jensen, Manny Laureano,
Chris Martin, The New England Brass Band, Vincent Pen-
zarella, Marc Reese, Charles Schlueter, Doc Severinsen, Crispi-
an Steele-Perkins, The U.S. Coast Guard Band, and The Ger-
man Brass. One of the joys of being President of ITG is pre-
senting the Honorary Award and Award of Merit. The recipi-
ents this year are Charles Schlueter, Maynard Ferguson, Vin-
cent DiMartino, Joyce Davis, Richard Burkart, Bengt Eklund,
and Carole Dawn Reinhart. Carole Reinhart is currently pro-
fessor of trumpet at University of Music in Vienna, Austria.
She has had a distinguished career in television, orchestral
playing, recording, and teaching. Reinhart was the first woman
to receive the coveted “Reifezeugnis” with honors at the Vien-
na Academy of Music. Charles Schlueter has had a distin-
guished career as an orchestra player, most recently retiring as
principal trumpet of the Boston Symphony. His solo and orch-
estral recordings have served as inspiration to several genera-
VINCENT CICHOWICZ (1927 – 2006)
ITG was saddened to learn of the death of Vincent
Cichowicz on December 11, 2006. Mr. Cichowicz served
as a distinguished member on the faculty of Northwest-
ern University’s School of Music and as second trumpet
of the Chicago Symphony Orchestra.
The Journal will pay proper tribute to the legacy of
Vincent Cichowicz in the June 2007 issue.
Vincent Cichowicz (L) with Gordon Mathie
© 2007 International Trumpet Guild
JEFFREY PIPER
tions of aspiring trumpet players. Vincent DiMartino is a
world-class artist in classical and jazz realms and has served
twice as ITG President. Joyce Davis is also a Past President of
ITG, leading ITG into status as a major organization of 7,000
members. Richard Burkart was one of the early presidents of
ITG and one of our founding fathers to whom we owe a great
debt for his guidance and wisdom. It will be an honor to pres-
ent Maynard Ferguson’s award to his family members and
offer remembrance and thanks for his wonderful contributions
to the trumpet world. ITG Past Presidents Kim Dunnick and
Joyce Davis traveled to Sweden in December of 2006 to pres-
ent Bengt Eklund’s Award of Merit at a Göteborg Brass Band
concert. Bengt has been a tireless worker on behalf of ITG, a
marvelous educator, and a great spokesman for the trumpet.
Adios from a rather cold New Mexico, and I look forward to
seeing all of you in Amherst.
CORRECTION
Gilbert Mitchell of Camp Hill, Pennsylvania, and co-
founder of the U.S. Army Band’s Herald Trumpets writes
with the following clarification concerning statements
made in a report on the U.S. Army Herald Trumpets at
the 2006 ITG Conference. Mr. Mitchell writes:
“As co-founder of the U.S. Army Herald Trum-
pets way back in the 1950s I would like to point
out an error on page 23 of the October 2006
ITG Journal. This group was not formed to wel-
come Queen Elizabeth for a state visit. They
were formed for us to have a musical unit which
would display the brilliance of trumpets with a
spectacular vision to add to various military cer-
emonies. Our first important job (used separate-
ly from the band) was in Chicago to welcome
Queen Elizabeth. If I remember correctly it had
to do with the opening of the St. Lawrence Sea-
way; not a state visit. The banners (so called in
the article) attached to the bells are tabards with
heraldic symbolism. The correct symbolism
would be the shield of the unit’s Coat of Arms
squared off. Since I have retired, they have
changed that to include the whole Coat of Arms,
which is much more colorful.
Yours sincerely,
Gilbert Mitchell”
ITG would like to thank Mr. Mitchell for the clarifica-
tion. GM
March 2007 / ITG Journal 3
 FROM THE EDITOR
It was a great honor for me to represent the International
Trumpet Guild at the Sixth Concours de Trompette Maurice
André in November of 2006. I will not forget the high level of
musicianship that I heard throughout the preliminary rounds
and the finals. I want to thank the staff of the competition,
particularly Laurence Langou for her help regarding many of
the logistics of my visit. It was wonderful to spend time with
my ITG friends Ibrahim Maalouf and Neville Young during
my stay in Paris. What an incredible city. I must have walked
sixty miles along the Seine and through many districts. This
was truly a trip to cherish… I hope my report on the compe-
tition gives you some sense of what this world-class event was
all about.
This issue contains several articles that had to be deferred
from previous issues because of the sheer volume of material
that is now awaiting publication. These delayed features
include John Almeida’s interview with Wayne Bergeron and
Keith Winking’s interview with Joe Wilder. Both of these arti-
cles were rescheduled from the January issue so that we could
bring you two timely articles commemorating the life of May-
nard Ferguson in the January 2007 issue. I know that you will
enjoy the thoughts of these two outstanding individuals.
Rounding out the interview lineup in this issue is Phil Collins,
who talks to Adam Hayes about his more than thirty years of
playing and teaching in Cincinnati.
This issue’s research-oriented article approved by the Edito-
rial Committee is Luis Engelke’s extensive research into the
solo trumpet literature from Brazil. I would like to take this
opportunity to thank the Editorial Committee as they near the
GARY MORTENSON
completion of five years of service to ITG. They provide an
invaluable service to this organization in terms of integrity and
quality assurance.
As our world continues to shrink, it amazes me how many
great opportunities there are for brass musicians across the
world to interact with one another on increasingly higher lev-
els. This issue presents reports on major festivals and work-
shops from Greece (Anthis, Jones, Kessaris), Russia (Clodfel-
ter), and the United States (Irish). Rounding out the issue is a
special article by Vladimir Dokshizer who gives us an intimate
account of his relationship with his brother Timofei, providing
us with a priceless glimpse into the lives of this interesting and
musically gifted family.
Once again we have great variety among our many columns.
Topics covered in this issue include two different approaches to
the warm-up, strategies for success in preparing Bach’s 2nd
Brandenburg Concerto, the subtleties of intonation, what it’s
like to survive a hurricane as a working orchestral musician,
some helpful tips on how a trumpet player can better teach
French horn if that is ever required, becoming a more effective
improviser, and many more. It just amazes me to witness the
dedication of our editorial staff in each and every issue. Once
again there is something for everyone in this Journal!
Please make every effort to attend the 2007 ITG Conference
May 29 through June 2 at The University of Massachusetts –
Amherst. Host Eric Berlin, UMASS faculty and students, and
the rest of the university’s support staff have been working hard
to create an unforgettable event for ITG. I hope to see you out
East at the end of May!

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; sat@trumpetguild.org
I would like to sponsor a membership:
 Regular
Makes checks to:
Number of years________ x $40/year = $________
 Student/Senior
International Trumpet Guild
Number of years________ x $25/year = $________

 Assign someone for me to sponsor; or

Mail completed form with check or
credit card info to:
 I WISH TO SPONSOR THIS PERSON: _______________________________ David Jones, ITG Treasurer
P.O. Box 1308
ADDRESS ____________________________________________________ Westfield, MA 01086-1308 USA
CITY_______________________STATE______ZIP/COUNTRY ___________
or fax form with credit card info
PHONE ______________________________________________________ to (413) 403-8899
 CHECK ENCLOSED; OR
CHARGE MY:  AMEX  DISCOVER  MASTERCARD  VISA
You can sponsor a trumpeter securely
through the ITG Web Site using your
CARD NUMBER _______________________________________________ credit card and our link to Paypal!
www.trumpetguild.org/join/join.htm
EXP. DATE___________SIGNATURE _______________________________

4 ITG Journal / March 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; calendar@trumpetguild.org
March 10, 2007
West Point Trumpet Conference featuring David Bilger, Jon
Faddis, Phil Smith, Matt Shulman, Clay Jenkins, and Robin
Rigby. All events will begin at 9:00 a.m., and a concert is
planned for 7:30 p.m. Admission is free, and all events will be
held on the campus of the United States Military Academy,
West Point, NY (USA). For full particulars, contact Eric Miller
at Eric.Miller@usma.edu or via phone at 845-938-2446.
Details are also posted at the U.S. Military Academy Band’s
web site (http://www.usma.edu/band).
March 15 – 18, 2007
15th Annual National T rumpet Competition, to be held at
the Department of Music, George Mason University, Fairfax,
VA (USA). Guest artists’ information coming soon. An im-
pres sive artist faculty of performers and educators from
throughout the USA is scheduled to perform and adjudicate all
performance divisions including those for Junior and Senior
High School, Undergraduate and Master’s Collegiate, trumpet
ensembles, Baroque trumpet, Pro-Am and jazz solo. For more
information, contact Dr. Dennis Edelbrock, Executive Direc-
tor, by EMail (Edlbrk@aol.com) or visit the NTC web site
(http://www.nationaltrumpetcomp.org).
April 14, 2007
Tri-Cities Jazz Festival, featuring Arturo Sandoval, David
Champouillon and the Lenore Raphael Trio. The festival will
be held on the campus of East Tennessee State University,
Johnson City, TN (USA). For more information contact
David Champouillon via phone at 423-439-6955, via EMail
(champoui@etsu.edu), or visit the web sites (http://www.etsu.edu/
music/events or http://www.lenoreraphael.com).
April 21, 2007
University of Central Florida Trumpetfest to be held on the
campus of the University of Central Florida, Orlando, FL
(USA). The events will be held in the UCF Rehearsal Hall and
the Visual Art Building Auditorium. The events begin at
10:00 a.m. and 5:00 p.m. Clinicians and performers include
John Hagstrom, Wayne Bergeron, Bob Malone, and
the Sovereign Brass. For full details, check the web site
(http://www.ucftrumpets.com).
April 27, 2007
David Champouillon with the Lenore Raphael Trio at the
Arturo Sandoval Jazz Club, Miami Beach, FL (USA). For more
information contact David Champouillon at 423-439-6955,
via EMail (champoui@etsu.edu), or check the web sites
(http://www.arturosandovaljazzclub.com or
© 2007 International Trumpet Guild
http://www.lenoreraphael.com).
May 29 – June 2, 2007
International Trumpet Guild Conference, to be held on the
campus of the University of Massachusetts – Amherst,
Amherst, MA (USA). Eric Berlin serves as host. For the
latest conference information, see the ITG Web Site
(http://www.trumpetguild.org).
June 3 – July 15, 2007
37th International Festival-Institute at Round Top, to be
held at Festival Hill, 238 Jaster Road, Round Top, TX (USA).
The trumpet faculty includes Tom Booth and John DeWitt.
For full details, contact Alain G. Declert, Program Director, by
phone (979-249-3086), EMail (alaind@festivalhill.org) or on
the web site (http://festivalhill.org).
July 7 – 15, 2007
The Art of Sound: Summer Brass Institute and Festival, fea-
turing the Bay Brass and special guest artists in a nine-day
institute full of performances and intensive yet supportive
coaching for participants. Participants enjoy lessons, master
classes, performance opportunities, and expert coaching
in quintets and large ensembles. Visit the web site
(http://brass.menloschool.org) for information and contact
director Vicky Greenbaum with questions.
July 23 – 28, 2007
Ra fae l M é nd ez B ras s In s titu te, to be held at the Lamont
School of Music, the University of Denver, Denver, CO (USA).
Featured artists for the week include the Summit Brass, Bobby
Shew, and others. For full details, call 303-587-7590 or visit the
web site (http://www.mendezbrassinstitute.com).
STATEMENT ON COPYRIGHT PROTECTION
The International Trumpet Guild does not allow the
reproduction or adaptation of copyrighted material from
the ITG Journal or from the ITG Web Site without written
permission. This includes, without limitation, using ITG-
generated text, graphics, and/or images in print or elec-
tronic formats. Requests for permission need to be specif-
ic, stating the location of the text and the exact material to
be quoted or adapted. The editor does not allow entire arti-
cles, reviews, columns, news items, or reports to be repro-
duced. The editor does allow excerpts or quotes to be
extracted when properly attributed to their ITG origina-
tion and judged to be within reasonable limits. To request
permission, contact: Gary Mortenson, Publications Editor,
International Trumpet Guild, 109 McCain Auditorium,
Kansas State University, Man hattan, KS 66506,
USA; EMail editor@trumpetguild.org
Copyright © 1976, 2007 International Trum pet
Guild—all rights reserved.
March 2007 / ITG Journal 5
6 ITG Journal / March 2007 © 2007 International Trumpet Guild
 NO BOUNDARIES:
AN INTERVIEW WITH WAYNE BERGERON
BY JOHN ALMEIDA
T
he name Wayne Bergeron is synonymous with ex-
cellence and virtuosity not only in the Los Angeles
music industry, but also in the spectrum of interna-
tional music. Bergeron is a trumpet artist whose mastery of
Beginnings
Almeida: When did you start playing the trumpet?
Bergeron: I started playing around 1970. My brother was a
marching instructor for a drum and bugle corps and my mom
would make me go along to rehearsals with my brother so I
wouldn’t get into trouble at home. I didn’t know what instru-
ment I wanted to play so my brother suggested the French
horn. There was a “B” corps that fed into the regular outfit so
that’s basically how I got started. I was in a Catholic school at
the time and there wasn’t a band program so my parents trans-
ferred me to public school so that I could play in a school
band. That’s when I moved to trumpet; I was 12 or 13 years
old at that time.
Almeida: Did either of your parents have any musical back-
ground?
Bergeron: No, however my oldest brother played French
horn in a drum and bugle corps before he became an instruc-
tor.
Almeida: Did your junior high school band program have other
ensembles?
B e r g e r o n: Yes. We had a jazz band and a concert band
taught by Ron Savitt, who was also a very good working trum-
pet player. Ron became my first trumpet teacher. When I
made the switch to trumpet from French horn, I had some
natural abilities for producing sound in the upper register. As
a matter of fact I could play a double C in the seventh grade.
I still draw upon a lot of the stuff that Ron taught me through
my high school years.
Almeida: What type of materials did he have you work on?
Bergeron: He had me play basic things from the Clarke and
Arban books. At that time I didn’t know very much about
practice habits. Since I didn’t read music very well, Savitt made
me read all of the time. He’d have me look at a four-bar
rhythm and interpret it instead of mathematically figuring it
out. He’d sing it to me and have me look at it. Then he’d say,
“Now play it and make it feel like that.” And, of course, I’d
play it all wrong. We’d go back and forth like that until I got
it. He worked hard with me on my swing feel. We listened to
a lot of different styles of music at my lessons as well.
When my reading improved, he would put a stack of music
on the stand during my lesson. He’d say, “Okay, I’ve just got-
ten very ill and you’re going to play my gig in place of me.”
He’d then count off the tempo for whatever was on the music
stand. They might have been Dixieland tunes or some rock
and roll licks. He’d do that on a fairly regular basis. At the
time, I wasn’t grasping the importance of what he was doing,
© 2007 International Trumpet Guild
the instrument enables him to play virtually any style of
music that he encounters, at any time or place. These abili-
ties rank him in the very top echelon of trumpet players in
the Los Angeles music business.
but as I look back now I realize just how important that teach-
ing was. That’s what taught me to read and interpret music. I
do the same things now with my own students.
Almeida: What musical experiences do you recall from high
school?
Bergeron: My high school band director, Bob Smith, was a
great guy and great musician. I remember going to the band
room and playing tunes with him. He’d sit at the piano and try
to teach us tunes by ear. At the time I just wanted to play lead
trumpet and high notes because it got the most attention but
during my high school years I developed rapidly as a player due
to his ear training exercises and my lessons with Savitt.
Al meid a: What direction did your career go in after high
school?
Bergeron: One thing that I didn’t learn when I was in high
school was what to expect when I got out. I always knew that
I wanted to play because I started playing gigs in high school
with a top 40 band and several dance bands and had fun (since
I was 15 mom drove me). When I got out of high school I
took classes at a Community College for a short while and
met trumpet players that were playing at a whole new level but
then I had an opportunity to take this good day job at
McDonnell Douglass Aircraft and had to make a choice
between school and work. Well, I worked there for exactly one
year.
About that time I got a call from Buddy Miles, who had
played with Jimi Hendrix. He was putting a band together and
asked me to join so I quit this really good job because I knew
that I wanted to play the trumpet. I went on the road to New
York with Buddy Miles, wound up getting stranded and not
getting paid. That was my first introduction to show business,
basically. I retuned to California and through some of the play-
ers I met in Buddy’s band, I started to get calls for other types
of gigs in different circles. I began to hear much better players
and I developed from their example. When I worked at Dis-
neyland, I worked with some fine musicians. When I’d hear the
guys play something and I thought I didn’t do that as well, I’d
go home and imitate what I’d heard and try to get better at it.
Starting a Professional Career
Almeida: Would you speak about your employment at Disney-
land in Anaheim?
Bergeron: The first time I auditioned for Disneyland, I did-
n’t get the job. I was auditioning for one of the student groups
with three other trumpet players and I played a pretty good
audition, as I recall. We had to play a variety of pieces and I
played everything correctly, without “clamming” anything
March 2007 / ITG Journal 7
major and the other guys all made major mistakes in reading.
All of those players got a job and I didn’t. Oh well, I guess I
was learning about politics in the biz early in my career. I
found out later that one of the members of the audition com-
mittee said that I was a real strong player but that I didn’t
blend. Anyway, next year I auditioned again and was hired. So
it became a joke for the next ten years on that gig where guys
would kid me by saying “Wayne, you’re really not blending.”
Almeida: Was your job at Disneyland your first full-time pro-
fessional experience?
Bergeron: Yeah, basically. There were many different groups
working at the park at that time. There was a fanfare group, a
royal band, a toy soldier band, a monk band, and a safari band
(made up of ten trombones). There were a lot of trumpet play-
ers working at Disneyland and they were all pretty darn good.
I just fed off of that high quality of playing. It was a really great
learning environment for me because of all of the different
styles I was required to play.
Almeida: While working at Disneyland, did you decide that
playing the trumpet for a living was what you wanted to do?
B e rg e ro n: I knew even before working at Disney that I
wanted to play trumpet for a living. I didn’t even know what
“playing the trumpet for a living” really meant. I just figured
that if somebody wanted to give me a few bucks to blow
through a piece of tubing—great, I just love to play. Even
while marching around Disneyland in purple tights, I didn’t
care. I was playing my horn, having fun and met many of the
players that have become my closest friends. I have nothing
but positive memories from working at Disneyland. In 1986 I
met my wife Deborah at Disneyland. She was playing trumpet
in the Toy Soldier band and I remember thinking to myself,
“Who is that babe in the fiberglass suit?” Well, the rest is his-
tory. I worked at Disneyland on and off for ten years I still do
a lot for Disney now including recording dates for movies, TV,
and the pre-recorded music you hear in their parks for the
parades and stage show.
Almeida: What did you do when you left Disney?
Bergeron: I was touring with Paul Anka, playing local gigs
and some recording—nothing big.
Working for Maynard Ferguson
Almeida: When did you start playing lead trumpet for May-
nard Ferguson and how did this come about?
Bergeron: In 1984, I was in England on tour with Bobby
Womack and I got a call that Maynard
Ferguson was looking for a lead trumpet
player. I thought “Wow! That would be “Contractors rely upon their blowing the bell off the horn and still hav-
a really great thing to do.” The problem seasoned veteran players to ing a ball doing it. My good friend, Glen
was that I was making pretty good
money working with Bobby Womack make recommendations.”
and Maynard’s band didn’t pay as well.
It didn’t make sense for me to take the job at that time, so I
turned it down although I later regretted doing so. Fortunate-
ly, the job was available again in 1986 and I got the call, so this
time I accepted it. January 1986 was my first rehearsal/gig with
Maynard’s band. They sent me a copy of the lead book and a
tape of the band in advance of the first rehearsal so that I could dio musician?” There’s no formula to it. It just sort of happens
look it over. At that time I was living in an apartment so I had
to go over to the local college at midnight and set up a music
stand in one of the stairwells so I could practice. I’d practice
the lead book and work on staying in shape.
8 ITG Journal / March 2007
When I got to the first rehearsal with Maynard’s band I was
really nervous. The band had a small horn section: two trum-
pets, one trombone, and two saxes. There was a twelve bar solo
section in one of the tunes and it was one of the hardest sec-
tions to play, so I really worked on it. It had some technical
stuff in it and ended with an ascending line that went from
high “G” to double high “C.” The guy who played it on the
tape struggled with it so I really wanted to nail it. I just prac-
ticed and practiced it so that I had it under my fingers and had
it memorized. At the rehearsal we got to the soli section and
Maynard walked up and stood right in front of me to listen.
When we got to the end, I felt I played it well, perhaps the best
I’d ever played it. Maynard cuts off the band and says, “Ah,
Wayne, can you bring that out a little more, it’s really not cut-
ting it.” I’m thinking, “Oh my God, what does this guy want
from me?” Then Maynard laughs out loud and said, “I’m just
kidding, that sounds great—welcome to the band.” I stayed on
the band until July of 1986, when Maynard decided to go with
a much smaller band. The band that I was in recorded Body
and Soul during my second week of work with them. I spent a
total of eight months with Maynard’s band.
In 1988, Maynard called me back in because he was plan-
ning a 60th birthday tour, a six-week thing. He asked me to
put together the brass section for that band. Alex Iles and Rich
Berkley played trombone, Pete Olstead, Roger Ingram, Chris
Reyes (Maynard’s valet), and I played trumpet. We did six
weeks and at the end we recorded Big Bop Nouveau. Playing
with Maynard’s band was a great experience. I felt that I was
involved in a part of history. Maynard is a great guy to work
and hang out with. He’s got great stories and he’s a pretty darn
good guy to know. He has continued to be very good to me
since I left the band. He’s said many nice things about me in
the press.
Maynard also brought me in to do a couple of projects that
he was producing. One was a Tito Puente project where Bobby
Shew and I were used to augment the band, as well as a record-
ing with Michael Feinstein. He also had me play on Brass Atti-
tude a few years ago. In October of 2004 there was a four day
festival honoring Maynard Ferguson called Stratospheric.
There were 18 concerts with Maynard alumni from the late
1940s to the present. In addition to hearing many great per-
formances and trumpet players, I had the honor of having my
big band as one of the featured acts on the bill. It was nerve-
wracking having Maynard sit in the front row looking up at
me while I played Bridge Over Troubled
Waters. He’s in his late seventies—still
Rewal, also a trumpet junkie, videotaped
the performance for prosperity. A snippet
is on my web site.
The L.A. Recording Industry
Almeida: When and how did you break into the Los Angeles
recording industry?
Bergeron: People often ask me, “How do you become a stu-
either by becoming efficient at what you do or by being in the
right place at the right time. Obviously you have to fit the job
description and it helps to know the players involved in that
kind of work. Contractors rely upon their seasoned veteran
© 2007 International Trumpet Guild
players to make recommendations. A new musician coming to
town can’t call a contractor and say “Hire me, I’m great!” It
doesn’t work like that. That contractor is going to use the peo-
ple that he or she knows and has hired in the past. Nowadays,
some of the recording work is being done internationally and
non-union, so there’s less work, making things more compet-
itive. Recording work can be the most financially rewarding
work for musicians. I think the first movie I ever did was
Another Stakeout. The week that the soundtrack was recorded
was so busy that most of the contractors’ regular trumpet play-
ers were already working. The contractor was Joe Soldo; he
was contracting movies, TV shows, and other live events. Joe’s
first trumpet player for many years was Warren Leuning.
The movie had some big band cues and Joe asked Leuning to
recommend someone. I had been playing in the Bob Florence
Band with Warren and he suggested me. I got the call for four
or five days of this picture. I was terrified going into this situ-
ation. The trumpet section was Malcolm McNab, Warren
Leuning, George Graham, and myself. I’d never been so scared
in my entire life. I’d never met Malcolm; I’d heard of him,
obviously.
This was a new experience for me, to record on a big scor-
ing stage with the top names in the biz. One ear is covered
with a headphone, which provides the click track. That’s some-
thing that takes get-
ting used to. You can’t
listen to the music in
the room and try to
stay in time with it—
you’ll be behind if you
do. So you have to
listen to the players
in your section (not
across the room) and
follow the click track
because that’s what
keeps the music in
sync with the picture.
At one point the com-
poser stopped the or-
chestra and asked The trumpet section of Goodwin’s Big Phat Band with John Almeida
which trumpet had L – R: Dan Fornero, Wayne Bergeron, John Almeida, Dan Savant, and
the “E” concert in a Bob Summers
specific measure. I
looked at my part and it was me. I thought, “Oh, s**t!” He
needed to hear more of my particular note. I just wasn’t play-
ing loud enough because I was nervous and playing safe. So I
played a little stronger on the next run through. My concen-
tration level went up to a level that it had never been to before;
I was really focused and knew that I wasn’t going to let any-
thing get by me.
On a break I overheard the contractor asking Warren how I
was doing and he said that I was doing just fine. He could eas-
ily have said that I was a little green, and that could have hin-
dered by ability to break into the business. Getting someone
who is a veteran to give you a chance is essential. Rick Baptist
was one of the trumpet players responsible for bringing me
into the recording industry, I learned a lot from him because
of his musicality, practical approach, and studio savvy. Gary
Grant is another great studio musician who recommended me
early on in my studio career. Basically that’s how it started for
© 2007 International Trumpet Guild
me. I tell new players that they have to be prepared to sit
around and wait. Now that I’m in a better position to help new
and younger players, I try to follow the example that was I was
shown and help others learn the business.
Gordon Goodwin and The Big Phat Band
“If you want to book the Big Phat Band for a gig, you make two
calls. First to me. If I can do it, you better call Wayne Bergeron
next, because if he can’t be there, the gig is toast. Play this music
without Wayne? Are you kidding? When it comes to playing lead
trumpet, it pretty much begins and ends with Wayne. He plays
with an impeccable feel, solid pitch, a sound as big as a house, and
perhaps above all, innate musicality. I count myself as one lucky
dude to look back and see Wayne in the brass section of the Big
Phat Band.” Gordon Goodwin, composer, leader —The Big
Phat Band
Almeida: How did your association with Gordon Goodwin
come about?
Bergeron: I met Gordon when I was a teenager. In Los
Angeles every year, there used to be a festival called “Battle of
the Bands” held at the Hollywood Bowl for all levels of play-
ers—college, community college, and high school jazz bands.
I played in the production band led by Mercer Ellington that
backed up singers and Gordon Goodwin played lead alto. Gor-
don was so good that
he won the Outstand-
ing Instrumentalist
Award that year.
When I played in the
honor high school jazz
band in 1975, I re -
member playing one
of Gordon’s charts and
it was great—he was
already writing amaz-
ing charts in high
school. My association
in working with him
didn’t come about un-
til much later. He used
to write music for a
cartoon series called
The Wild West Cow-
boys of Moo Mesa. The
music was all Coplandesque, a little bit western sounding, like
Hoedown. It was later that year when Gordon put a band
together to record a couple of Christmas tunes. One of the
charts was a beautiful orchestral type chart, Christmas Over-
ture, the other a great big band chart on Oh Christmas Tree. I
was fortunate enough to play lead trumpet on that project and
we’ve been working together ever since. Besides being a world
class musician Gordon, is a down to earth person. We’ve
become good friends as well.
Almeida: At the time of this interview, The Big Phat Band is
recording its third CD. How much time is spent in rehearsing the
music before it’s recorded?
Bergeron: The band doesn’t really rehearse very much. We
do a rehearsal every once in a while before a gig or recording
session. Sometimes we’ll read a new chart on a gig. We’re all
familiar with Gordon’s writing now, his harmonies and rhyth-
mic style. His charts are getting easier for me now that I’ve
March 2007 / ITG Journal 9
10 ITG Journal / March 2007 © 2007 International Trumpet Guild
© 2007 International Trumpet Guild March 2007 / ITG Journal 11
been playing his music for a while. Gordon is not afraid to ent mouthpieces. If I’m playing low “Gs” all day, I’m not going
write a double high B or C. He might call me every so often to use the same mouthpiece that I play lead in a big band. I’ll
and play a lick on the piano and ask me what I thought about also have a C trumpet and cornet in the car if I need them.
playing it on trumpet. Sometimes I’d say, “Are you nuts?” Malcolm will come with all of his stuff. He has two Walt John-
Then he usually calls me a wimp and I figure out a way to play son cases, a gig bag, and maybe a flugelhorn bag, all stacked on
it. That kind of stuff is all in good fun. We have another lead a dolly. He usually has his B-flat, C, E-flat, and piccolo trum-
trumpet player on the band, Dan Fornero. He plays great; we pets set up and once he’s looked through the music, he’ll
have a great one-two punch together. I can always count on decide which horn to use for each piece. He approaches film
him to nail all of the notes, play well in the section, and swing music in the same manner as an orchestral musician approach-
his butt off. I’ve said this before that playing first trumpet in es orchestral repertoire. You use what works best.
this band is like driving a Rolls Royce. Almeida: Most orchestral players will know in advance of each
Playing with the Best of L.A.’s Best season what repertoire they’ll be playing. In most cases, they can get
the parts ahead of time to prepare in advance of the first rehears-
Almeida: Currently the L.A. American Federation of Musi- al. The musicians in your industry don’t have that luxury. You’re
cians boasts 625 trumpet players as members. How many of those sight reading and playing skills must be incredibly high.
players do the majority of the recording work in L.A.? Bergeron: The folks that are doing the majority of the work
Bergeron: Twenty to thirty maybe. The players that work a in L.A. are reading new music constantly for hours every day.
lot and are requested by composers would include Malcolm I feel that I’m a very good sight reader just because of what I
McNab, Jon Lewis, Rick Baptist, do each day. I never see the same music
Warren Leuning, Gary Grant, “ The pl aye rs in the studio twice. We’re always sight-reading. I’ve seen
Jerry Hey, Chuck Findley, Larry Malcolm McNab come in and play the
Hall, Tim Morrison, Dave Wash- orchestras out here have great most ridiculous writing for the trumpet,
burn, Dan Fornero, Burnett Dil- musical instincts, reading skills, with accidentals all over the place. He’ll
lon, and Stu Blumberg. There are sight read and transpose on any keyed
many others as well that I’m sense of time, and precision. trumpet and never misread the part. That’s
blanking on at the moment, how- an entirely different level of playing. The
ever most of the players that show I’m proud to be a part of it.” job in the recording business is to get the
up are pretty darn qualified. I’ve job done as best and as quickly as possible.
listed some of the main names that you see who are obviously They don’t want to hear you miss something three or four
fantastic players. times in a row. That just does not happen, and if something is
Alme ida: Why are these particular players doing all of the misread more than once, it’s almost funny because it happens
work? What are the skills that they possess that get them call backs so infrequently. The players in the studio orchestras out here
for other recording projects? have great musical instincts, reading skills, sense of time, and
Bergeron: Malcolm sets the bar so high for consistency and precision. I’m proud to be a part of it. When I came back to
getting the job done correctly every time. Warren is so musi- town in 1986, I had been playing Maynard Ferguson’s book
cally versatile, he can play so many styles really well. You never for months without reading any new music. I started playing
really know what kinds of music you’re going to see. Versatil- in rehearsal bands and I was stepping in holes right and left
ity keeps most of the people working. There’s nobody out of the because my reading skills were rusty.
group that I just mentioned that can’t get the job done. Many
of these players come from different musical backgrounds, but You Call This a Living?
they have enough common sense that when they see a cue Almeida: How did your CD You Call This a Living? come
that’s more style specific they think about what they have to do about?
to make it happen. Sometimes that means passing the part to Bergeron: The CD started out as a demo. The first three
the player next to you. The studio players in L.A. can do a lot tunes on it were the result of just wondering what it would
of stuff pretty darned great. Everyone has their own specialty, sound like. My wife Deb and I booked a band, went into a stu-
but they bring a lot to the table. No matter what you put in dio, and recorded the tunes. I played it for Gary Grant and
front of us, we’re going to be able to play it. That’s what makes when he heard it, he wanted to get involved as the producer.
these players special. As a player He made suggestions about re-mix-
you just have to use common sense, “As a player you just have to use ing the tunes and we went back into
use the right equipment, the right the studio and recorded six more
approach, and listen to the players common sense, use the right tunes. One of the reasons the CD
next to you. equipment, the right approach, and has had such high success is that
Almeida: A number of years ago Gary is such a perfectionist as a pro-
Windplayer Magazine published an listen to the players next to you.” ducer. He worked long hours, not
article about the top 25 trumpet only as a producer, but also as a
players in L.A. The article mentioned that many of those players player and engineer, above and beyond what the job normally
bring cases of trumpets to the session. Do you find this to be cor- entails. The CD got me a gig playing the Governor’s Ball for
rect? the 2004 Emmy Awards. I originally started the project with
Bergeron: Yeah, that’s true. I don’t, because I don’t want to the hopes of getting some clinics. We got a call at 7:00 A.M.
be accused of impersonating a classical player! (Laughter) I from drummer/producer Greg Field in New York that the CD
always have my flugel, B-flat, piccolo, and a couple of differ- had been nominated for a Grammy award. It was quite an

12 ITG Journal / March 2007 © 2007 International Trumpet Guild

honor to be in the same category with Michael Brecker, who
won. When I saw the long list of recordings that my disc had
to go through to get nominated. I appreciated the efforts and
all the work Deb went through to get my CD through final
production and to the radio stations for airplay. My wife and
I paid for the entire recording project through our record label, gestions about trying some other things for the tune. So I went
Wag Records. One of two big highlights of the year for me was
to attend the Grammy Awards with Deb (five months preg-
nant at the time) and Gary. During the telecast at the Staples
Center it was cool to be seated next to my friend and high
school valedictorian, Al Yankovic.
And, of course, the second was the
birth of my daughter Ella Grace, four
months later. The CD is offered
exclusively through my own web site
(http://www.waynebergeron.com)
and I sell them at my concerts.
Almeida: Your CD shows off so much
finesse and virtuosity. Did you plan the
disc to showcase these abilities?
Bergeron: That wasn’t my original
thought. The first three tunes were to
demonstrate different styles. I picked
tunes that I was comfortable playing
and I wanted to show some contrast.
I’m not going to play Giant Steps. I’m
a first trumpet player and that’s where
my strength lies. Laura is a nice tune,
but it’s not that difficult of a tune to
blow on. When I play, there are sever-
al players who come to mind that I
think of, George Graham’s definitely
one of them. When I play first trum-
pet, there’s probably not a note that
goes by that doesn’t have a little bit of
George in it. Warren Leuning has also
been a big influence on me. I love his
flugelhorn playing. On pieces that I
play flugel on, I try to imitate Warren
somewhat; Bobby Shew and Gary L – R: Gordon Goodwin and Wayne Bergeron
Grant have also been a big influence
on me. I try to mold the characteris-
tics of the players I like into my own playing. I’ve kind of got-
ten the reputation of being a high note trumpet player, so I’ve
been trying to shake that. I don’t just want to be a high note
trumpet player, although I love doing that. I guess I wanted to
show that I could do other things.
Almeida: Are there plans for another solo CD?
Bergeron: Yes, it will be released sometime next spring to
coincide with the debut of my Wayne Bergeron signature
trumpet from Yamaha. I have some amazing writers and
arrangers working on the charts and some tunes now that have
already been copied. Gordon Goodwin did a chart called
“Maynard & Waynard” and will be finishing another soon.
Almeida: Is it true that there were some special circum-
stances surrounding your double high “D” on O Holy Night
from the Tom Kubis band recording You Just Can’t Have
Enough Christmas?
B e r g e r o n: The day that Kubis’ band recorded O Holy
Night, I wasn’t there because I had another session. Tom told
me to come over to his studio to over-dub the solo part later.
© 2007 International Trumpet Guild
While at Tom’s studio, I got a call from my wife Deb, that
some really shady stuff had gone down during her recording
session. I was furious when I found out! I was steaming mad
and told Tom, “Let’s do this thing, I’ve got to get home.” I had
already recorded the flugel part and Tom had made some sug-
in and recorded the high part and the double high “D” wasn’t
written in the trumpet part. I just did it because I had some
adrenaline flowing, I was experiencing a lot of anger while
recording the piece. That’s a true story. Unfortunately, now I
have to play that note every time
we play that chart. Thankfully it
happens once a year.
Going to work—the Day-to-
Day stuff
A l m e i d a : When you go to
work each day, do you feel like
the level of musicianship is as
good as it gets?
Bergeron: Yes, when I go to
work and listen to the great
woodwind soloist, the sound of
the French horns and the
strings—it’s just so musical, in
tune, and flawless. Even to this
day, I still feel so honored to be
part of this industry. There are so
many great players working in
the recording studio that it
makes everyone in the room rise
to the occasion.
Almeida: Do you know ahead
of time what your chair assign-
ment will be on a recording date?
B e r g e r o n: Yes, 99% of the
time you know ahead. You’ll
know if it’s a principal trumpet
call; playing a principal chair on
a motion picture pays 50%
more. Many times the first play-
er will let the others know where
to sit in the section.
Almeida: How are royalties for movie scores, sound tracks, CDs,
and movie DVDs paid to musicians?
Bergeron: For motion picture soundtracks musicians are
paid through the Film Musicians Secondary Markets Fund. All
royalties are based on aftermarket profits, not box office sales.
You can find out more information about this at their web site
(http://www.fmsmf.org). Record date royalties are paid
through the Phonograph Special Payments Fund. This system
is not based on CD profits but on how many record dates you
play. Basically, the more dates that you work on, the larger the
check will be.
Almeida: Is being a member of the AFM advantageous in your
line of work?
Bergeron: All of the session work that’s done here is union
work. Some of the non-union recording is done out of town
or out of the country by non-union orchestras. None of the
players in these orchestras receive a dime for health benefits,
pensions, or residuals after their one-time payment.
March 2007 / ITG Journal 13
 WAYNE BERGERON PARTIAL DISCOGRAPHY

As A Leader: Michael Buble In My Lifetime Vince Gill

It’s Time Celine Dion Breath of Heaven
Wayne Bergeron
Bobby Caldwell These are Special Times Harry Goldson
You Call This a Living?
Come Rain or Come Drat The Cat Swing Swing Swing
As A Sideman: Shine (Cast Recording) Gordon Goodwin
Ryan Adams Vikki Carr Tim Draxl Swingin for the Fences
Cold Roses Recuerdo A Javier Solis Ingongniac XXL
Christina Agulara Ralph Carmichael Phil Driscoll The Phat Pack
My Kind of Christmas Strike Up the Band Heaven and Nature Swing Jason Graae
Steve Allen Ralph Carmichael and Kyle Eastwood You’re Never Fully
75th B-day Celebration Friends Live From There to Here Dressed Without a
Fast Cars-Fast Women- Big Band Gospel Classics Earth, Wind & Fire Smile
Keep Swingin Big Band Swing Vol. 1 Illumination George Graham
Paul Anka Casablanca (The Musical) Eels With a Little Help from
Greatest hits Soundtrack Daisies of the Galaxy my Friends
Ray Anthony Buddy Charles Blinking Lights and Other With More Help from my
When You’re Smiling We’re Here Revolutions friends
Dream Dancing 2 Ray Charles Bill Elliot Amy Grant
Dream Dancing 3 Genius Loves Company Calling All Jitterbugs A Christmas to
Dream Dancing 4 Chantz Swingin the Century Remember
Dream Dancing in a Stories of Me Swing Fever Jerry Grant
Miller Mood Charo Kenny Ellis Rush Hour
Dream Dancing in a Latin Charo & Guitar Hanukkah Swings Debbie Shaoiro Gravitte
Mood Chicago Lorraine Feather Part of Your World
Swingtime Night and Day Such Sweet Thunder The MGM Album
The Harry James Rosemary Clooney Dooji Wooji Green Day
Songbook Demi Centennial Maynard Ferguson Nimrod
David Arkenstone Dedicated to Nelson Body and Soul Ellis Hall
Frontier White Christmas Big Bop Nouveau Straight Ahead
Back to Balboa Concord Jazz Heritage Brass Attitude Marilyn Harris
Tribute to Stan Kenton Series Greg Field Future Street
Dennis Bono Out of this World The Art of Swing Sam Harris
Forget to Remember Joe Cocker Michael Feinstein Standard Time/Different
David Benoit Have a Little Faith Nice Work If You Can Stages
Shakin Not Stirred Greatest Hits Get It Different Stages
Right Here, Right Now Ultimate Collection Big City Rhythms Mary Haskell
Shelly Berg Concord Jazz Heritage Ric Flauding Inspired: Standards—
A Tribute to Oscar Series Love was Different Then Good for the Soul
Peterson Salutes Ira Gershwin Bob Florence David Hasselhoff
Big Advice Mark Copeland Funupsmanship Sings America
Love Shines (bonus DVD) The Bakery Session With all the Bells and Warren Hill
Big Band Gospel Rick Cua Whistles Shelter
Senior Select Within Reach Earth Hit TV Top Themes
Pat Boone Bob Curnow Serendipity 18 (Compilation)
Heavy Metal Music of Pat Metheny Whatever Bubbles up Hollywood Bowl Orchestra
Dave Boyer Crown Project Joey De Franchesco American Classics
Songs of Love and Ultimate Ellington Singin’ and Swingin’ Delores Hope
Freedom The Darkness Kenny G Young at Heart
Charlie Bravo One Way Ticket to The Greatest Holiday That’s Love
Charlie Bravo Hell… and Back Classics Julio Iglesias
Buddy Bregmen James Darren Juan Gabriel Crazy
It Don’t Mean a Thing This One’s from the Heart Inocente de Ti INXS
Les Brown Because of You Grant Geissman TBA
Live at the Univ of Jim Devlin Business as Usual Gary Irwin
Wisconsin Puerto Nuevo Jeff Geofray Perspectives
Neil Diamond First BBQ Living in the Moment
Up on the Roof

14 ITG Journal / March 2007 © 2007 International Trumpet Guild

 Alan Jackson Barry Manilow Chris Perez Band Kelly Smith
Let it be Singin With the Big Resurrection Keely Sings Sinatra
Quincy Jones Bands Bill Perkins Keely Swings Basie Style
Basie and Beyond Manilow Sings Sinatra Our Man Woody Sondhiem
Carol Jolin Scores: Songs from John Pizzarelli A Celebration
Spring is Where You Are Copacabana and Let’s Share Christmas Spies
George Kahn Harmony Cole Porter A Musical Toast The Music of Espionage
Out of Time Lisa Manor (13th Annual S.T.A.G.E. The Stands
Mary Kate and Ashley Timeless Benefit) House Fabulous
Olsen Eric Marienthol Tito Puente Tom Talbert
CoolYule One Touch Special Delivery Duke’s Domain
Ron Kenoly Peter Marshall Pussy Cat Dolls The Warm Cafe
Welcome Home Boy Singer Shall We Dance Sound Joanne Tatham
Diana Krall Gary Meek Track Making Light
When I Look in Your Step 7 Raphael John Tesh
Eyes Mars Volta Punto Y Seguido Pure Orchestra
Tom Kubis Frances the Mute Dianne Reeves Robin Thicke
Slightly Off The Ground Ethel Merman’s Broadway The Calling Cherry Blue Skies
At Last (Cast Recording) Lou Rawls Gloria Trevi
You Can’t Get Enough Bette Midler Rawls Sings Sinatra Ms Turbada Que Nunca
Christmas Bette Midler Sings the Lisa Richard Mel Torme
It’s Not Just For Rosemary Clooney Virgin Tracks Live at the Playboy Jazz
Christmas Anymore Songbook Kim Richmond Fest
Jazz Musicians Christmas Ronny Milsap Passages Various Artist
Christmas 3 Just for a Thrill Rick Riso Concord Records 30th
Judy Kuhn Miss Spectacular As We Enter In Anniversary
Judy Kuhn Sings Cast Recording Murray Ross Various Artist
Jule Styne Andy Martin The Many Moods of Jazz Ladies Vol. 2
John La Barbera The Project Murray Ross Various Artist
Walk on the Wild Side Buddy Miles Here’s to the Greats 40 years of Charlie Bravo
Fantazm The Buddy Miles The Rumble Bees Various Artist
LA Jazz Workshop Regiment Be Pretty, Be Naked, Be Jazz Sampler Vol. 1
Shopwork Shuffle The Music of Ennio Quiet Miroslav Vitous
Lennon Bros. Morricone Adam Sandler Universal Syncopations
Swing Away Once Upon A Time in Stan and Judy’s Kid Chris Walden
Bill Liston the Cinema Arturo Sandoval Home of the Heart
Bill Liston and Friends Jim Morris Trumpet Evolution Bill Watrous
Barbara Morrison Montage Masanori Sasaji & the LA A Time for Love
I’m Gettin’ Long Allright Sammy Nestico All Stars Space Available
John Lithgow Big Band Favorites of Afro Blue Pat Williams
Singin in the Bathtub Sammy Nestico Birdland Sinatraland
Farkle and Friends This is the Moment Sax and Violence The Blonde Soundtrack
Steve Lawrence A Portrait of Sammy Music From the Dark Robbie Williams
Steve Lawrence Sings New Trier HS Jazz Side of the Screen Swing When You’re
Sinatra 2004 – 05 Cathy Schreiner Winning
Patricia Loaiza Whodunnit? Mood Swings Escapology
Mil Lunas Michelle Nicastro Brain Setzer Orch Lee Ann Womack
Pat Longo On My Own Guitar Slinger The Season for Romance
Extreme Heat Toonful, Too Swing Alive at the Amber Whitlock
Frank Maccia Reel Imagination Hollywood Paladium The Colours of Life
Animals Roger Neumann Diane Schuur Rob Whitlock
Mo Animals Instant Heat Love Walked In Sketches
Little Evil Things (Frank Paolo Nonnis The Very Best of Diane Weird Al Yankovic
Maccia) Step on the Gas Schuur Polkamon
Vol 1 through 5 Nueva Musica Jack Sheldon
Ultimate Mancini The Latin Project Jack is Back
Ladd McIntosh Anita O’Day Jack Sheldon Sings
Bulbous Garlic Blues Rules of the Road Frank Sinatra Jr.
The Offspring TBA

© 2007 International Trumpet Guild March 2007 / ITG Journal 15

 Almeida: Who negotiates the musician’s fees for motion pictures
and TV sound tracks?
Bergeron: Pay scales for motion pictures, television, and jin-
gles are national contracts. Regardless of where you live in the
U.S., the scale for these venues are the same. These contracts
are negotiated by the AFM.
The Locals and the RMA
(Recording Musicians Associ-
ation) negotiates and oversees
fees, standards, and benefits
for the musicians that work
in this area. The main reason
for a union, of any kind, is to
protect the worker. When I
was young, I didn’t under-
stand how the union worked.
Now I look at things differ-
ently. I understand the im-
portance of benefits in a job.
The big plus for the union
musician is protection on
union jobs, getting benefits,
and seeing that all musicians
earn a professional wage.
Almeida: Every day’s playing Ella, Wayne, and Debra Bergeron
challenges are different. How
do you prepare for work on a
given day?
Bergeron: I usually get to dates early to warm up. I’ll glance
through my music on the stand to get some idea of what I’ll be
playing. Either I’ll say, “Oh, I can go get coffee.” (Laughter.)
Or I’ll say, “Oh, s**t! I’d better start oiling my valves!” (More
Laughter!) But usually, the music’s all playable and I don’t
have to worry too much.
Almeida: Do you adjust your warm-up routine to fit the type of
playing you’ll be doing?
Bergeron: Kind of. If I don’t know what I’m going to play,
I make sure that I’m prepared to do the “soft thing,” the more
classical style of playing. The more controlled type of playing
doesn’t come as easily to me as playing lead trumpet in a big
band for example. On days when my playing hasn’t been very
demanding, I come home and really hit it. Especially if I have
some big band gigs coming up. I’ll do some kind of strong
playing or just do a lot of playing. I won’t rest much, I keep
playing and playing. After a while, I’ll take a break and then go
back and maybe do some range studies or play some jazz along
with Jamey Aebersold CDs. That’s a really good workout for
getting my chops going. At times when I’ve been bashing real-
ly hard, I have to practice just the opposite. I have to untie the
knot in my lip. (Laughter) If I have to play something really
soft the next morning, I have to warm down at the end of the
day. That’s the common sense approach to playing. I finally
figured that out. I look at playing like this: if my chops feel like
hell at night when I’m done, then they’ll feel like that in the
morning. So, I’ll take a few minutes to play some soft things
or pedal notes, anything just to get some blood back in my
chops. Then I’ll play a chromatic scale up to high “C” very soft
just to make sure that I’ve got my focus back. When I wake up
in the morning that’s where my focus is—where I left off the
night before.
16 ITG Journal / March 2007
Ella Grace Bergeron
Almeida: How does having a child affect your life?
Bergeron: Ella’s definitely calling the shots! My daughter was
born June 1, 2004. You know, you think that your life is real-
ly important and you’ve got all of these things that you want
to do, but all of that stuff
takes a back seat now that
Ella’s with us. Ella’s al -
ways barking out orders
to both of us. No matter
what either of us is doing,
Ella comes first. She’s
great and she’s a lot of fun
to have around. Fortu-
nately Deb and I have
hired a nanny part time
to come in and help care
for Ella while we’re work-
ing at home or away. If
either of us are at home
working in the office, we
can still see and play with
Ella while the nanny’s
caring for her. With our
busy schedules, I don’t
know how Deb and I could take care of the baby without some
help. Our lives have definitely changed for the better since
Ella’s arrival. We were definitely ready for her to come along.
Final Thoughts
In closing, I’d like to mention how excited I am about my
collaboration with Bob Malone (Director of Yamaha Artist
Services/Product Development Manager for Brass Instru-
ments) on my Yamaha signature trumpet. It was exciting being
a part of the creative process at the factory in Grand Rapids
and working next to one of the finest trumpet designers to cre-
ate an instrument that I am truly excited about playing. These
horns are now available to try out and to purchase.
I’m fortunate to do what I love most for a living. The trum-
pet has given me the opportunity to meet my wife, travel the
world, make my family proud, work with world-class musi-
cians, and meet my closest friends. It has also led me on many
new paths—a new CD, a Yamaha signature horn, clinics, and
guest artist appearances. My web site has just been redone to
include tips and address some of the questions that I
often receive during my clinics. I also hooked up with
StarsTeachMusic.com, a great innovative Internet-based com-
pany that provides a way for people all over the world to take
a lesson from me and many of the other musicians mentioned
in this interview.
Thank you John Almeida and the ITG for the honor of
doing this interview.
About the author: John Almeida is associate professor of
trumpet studies at the University of Central Florida in Orlan-
do. He is the principal trumpet of the Brevard Symphony
Orchestra and also a freelance musician in Florida. During the
summer months, Almeida teaches trumpet and coaches the
Honors Brass Quintet at Cannon Music Camp at Appalachi-
an State University in Boone, NC.
© 2007 International Trumpet Guild
 THE SIXTH CONCOURS DE TROMPETTE
MAURICE ANDRÉ
BY GARY MORTENSON
Salle Gaveau, site of the Concours de trompette Maurice André finals and closing concert
A
rguably the premiere international solo trumpet compe-
tition in the world today, the 2006 Concours de
trompette Maurice André, took place from November
11 through 19, 2006, in Paris, France. This was the sixth
André competition to be held since its inception in 1979. This
competition has grown in quality and scope over more than a
quarter century.
The Competition
First Round: Conservatoire national de région de Paris CNR
14 rue de Madrid—75008 Paris
November 11, 12, 13
Repertoire:
1. Raymond Gallois-Montbrun: Sarabande and Finale
2. Either:
Henri Tomasi: Concerto for trumpet, transcription for
trumpet and piano (first movement and cadenza) -Leduc
or André Jolivet: Concertino for trumpet, string orchestra and
piano, transcription for trumpet and piano (from the
beginning up to #24)
or Thierry Escaich: Tanz-Fantaisie, for trumpet in C or B-flat
and piano
3. On piccolo trumpet: Georg Philipp Telemann: Concerto
in D Major (first movement: adagio)
A total of 51 competitors from over 24 countries made the
© 2007 International Trumpet Guild
trip to Paris to compete in the first round of the competition.
All of the contestants were required to perform the Montbrun
Sarabande and Finale. They were then required to select
among three choices as noted above. The Tomasi was the piece
of choice for 19 competitors. The Jolivet was the most popu-
lar choice with 29, and the Escaich was far and away the least
favorite, chosen by just three players. In the first round, four
to six competitors took the stage to play their first two selec-
tions to form a set. After that was completed they returned (in
order) to perform the Telemann on piccolo. This was not an
easy round by any means. The music was challenging, requir-
ing accuracy, musicality, control, and endurance. Coming
back after the first two selections to play the first movement of
the Telemann proved to be a daunting challenge to many of
the performers, and made the elimination of some a bit easier
by the panel of judges. It was enjoyable to hear and experience
some basic differences in the interpretation of the repertoire. It
was interesting to hear that many competitors had widely
divergent concepts of tone quality, tempo, dynamics, and
style. Hearing any set of pieces performed by 51 musi-
cians is tedious, but these differences helped make the round
a bit more palatable over its three-day duration.
Throughout the entire competition there was one constant
after performers completed their playing in each round, and
that was a robust “Merci!” shouted down to them from the
March 2007 / ITG Journal 17
judges table by the Competition Chair, Monsieur André. It
was interesting to see how the competitors reacted to André’s
personal thanks for their playing and participation in the com-
petition. One other consistency that must be mentioned was
the high level of professionalism, preparation, and artistry dis-
played by the collaborative pianists who assisted the competi-
tors. At the end of the first round they were asked to come to
the stage so that their contribution could be recognized.
The jury at work during the first round of the competition
Second Round: Conservatoire national de région de Paris
November 15, 16
Repertoire:
1. Leopold Mozart: Concerto in D-major, transcription for
trumpet and piano -Billaudot
2. Either:
Alfred Desenclos: Incantation, Thrène et Danse for trum-
pet and piano (excerpts: Incantation, Thrène, and cadenza
of the third movement)
or Robert Planel: Concerto for trumpet and string orchestra ,
transcription for trumpet and piano (first and second
movements) -Transatlantiques
or Nicolas Bacri Concerto No. 2, op.65, Im Angedenken Jo-
hann Sebastian Bachs, transcription for
trumpet and piano (first movement)
new piece set at the 2000 Maurice
André Competition
The second round saw eighteen per-
formers advance. In this round all were
required to perform the Leopold Mozart
selection on piccolo trumpet. The other
piece was drawn from three choices. The
Desenclos was the most popular with
eleven performances, next was the Planel
drawing six. Only one competitor (Saunier
from France) chose the Bacri as his piece of
choice. One striking aspect of this round
was the sharp contrast perceived by this lis-
tener in each of the three choices for the
second piece. The Planel is a light-hearted,
joyous work that proved to be delightful to
listen to over several repetitions. The Des-
enclos is an intense work requiring more
dynamic contrast and greater demands on Konradin Groth and James Watson talk to competitors after the second round
18 ITG Journal / March 2007
both endurance (especially in the cadenza) and on pitch recog-
nition. The Bacri, with only one performance, was quite brief
by comparison to the other two, and was difficult to compare
with either of them in any significant way. Trying to weigh in
on the comparative qualities of the selections probably proved
to be one of the most difficult challenges faced by the jury dur-
ing this round. Among the many fine performances in the sec-
ond round, the following were notable: Esteban Batallán Cons
for his power and presence in the Desenclos; Joerge Becker for
his beautiful tone and control in the Mozart; Philip Cobb for
his taste and control at the soft end of the spectrum in the
Mozart, and for his precision, control, and musical nuance in
the Planel; Henry Deléger for his control and technique in the
Desenclos; Pierre Désolé for his elegance, energy, and enthusi-
asm in the Mozart and for his cadenza in the Desenclos; Fran-
cisco Alberto Flores Colmenares for his outstanding control
and strength in the Mozart and his power and determination
in the Desenclos; Vedran Kocelj for his great phrasing and
power in the Desenclos; Timour Martynov for his power and
control in the Desenclos; Enrico Negro, for his sensitive, con-
trolled performance of the Mozart; Antonio Sérgeo Pacheco
for his precision and sensitivity on the Planel; Flávio Gabriel
Parro Da Silva for his impeccable taste in the Mozart and his
warmth on the Planel; Tomonori Sato for his ornamentation
on the Mozart; Clément Saunier for his exceptional control
and tone quality on the Mozart and for his amazing clarity on
the Bacri; and finally Rubén Simeó Gijon for his slow (but
brave) tempo on the opening of the Mozart and his intensity
of power, control, and endurance on the Desenclos.
Three of the four who advanced to the finals performed the
Desenclos and the other played the Bacri, a piece that can best
be described as rhythmically virtuosic… no one playing the
Planel went further in the competition. The Desenclos did
indeed make the greatest demands on the performers. It tested
every aspect of one’s development on trumpet, including low,
high, loud, soft, lyrical, technical, and sensitive playing. Per-
haps this piece required so much more of the extremes associ-
ated with the trumpet and in so doing created a better vehicle
to see what contestants were capable of saying through their
instruments. Before concluding discussion of the second
© 2007 International Trumpet Guild
round it should be noted that once again the collaborative
pianists performing on this round were outstanding in their
professionalism and attention to detail and that the Conserva-
toire national de région de Paris provided an excellent hall and
support for the first two rounds. Attendance and enthusiasm
for both rounds was strong.
As in the first round, the jury did not require a long period
of time to decide on the finalists. After just over 30 minutes of
deliberation, they came out on stage and the announcement
was made as to who the four finalists would be to advance to
the finals. They were: Esteban Batallán Cons, Francisco Alber-
to Flores Colmenares, Rubén Simeó Gijon, and Clément
Saunier. The finalists had one day to rehearse the two pieces
with orchestra for the finals… one last grueling test to com-
plete the full requirements of the competition.
Second round winners and their accompanists
L – R: Rubén Simeó Gijon, Véronique Goudin,
Francisco Alberto Flores Colmenares, Esteban Batallán Cons,
Clément Saunier, Jan Kingdom
Final Round: Salle Gaveau 45 ruede la Boëtie—75008 Paris
November 18
Repertoire:
1. Salvador Chuliá Hernández: Fantasía Concertante, com-
posed for the 2006 Maurice André Competition. Com-
missioned by musique nouvelle en liberté—Ville de Paris
2. Joseph Haydn: Concerto in E flat major, free cadenza
With the Ensemble orchestral de Paris conducted by Kirill
Karabits acting as the accompaniment, four finalists performed
two pieces before a large and receptive audience in Salle
Gaveau, a recently remodeled and aesthetically pleasing hall
just one metro station away from the CNR, the site of the first
two rounds. It should be stated up front that the accompani-
ment and direction provided by the Ensemble orchestral de
Paris and by Maestro Karabits was at a high professional level
throughout the finals competition. The finalists performed in
the following order: 1) Rubén Simeó Gijon, 2) Esteban Batal-
lán Cons, 3) Francisco Alberto Flores Colmenares, and 4) Clé-
ment Saunier. The afternoon began with all four performanc-
es of the Haydn, followed by an intermission. For the second
half all four returned (in order) to play the competition’s com-
missioned work by Salvador Chuliá Hernández titled Fantasia
Concertante. This new work for trumpet and orchestra shared
a common thread with every other piece selected for the com-
© 2007 International Trumpet Guild
petition in that it required a sense of virtuosity and command
from the performers. In a distinctly Spanish flavor, the piece
was well crafted to create a distinctive interplay between the
soloist and the orchestral accompaniment. Under the leader-
ship of Kirill Karabits, the Ensemble orchestral de Paris did an
exceptional job of interpreting the work by accounting for the
slight variations in the interpretations of each of the finalists.
The orchestra was clean, responsive, and consistent through-
out the four renderings of the Hernández commission.
All of the finalists brought something interesting and unique
to their performance of the two required selections. The fol-
lowing observations serve to give the reader a sense of the
strengths of each of these four superb musicians. These com-
ments are offered in the order of their appearance.
At fourteen years of age, Ru b é n S im e ó G ij o n was the
youngest competitor at the entire competition (youngest by six
years!). Throughout the competition he displayed a remarkable
maturity. At the finals, his Haydn was rhythmically precise, his
sound was clear, and his command of range and articulation
was close to perfection. On the Hernández his multiple tongu-
ing, accuracy, endurance, and bravura playing was brilliant.
One area that Gijon will no doubt improve upon in the years
ahead is in the area of stage presence. Being so young, it is cer-
tainly understandable that he appeared a bit overwhelmed by
his surroundings, but this will surely improve with experience.
From a musical standpoint, everything that he did was quite
simply a decade or more beyond what his chronological age
would suggest. He is truly a remarkable talent with the bright-
est of futures.
Throughout the first two rounds, Este ban Batallán Cons
brought a sense of power and virility to his interpretations of
the repertoire. In the finals, his Haydn contrasted his early
round playing, proving that he can also play with delicacy, pre-
cision, and in an appropriate classical style. His aggressive
qualities returned in the Hernández as he truly went after this
work with energy and gusto. He employed circular breathing
to sustain the longer melodic lines in the slow section, and for
the upper-register demands of the ending many of the trum-
pet players in the audience might have noticed that he
switched mouthpieces to give himself that little extra push for
the greatest impact. Whether you agree with this sort of switch
or not, for him it worked as he had the strongest ending of the
four!
Francisco Alberto Flores Colmenares has a quality about his
playing and person that is electric. When he starts to play you
know that you are hearing a command that is rare and a pres-
ence that assumes control of the music. His Haydn featured a
cadenza in the first movement that was extended, stylistically
appropriate, and displayed great control and technique (I
would like to hear it repeatedly to fully absorb all of its
nuance). He went on to complete the work with uncommon
response and precision, and had superb endurance, always
appearing to draw on a great reserve so that his playing was
always refined and in control. His Hernández performance
provided a bit of drama to the finals. After Flores Colmenares’
first entrance he appeared to have a problem with his jaw. He
opened his mouth and moved his lower jaw in a fashion that
to this reporter seemed as though he was trying to adjust it
back into place after it might have slipped slightly. In a circum-
stance like this, one worried that what was happening might
jeopardize the quality of the challenging playing that
March 2007 / ITG Journal 19
 was no exception as it featured a refined, compact sound and
the slowest of the middle movements of the four interpreta-
tions. Saunier’s approach to the Hernández was extremely
intelligent, as he stayed within his strengths to give himself the
best possible chance for success. He played with admirable pre-
cision, great musicality, and was always under control. This
wonderful musician received a very warm response from the
audience, many of whom must have been familiar with his
playing since Paris is his home. The orchestra and conductor
were also very responsive to his playing and interpretation. All
of this support was deserved, as Saunier is an excellent exam-
ple of all that is great about the rich tradition of solo brass play-
ing indigenous to France in general and to Paris specifically.
After the conclusion of the finals performance the jury seclud-
ed themselves to deliberate. Just as was the case in the first and
second rounds, their deliberations were not lengthy, indicating
their ability to achieve a fairly quick consensus among the
panel. This is ideal as it indicated that very little discussion/
negotiation was required to come to a clear decision.

COMPETITION RESULTS
1st Prize (12000 Euros):
Francisco Alberto Flores Colmenares
1st Prize winner Flores Colmenares after performing the
25 years old
Hernández Fantasía Concertante
Venezuela
remained. Flores Colmenares must have incredible personal 2nd Prize (8000 Euros):
reserves because he continued on, unaffected in the least! The Rubén Simeó Gijon
rest of his playing can be characterized as incredibly accurate, 14 years old
strong, fluid, and refined. In short, Señor Flores Colmenares Spain
did everything humanly possible to win this competition,
including overcoming a little adversity right on stage to gain 3rd Prize (4500 Euros):
the admiration and respect of all in attendance. Bravo! Clément Saunier
The only finalist from the host country of France was Clé- 27 years old
ment Saunier. In all of the rounds and through his perform- France
ance in the finals, one could not help but be impressed with
the accuracy and elegance of this fine performer. His Haydn 4th Prize (3000 Euros):
Esteban Batallán Cons
22 years old
Spain

Prize for most notable newcomer (2000 Euros):

Philip Cobb
19 Years Old
United Kingdom

Prize for best interpretation of the Hernández

Commission (1500 Euros):
Francisco Alberto Flores Colmenares

Prize for the best sonority (1500 Euros):

Pierre Désolé
19 Years Old
France

Special Mention:
Enrico Negro
26 Years Old
Composer Salvador Chuliá Hernández acknowledges Italy
applause for Fantasía Concertante

20 ITG Journal / March 2007 © 2007 International Trumpet Guild

 1st row (sitting, L – R): Pierre Désolé, Esteban Batallán Cons, Clément Saunier, Rubén Simeó Gijon, Francisco Alberto
Flores Colmenares, Maurice André
2nd row (standing, L – R): James Watson, Jouko Harjanne, Konradin Groth, Salvador Chuliá Hernández, Thierry Caens, Eric Aubier
Not pictured from the jury: Vincente Campos and Gabriele Cassone
Prize Winners Ceremony and Concert—Salle Gaveau pianists distinguished themselves as excellent musicians
The culminating event of the Concours de trompette Mau- throughout a grueling schedule of commitments working with
rice André took place at Salle Gaveau on November 19th and multiple contestants all through the competition. The first half
featured four performers who distinguished themselves during of the program featured Pierre Désolé on the Alfred Desenclos
the competition. Prior to the concert was the presentation of Incantation et Thréne pour trompette et piano and Clément
the awards. This was done with the members of the jury seat- Saunier on the Raymond Gallois-Montbrun Sarabande and
ed on the stage. It is no small task to sit on the jury of an inter- Finale. Both performers played with great control, presence,
national competition. Hearing more than fifty competitors in and accuracy. After a short intermission to set up the orchestra
the first round alone can be a daunting Rubén Simeó Gijon gave an encore performance of the Haydn
and thankless task. This group of interna-
tional artist/educators from the trumpet
world was of the highest order, lending a
sense of credibility and integrity to the
entire event. The jury consisted of the fol-
lowing: Maurice André (France) Chair,
Eric Aubier (France), Thierry Caens
(France), Vicente Campos (Spain), Gab-
riele Cassone (Italy), Salvador Chuliá Her-
nández (Spain), Konradin Groth (Ger-
many), Jouko Harjanne (Finland), and
James Watson (United Kingdom). Medals
and certificates were presented to the win-
ners. This portion of the afternoon con-
cluded with comments from Maurice
André and competition officials. 1st row: Liliane and Maurice André
The first half of the performance fea- 2nd row (standing , L – R): Nicolas André and members of the competition staff:
tured trumpet and piano. The two princi- Eric de Gélis, technical manager; Clotilde Turpin, administrator; Eliza Després,
pal keyboard collaborators of the competi- competition announcer; Laurence Langou, communication manager; and
tion, Jan Kingdom and Véronique Gou- Diane de Roquemaurel, production manager.
din, provided the accompaniment. Both Not pictured: Claude Samuel, President of the Competition

© 2007 International Trumpet Guild March 2007 / ITG Journal 21

 COMPETITION PARTICIPANTS ( ADVANCING COMPETITORS NOTED IN PARENTHESES)

Adler, John—United States Krenz, Oliver—Germany

Arsic, Aleksandar—Serbia Laenen, Joris—Belgium
Batallán Cons, Esteban—Spain (II, Finals, Fourth Prize) Leleu, Romain—France (II)
Beaulac, Stéphane—Canada Macaluso, Pierre—France
Becker, Joerge—Germany (II) Marqués Guardia, Eloy—Spain
Blair, Alan—United Kingdom Martynov, Timour—Russia (II)
Bodurov, Neyko—Bulgaria Moreno Martinez, Juan—Spain
Brum, Fabio—Brazil Negro, Enrico—Italy (II, Special Mention)
Cobb, Philip—United Kingdom (II, Awarded Most Ots, Aarne—Estonia
Notable Newcomer) Pacheco, Antonio Sérgio—France (II)
Deléger, Henri—France (II) Paravagna, Paolo Amedeo—Italy
Desbruslais, Simon—United Kingdom Parro Da Silva, Flávio Gabriel—Brazil (II)
Désolé, Pierre—France (II, Awarded Best Sound) Paziot, Cyril—France
Doyon, Robin—Canada (II) Pepping, Amanda—United States
Flores Colmenares, Francisco Alberto—Venezuela (II, Philpott, Sebastian—United Kingdom
Finals, First Prize, Best Interpretation of Hernández Sakuragi, Atsuko—Japan
Commission) Sanchez Moreno, Gaudy Jose—Venezuela (II)
Fuller, Gemma—United Kingdom Sato, Tomonori—Japan (II)
González-Gómez Juan Luis, Mexico Saunier, Clément—France (II, Finals, Third Prize)
Gorkusa, Gatis—Latvia Schüttel, Laurent—Switzerland
Gothszalk, Lukasz—Poland Seddon, Christopher—United Kingdom
de Gruchy-Lambert, Daniel—United Kingdom Sieg, Colin—United States
Hara, Fruzsina—Hungary Simeó Gijon, Rubén—Spain (II, Finals, Second Prize)
Ho Chung-Mom—Taiwan Soldatov, Kirill—Russia
Ivarsson, Per—Sweden Szalkay, David—Hungary
Kocelj, Vedran—Croatia (II) Tóth, Balàzs—Hungary
Kosovski, Stojance—Republique of Macedonia Wosniak, Tomasz—Poland (II)

Concerto and Francisco Alberto Flores Colmenares ended the this place at this time and in this way. Many thanks to the
program with the Hernández Fantasía Concertante with the organizers, benefactors, administrative staff, and support musi-
Ensemble orchestral de Paris once again conducted by Kirill cians who made this event fair and smooth for all concerned.
Karabits. It was great to hear the first and second place winners Most of all, many thanks to the namesake of the competi-
one last time as the competition came to its official conclusion. tion… merci Monsieur André!
Final thoughts
An international competition can be enjoyable and easy to
experience, or grueling and stressful. It all depends on how you
choose to think about it. It’s grueling and stressful because one
must accept the fact that only the highest standards will be
upheld… so there is little room for error. Competitors know
that they will be put under a microscope and that any weak-
ness in their playing will be exposed for all to hear. There are
as many judges as there are people in the room. However, it
can also be an easy and enjoyable experience when one realizes
that we all want the same thing: to hear the best performance
possible from each musician. It takes a lot of energy to come
together at an event like this. So everyone who matters, and
who has the maturity to deserve to be there, wants to hear the
dedication and drive the competitors put into their participa- Maurice André and Gary Mortenson
tion pay off. So you see, ideally, we are all on the same side,
the side of excellence. It is a great joy to experience music mak- About the author: Gary Mortenson is the Publications Editor
ing at a supreme level. That is what we all aspire to experience and a member of the Board of Directors for the International
in our best musical hearts. To see these qualities in so many Trumpet Guild. He is professor of trumpet and director of the
young musicians, all in one place and at one time, is to be trumpet and brass ensemble at Kansas State University. In
treasured. Youth is fleeting, that is a fact, but all of the contest- recent years he has represented ITG and KSU across the Unit-
ants in the Concours de trompette Maurice André will, no ed States, the United Kingdom, Germany, Greece, Spain, Fin-
doubt, learn something from the experience of having been at land, and Thailand.

22 ITG Journal / March 2007 © 2007 International Trumpet Guild

 THE FOURTH INTERNATIONAL ROMANTIC
TRUMPET FESTIVAL IN ST. PETERSBURG, RUSSIA
BY MARK CLODFELTER
T
he Fourth International Romantic Trumpet Festival
consisted of a series of concerts throughout the year,
with the finale in June during the White Nights Fes-
tival in Saint Petersburg, Russia, a city that truly doesn’t sleep
during a season when the sun also never sets. This series of fes-
tival concerts featured artists from around the world perform-
ing in a variety of venues in St. Petersburg. The finale’s events
took place this past summer on June 21 and 22, 2006.
The concert on the evening of June 21 showcased solo per-
formances by each of the guest trumpeters; all were accompa-
nied by the Divertissement Ensemble of St. Petersburg, who
did a splendid job under the artistic direction of Ilya Ioff in
beautiful Capella Hall. The world premier performance by the
University of Kentucky Brass Quintet of Fanfare for Saint
Petersburg, written by Skip Gray especially for this event, pro-
vided a memorable opening for the festival. The evening’s pro-
gram went on to include William Pfund, Vice President/Pres-
ident Elect of the International Trumpet Guild, presenting fes-
tival coordinator Irina Vakulenko with a certificate commem-
orating the festival on behalf of the ITG. In reciprocity, Irina
then presented each of the soloists with a certificate of appre-
ciation and participation on behalf of the Trumpet Festival.
William Pfund performing Fasch
© 2007 International Trumpet Guild
Following these presentations, Fred Mills, professor of trum-
pet at the University of Georgia and a founding member of the
Canadian Brass, took the stage playing the very colorful Blues
(Spleen) and Equivoqe movements from Luc Baiwir’s Concerto
for Flugelhorn and Strings. Pfund returned to expertly render
J.F. Fasch’s Concerto in D. Next, Brandon Craswell, teaching
assistant and trumpeter with the University of Kentucky Brass
Quintet, offered The Hollow Men by Vincent Persichetti. The
first half of the concert ended with Sergei Baev, soloist from St.
Petersburg, presenting a movement of Benedetto Marcello’s
Concerto in a minor. Following a short intermission, Sergei
Baev opened the second half with J.S. Bach’s Agnus Dei. The
program continued with Mark Clodfelter, from the Universi-
ty of Kentucky, performing the Neruda Concerto in E-flat fol-
lowed by Ibrahim Maalouf, international soloist from Paris,
performing the Jolivet Concertino. Gennady Nikonov, princi-
pal trumpet for the Mariinsky Theatre Orchestra in St. Peters-
burg, rounded out the evening with Perpetum Mobile, written
by Irina Vakulenko, as well as a stirring rendition of J.S. Bach’s
Ave Maria that not only featured his outstanding lyricism as a
trumpeter, but also showcased his counter tenor voice. The
concert was presented before a large and enthusiastic audience.
March 2007 / ITG Journal 23
Each of the soloists played splendid-
ly and collaborated seamlessly with
the Divertissement Ensemble whose
playing was sensitive to the array of
styles represented by the players and
pieces.
The concert on June 22, 2006,
was a chamber concert featuring the
University of Kentucky Brass Quin-
tet composed of the artist/faculty in
the Brass Area of the UK School of
Music, including Mark Clodfelter
and Brandon Craswell, trumpets;
David Elliot, horn; Dale Warren,
trombone; and Skip Gray, tuba. The
concert was held in the Atrium of
the Peter and Paul Fortress and fea-
tured a variety of standard quintet
literature including the music of
Morley Calvert and Collier Jones, as
well as several arrangements unique
to the UK Brass Quintet library
including Skip Gray’s virtuosic
arrangement of the “Hoedown”
movement from Aaron Copland’s Fred Mills rehearsing with the Divertissement Ensemble
Rodeo.
Music is indeed the international language. This two-day
In addition to feature pieces for Clodfelter, Gray, and War-
festival was a deeply gratifying experience for everyone
ren, the second half of this concert brought with it exciting
involved. Throughout our entire stay we were made welcome
collaborations between the UK Brass and other participating
and were constantly aware of a sincere gratitude from our
artists. Fred Mills gave the world premiere of his arrangement
Russian colleagues. Exploring St. Petersburg offered numerous
of Gershwin’s Rhapsody in Blue for solo trumpet and brass
opportunities for the participants to get to know each other
quintet.
better while immersing ourselves in a fascinating culture and a
Additionally, Gennady Nikonov performed a rousing and
vibrant, artistically rich environment. From visiting the Her-
animated Tarantella written by Oscar Boehm as arranged by
mitage Museum to standing by the graves of Shostakovich,
Irina Vakulenko. The concert was a great success and was well
Rimsky-Korsakov, Mussorgsky, and Tchaikovsky, this was def-
received with the audience bringing the group out for an encore
initely an opportunity not to be missed.
performance of Del Staigers’ Carnival of Venice arranged for
For more information about the history of the International
quintet and performed by trumpeter Mark Clodfelter.
Romantic Trumpet Festival please
visit the official festival web site
(http://www.trumpetfestival.ru/
program_e.html). The participants
would like to express their grati-
tude to Bradley Ulrich of Western
Carolina University whose tireless
efforts as liaison on behalf of the
American artists made our involve-
ment in this event possible.

About the author: Mark Clodfel-

ter is assistant professor of trumpet
at the University of Kentucky and
principal trumpet of the Asheville
Symphony Orchestra. He is also
split lead with the DiMartino/Os-
land Jazz Orchestra. Clodfelter is a
Yamaha Performing Artist and
makes numerous appearances an-
nually as a guest artist and clinician.
More info is available on the web
The festival soloists, L – R: Grennady Nikonov, Fred Mills, William Pfund, Mark Clodfelter,
(http://www.markclodfelter.com).
Ibrahim Maalouf, Brandon Craswell, Sergei Baev

24 ITG Journal / March 2007 © 2007 International Trumpet Guild

 JOE WILDER: OVERCOMING OBSTACLES
WITH GRACE AND INTEGRITY
BY KEITH WINKING

t can be dangerous to equate a musician’s persona with letter word. Joe never collected!

I his style of playing. In the case of Joe Wilder, howev-

er, the warmth, lyricism, humor, and sophistication of
his music are an extension of the man himself. Just mention
his name to almost any professional musician in both the jazz
and classical worlds and you’re sure to get a smile and a tes-
timonial—not only to Joe’s musical talents, but also to his
sterling personal qualities. In fact, Wilder’s sense of propri-
ety is almost as legendary as his musical prowess. One long-
time associate recalls that when Joe was in Lionel Hampton’s
orchestra in the early 1940s, fellow band members used to
offer him a ten-dollar bill if he would simply utter one four-
Wilder has accomplished just about everything one can
accomplish in music—from big bands to bebop, classical
concertos to commercials. And if he hasn’t enjoyed the same
success in bringing his name before the general public, this
failing is only a result of his modesty and self-effacing nature.
Nevertheless, his belief in himself enabled him to avoid the
pitfalls that claimed so many of his musical generation and
to open doors that he was told he could never enter. (Ed
Berger, associate director of the Institute of Jazz Studies at
Rutgers University)

Winking: What can you tell us about your early life? Philadelphia Orchestra. He became very proficient at both
Wilder: I was born on February 22, 1922, in Colwyn, Penn- instruments and got a lot of work due to the fact that he
sylvania, a little township outside of Philadelphia. There were owned both and could double.
I think six black families living there which included my pater- My father served in both WWI and WWII and he started
nal and maternal grandparents as well as aunts and uncles. It his own group “Six Bits of Rhythm” when he got out of the
was really a small hamlet and when you walked four blocks, Navy after WWII. He also played with the Leroy Bostic Band,,
you were in Philadelphia. the most successful black society band in Philadelphia.
Winking : Do you come W in ki ng : When did you
from a musical family? start playing?
Wilder: My father was a W i l d e r : I was around
musician but he did not eleven when I started on cor-
come from a musical fam- net. It was my father’s idea
ily and I never found out and I had not really even
why he became a musi- thought about becoming a
cian. He started on cornet musician. At that time
and played Inflamattus at though, my paternal grand-
the church when he was parents lived across the street
young. My father studied from a Catholic school. They
with Frederick D. Griffin, had a marching band that I
a fine cornet soloist who liked. I would have picked
performed solos from the the trombone if I had had a
Arban and things of that choice. My father got a
nature. Mr. Griffin also Holton cornet… I started on
taught trombone, piano, that and played for a long
and other instruments as time.
well. During one lesson W in k i ng : Did you study
Griffin asked my father if with your father?
he would like to try the Wilde r: No, I started out
sousaphone. After fooling with one of the guys my
around with the instru- father worked with named
ment my father fell in love Henry Lowe who played sec-
with it so he quit cornet ond or third trumpet in
and started playing full some of the dance bands. I
time. The sousaphone studied with Mr. Lowe for
double at that time was just a few months and then
the bass violin so my started lessons with Mr.
father bought a bass and Griffin, my father’s old
started taking lessons with teacher who was a wonderful
one of the guys in the Joe Wilder teacher.
© 2007 International Trumpet Guild March 2007 / ITG Journal 25

L – R: Joe Wilder, Keith Winking, Raymond Crisara
Winking: Were you playing in a school band at the time?
Wider: No, I was just taking lessons. The first time I played
in public was in elementary school. On one of the national
holidays, the principal who knew I played cornet decided I
should play taps in the hallway.
Around that same time, my father started bringing home
trumpet parts to some of the stock charts from the dance
bands he was playing with. He would teach me the melodies
in the first trumpet parts and have me
practice them until he felt that I could “Armstrong was very encourag- would invite me home for meals
play them comfortably. I then auditioned
for a black children’s radio program spon- ing and gave me a pass to come might have had in two days. His
sored by Parisian Tailors of Philadelphia watch him play every day. I was father bought him a brand new
who made all of the uniforms for the big
name black orchestras such as Jimmy twelve at the time…”
Lunceford, Don Redmon, Fletcher Hen-
derson, Cab Calloway, Earl Hines, and Duke Ellington. At
that time, there was a national radio program sponsored by
Horn and Hardart’s on every Sunday featuring children. They
never had black children on that show so Eddie Lieberman,
who was the chief cutter for Parisian Tailors, suggested to Mr. baum School in Philadelphia. Alberta Schenbecker, who was a
Kessler, the company’s owner, that they start a black children’s pianist and a very talented teacher at Tilden, arranged the
radio program. The show was on Sunday mornings for an
hour and it featured singers, tap dancers and occasionally you
would have a kid play violin. I remember Percy Heath (jazz
bassist) playing violin on the show.
Winking: Where was the show held?
Wilder: We performed in the Lincoln Theater in Philadel-
phia. At the time, big bands were not allowed to work in clubs
on Sundays due to the Blue Laws, so all of the big bands that
played the Lincoln Theater—Fletcher Henderson, Duke
Ellington, Jimmy Lunceford, etc.—had in their contract that
they had to support the children on Sundays by improvising
backgrounds for whatever we were doing. We got to know all
of these top-notch musicians and they paid attention to me
since I was playing a cornet.
26 ITG Journal / March 2007
Winking: What kinds of things were you playing
then?
Wilder: I was playing the first trumpet part to
some of the stock charts my father brought home.
There was no improvisation and at the time I did
not even know what that was. The big bands
would provide backgrounds and if the big band
musicians were not available, there was a fine
pianist named Ruth Mosely who would accom-
pany us.
Winking: What were some of the groups you got
to play with?
Wilder: Groups like Count Basie, Duke Elling-
ton, Fletcher Henderson, and Earl Hines… I was
not really that familiar with those musicians/
bands then but my father definitely knew who
they were. Louis Armstrong was there with the
Louie Russell band and he saw me perform. At
the time, they called me “Little Louie,” not
because I played like him, but due to the fact that
I was playing cornet. Armstrong was very encour-
aging and gave me a pass to come watch him play
every day. I was twelve at the time and I liked his
playing but I was working out of the Arban book
and wanted to play like Del Staigers, so I was not
really that interested in coming to see him play
every day.
That was around 1933 – 34. I did this until I was around fif-
teen years old. At that time I was also playing in my junior
high school orchestra where I sat next to one of my oldest
friends, Rosario Pino, who recently passed away. Rosario and I
attended William B. Tilden Junior High School together
which was during the Depression. At times, my family had no
food and oftentimes Rosario
and this would be the only meal I
Blessing cornet, and because I was
first chair, Rosario, who had a
heart of gold, let me play his beau-
tiful instrument. At the time I was playing a Holton cornet so
it was a big thing for me to play a brand new instrument.
W i nk i ng : What did you do after junior high school?
Wilder: I took an audition at Penn University for the Mast-
audition for me. She was the youngest teacher in the Philadel-
phia school system and looked like one of the students. I
passed my audition and was accepted into the Mastbaum
School. She eventually married Paul Lewis and whatever suc-
cess I had from this point on could be attributed to her.
Winking: What kind of school was Mastbaum?
Wilder: It was a vocational school basically. They taught car-
pentry and all kinds of things but music was what made them
famous. There were some tremendous student musicians there
at that time. Ralph Shapey, who became a well-known avant
garde composer in California, others included people like
Leon Cohen, Buddy DeFranco, and Red Rodney. They had an
exceptional symphonic band conducted by Russ Wyre who
had been a tuba player with the St. Louis Symphony. The
© 2007 International Trumpet Guild
Mastbaum School emphasized classical training… if you ington D.C. and part of the show, Les used to do a dance with
played jazz, your name was mud. At that time, Tommy Dorsey his back to the band. Dizzy was imitating his every move and
was touring the country holding a youth jazz contest and if since Les’ back was to the band, he did not see this going on.
you won you got to tour with his band for a month. Buddy Every time Les would turn around to conduct the band, Dizzy
DeFranco won the contest in Philadelphia and got to tour with would sit down and sat there looking like a saint. The audience
the band and when he came was applauding and laughing and Les
back to school, he was treated “The Mastbaum School empha- thought it was for him because he had
like a bum by the people who been out there dancing. This went on for
ran the school. sized classical training… if you three or four days but then on the fifth
W i n k i n g : Did you have a
trumpet teacher at Mastbaum? played jazz, your name was mud.” day, Les turned around quicker then
usual and Dizzy had not sat down yet so
Wilder: No, I was still study- he caught him. Les got so mad that when
ing with Mr. Griffin. I was supposed to have a teacher there we finished playing that evening he said, “Everybody, two
but we could not afford it. I was there for two years. I did not weeks notice! That’s it, you’re all out of here.” When the time
graduate and left school when I went on the road with Les came to get paid at the end of the week, he told everyone
Hite’s band. It came about because I was playing with the “That notice does not apply to you. I’m just trying to get rid
Jimmy Gorham band in Philadelphia. There were guys in that of Dizzy.”
band who would transcribed tunes note for note from the In the meantime, word had gotten out that Les had fired the
records of bands like Duke Ellington, Jimmy Lunceford, and band and Lionel Hampton was looking for someone to fill in
Fletcher Henderson and the band played them just like the for Karl George, his first trumpeter while he was away so I was
famous bands. It was very popular in Philadelphia. I got con- hired. Fred Norman was writing arrangements for the band
nected with the Gorham band because my father was a friend and had written an arrangement on I Left my Heart at the Stage
of Jimmy Gorham. Door Canteen and he wrote it in the key of E. Karl was a won-
Winking: When did you make the transition from wanting to derful first trumpet player but he had difficulty playing in cer-
play like Del Staigers and Arban material to playing dance band tain keys so when he came back he passed this chart on to me.
music? Lionel asked Fred Norman why I was playing lead and he said,
Wilder: I was still studying classical music at Mastbaum but “Because Karl can’t read the part.” So Lionel kept me on and I
working in dance bands at the same time. I wasn’t really think- ended staying on longer then I was supposed to. I was in
ing about playing in a symphony orchestra at that time… all I Hampton’s band for about a year and while there, I had to take
wanted to do was play as well as somebody I had heard whose my physical for the service for WWII.
playing I admired. It did not even really occur to me that Del Winking: When did you go in the service?
Staigers was a classical/concert soloist… I just enjoyed the way W i l d e r : When I was touring with Lionel Hampton, I
he played. changed my draft board registration site from Philadelphia to
Winking: Were you improvising then? Los Angeles, which gave me a few extra months. Back then,
Wilder: No, when I went with Les Hite, I was playing lead. the draft board kept close tabs on everyone. Lionel was on the
At Mastbaum I became proficient at sight reading and when I road and we were going back to Philadelphia, so when I got
joined Les Hite, we only rehearsed for about three days so I back home, there was a notice for me to appear at the local
had to sight read a lot of the music on the bandstand. Britt draft board. I joined the Marines in April of 1943. When I was
Woodman, who was first trombonist with Les Hite and even-
tually Duke Ellington, never got over that and used to tell folks
how I came into the band and sight-read everything they had.
I didn’t play in their style, but I
played all the notes. That was “Dizzy was always
around 1941. I don’t think I
was there for a full year. Dizzy a prankster…”
joined the Les Hite band about
this time. Dizzy had been working with Cab Calloway and was
let go due to an altercation with Cab. Dizzy was always a
prankster and during a radio show someone in the band shot
a spitball at the drummer and it missed and hit Cab in the
neck. Cab assumed that it was Dizzy so he let him go.
With Les Hite, Dizzy did not want to play lead so he played
second and I played first. With all of the experience Dizzy had,
he never threw his weight around. He would offer suggestions
as to how to play certain things which was great for me and we
got along extremely well. Everyone thinks that the Les Hite
Band was the first time Dizzy and I met, but Dizzy played with
my father in Philadelphia with the Frankie Fairfax band, and
that is where we first met.
Winking: Why did you leave Les Hite?
Wilder: We were playing at the Howard Theater in Wash-

© 2007 International Trumpet Guild March 2007 / ITG Journal 27

drafted I was going to be placed in the Army, Navy, or possi-
bly the Coast Guard. While talking with the draft board, the
guy said they were not accepting any more non-combatants
and needed fighting people so I would have go to infantry. He
mentioned that they were just beginning to accept black
Marines and since the Army was not accepting any more musi-
cians I thought if I was going to have to fight anyway, it
seemed like a good move to join the Marines.
I was stationed at Montford Point on Camp LeJeune in
North Carolina. The base was segregated so we had a rough
time down there. I was in an all-black unit but the officers and
non-commissioned officers were all white. After boot camp, I
was placed in a Special Weapons Unit. Bobby Troupe (pianist/
singer, actor, composer of Route 66) was a second lieutenant
and a morale officer there. He told the commandant that there
was a guy in Special Weapons who had played in several name
bands and he thought I might be an asset to morale if I was
placed in the band so I was transferred to the band. We had a
dance band within the military band and we used to play for
the officers on Saturdays.
The Bandmaster was Paul Jackson and his assistant was
George Dowdy. They were both career Marines. I became the
assistant bandmaster at the suggestion of Paul Jackson and
when I became the assistant George Dowdy lost out and was
transferred overseas. George was from deep rural Mississippi
and had a hard time with some of the fellows in my unit
because they assumed, due to where he was from and his
accent, that he was prejudiced. They would ridicule him due
to his southern drawl. I did not agree with this so I would
defend him. All of the training we received as members of a
military band was attributable to Paul B. Jackson and to some
extent George Dowdy. They were both very nice.
I was able to get through this time because of guys like
Bobby Troupe and Allen Luther, my platoon leader. They went
out of their way to lessen the discrimination we were facing on
the base. We did not have a theater on base so movies were
shown in the mess hall and the black marines were limited to
the two rows of seats in the very back of the hall. We were con-
tinually fighting the inequities created by segregation but these
officers did everything they could to see that we were treated
like all of the other Marines.
There is an interesting thing that happened then which I
want to share. Dutch soldiers, who had been fighting the Ger-
mans, came to on Camp Lejeune to learn new combat tech-
niques that the U.S. Marines employed.. The Dutch were sta-
tioned with the whites on Hadnot Point and the Marines were
making disparaging remarks about the Queen and making fun
of the Dutch in general. They were fighting each other like
crazy so finally the commander wanted to fix the Dutch good
so he put them at Montford Point along with the black
Marines. He thought if they don’t get along with the white
Marines that there was no way they would get along with the
black Marines. We developed a friendship so strong that even
when they had a couple of days leave and could go off base
they would stay with us
I left the service in April of 1946. They had a rule back then
that you could go back to the job you had prior to your time
in the service so I went back to Lionel Hampton’s Band. I
stayed in the band this time for just a few months and then I
joined Jimmy Lunceford’s Band. Gil Fuller, who was writing
for Earl Hines, heard me play with Jimmy Gorham earlier so
28 ITG Journal / March 2007
when there was an opening with the Lunceford Band he rec-
ommended me.
Winking: Were you playing solos at this time or still playing
lead?
Wilder: I played some solos. The first solo I ever recorded
was I’ll Remember You with the Les Hite Band. There were two
things on that record. One was the Jersey Bounce and Dizzy
played a solo on that, and I’ll Remember You was on the other
side.
I was playing lead with the Lunceford Band but I have to
qualify that because I was basically playing the ensemble lead
parts. There were other fellows who played the extremely high
parts. I was with that band for about five months. Jimmy died
of a heart attack fairly soon after I joined and we were in Sea-
side, Oregon, when that happened. After he died, Eddie
Wilcox and Joe Thomas co-led the band and we then went
back to New York playing the Savoy Ballroom and places like
that.
I then joined the Lucky Milligan Band for a short while, and
while I was with Lucky, I got a call to go in and play the Dia-
mond Horseshoe with Noble Sissle. The Diamond Horseshoe
was in New York on 46th street between Eighth and Broadway.
I stayed with that band for a couple of months and then I got
a call to play a Broadway show. It was called Alive and Kicking
featuring Carl Reiner, David Burns, and Jack Guilford. When
I got that call they wanted me to start right away which meant
that I did not have time to give the required two weeks notice
to Mr. Sissle. I spoke with Mr. Sissle and told him about the
call and explained how if I took the job there was not enough
time to give notice. I asked if there was any possibility if I
could do it and he said, “You know young man, there are no
Negro musicians playing in the Broadway shows. Maybe it
would be a good idea to let you go to see what happens. I’ll let
you go, but if you are gone for more then four weeks I’ll have
to get a permanent replacement for you.” The show ran for
seven weeks and he still let me come back. I was back for four
or five weeks when I got a call for another Broadway show so
I had to go through the same routine with Mr. Sissle. He said,
© 2007 International Trumpet Guild
“Okay, but this time after four weeks that is it. You can’t come
back.” That show was the original Guys and Dolls and it ran for
three years. In addition to myself, they also hired pianist Billy
Kyle and trombonist Benny Morton and this might have been
the first time there were three black musicians playing a Broad-
way show. I am grateful to Noble Sissle for allowing me to do
this.
Winking: There were no African-American musicians playing
shows then?
Wilder: On occasion, if it was a black show, black musicians
would play in the pit orchestra but never if it was a white show.
After Guys and Dolls I started subbing on other shows, and that
led to a call to play Silk Stockings by Cole Porter. Before I was
hired they approached Cole Porter to ask if he had any objec-
tions to having a black first trumpet player and he asked if I
could play his music. They told him yes, and he said that is all
that mattered.. This was the first time an African-American
musician was hired to play a principal chair with a Broadway
show. At the time, the excuse for not hiring blacks was that the
show would have to travel through the South and the compa-
ny did not want to deal with the problems that came with that.
I did Silk Stockings, featuring Don Ameche, for about a year
and a half and then was called to play Frank Loesser’s Most Joe Wilder in the studio
Happy Fellow.
Winking: What was the environment like for you at that time? Wilder: I was only in that band for about four months but
Wil de r: For the most part, the musicians were very nice everyone thinks I was in there for years because they get me
especially the brass and reed players. The string players were confused with Joe Newman.
not always as welcoming but the folks who were worse than Winking: Weren’t you also going to the Manhattan School of
them were the stagehands. Many of them were like a faction of Music at that time?
the Ku Klux Klan. I can’t generalize though because there were Wilder: I finished my bachelor’s degree in 1953 and was
also some very nice guys too. Wherever I have gone, if it had working on my master’s when Basie called in 1954. At that
not been for the nice guys, this whole thing would have come time, I did not feel like my playing was rounded enough and I
to a halt, where I was concerned. wanted to work on my classical playing. I was working on my
Winking: Were you still playing club dates at that time? degrees while playing on Broadway and doing most of my
Wilder: I was doing some but they were very strict at that studying while working in the pit. Some of the gaps with the
time about taking off from a show to do other work. dialogue on stage were such that you could have read a whole
I got a call in 1954 to play with Basie and I went to Europe novel in the pit. I studied with Joseph Alessi who was Toscani-
with him. At that time, Basie had three ni’s first trumpet player
trumpets and Joe Newman was doing all of “…they approached Cole Porter to when he first came to the
the solos. He was complaining to Basie states and I also studied
about being overworked so Basie hired me ask if he had any objections to hav- orchestral literature with
to play some of the solos. I remember we William Vacchiano. They
rehearsed at Birdland and Joe Newman was ing a black first trumpet player and were both very nice to me.
handing me some of the parts, all of which he asked if I could play his music… W i n k i n g : What did the
had solos and I was getting excited. We did Manhattan School think
not rehearse those charts and at the end of he said that is all that mattered.” about you working on Broad-
the rehearsal I mentioned to Marshall way?
Royal, lead alto player, how great it was that Joe was giving me Wilder: They tolerated Broadway but they did not like jazz.
so many solos. When Marshall looked at the charts he com- I auditioned for the Manhattan Symphony Orchestra several
mented, “We haven’t played those charts in ten years.” times and the conductor did not like anybody that had any-
During the tour I was getting frustrated because I was not thing to do with jazz. It was the “devil’s music” and he was not
getting any solos. We were playing in Götheberg, Sweden, so I going to have any part of it. After my auditions he would tell
wrote a note and passed it down through the reed section ask- me that what I did was okay but that “we don’t really play in
ing them to give it to Mr. Basie. He opened the note and he a symphony orchestra with that concept.” One day the first
looked up at me and said “You want to play, play!” What I had trumpeter was not there at the start of a rehearsal so they called
written is “Can I just play eight bars of anything!” and signed me in to play for him. We started playing and the conductor
it “The trumpet player, second from the drums.” He thought stopped in the middle of some piece and gave me that same
it was funny, but not at first. He told me that he was not aware routine. By then, I had enough so I said, “If I am not playing
that he had not let me play so from that point on he let me the concept you like, before you criticize me why don’t you tell
play solos. me the way you would like me to play it. And then if I don’t
Winking: How long were you with Basie? play it the way you want, you are free to say that I can’t do it

© 2007 International Trumpet Guild March 2007 / ITG Journal 29

and that will be the end of it. You criticize me before I have ably walk right by him because I did not know what he looked
even had a chance to play it and I don’t know what style you like. She said that was funny because Mr. Vagnoni told her
want me to play.” He said, “Really!” and then he went to the that when I was there last he had told me to come by his office
Dean’s office and had me removed. He eventually got a Ful- and I never went by. I asked if that had been Mr. Vagnoni and
bright to go work in England and they replaced him with Jonel she said, “Apparently it was.” When I went by his office that
Perlea from La Scala Opera who was really a wonderful con- week he said “Mr. Wilder, how do you expect to be successful
ductor. in the music business if you don’t recognize a contractor when
After Maestro Perlea arrived, they held trumpet auditions you see one?” This became a standard joke with him.
behind a curtain and they seemed to like what I did, so they Winking: What kinds of things were you playing at ABC?
gave me the principal chair. One humorous incident occurred Wilde r: Everything they did. The Dick Cavett Show, Jack
while playing the Leonore Overture. I wanted to impress the Parr, Sid Caesar, Voice of Firestone, Music for a Summer Night,
conductor so when the time came for the trumpet solo I things of that nature. You could be scheduled for two shows a
played strong and he was standing up there shaking his head day sometimes even three, though two shows per day was the
and said, “No, this can’t be right.” He started again and I won- norm. I also played in the ABC Brass Quintet.
dered what I had done wrong and figured maybe I had not Winking: Tell me about the ABC Brass Quintet.
played loud enough so when the solo came again, I played Wilde r: ABC already had a string quartet and woodwind
louder. He stopped again and said that it was still not right and quintet so they decided they wanted to add a brass quintet.
asked if he could see the music. They had an FM show on Fri-
As I was about to hand the “With studio work, you never knew day nights and these groups
music up to him the second would alternate. The quintet
trumpet player leaned over and what you were going to play when you consisted of Ray Crisara and
said, “Joe, it’s trumpet in E-flat.”
At that point the conductor was
went to work so it was very interesting.” myself on trumpets, Jimmy
Buffington on French horn,
halfway though the orchestra. I Charlie Small on tenor trom-
asked if I could have one more chance since I thought I now bone, and Tommy Mitchell on bass trombone. These were the
knew what was wrong. It went fine and he said, “This is cor- some of the most sought-after classical players at the time, and
rect.” Ray Crisara was the top of the heap. That group was a lot of
Winking: How did you get started at ABC? fun.
Wilder: While I was playing Most Happy Fellow on Broad- Winking: Were you playing in orchestras also?
way I got a call to see if I would be interested in subbing over Wilder: Yes. At that time, they did not want the orchestras
at ABC. I subbed quite a bit and was eventually asked if I in the same studio because it would get in the way of the dia-
would be interested in being on staff if they had an opening. I logue so they started using remote control. With studio work,
told them I was and I then got a call saying that ABC had a you never knew what you were going to play when you went
new show coming in and the usual run is seven weeks so I was to work so it was very interesting. You would look on the
told that I could get seven weeks of work. I said yes. At that schedule to see what you were assigned to that week. At the
time, a lot of guys did not want to be on staff or playing Broad- beginning I was a little shy about coming to work since I never
way shows since they thought it was the end of the music busi- knew what I was going to have to play and I was afraid they
ness. would nail me with something I could not play. It then became
I started at ABC around 1957 and was there for about sev- a challenge to come in and play something you had never seen
enteen years. I was there for almost two years as a substitute
and had it not been for Billy Butterfield I would have not been
there at all. Billy was doing what was called a “script show”
which was a soap opera. Bobby Hackett was playing cornet for
that show and was also the leader writing arrangements. He
had a root canal on his front tooth and as a result could not
play at all so they hired Billy Butterfield, who was on staff, to
play for Bobby. Billy wanted to take off to play some job for a
lot more money so ABC told him it was okay if he could find
someone to cover for him. Billy and I had worked together on
a couple of record dates and he liked the way I played and said
if he ever got a chance to throw something my way, he would
do it. About a month after he said that to me is when he called
me to sub for him at ABC. Billy told me to go in and do the
rehearsal and then the show on the air. So when I went in this
very dignified looking man came over and said to me “When
you get through, come by my office to see me.” I thought he
was one of the guys in the crew putting me on, so after the
show I just went home. About a week later I got a call from the
contractor Frank Vagnoni’s secretary saying he wanted to know
if I was available for several dates and when I came in she said
he wanted to see me. I told her that if I saw him I would prob-

30 ITG Journal / March 2007 © 2007 International Trumpet Guild

before, run through it and then play it live on the air. You
became very proficient at sight-reading. There were some com-
ical moments… Mr. Vagnoni’s secretary would tell us that they
needed us on Friday “Ten to One.” I was lucky enough that
when they told me “ten to one” that I knew it meant from
10:00 A.M. to 1:00 P.M. There were a couple of guys though
who thought it meant ten minutes to one. I remember one
instance where everyone was warming up at 9:30 for a 10:00
A.M. rehearsal and one fellow was not around. 10:00 comes
around and he is still not there so Mr. Vagnoni asked if any of
us had seen him. Nobody had so he had is secretary call this
fellows house and his wife said she did not know where he was
either. Now it is 11:30, and he is still not there; 12:00, still not
there. We get to about 12:30 P.M. and he finally walks in. Mr.
Vagnoni asks where he had been. “Don’t you know that you
are supposed to be here?” and then this fellow interjected, “You
told me ‘ten til one,’ I still have twenty 20 minutes before we
start.” They realized that this guy had never worked in the stu-
dio and thought he meant ten minutes before one.
Winking: Were you just working at ABC at that time or doing
work outside of the network?
Wilder: I did other studio work and a lot of jingles since you
could do three or four of them in a day. One memorable job
was playing in a 55-piece orchestra for the Valiant Years, a
movie made for TV about the life of Winston Churchill.
Another was the Metropolitan Opera Auditions on the Air…
contestants would come and sing to see if they were good
enough to work at the Met. Whoever won got to sing as an
apprentice with the opera.
Back then there was a wide variety of things to do. When I
was working in the studios, I would be home practicing some
new book of studies working on segments that were new and
challenging and then the next day, I would get a call to do a
session and when I went to the session the music would be the
same kinds of things that I had just been practicing. This hap-
pened to me many times and it always made my life easier.
Winking: Were you still paying club dates at that time (1957
– 1977)?
Wilder: No, not really… I played the Miss America Pageant
with Abe Osser for twenty-two consecutive years. When the
orchestra finally quit doing that pageant, I was the third
longest musician playing that show. The guys who had been
playing that show had no experience playing operatic literature
and since I had experience at ABC, they hired me. For twelve
years I also did the Tony Awards with the Elliot Lawrence
Orchestra.
Winking: Tell me about the Symphony of the New World.
Wilder: This was the first racially integrated orchestra in
America. It started in the late 1960s. There were some black
classical players who were friends with Ben Steninberg, who
was a fine violinist, and they decided that someone should
open the door to give black musicians who were classically ori-
ented an opportunity to play and develop their craft. Ben was
the conductor and along with the some black classical players
started the orchestra and made it completely integrated, almost
50-50. I was one of the charter members. There were some
really fine musicians in that group… people like Eli Carmen,
one of the world’s great bassoonists at that time. In addition to
playing with Symphony of the New World, I also got the
opportunity to play some with the New York Philharmonic.
Winking: When did the studio work start to dry up?
© 2007 International Trumpet Guild
Wilder: Around 1977. They also stopped using the group
for the Miss America Pageant in 1978 and that was very sad
because we had been there for so long. It was kind of hit and
miss. I started playing Broadway shows again. Around 1980 –
81, I played with the original 42nd Street and that went on for
more than eight years. After that I did whatever came along.
Winking : When did you start with the Smithsonian Jazz
Orchestra?
Wilder: I think 1990. Gunther Schuller was there and was
responsible for my being hired with the group along with
David Baker.
Winking: I know you have performed on a lot of recordings but
I want to talk about some of your solo recordings.
Wilder: I did two albums for Columbia in the 1960s: The
Pretty Sounds and Peter Gunn. I actually did a third with some
arrangements by Johnny Mandel but it was never released. In
the 1950s, when I was working with the Lucky Millendar
Band, I did a couple of recordings under my name for Savoy
including Wilder and Wilder. With Savoy you never knew who
was going to be the leader. They would call you up and ask if
you were available for a session on a specific date and you did
not know what you were going to do until you got there. On
the day of the session they would tell us to pick some tunes we
wanted to play and then at the end of the session they would
tell you that you were the leader which meant you got $50
more. Most recently, I have been recording for Evening Star
Records and I have two recordings on that label No Greater
Love and Alone with Just My Dreams.
Winking: Didn’t you also record a classical record?
Wilder: Alec Wilder (no relation) wrote a trumpet sonata in
the 1960s. I recorded that for Golden Crest Records. When he
asked me to play it, I looked at it and said there is no way I can
play that. He said, “Don’t tell me you can’t play it because most
of what I have written is based on things I’ve heard you play.”
I thought he was lying like a thief but I felt that it was such an
honor to have someone like him want me to play it I managed
to get through it.
Winking: Any final thoughts?
Wilder: I have been so fortunate in my life in that many
people like Billy Butterfield who I mentioned earlier, have
helped me. I was able to play with the New York Philharmon-
ic due to Jimmy Chambers, the first horn player, who was the
contractor. Jimmy and I had played together on some com-
mercials dates and he mentioned that the Philharmonic some-
times needed extra trumpets and said he would give me a call,
and he did. There have been so many people like that in my
life and I am grateful to all of them.
About the author: Keith Winking is professor of music at
Texas State University in San Marcos where he teaches trum-
pet and directs the jazz ensemble. Winking’s degrees are from
Quincy University (BME), Texas State University (MM), and
the University of Texas (DMA). His teachers have included
Raymond Crisara, Vincent Cichowicz, Leon Rapier, and Don
“Jake” Jacoby. Winking has presented solo and ensemble
recitals and master classes throughout the United States, Cana-
da, Sweden, Japan, Switzerland, and Russia. He is a Selmer/
Bach clinician.
March 2007 / ITG Journal 31
 UNDERSTANDING THE UNANSWERED QUESTION
BY JOEL TREYBIG
This article was reviewed and approved for publication by the ITG Editorial Committee.

I
t is now one hundred years since Charles Ives composed swered Question, which speaks to the effectiveness of the work.
The Unanswered Question, and the piece has rightly As trumpet players, we are fortunate that Ives chose our
become a modern standard in the symphony orchestra instrument as the voice upon which the entire composition
repertory. It may seem odd to call a piece “modern” that is now hinges in this compact masterpiece—the actual voice of the
a century old—perhaps this says “unanswered question.” This
more about audiences’ taste than “Few other early 20th-Century pieces by being so, we should ask our-
the piece itself. But consider that selves as performers: what is the
when Leonard Bernstein toured American composers have been pro- composer trying to communi-
Europe, the Middle East, and grammed so often by orchestras large cate to us, as well as his audi-
Russia with the New York Phil- ence, with his composition?
harmonic in 1959, he included and small throughout the world…” Understanding any piece is cru-
The Unanswered Question by cial to a positive performance.
Charles Ives on these concerts as a representative of profound Due to the complexity of Ives’s compositional language, and
American music.1 Few other early 20th-Century pieces by the deceptive simplicity of the solo trumpet part, we must per-
American composers have been programmed so often by haps give more thought to The Unanswered Question itself
orchestras large and small throughout the world as The Unan- prior to performance.
The original sketches of The Unan-
swered Question seem to be from
1906,2 but like much of Ives’s
music, the piece remained relatively
unknown3 and in his stacks of music
until 1927, when he began preparing
his scores to be professionally copied.
Ives made some revisions to the score
in the 1930s, at which time he wrote
that the strings “represent the silences
of the druids, who know, see, and hear
nothing,” the trumpet poses “the
perennial question of existence,” and
the woodwinds search for “the invisible
answer.” All well and good on the sur-
face of things, but how does he achieve
this program within the music? One
need only listen carefully and thought-
fully to discover why the piece works
so incredibly well, as well as why the
solo trumpet has such an impact on
the work.

“Ives composed the piece

to represent three very
different ideas.”
Ives composed the piece to represent
three very different ideas. Even without
his notes to guide the listener, one truly
listening to the work would come to
these same general conclusions. The
Example 1: Analysis of string writing, measures 1 – 14. strings, flutes, and solo trumpet all
The Unanswered Question by Charles Ives © 1953 by Peer International Corporation. operate with widely different rhythmic
Copyright Renewed. International Copyright Secured. patterns and as if in different times or
Used by Permission. All Rights Reserved.
as if in three different layers (although
32 ITG Journal / March 2007 © 2007 International Trumpet Guild
the trumpet and flute parts are interactive, they are also quite
independent and occur in an increasingly differing manner as
the piece progresses). Many of his pieces and sketches from
around 1906 dealt with just such a layering technique. Ives
himself wrote that these works “started out as kinds of studies,
or rather trying out sounds, beats, etc., usually by what is
called politely ‘improvisation on the keyboard’—what class-
mates in the flat called ‘resident disturbances.’”4
The Strings, the “Silences of the Druids”
The strings in The Unanswered Question serve as a near
silent, slowly moving, essentially pulseless canvas over which
the solo trumpet’s “question” and the flute quartet’s “answer”
statements occur. Even a non-musician’s ear will tell them that
the string writing is strongly diatonic, and upon closer listen-
ing one can hear that the only non-chord tones are simple,
such as passing tones, neighboring tones, appoggiaturas, and
suspensions.
Yet one can also hear that while the string writing is quite
diatonic, the harmonic progressions themselves are not typi-
cal5—one could even describe them as weak. The harmonic
progressions move so slowly that they seem to tonicize several
areas, ambiguously fluctuating between G major and C major,
and the use of inversions lessens any strong cadences one
might normally notice in the structure of the piece (Example
1).
The voice leading in the strings creates the smoothest lines
possible—the frequent use of inversions creates stepwise
motion in all four parts for the majority of the piece, further
blurring the sense of tonal “progression.” On the occasions
when leaps do occur, they are usually consonant intervals
(leaps of a 3rd, 4th, 5th, or an octave). Similarly, the scoring is
noteworthy, as the strings are often scored with large intervals
between each of the parts. This “open” writing, along with
weak harmonic progressions, slow tempo, and a nearly inaudi-
ble dynamic level creates an ethereal tapestry over which the
trumpet and flutes interact, and gives the strings an endless,
flowing nature that clearly represents “the silences of the
druids,” and also subtly delineates the form of the back-
ground.6
The Solo Trumpet Asks the Unanswered “Question”
Those who have played (or heard) both the original version
of the work from 1906 and Ives’s revised version of the 1930s
know that the composer changed the trumpet solo in two ways
when he revised the piece: he altered the dynamic scheme and
also changed the manner in which the trumpet solos conclude.
In the original version, the trumpet statement remained
unchanged throughout. Although the second statement has a
triplet bracket on the initial note in this version, this should
not have been printed, as it was apparently Ives’s original idea,
which he later discarded.7 Although the dynamics of each sub-
sequent statement are different, the statements themselves are
static.
In contrast, the copyist for the revised version changed the
rhythm of the statements so that they fit into the time signa-
ture easily, but this was almost certainly done for notational
convenience, not for musical reasons.8 Ives had also decided,
as was indicated in his note to the performers in the revised
version of the piece, that the trumpet player states the question
“…in the same tone of voice each time.” To achieve this, the
© 2007 International Trumpet Guild
dynamics of the first six trumpet statements were changed to
piano, the final statement pianissimo.
However, the most important musical change in the latter
version of the piece is that Ives changed the last note of every
other trumpet statement. In the original version of the piece,
all of the statements ended on B-flat (Example 2).
Example 2: The original trumpet “question” (trumpet in C).
The Unanswered Question by Charles Ives
© 1953 by Peer International Corporation.
Copyright Renewed. International Copyright Secured.
Used by Permission. All Rights Reserved.
In the revised version, statements 1, 3, 5, and 7 end on a C
(Example 3) while statements 2, 4, and 6 end on a B-natural
(Example 4). This change is certainly an important one to us
as players, as it indicates that Ives desired to change the sound
and the impact of the “question.” [Ex 3, 4 here]
Example 3: The revised trumpet “question,”
statements 1, 3, 5 & 7 (trumpet in C).
The Unanswered Question by Charles Ives
© 1953 by Peer International Corporation.
Copyright Renewed. International Copyright Secured.
Used by Permission. All Rights Reserved.
Example 4: The revised trumpet “question,”
statements 2, 4, & 6 (trumpet in C).
The Unanswered Question by Charles Ives
© 1953 by Peer International Corporation.
Copyright Renewed. International Copyright Secured.
Used by Permission. All Rights Reserved.
In examining the original version of the “question” and the
two that appear in the revised version, the character of each
must be assessed to determine what concept Ives wished the
player to impart to the listener. All of the statements in the
original version are identical. By always returning to the initial
pitch, Ives creates a sense of tonal return within each state-
ment. In the revised version, the trumpet solos no longer end
on the starting pitch, and this final pitch itself even alternates
(between a C and a B-natural). This writing creates much less
of a diatonic sound, and makes the statements less stable and
in greater need of reconciliation and a consequent response.
Also of interest is that although the flutes still serve a conse-
quent purpose in the revised version, the trumpet statements
now function in an antecedent/consequent manner in and of
themselves due to their alternating form. This change makes
the trumpet part much more of an independent and separate
layer.
Ives chose to end the piece with a trumpet statement, there-
by omitting a consequent flute response. Furthermore, the
March 2007 / ITG Journal 33
final trumpet statement in the revised version is not the conse- the unchanging nature of the antecedent trumpet statements,
quent statement (ending on B-natural), but the antecedent as well as the string writing.
statement (ending on C). By closing with the antecedent All six of the flute “answers” emphasize half-step dissonances
trumpet statement, Ives in their opening and closing. In
leaves the question unan- “Ives chose to end the piece with a trumpet the first three “answers” one
swered by both the flutes hears the flutes as four inde-
and its own consequent statement, thereby omitting a consequent pendent contrapuntal voices,
statement, and thereby flute response…Ives leaves the question closing with inward contrary
leaves the “question” unan- motion. In contrast, the final
swered twofold. unanswered by both the flutes and its own three “answers” pair the two
One point that the trum-
peter should consider when
consequent statement, and thereby leaves upper voices together and the
two lower voices together, thus
performing this work is that the ‘question’ unanswered twofold.” emphasizing two stronger ideas
even though it is only indi- rather than four individual lines.
cated in the preface to the score and does not appear anywhere The fourth and sixth unsatisfactory “answers” even begin with
on the solo trumpet part, Ives himself wrote that “the trumpet quotations of the trumpet’s “question,” and the rapid tempo
part should be played with a mute unless playing in a very and harmonization change the style of these quotations to a
large room or with a larger string orchestra.”9 Therefore, the sarcastic mocking of the stoic trumpet “question.”
player or conductor must make the decision about what con-
stitutes a “large room” or a “larger string orchestra” when
deciding whether or not to use a mute in performance. The
piece is sometimes performed with the trumpet solo per-
formed offstage, but this may not be what Ives had in mind
since he suggests that the strings be offstage.10
Another point of which the player should be aware is that in
the older 1953 Southern Music publication of the piece, the
very last pitch played by the trumpet is correct (C natural) in
the part and incorrect (B natural) in the score. This is impor-
tant to note, for to play it as written in the score would be to
destroy the antecedent/consequent relationship of the alter-
nating question statements that Ives established in his revi-
sions.
The trumpet part is notated in C, as can be seen in exam-
ples 2 and 3. An instrument in B-flat would work equally well,
and an E-flat or D trumpet could even be used. The choice of Example 5: The first attempted “answer.”
instrument can be left to the performer, based on what other The Unanswered Question by Charles Ives © 1953 by Peer
instruments they might be using on the program, which horns International Corporation.
avoid pitch issues best for them, or which timbre of trumpet Copyright Renewed. International Copyright Secured.
they prefer. If performing the solos muted, the timbre of the Used by Permission. All Rights Reserved.
instrument itself obviously becomes much less of a deciding
factor.
The Flute Quartet Searches for the “Answer”
The flute statements in both versions of the piece
are loosely contrapuntal in nature. With each state-
ment of the trumpet’s “question,” the flutes’ “answer”
changes. Upon hearing the “question” they at first
answer benignly, creating the sense that they are
almost part of the unchanging string texture. But as
the trumpet continues to ask the “question,” the
flutes’ statements become increasingly agitated with
each failed attempt to answer satisfactorily. The
tempo and rhythmic activity increase with each sub-
sequent statement, thus breaking away from the
strings to form their own independent layer. Again,
even without knowing Ives’s program to the piece,
the listener will easily discern the increased conster- Example 6: The fourth attempted “answer.”
nation and frustration when comparing the flutes’ The Unanswered Question by Charles Ives © 1953 by Peer International
first attempt at an answer (Example 5) to later Corporation.
attempts at an answer (Examples 6 & 7). These Copyright Renewed. International Copyright Secured.
increasingly active consequent statements contrast Used by Permission. All Rights Reserved.

34 ITG Journal / March 2007 © 2007 International Trumpet Guild


Example 7: The sixth attempted “answer.”
The Unanswered Question by Charles Ives © 1953 by Peer International Corporation.
Copyright Renewed. International Copyright Secured.
Used by Permission. All Rights Reserved.
Conclusion
Ives was largely content with the string writing in the piece,
as it remained almost unchanged when he revised the piece in
the 1930s. Likewise, audible revisions to the flute scoring were
minor. It is in the changes to the trumpet part that one can
hear the composer’s change of
intent become clear. Then, in fact,
the trumpet part is the key to the “…here Ives presents humankind’s
entire piece.
In the changes made to the
deepest philosophical
trumpet part, we discover that Ives even its typical unsatisfactory answer,
has entirely changed the inflection
of the question itself. Consider that within his own musical
Ives originally scored the trumpet
part to be the same throughout the piece, with no variance in
pitch or rhythm. As such, it is steady, but consistent to the
point of lacking impact or import after hearing it stated sever-
al times. And while it is true that his changes to the piece make
the question less static and more atonal, it may be more than
that.
As it is in an actual verbal conversation, a speaker must alter
the inflection of a repeated question for it to continue to have
impact. So Ives does this with the “question” stated in the
revised trumpet part. Rather than returning to the starting
pitch of the question as he did in the original version, he
changed the questions to end on higher pitches than the start-
© 2007 International Trumpet Guild
ing pitch, then went further by making
every other statement end on an alternat-
ing pitch. The change not only adds vari-
ety, as has been asserted before; it also
mimics the manner in which the human
voice often asks an emphatic question—
with an upward inflection at the question
mark. Ives was a thinking man, and it is
well within reason to think that he would
choose to emulate human speaking pat-
terns when revising the piece. In any case,
con sidering and understanding the
changes that he made to the piece better
prepares us as performers to do the piece
justice in concert and make a stronger
impression on an audience.
The Unanswered Question is benchmark
Ives. Yet unlike many of his larger works
that use musical layers and quotations of
hymns and tunes to present a view of his
world in a stream-of-consciousness fash-
ion, here Ives presents humankind’s
deepest philosophical question, and even
its typical unsatisfactory answer, within
his own musical language. Regardless
of which version of the piece we perform,
it is our charge to communicate the piece
to the audience—a task that is impossible
if we ourselves do not understand the lan-
guage it employs. If the piece is under-
stood by the performers and is played
well as a result, the listener can actually
hear the events that Ives composed
unfold before them: that which is
unchanging, that which adapts, a sense of
the infinite, of futility, and of humanity’s struggle to under-
stand purpose and creation.
About the author: Joel Treybig is currently on the faculty at
Belmont University, where he teaches undergraduate and grad-
uate trumpet students, directs brass ensembles, performs with
the Belmont Brass Quintet,
teaches music theory, and per-
forms in and around Nashville.
question, and He studied with James Darling
and Mary Squire at the Baldwin-
Wallace College Conservatory,
language.” with Scott Johnston at the Uni-
versity of Akron, with Murray
Greig at the Royal Northern College of Music, and with Ray-
mond Crisara at the University of Texas at Austin.
Endnotes
1 Frank Rossiter, Charles Ives and His America, (New York:
Liveright, 1975), 303 – 304.
2 Charles Ives, The Unanswered Question—Critical Edition,
(New York: Peer International Corporation, 1985), com-
mentary 1.
Continued on Page 46
March 2007 / ITG Journal 35
 TRUMPETS IN PARADISE: THE FOURTH IONIAN
SUMMER MUSIC ACADEMY
BY SOKRATIS ANTHIS, GREGORY JONES, AND PANAYOTIS KESSARIS
T
he Greek island of Corfu lies between the nation’s
mainland and the Italian peninsula in the Ionian Sea.
The Romans, the Venetians, the French, and the Brit-
ish have all influenced the island of Corfu over its many cen-
turies of civilization. This unique convergence of European
civilizations resulted in a culture that is unlike that in other
parts of Greece. Among the many contributions of these Euro-
pean visitors on Corfu was exposure to skilled brass playing
and the tradition of municipal bands. In modern Greece, Cor-
fu is well known for its beautiful beaches and elegant hotels,
and as a source of great brass players and teachers. One only
has to look at the professional players in Greek orchestras to
see the influence of Corfu on the Hellenic world of brass. It
seems fitting that the island now hosts an annual event that
brings great brass players and teachers together with students
from around the world to share music and fellowship. The
Fourth Annual International Ionian Summer Music Academy
was an unforgettable experience that included performances,
master classes, lessons, and lectures. The chance to combine
high level instruction and playing in a relaxed social atmos-
phere created ten days of wonderful interaction, both in and
out of the classroom.
The genesis for this yearly summer event is the Melos Brass,
a professional brass quintet whose members all perform in pro-
fessional orchestras in Greece and whose members teach at the
famed Nakas Conservatory in Athens and at the Ionian Uni-
versity on Corfu. Sokratis Anthis, the leader of the project, has
enjoyed a long and illustrious career as the principal trumpet
in the Greek National Radio Symphony Orchestra, the Greek
National Opera Orchestra, The Athens State Orchestra, and
the Orchestra of Colours. Panayotis Kessaris, also a brilliant
trumpet performer, is currently principal trumpet of the
Athens State Orchestra. The Melos Quintet, formed in 1989,
has performed all over Europe and has recorded both standard
brass literature as well as and works of Modern Greek com-
posers.
Joining the Melos Brass for the trumpet seminars were Hans
Gansch, trumpet professor at the Mozarteum in Salzburg and
former principal trumpet of the Vienna Philharmonic; Frits
Damrow, principal trumpet of the Royal Concertgebouw
Orchestra in Amsterdam; and Gregory Jones, trumpet profes-
sor at Truman State University in Missouri, USA. During each
36 ITG Journal / March 2007
day of the academy, students experienced in-depth sessions on
trumpet basics of warm up and technique including ample
demonstration and call and response between the teachers and
students. Other classes were devoted to interpretation, audi-
tioning, performance anxiety, and musical expression. Outside
the classroom, students were able to have informal discussions
with the faculty while enjoying a drink and taking in the beau-
tiful views of Corfu with its historic architecture and pristine
beaches.
Among the experiences for students were daily Stamp warm-
up sessions along with other routines as professors took the
time to go through these important basics with students in real
time. Frits Damrow, a former student of James Stamp, was
especially helpful to students as he modeled correct mouth-
piece buzzing and playing on the trumpet. Hans Gansch
offered students experience on the rotary trumpet with his
won derful playing and discussions on interpretation and
expression. At one point, he played the accompaniment for the
Hummel Concerto on his C trumpet as a student played the
solo trumpet part. Such moments helped students compre-
hend the depth and level of musicianship needed in the pro-
fessional arena.
Students did a lot of playing during the seminar… both
alone and in groups. An important feature of the program was
the availability of quality accompanists during each day of the
classes. These pianists allowed coaching and interpretation of
solo literature to reach even higher levels and also gave the fac-
ulty the opportunity to provide valuable insight into the col-
laborative efforts required in the preparation and performance
of solo trumpet literature with high-level accompaniment.
Each evening, performances were offered both in the Ionian
Academy Auditorium and in the municipal town square. Two
of these concerts featured the Melos Brass and guests playing a
combination of well-known brass pieces and new music. Of
special interest was an original composition entitled Tsakonikos
Dance by Greek composer Alex Katsios for brass quintet and
percussion. This multi-movement work demonstrated the vir-
tuosity of the ensemble as the more heroic qualities of brass
and tympani alternated with rapid technical passages punctu-
ated by mallet instruments. Soprano Maria Milolidaki joined
the group for an evening of opera arias and Greek popular
songs. This unique pairing of an operatic singer and a brass
© 2007 International Trumpet Guild
 Ionian Academy teachers and students
quintet treated the audience to arias from Verdi, Mozart, Puc- com poser Manos Hadjidakis. These beautiful songs were
cini, and Rossini along with Greek songs by the legendary inspired by Greek folk music. Hadjidakis achieved great pop-
ularity writing for motion
pictures and the stage. The
joining of these Greek mel-
odies with the delicately con-
trolled accompaniment of
the Melos Brass and the
beauty of the landscape com-
bined to give the audience an
unforgettable cultural experi-
ence.
The brass faculty joined
forces to perform a feature
concert with percussion that
included a collection of mel-
odies from the opera Carmen
and a beautiful rendition of
the Pavane by Gabriel Fauré.
The sound of the large brass
ensemble is not often heard
in Greece, especially on a
Greek island during the sum-
mer months. These profes-
sional players offered stu-
dents a rare opportunity to
hear orchestral brass playing
on a very high level. Along
with the trumpet faculty, this
concert featured Jacob Slag-
ter, principal horn of the
Royal Concertgebouw Orch-
estra; Michel Becquet, trom-
Ionian Academy Trumpet Faculty, L – R: Gregory Jones, Panayotis Kessaris, Hans Gansch, Sokrates
bone professor from the con-
Anthis, Frits Damrow
© 2007 International Trumpet Guild March 2007 / ITG Journal 37
servatory in Lyon, France; Ben van Dijk, bass trombone pro-
fessor at the Rotterdam Conservatory and at the Royal North-
ern College of Music in Manchester, UK; Jorgen van Rijen,
principal trombone of the Royal Concertgebouw Orchestra;
Walter Hilgers, tuba professor at the Franz Liszt Academy in
Weimar, Germany; Hendrik Jan Renes, tuba professor from
the Rotterdam Conservatory, the Royal Conservatory in the
Hague and in Antwerp; and Melos Brass members Antonis
Lagos, horn; Spyros Farounghias, trombone; and Yorgos
Rarakos, tuba.
Students also performed a feature concert in the Ionian
Academy Auditorium as they joined together in a large brass
group to perform works by Jim Parker, Elgar Howarth, Geoff
Richards, and others. Walter Hilgers, well known for his work
with the Berlin Brass, directed this Corfu Academy student
brass ensemble.
Of great benefit to students was the ability to work with the
professors individually and discuss many areas of music. At
one point, Hans Gansch sat with a student at the hotel pool
and recollected the many times he had performed with Leon-
ard Bernstein and what it was like to play trumpet with him
conducting. Gregory Jones reminisced about his tour with
Wynton Marsalis and the Eastman Wind Ensemble, promot-
ing the Carnaval recording. Frits Damrow offered many stories
from his recent experiences as a principal player and soloist.
These personal stories are vital to student understanding of the
trumpet world and this seminar was rich in such experiences.
Students came from Greece, the United States, Japan, and
from several countries in Europe to participate in the academy.
In addition to daily seminars and nightly concerts, students
Frits Damrow of the Royal Concertgebouw conducts a student ensemble in the municipal square of Corfu
38 ITG Journal / March 2007
also participated in a variety of chamber ensembles that per-
formed several concerts. Many of these concerts were per-
formed in the town square, to the delight of seminar partici-
pants and the general public. By the end of the academy, stu-
dents had made many professional and social contacts with
musicians and music lovers from around the world. The
admin istrator of the program, Efy Triandafyllidou, was a
tremendous benefit to all who participated. Her fluency in
many languages and her care for both faculty and students
helped create a friendly and warm environment that made this
summer music program very special.
Sponsorship for the summer academy by the Municipality
of Corfu, the Ionian University, Nakas Conservatory, and Yama-
ha helped provide a relatively low cost for those who partici-
pated. Students enjoyed housing in beautiful hotels with easy
access to the city and nearby beaches. The atmosphere of the
Greek island in the summer along with access to great teachers
and performers seemed to leave a memorable impression in the
students, many of whom plan to return in 2007 for the next
academy.
About the coauthors: Sokratis Anthis currently performs as
principal trumpet in the Greek Orchestra of Colours, teaches
at the Nakas Conservatory, Athens Conservatory, and is also
on the faculty of the Ionian University in Corfu. Panayotis
Kessaris is the principal trumpet in the Athens State Orchestra
and teaches at the Nakas Conservatory and Athens Conserva-
tory. Gregory Jones is professor of trumpet at Truman State
University in Kirksville, Missouri and was a Fulbright “Artist
in Residence” in Athens, Greece in 1995 – 1996.
© 2007 International Trumpet Guild
 REMEMBRANCES OF MY BROTHER
BY VLADIMIR DOKSHIZER (EDITED BY JOYCE DAVIS)

T
wo years have passed since we lost Timofei. Each day One day after the war had ended, the family gathered at our
in my mind, I speak to him. We were brothers; we house. By this time, Timofei and Zina had moved out of the
were friends. I feel strange writing about Tima in the house and were living on their own. My mother asked Tima to
past tense, as I can hardly believe I cannot phone him and hear play his trumpet. My brother chose to play the “Neapolitan
his voice. Dance” from Swan Lake. Mama cried… at that moment I
Many times I think of our lives together—and now, our lives firmly resolved to become a trumpet player. During my train-
separately. Timofei was my dear brother, not merely through ing I had many good teachers; however, Timofei was always
legal documents, but more so through our souls. At the age of the best and most important teacher to and for me. His
41, our mother, who already had several children, became extraordinary playing, his professionalism, and his regard for
pregnant with me. Timofei, who was seventeen years older everyday life served as the highest example for me. I admired
than I, persuaded my mother to give birth to me. and respected his education, generosity, impeccable manners,
With this large disparity in our ages, and his delicate tactfulness. Timofei
at times Timofei was like a father to “During my training I had many never permitted himself to speak
me. My sister, Zina, told me about badly or make harsh or rude re -
times when I would be crying that good teachers; however, Timofei marks concerning his colleagues or
Timofei would hold me on his knees, was always the best and most students.
playing the trumpet until I hushed Timofei was a very modest man.
crying and fell asleep. One day when I important teacher to and for me.” An example of such was when he
was three years old, Timofei arrived became the principal trumpet of the
home with a tricycle for me. As we were a poor Jewish family, Bolshoi Theatre; he strongly objected to the listing of his
the tricycle was an unimaginable dream for me. I was radiant name, Dokshizer, to be placed first in list of the Bolshoi trum-
with joy. Years later Zina told me that Timofei had originally pet players, particularly before the brilliant trumpeter Naum
saved the money to buy a bicycle for himself. Instead spent it Polonski. In the Russian School of Brass Instruments, it was
on a tricycle for me! Polonski who set a new standard for playing, particularly unit-
We had a large, strong family: our mother, Lubov Naumon- ing the sonorous and brilliant trumpet sound with the fluency
va Slezova, was very kind, tender, and caring. Our father, of the cornet.
Alexander Tevelevich Dokshizer, was a man who was strict and My brother took a great interest in his profession. He knew
reserved in nature. Our sister Zinaida
(Zina), a beautiful and smart young
woman who carried her beauty, out-
wardly and within herself, into her
old age. Then there was Timofei. Next
came our brother Lev, a brooding,
serious man countered by Abraham, a
tall, bespectacled, cheerful and happy
fellow who was undoubtedly an ex-
tremely talented musician. Then I fol-
lowed. Lev (born in 1923) volun-
teered for the army at just seventeen
years old. During the war, life was
very difficult in Russia. Lev was killed
by a sniper’s bullet in a battle near
Orlov. He was nineteen years old
when he died. Our brother Abrasha
(Abraham, born in 1925), who stud-
ied with the revered trumpet professor
Mikhail Innokentievich Tabakov
(Timofei’s teacher), enlisted in 1943
despite his very poor eyesight. He was
lost during the war, and our inquiries
always received the same reply: “miss-
ing in action.” My mother waited for
her Abrasha until the end of her life;
she refused to believe he was dead. March 2006 memorial concert commemorating the one-year anniversary of
Timofei Dokshizer’s death

© 2007 International Trumpet Guild March 2007 / ITG Journal 39

 the family of Timofei Aleksandrovitch Dokshizer;
his son Sergey (Serezha) was a bassoonist, and my
son, Alexander, played clarinet. Unlike Alexander,
who came to the Bolshoi Theatre after Timofei and
I had retired, Sergey (Serezha) came to the Theatre
at the height of his father’s fame. And many mem-
bers of the orchestra had their own impressions of
the Dokshizer triumvirate. There was an occasion
when all three of us—Timofei, Sergey, and my-
self—were all to play in the opera Pikovaya Dama
(Tchaikovsky, The Queen of Spades). Timofei played
the first trumpet part, his son was first bassoon, and
I had to play the signal at the beginning of the
Third Act named “Caserne.” Timofei had per-
formed this opera for many years before we made
“our triple debut.” After the opera we came to un-
derstand just how nervous Timofei was. He was
Timofei and Vladimir Dokshizer in 1957
white as a sheet when he came to congratulate us on
our premiere. This debut also resulted in a funny
the entire repertoire of the Bolshoi Theatre, and often, carried
story. Boris Hykin was a marvelously intelligent musician with
away by the music, he would play the violin or cello parts.
quite a sense of humor. Naturally, he made a joke about “The
This, however, created a curious incident. Ilia Granitski, one of
Three Dokshizers” in one opera. During the performance
Timofei’s Bolshoi colleagues, played a performance of Sleeping
before the Third Act began, Hykin bent over to the principal
Beauty immediately following one that Timofei had per-
viola and whispered something to him. Later Alexander Shei-
formed. In the “Entr’act” the brilliant conductor Yuri Faier,
din, who was concertmaster, told us that Hykin had grinned
known for his inspired and emotional performances, called out
and said: “Dokshizers encircle me. One is from the right (Tim-
to Ilia Granitski, “Why didn’t you play your part?” Granitski
ofei), the other is from the left (me at the scene) and the third
responded to him “I did… I played everything for the cornet.
is in the center (Sergey playing bassoon).”
I don’t have what you say is in my music.” Faier, exasperated,
Timofei was always proud of us. In 2001 he came to Mos-
exclaimed, “Why is it that Dokshizer plays music that you
cow before his 80th birthday anniversary to record his arrange-
don’t?” Many years later I witnessed this for myself. Timofei,
ments of Scriabin’s music. This is now a well-known collec-
lost in his dreams, continued playing on with the violins long
tion, dedicated to ITG trumpeters. The Gnesins College
after the cornet part ended. I sat next to him, playing second
administration asked Timofei to give a master class for the
cornet.
trumpet students. My brother eagerly agreed, for the Gnesins
I also recall another incident about the well known trumpet
College was his alma mater where he both studied and later
signal, which is repeated many times in Rimsky-Korsakov’s
lectured for many years. In 2001, I was the only professor of
opera Skazka o Tsar Saltane (The Tale of the Tsar Saltan). The
the trumpet department at the Gnesins College, and my stu-
orchestra pit is dark as is the stage; only the conductor’s baton
dents anxiously participated in my brother’s master class. Inci-
is lighted as it was during a change of scenery. In the darkness,
dentally, Petr Kondrashin, the son of the celebrated conductor
the trumpet signal sounded… but in the wrong key! The day
Kiril Kondrashin, and was also a
this happened was on December 13,
professional sound technician, re-
and we all knew he had a good rea- “Timofei had the strength to endure,
corded Timofei’s masterclass. This
son for this mistake. We had permit-
ted ourselves to have some dry white never complained and always tried
recording is still very popular
among music lovers.
wine during the “Entr’acte.” It just to help and lend his support.”
I remember the time of our
so happened that we were celebrat-
mother’s illness. It was a difficult
ing December 13, Timofei’s birthday!
time for our family. We took turns sitting with her by her bed,
Timofei was held in great esteem at the Theatre and had
trying our best to relieve her suffering. On one of the most dif-
considerable authority. Sometimes his word would determine
ficult days, Tima changed places with my wife, Tatiana, and
the destiny of a performance. During a performance of La
me. We wanted to stay because we all saw how bad our moth-
Traviata, a young and inexperienced conductor got lost, leav-
er was, but Tima persuaded us to get some rest. That evening,
ing the possibility of total chaos for everyone. However, Tim-
our dear mother passed away. We were only to know of her
ofei gathered the brass section together, pointed where to play,
death the next morning. Timofei had the strength to endure,
and the performance was saved.
never complained, and always tried to help and lend his sup-
In some families, a profession succeeds from father to son.
port.
Our family is one such family. As I said earlier, my father and
One of our best friends and colleagues, Joseph L. Zlatkin,
my brothers were musicians, and this tradition is continued
now lives in Israel. A former soloist with the Philharmonic
through our children. However, it did not mean all of us
Orchestra of Minsk in Belarus, Joseph was a brilliant trum-
would work in the same orchestra. The former Soviet Union
peter and a very good teacher. He taught a group of eminent
encouraged workers’ dynasties, but not in creative professions.
musicians, many of whom now live and work as professionals
Nevertheless, we all managed to work in the Bolshoi Theatre,
all over the world. Joseph had a wife, Olga, a wonderful, kind
each winning our respective audition competition. We were
40 ITG Journal / March 2007 © 2007 International Trumpet Guild
woman, who always openheartedly wel-
comed us to her home. Recently Olga died.
While she was seriously ill, Timofei phoned
her often. On one of the hardest days in her
life, he phoned Olga to offer her support.
Timofei played the trumpet to her over the
telephone, and then they both cried.
Since the 1980s the Bolshoi Theatre has
had a violin ensemble. The group has per-
formed successfully in Russia and all over
the world. Timofei often participated in
their concerts. In 1981, Timofei’s jubilee
was celebrated on the Main Stage of the
Theatre. That was the first and perhaps the
last time that this great stage was given over
to an orchestral musician. (See picture on
page 37, Memoirs of Timofei Dokshizer. -JD)
Julius M. Reentovitch, the concertmaster of
the orchestra’s violin section, served as the
group’s leader. When Julius passed away,
Timofei was asked to serve as the leader of
the group but refused the position. Timofei Dokshizer in the late 1990s
String players often asked Timofei to thiness throughout his life. It is very sad to say, but many of
teach them, especially before competitions. However, he gave these people were among his friends, students, and colleagues.
them polite and very tactful refusals. I remember only Perhaps this may be the destiny of all great talents. Timofei
one time that Timofei Dokshizer should rank among
agreed to teach a string
player, his friend Juri
“The man asked my brother if he knew Timofei the great musical talents of the
modern era. I hope his name
A. Ostrin. The result Dokshizer. ‘I have heard about him,’ answered will be recognized throughout
was great! Juri became
principal bass in the Tima. Then the drunken man proudly claimed concerts, competitions, and fes-
Russia before long. I hope that
Bolshoi Theater. Tim- he himself was the famous Dokshizer!” tivals will be established under
ofei had a great talent, his name, and that his books
but he was a very modest person until the end of his life, and musical recordings will continue to be available to future
believing he had no right to look down on other people, to generations. Then everyone will be able to enjoy the marvelous
teach or change anyone. “Golden Trumpet” sound of the great musician, my brother,
I remember a very funny incident. Timofei liked to go on Timofei Dokshizer.
vacation to Lithuania because, I believe, the country’s climate
suited him the best (later in October 1990, he moved there as A note from Joyce Davis:
his permanent residence). One time he went to Lithuania To my dear friend Vladimir,
because a local brass band invited him, a world recognized star, The name and the musical genius of your brother Timofei
to participate in their concert. Timofei agreed. He practiced is known worldwide. Undoubtedly, his glorious trumpet
regularly, preferring to practice in the open air. People came resounds throughout the Heavens.
and stayed to listen to the magical trumpet sounds. One man
was listening very carefully and then he gave his critical
remarks to Timofei telling him the “right way” to play trum-
pet. Timofei listened very attentively during the lesson. Then
they parted, both satisfied. The next day my brother saw his Make Plans Now to Attend
“teacher” playing in the local brass band. The very embarrassed
musician apologized incessantly. After the concert they
laughed together over this story.
2007 ITG Conference
May 29 – June 2, 2007
Tima always took his trumpet with him. One time he went
to play a concert in Moscow, commuting from his summer-
house near the city. On the train a tipsy man who sat opposite

University of
him asked what kind of instrument was in the case. “This is a
trumpet,” said Tima. The man asked my brother if he knew
Timofei Dokshizer. “I have heard about him,” answered Tima.
Then the drunken man proudly claimed he himself was the
famous Dokshizer!
It remains that many people, over time, tried to use his name
Massachusetts
for their own gain, and some took advantage of his trustwor-

© 2007 International Trumpet Guild March 2007 / ITG Journal 41

 BERT’S BASIC BRASS TRUMPET CAMP
BY JOHN IRISH
A
weeklong camp totally devoted to the trumpet: Wow!
Include some of the top trumpeters in the country,
excellent teaching, master classes, and concerts, and you
have trumpet heaven. Geared for the high school player, Bert
Truax, nationally known soloist and retired second trumpet of
the Dallas Symphony Orchestra, has put together Bert’s Basic
Brass Trumpet Camp. The 2006 trumpet camp was the second
annual and featured Philip Smith, Marvin Stamm, Jon Lewis,
and Richard Giangiulio, as well as Truax. The camp presented
each guest artist for an entire day in both
master classes and in an evening concert.
The students had a daily group warm-up
and theory class, trumpet ensemble rehear-
sals, and master classes and concerts by the
guest artists. The afternoon master classes
were open to the public, and the evening
concerts were also free. All students were fea-
tured on the final afternoon concert as mem-
bers of various trumpet ensembles. Held in
the superb space of Northridge Presbyterian
Church in mid-town Dallas, the trumpet
camp offered a wealth of information, great
music, and a chance to get to know—as well
as hear—the top trumpet artists. It was an
excellent opportunity to really improve one’s
playing. Next year’s camp will be bringing
back Jon Lewis, Marvin Stamm, and Gary
Radtke, and will feature Adolph Herseth. Bert Truax
This year’s camp will be held June 18 – 24,
2007. See Truax’s web site (http://whiterockmusic.com) for
more information by clicking on the link to his trumpet camp.
Daily Activities
Truax began each morning warm-up by playing soft long
tones to work on response and control. Monday morning was
the first introduction to the James Stamp warm-up. The
advantage of the group approach was that everyone could get
comfortable learning something new, without feeling self-con-
scious or being singled out and “put on the spot.” The result
was a much more relaxed and natural tone production. This
session featured a typical Stamp routine. Truax played first and
then the students answered. Concentra-
tion on a beautiful, well-centered sound “…it’s not just the mouthpiece, or piece, leadpipe, and bell. Many
was emphasized and the results were
successful. It was amazing to hear how the leadpipe, or bell that makes the mouthpiece, or the leadpipe, or
much better everyone sounded from the a difference, but the matching of bell that makes a difference, but
first day to the final warm-up session.
Brian Brown, a top Dallas freelance all three…” Radtke
horn player, presented a series of music
theory lessons. Over the course of the week he covered key sig-
natures, triads, inversions, transposition, and basic intonation
tendencies. It was outstanding that the camp included this
very important material for the campers.
All students were members of a trumpet ensemble. Led by
the camp faculty, an interesting and engaging mix of repertoire
42 ITG Journal / March 2007
was rehearsed all week and then presented at the final concert.
The importance of learning to play in a section and/or ensem-
ble was a significant part of the week’s offerings.
Truax Master Classes
Monday morning and afternoon classes featured camp
founder Bert Truax. In the morning, students performed solo
repertoire. Emphasis on breathing and phrasing was the order
of the day. Although the initial playing for each other created
understandable nervousness for the students,
everyone performed at a high level. The stand-
out of the morning was eighth-grader Daniel
Gerona performing the first movement of the
Hummel Trumpet Concerto.
In the afternoon class, Truax explained his
approach to playing and teaching. “The qual-
ity of your trumpet playing is directly related
to your daily approach to fundamentals,” he
explained. Too much time is wasted “warming
up” without thought to what you are doing, or
why you are doing it. Learn to be an active lis-
tener during your routine. Members of the
audience came up to work on this and showed
marked improvement.
Radtke Master Classes
Gary Radtke, founder and manufacturer of
GR Mouthpieces, talked about how his scien-
tific approach to mouthpiece design has re-
sulted in a product that is unmatched in efficiency and per-
formance. Many professional trumpet players across the coun-
try now use GR mouthpieces.
Talking about the science of acoustics to a group of young
trumpet players might sound like an impossible task, but
Radtke did a great job. He used his unique sense of humor and
timing to hold everyone’s interest, as well as to give solid advice
on performance practices. “Knowledge is power,” he said, and
all came away with a greater knowledge and understanding of
how brass playing works and what it takes to be an efficient
player.
The afternoon class focused on the importance of matching
the player with the proper mouth-
players aren’t aware that it’s not just
the matching of all three to the
player that truly creates the most
efficient combination. Radtke em-
ploys a comprehensive but simple series of tests to determine
the ideal synergy between player and equipment.
Jon Lewis Master Classes
If you don’t know him by name, you’ve no doubt heard his
playing on many film and TV scores. Noted Los Angeles trum-
© 2007 International Trumpet Guild
peter Jon Lewis spoke on what it takes to be a successful
recording artist. It took about ten years for him to fully “break- the eight-trumpet ensemble played Jayhawk Fantasia by John
in” to the L.A. scene. Lewis related that to succeed one must
be able to read anything with “the right notes, at the right
time, in the right style.” He considers himself a jack-of-all-
trades, playing in a wide variety of ensembles and types of
music.
Lewis stressed the fundamentals of trumpet playing as a cru-
cial part of successful performance. He felt that we should all
seek to develop a well-centered sound. Some of the basics he
stressed included buzzing the mouthpiece (as in Stamp stud-
ies), playing and buzzing scales, soft attacks, and focus on
sound production. Lewis next covered equipment. For a typi-
cal recording session he takes a B-flat, C, and piccolo… he also
brings an E-flat, flugelhorn, and cornet. One must be prepared
for anything! For instance, he normally carries eight straight
mutes in his bag. Lewis talked about breathing and the impor-
tance of increasing lung capacity. Learning to make better use
of one’s air will always result in a better sound. Many questions compression and proper tongue position for clean articulation,
were asked about the range of his experiences in the recording
studios and the people with whom he has worked. Lewis
offered a personal, authoritative glimpse
into the life of the recording studios at “…you should play with author- posture/playing stance. His attention
the very top echelons.
Lewis also presented video presenta- ity and display pride in your brought instant improvements in
tions of some interesting recording ses- musical bearing.” Giangiulio
sions. The ability to see some behind-
the-scenes activities in the studio was a rare treat. Soundtracks
featured in the video were John Williams’s NBC TV News
theme, The Matrix Reloaded, and Superman Returns (main
title). He mentioned a web site (http://soundtrack.net) one
can check out to find out more on the latest in the world of
soundtracks.
Lewis in Recital
Lewis’s evening concert began with a work for eight trum-
pets, featuring the artists and faculty of the trumpet camp. Mt.
Oriad by Carl Johnson opened with a soaring, lyrical solo line
played by Lewis. The work combined the driving rhythms and
bold harmonies from the rest of the ensemble to form an excit-
ing start to the evening. Allen Vizzutti’s Cascades (for unac-
companied trumpet) received an incredible performance by
Lewis. The fast-moving lines and wide leaps that permeate the
piece were played effortlessly and very musically. Richard Hal-
ligan (formerly of Blood, Sweat & Tears) wrote the next piece
titled Meditation. Lewis’s accompanist for this piece was David
Dubiel, the pianist for the Fort Worth Symphony. The piece’s
arpeggiated piano ripples provided a reflective companion to
the lovely, expressive trumpet line. The duo then played Viz-
zutti’s Andante & Capriccio for trumpet and piccolo trumpet.
The difficult leaps, range, and rhythms were no problem; all
were smoothly and expertly handled. As if things couldn’t get
much harder, he then played Hans Werner Henze’s Sonatina.
Written for trumpet alone, the difficult first movement sound-
ed effortless. His consistency in sound and technique over the
entire range of this virtuoso piece was unbelievable. The pop-
ular Sonata by Eric Ewazen was given a glorious performance
from both artists. Lewis’s abounding artistry amazed all in
attendance; Dubiel was equally impressive in the challenging
piano part. Lewis displayed a full, rich sound and impeccable
intonation throughout. One couldn’t ask for more dazzling
© 2007 International Trumpet Guild
and musical playing. Recalling his University of Kansas roots,
Prescott. Constantly-moving lines and energetic rhythms
infused the whole range of sounds and treated all to a thrilling,
flashy piece for trumpets. Spanish Trumpets, for two trumpets,
guitar, and percussion, by Bert Truax, was given its world pre-
miere. Flowing, quasi-improvisatory lines (beautifully played
by Lewis and Truax) unfolded into a fleeting but challenging
double-tonguing section. This exhilarating new work received
an inspired performance. A very appreciative audience gave
Lewis a standing ovation for an unforgettable night of trumpet.
Giangiulio Master Classes
Former principal trumpet of the Dallas Symphony Orches-
tra Richard Giangiulio presented a morning master class. He
began immediately working with students who performed a
variety of repertoire with pianist, David Dubiel. Giangiulio
demonstrated a multitude of helpful techniques such as good
correct embouchure placement, relaxed breathing, how to tune
the trumpet, getting the horn off the face (to relieve the top lip
for better endurance), and proper
to musical phrasing and dynamics
everyone’s playing. In single or mul-
tiple tonguing, he stressed the impor-
tance of the ability to substitute a “k”
syllable at any point and explained how crucial it is to be able
to play any passage at any tempo. Giangiulio was emphatic
that you should play with authority and display pride in your
musical bearing. The trumpet is historically a bold, noble
instrument and it should be performed as such. A trumpeter
must have a wide variety of articulations on one’s palette to
perform any passage with the proper style. He likened differ-
ent aspects of playing as our friends or as enemies: air, articula-
tion, and compression are your friends… the #1 enemy is too
much pressure. He suggested to all the participants that they
heighten their concentration and focus during practice time—
a skill that will benefit them in all aspects of life, both in the
present and the future.
Richmond on the Alexander Technique
Phyllis Richmond, the only certified Alexander Technique
teacher in the Dallas/Ft. Worth metro area, has been teaching
the Alexander Technique in the North Texas area for over 15
years. Her first words of wisdom: the most important instrument
is yourself—not the trumpet.
The three most salient points to that end were:
• Awareness of what you’re doing
• Stop doing things that are detrimental
• Organize yourself—to open up an activity instead of to
close it down
Richmond had students simply sit down and stand up,
noticing the movement of the neck during each movement.
After explaining the basic anatomy of the spinal column, Rich-
mond worked with students, aligning the neck, lengthening
the spine, and adjusting posture. Each student then played
trumpet after her tweaking. All participants produced a fuller
sound with a more relaxed production. The need to avoid ten-
sion was emphasized, including the beginning of any simple
March 2007 / ITG Journal 43
action such as taking up the listen to a wide variety of music.
trumpet or bringing the trum- Assisted by Stefan Karlsson (profes-
pet to a playing position. Play- sor of piano at the University of
ers need to be certain the inst- North Texas), the two began with
rument comes to them while Cole Porter’s I Love You. Their clear
they are in proper position. and easy virtuosity set the bar very
You need not reach or bend to high for another day of phenomenal
go towards the horn. A com- trumpeting. Communication through
mon problem with trumpeters careful listening was demonstrated
is a tense neck and thus a thin- in the way the duo played off of each
ner sound; she pointed out that other’s ideas. A number of students
the embouchure is not the then played for Stamm; his insight-
neck and worked with students ful comments resulted in direct im-
to separate the two muscle provement. Comments and observa-
groups so that both can then tions included the importance of soft
function properly. Richmond practice and legato tonguing, daily
also had a student lie down and flexibility studies, good contrast with
experience the Alexander Tech- dynamics, playing the music way
nique in the prone position to Phyllis Richmond demonstrates the Alexander Technique you would sing it, not being afraid to
further release tension and put space in a solo, and careful atten-
relax the back and neck. This session provided very helpful tion to phrasing and the way one plays a melody. More effi-
information on how we can all approach the trumpet with less cient use of the air was a popular subject. Stamm encouraged
effort. students to keep it simple by just blowing through the instru-
The Truax Songbook ment. He encouraged all to practice with a particular model
sound in their head, always striving to achieve that sound.
Bert Truax composed all of the music and was also the fea- Stamm felt that scales (two octaves) are an important part of
tured artist in the evening concert titled The Bert Truax Song- our practice, not only to help develop our technique, but also
book. Accompanied by an excellent rhythm section and violin- so our ears can hear in each key.
ist Sarah Carmichael Truax, the repertoire for the concert was The afternoon session was geared toward subjects and ques-
that of spiritually-inspired works. In addition to the lovely tions brought up by the students. He discussed in further
sounds of tuneful devotion, there were detail his life as a New York trum-
plenty of fireworks with flashy fanfare-like “…Stamm encouraged stu- peter in the early days; early free-
lines, speeding lines on the piccolo and C lance and substitute gigs led to
trumpets, and driving rhythms from the de n ts to stay involved in more regular work in the studios.
entire group. Throughout the evening, a
nice variety of music was performed includ-
music even if they choose not He pointed out two traits that
added to his success: respect for
ing songs that featured the fine vocals of to make the trumpet a career.” those with whom he was playing
James Kings. Along with B-flat and C and that he was content to play a
trumpets, a soaring flugelhorn graced Comin’ Home; a pocket supportive role with great stylistic versatility. Stamm felt that
trumpet (blue in color!) added a jazzy feature on Jesus, Hear my success is measured by being fulfilled by pursuing something
Call. Even a five-string electric violin was heard on a couple that we enjoy. Even the top professional trumpet players prac-
songs. Sea of Treasures, the title cut from one of Truax’s CDs, tice every day. However, the ins and outs of the trumpet pro-
was particularly heartfelt. The fession can’t be learned in college;
concert concluded with Praise they must be learned through the
the Lord, an up-tempo tune hard knocks of experience. When
that got everyone’s toes tap- asked about how he learned to
ping. improvise jazz solos, Stamm start-
Stamm Master Classes ed off by copying solos from
records (by ear). He continued to
Jazz great Marvin Stamm develop his ear by soaking up all
was featured on a day devoted the music around him while his
to jazz. Stamm talked about his solos grew in sophistication as he
background as a studio musi- kept at it.
cian in NYC and the years he Stamm encouraged participants
spent in big bands. He now to stay involved in music even if
prefers playing with small they choose not to make the trum-
groups and performs around pet a career. He urged students to
the world in that setting. Stat- examine how the trumpet relates
ing his background is that of a to life and conversely how life
classically trained jazz player, relates to the trumpet. Learning to
he suggested that we should all Marvin Stamm play the trumpet takes hard work,

44 ITG Journal / March 2007 © 2007 International Trumpet Guild

but that is where the joy comes from; the same thing is true in
life. Anything worth doing well will entail genuine effort and
should involve respect and responsibility to others. Bassist
John Adams joined Stamm on a performance of Sonny
Rollin’s Doxy, serving to whet the audience’s appetite for the
evening concert.
Stamm on New York Jazz
Marvin Stamm performed with the John Adams Trio, com-
posed of Stefan Karlsson, piano; John Adams, bass; and Ed
Soph, drum set. This tremendous quartet glided through stan-
dard jazz repertoire that included Symes/Jones’ There is no
Greater Love, Recordamé by Joe Henderson (played in a fast
Latin feel), and an interesting waltz ver-
sion of Rogers and Hart’s Have You Met
Miss Jones.
“Soft practicing is essential, espe-
Stamm took time to explain the ideas cially when you have to play #5. That got everyone’s attention!
behind what makes a jazz combo click.
He noted that the combo setting takes loudly much of the time.” Smith involved orchestral excerpts. Smith
the form of a conversation (hopefully
among equals and in a common language). Much like learning
a language, there is give and take among the various voices.
The subject under discussion is the tune, each player gives his
ideas on that subject (through one’s instrument), and the con-
version then takes on its own life.
The tender Van Heusen/Burke ballad But Beautiful was gor-
geously and sensitively played; they finished up with Alone
Together, by Dietz/Schwartz, done in a
fast samba. Stamm’s mellifluous play-
ing covered the entire range of the
trumpet as he displayed equal comfort
in all styles. His beautiful sound, in-
ventive phrases, and monstrous runs
delighted the enthusiastic crowd. The
trio members were certainly equal
partners in the creative drive that de-
fined the evening. There is definitely a
thriving jazz scene in Dallas, but on
this night the hottest jazz in town was
at the trumpet camp!
Philip Smith Master Classes
Philip Smith, principal trumpet of
the New York Philharmonic, started
off by talking about our most impor-
tant asset: sound. We should be able to
sing a big, fat sound and then put that Philip Smith
same rich “Gabriel tone” through the
horn. In fact, he had all the students sing a nasally, thin
sound—as an example of what not to sound like. Then, by
contrast, he asked everyone to support the voice with a richer,
darker sound. Breathing should be big and full, as in a yawn.
Throughout the master class, Steven Harlos provided excellent
piano accompaniment for the participants.
Smith’s observations included: avoid tightness in the upper
body… it just shuts down the sound; take bigger breaths and
keep the air moving through the horn; work with a metro-
nome for better time and to train your fingers to be in control
(to prove his point, Smith played the fast variation of the Car-
nival of Venice with only one finger!); on initial attacks, the
tongue must be in position to release the air; upward slurs
© 2007 International Trumpet Guild
must grow out of the lower note (as in a basketball player’s
position before going for and then completing a slam dunk);
play the last note of a slurred group full length; double-
tongued passages should have air blowing through them so as
to not get “pecky;” short notes are tongued “dah” not “dat;”
know your trumpet part but also know the piano part.
We should constantly have a movie or soundtrack going in
our mind when we play—tell a story. Soft practicing is essen-
tial, especially when you have to play loudly much of the time.
When asked about what he looks for in orchestral auditions,
he mentioned sound and rhythm; those are the two things that
knock out most people. Intonation and musicality are also cru-
cial elements to develop once sound and rhythm are secure.
The afternoon session started
with Smith playing the opening
fanfare from Mahler’s Symphony
Following that, the afternoon’s fare
felt that the best way to practice
excerpts is to listen more than you play. Listen carefully to the
sound of the trumpeter on the recording and put that sound
into your head when you play. Great playing should be inspi-
rational. God has given us all gifts and we should share those
gifts with others. Smith then said he practices in multiple ses-
sions rather than all in one sitting. He has had to cut back on
his teaching to have more time for practicing. Regarding
equipment, he plays Bach trumpets
because they work for him. He isn’t
concerned with what others play, only
that they sound good on whatever
equipment they have.
Some of the areas he covered with
the students included maintaining a
strict rhythm, good pitch, keeping a
strong musical line going so that you
can express yourself in the music, fill-
ing out the sound, and placing notes
where they belong just like putting a
can on a shelf. Smith felt that, when
learning a piece, it is a good idea to
outline the important notes—making
certain those key pitches sound good;
then fill in the other notes to complete
the line. He was very impressed with
the high quality of the students who
played for him. Smith also advocated
practicing bending notes so we can gain better control over the
pitch. Listening to Philip Smith play orchestral excerpts was
truly an inspiration for all in attendance.
Philip Smith in Recital
Trumpets everywhere! The evening’s concert featuring Philip
Smith began with Legacies of Honor, by Bert Truax, a piece for
five trumpets, timpani, snare drum, and organ. It’s a powerful,
noble work that uses trumpets as a voice of heraldry and, at
times, solace. Its themes are based on the music and lives of
West Point Military Academy buglers. Two of the five parts
were soloistic and were played by Smith and Truax with rever-
ential authority. Smith then took the solo stage with pianist
Steven Harlos, who proved to be a wonderful collaborator
March 2007 / ITG Journal 45
throughout the concert. They performed Intrada by Joseph
Turrin, written specifically for Smith; his beautiful sound and
impeccable phrasing were amazing. Originally written for the
Childs brothers, Turrin’s Arabesque was performed by Smith
and Truax. The two provided plenty of flashy fireworks with
all fingers flying on this fun piece. Truax’s In His Light, written
for five trumpets, percussion, timpani, and organ offered a
hymn-like change of pace. The flowing melodic lines and
grand fanfares made for a stirring performance. The sound of
trumpets ringing through the church was truly a special
moment.
Smith and Harlos then collaborated on a flawless per-
formance of Georges Enescu’s Legende. Turrin’s Four
Miniatures (originally written for Robert Sullivan) was next
on the program. “Fanfare,” the first movement, evoked an
eerie atmosphere in contrast to the undulating but melodic
second movement, “Intermezzo.” “Canto,” a sparse and
moving song, was lovingly played on flugelhorn. The lively
finale titled “Tarantella” showed off Smith’s fabulous
technique, sound, and artistry.
There’s a Great Day Coming by Terry Everson featured Smith,
Truax, Stamm, and three faculty members. This difficult work
was based on a familiar hymn-tune and featured jazzy, angular
lines. The ensemble swung throughout. An immediate standing
ovation was but a small indication of the unbelievable
trumpet sounds heard in the concert.
An encore, written by Truax, demonstrated that trum-
pets can play not only the normal fanfares and heroic parts,
but violin parts as well. Titled No Strings Attached, the piece
was a lighthearted look at string-part snippets from Beethoven,
Rossini, Wagner, Strauss, and other masters. The audience
loved it and showed their appreciation warmly. The concert
was a fabulous ending to a memorable camp.
About the author: John Irish is associate professor of music
at Angelo State University in San Angelo, Texas. Irish
retired from a distinguished career in the U.S. Air Force band
system, in which he performed throughout the world. He is
ITG MEMORIAL
SCHOLARSHIP FUND
The Memorial Scholarship Fund was created to
give ITG members an opportunity to contribute
to annual ITG Conference Scholarships. Members
will receive a specially designed ITG lapel pin for
a donation of $75 or more. To donate to the fund,
send a check (write Memorial Scholarship Fund
on the memo line) to: David Jones, ITG Treasur-
er, 241 East Main Street #247, Westfield, MA
01085-3307 USA.
46 ITG Journal / March 2007
Make Plans Now to Attend
2007 ITG Conference
May 29 – June 2, 2007
University of Massachusetts
Unanswered Question continued from page 35
3 Henry Cowell arranged for the first publication of The
Unanswered Question in 1941. Elliott Carter arranged for
the first certain performance of the piece on May 11,
1946, at the Second Annual Festival of Contemporary
Music at Columbia University, and was performed by a
chamber orchestra of students from the Juilliard School.
In Vivian Perlis’s “Charles Ives Remembered; an Oral His-
tory,” Carter recalled that Mrs. Ives said that Charles had
requested that the performance not be called a premiere
performance of the work to be fair to the theater musi-
cians who may have played it between acts of theatrical
works in their town of Danbury, CT.
4 Charles Ives, Memos, W.W. (New York: Norton and
Company, Inc., 1972), 61.
5 The archetypal tonal progression in art music being built
around iii – vi – ii (iv) – V (viiº) – I.
6 When referring to the revised version of The Unanswered
Question, the opening thirteen measures clearly comprise
the first section of the piece. The second section (mm.
14 – 26) is a verbatim restatement of the first section, with
new material layered above the strings in the trumpet and
flute parts. For most of the third section (mm. 27 – 44),
the viola is paired with the cello in 10ths, moving prima-
rily in contrary motion to violin 1. The fourth section
(mm. 45 – 52) includes a descending bass line that ulti-
mately reestablishes G major at the tonal center, as the
piece began. The fifth and final section is the remaining
nine measures (mm. 53 – 61), and primarily utilizes only
G major and C major chords above a sustained pedal G
played by the cello and basses.
7 Charles Ives, The Unanswered Question—Critical Edition,
(New York: Peer International Corporation, 1985), com-
mentary 10.
8 The notational irregularities between the statements, and
between the several sources, are thoroughly documented,
compared, and considered by Paul Echols and Noel
Zahler in “The Unanswered Question—Critical Edition”,
published by Peer International, 1985.
9 Charles Ives, The Unanswered Question—Critical Edition,
(New York: Peer International Corporation, 1985), com-
mentary 5.
10 Ibid, 10.
© 2007 International Trumpet Guild
 THREE DECADES AND COUNTING
IN CINCINNATI:
AN INTERVIEW WITH PHIL COLLINS
BY ADAM HAYES
T
he 2004 – 2005 orchestra season marked trumpeter
Phil Collins’s 30th anniversary with the Cincinnati
Symphony Orchestra and Cincinnati Pops. During
his tenure with these orchestras, Collins has toured, record-
ed, and soloed as principal trumpet. He teaches privately and
at the University of Cincinnati-College Conservatory of
Music and has published music for trumpets including the
popular method, In the Singing Style [Queen City Brass Pub-
lications].
Originally from New Jersey, Collins studied in New York
with William Vacchiano and Mel Broiles. While at the East-
Hayes: Most people know you pri-
marily from the many Cincinnati Sym-
phony Orchestra and Cincinnati Pops
Recordings you have been a part of over
the years. Do you know, offhand, how
many recordings you have done with
the orchestra?
Collins: I believe we have recorded
well over one hundred CDs by now
with several new releases each year. I
think the actual total for symphony
and pops is around 125, on Telarc
and Vox, Candide.
Hayes: Any favorite recordings?
Collins: We had a lot to do in the
Mahler Symphony #3, recorded with
Jesus Lopez Cobos. We’ve also done
several Bruckner symphonies, a cou-
ple of Copland albums including
Quiet City, and one or two Respighi
albums with the Church Windows
off-stage solo. We’ve recorded the
standard Gershwin works. The Amer-
ican Eagle Waltz by Offenbach was an
interesting find by Maestro Kunzel, Phil warming up backstage on a recent
featuring cornet solo. There are CDs Cincinnati Pops tour of China.
of Strauss, Ravel, Debussy, Wagner, Tchaikovsky, etc. The
Pops repertoire is endless, from Star Wars to TV westerns, big
band, holiday CDs, and all the movie music you can think of.
Some of my favorites include themes
from The Midnight Cowboy, Rudy, and “Trying to play while transpos- my future teachers majored in it!
Bugsy. Penny Lane from the Beatles al-
bum, Bond and Beyond, and Play Ball ing was like trying to swim inspired you early on?
CDs all feature the brass. with cement shoes on!”
Hayes: Tell us a little about your begin-
nings and your background. Where are you from originally? When
did you start playing trumpet? Why did you choose trumpet?
© 2007 International Trumpet Guild
man School of Music he studied with Dan Patrylak and Sid-
ney Mear, and toured internationally and recorded with the
Eastman Brass Quintet. He has been a member of the
Rochester Philharmonic, the National Arts Centre Orchestra
of Ottawa, Canada, and the Cleveland Orchestra before
joining the Cincinnati Symphony in 1975.
I had the opportunity to sit down with Mr. Collins in
August in downtown Cincinnati. We discussed his career,
thoughts on teaching, his family, and his future goals. I later
met with him again to clarify a few of his responses to my
questions. The following article is the result of our meetings.
Collins: I’m originally from New
Jersey and began music lessons at age
nine. The instrument was chosen for
me. Beginners usually started in the
fourth grade, but there were some
instruments left over for a few of us
lucky third graders. I was told I
would be playing the cornet. I
thought they had said “clarinet,” so I
went home mentally preparing to
play a long black instrument with a
reed. I was relieved to find instead
that it was actually a trumpet. I was-
n’t too excited about having to play a
woodwind instrument anyway!
Early on I studied with Nelson
Keller who had been with the Fred
Waring Orchestra and a student of
Ernest Williams. He was an excellent
teacher, obviously well acquainted
with big band charts, and classically
trained by one of the best. I studied
with him through grade school until
high school. Repertoire included the
methods of Arban, Saint-Jacome,
Williams, cornet solos, countless
etude books, Charlier, Glantz, Bitsch, and transposition, which
I absolutely hated. Trying to play while transposing was like
trying to swim with cement shoes on! I did eventually get it
however. It so happened that each of
Haye s: What musicians or recordings
Collins: Around the ninth grade, I
went to a summer music camp in Bre-
vard, North Carolina. One of my teachers there, Ruth Still,
gave me a list of recordings and said, “Get these; listen careful-
March 2007 / ITG Journal 47
ly and get to work!” That assignment kept me inspired and just how hard you work.” A thriving musical environment is
busy for the next several years! Of course these were the great exciting, but I guess not absolutely necessary. It depends on
recordings of Chicago, New York, Boston, Berlin, etc. So be- how motivated you are. During those four years, I would visu-
fore I ever saw the parts to these pieces, I had already become alize him sitting there, critiquing my practice sessions and con-
very familiar with them. That assignment stantly challenging me to
of first knowing how it was supposed to “When I told Mel Broiles that I would play “louder and with more
sound was a vital first step. articulation. Now transpose
I can still hear the Chicago recordings be enrolling at Eastman, he said, it to trompette en La!” He
of Pictures, Heldenleben, Frank Martin ‘well it doesn’t really matter where was a bit of a transposition
Concerto for Seven Winds, La Mer, Bour- freak, so I had to swim or
geois Gentilhomme, and Don Juan. And you go, it’s just how hard you work.’” sink (or “stink” as one col-
there were the [New York] Philharmon- league says)!
ic’s Mahler Symphonies and Tchaikovsky works, Boston’s Fêtes Hayes: Tell us about your memories of Eastman?
and Brahms Symphonies, Berlin’s Water Music, etc. C o ll in s : The first summer, the Eastman Brass Quintet
Vacchiano was one of my heroes when I was growing up. It toured Central and South America on an eight-week tour! The
was inspiring to hear the Philharmonic. trip provided both nightmares and some
He always played with that great sound, great highs as well. I’m sure my col-
passion, and confidence. He used to say leagues had many second thoughts
to me, “You know, Collins, the audience about letting me into the group. I was
comes to concerts in order to hear great the bad luck guy, almost missing plane
trumpet playing!” That was why I went, flights, losing music, and just being
and we were never disappointed. That unreliable and wandering around in a
mindset also became excellent therapy fog. I would try to make up for all of this
for nerves! Remember why we’re there! by with a furious determination to play
Voisin was another hero of mine. He as one possessed with an unstoppable
was also a very distinctive player with lots desire to be the best! This proud, out-of-
of character, style, pizzazz, and boldness. control obsession, of course, needed to
I just loved the way he played. His rec- be tempered. I’ll just say that I found
ordings of solo Baroque works could be myself enrolled unwittingly in a four-
heard daily in our house in New Jersey. year course in humility! As with all fresh-
One of the most beautifully played men, growth both musically and person-
solos, in my opinion, is the Anonymous ally was badly needed. The Wind En-
Suite recorded by Armando Ghitalla. He semble had long been a first-rate group
could move you to tears in the slow as was the Philharmonia, and each pro-
movements every time you listened. The vided opportunities for experience and
outer movements virtually danced! His maturity. I loved every day of my four
orchestral style, like Voisin, was distinc- years at Eastman. I hated to see it end.
tive and contagious. When those guys Haye s : Who was the trumpet teacher
played, it was never boring! I remember there at that time?
several enormous “clams” in live per- C o l l i ns : Dan Patrylak and Sydney
Collins as an Eastman student, 1967
formances. Somehow you didn’t mind Mear. Dan was my teacher the first cou-
because even the mistakes sounded great ple of years. He was also first in the
and had style! In those days, it was permissible for style to quintet. He had a lot of patience with me, and taught me
trump accuracy. With the level of perfection demanded in much about music and life in general. His consistently fine
orchestra performances today, I wonder if we have sacrificed trumpet playing helped me to refine some of my rough edges,
some degree of taking chances for the guarantee of cold-blood- and his influence was an enormous help. Life is more than the
ed accuracy. trumpet!
Hayes: So after high school, you went Sid Mear was a gentleman
to Eastman. Was that school your first “With the level of perfection demand- with a rich heritage of experi-
choice? ence. His trademark was
Collins: I wanted to go to Juilliard ed… I wonder if we have sacrificed beautiful lyric playing sup-
because I had studied there some in some degree of taking chances for the ported by a secure technique.
high school, but my parents had other He was great on the basics
ideas for me. Although I rebelled a bit, guarantee of cold-blooded accuracy.” and knew the repertoire thor-
I realized eventually that Eastman had oughly. He gave first-hand
what I needed. The training I received there in the ensembles stories and sound advice in every lesson.
and with the touring, I might not have experienced elsewhere. Hayes: Who were some of your classmates?
It was a good decision made for me. In fact, I met my wife at Co l lin s : Vinny DiMartino was a classmate, and Marvin
Eastman, in the very first class on the very first day! Perry, currently the principal trumpet in Indianapolis. Many
When I told Mel Broiles that I would be enrolling at East- others in our class have also gone on to professional musical
man, he said, “well it doesn’t really matter where you go, it’s careers.

48 ITG Journal / March 2007 © 2007 International Trumpet Guild

 Hayes: You played with the Rochester Philharmonic while at whom we miss. Not only a solid player on any part, she skill-
Eastman? fully covered much of the jazz repertoire. Chris Kiradjieff is
Collins: I played third in the section with Dick Jones and our third player, likewise versatile and solid. He was a student
Paul McCrae. of mine and has grown to be an excellent fit for our section.
Hayes: Where did you go after Eastman? Hayes: Do you have any favorite conductors over the years?
Co ll ins : The summer after I C o l l i n s : Ricardo Chailly
graduated, I attended the Blos- stands out. I remember doing
som Music Festival, the summer Pictures with him. It was fun
home of the Cleveland Orches- and he was easy to play for, a
tra. There happened to be a tremendously gifted conductor.
trumpet opening in the orchestra The chemistry with the orches-
at the time. I auditioned and tra was perfect. Temirkanov led
began in the fall of 1970. I was us in Petroushka and Pictures as
there for two years. well. He is a great communica-
Hay e s : Was Bernie Adelstein tor. He did not speak a word of
principal trumpet at that time? English, but he gave me a lesson
Collins: He was. on the opening measures of the
H ay e s : Who else was in that Promenade from the podium,
section? demonstrating on an invisible
C o l l i n s : David Zauder and violin exactly how he wanted
Charles Schlueter. me to play. And Tennstedt’s
Hayes : And you studied at the Bruckner symphonies were fan-
Cleveland Institute while you were tastic.
there? Gielen’s tenure as music dir-
C o l l i n s : Yes. In my second ector was memorable in a differ-
year there, I did graduate work at ent way. His repertoire concen-
CIM and studied with Bernie. trated on the contemporary
He was “the machine,” incredi- side. He was very exact with all
bly accurate and consistent. I of the nuts and bolts, dynamics
have always been amazed at how and so forth, much like a sur-
easily he seemed to play the geon using every section in the
trumpet. Many times I felt tied orchestra to precisely execute its
in knots, and just observing him assignment. Every passage had
playing was always the therapy I to be meticulously balanced and
needed! I got invaluable experi- exact. I often thought of him as
ence sitting next to him in the a college math professor, de -
orchestra and as his student. A poster of the Eastman Brass Quintet, 1967 lighting in solving the most dif-
Hayes: You began playing prin- ficult calculus problem as he
cipal in Cincinnati in 1975. How was the orchestra then com- broke down a work of Webern. Our satisfaction came in seeing
pared to now? how we were to make the puzzle parts fit together by concert
Collins: The orchestra has improved a lot over the last 30 time. Other standouts were Levine’s Mahler Symphony #3, and
years. In that time four music directors have each contributed Shaw’s Berlioz Requiem and Brahms Requiem. Our present
to help build the orchestra, each one leaving his mark. The music director, Paavo Jarvi, has brought new energy and preci-
quality of players is also much higher these days and every sec- sion to the orchestra and has rekindled the joy of music making.
tion is stronger. Hayes: What pieces do you most enjoy seeing on the schedule?
Hayes: Can you talk about the trumpet section over the years? Collins: I always enjoy Mahler. Everything you need is in a
Co l lin s : We have always had a great section… excellent Mahler symphony. All of your fundamentals need to be pre-
musicians and good colleagues, making life easier. Any of them pared because they’ll be tested! In addition to the Ravel piano
could jump in and cover the first parts concertos, the Scheherazades, the
without a problem. Gene Blee preceded “Everything you need is in a Strauss tone poems, I also like per-
me as principal, and later moved to sec- forming Haydn, Mozart, Beetho-
ond. He is a gentleman from whom I Mahler symphony. All of your ven, and Schumann symphonies.
learned a great deal. Steve Pride has been fundamentals need to be pre- Articulation, intonation, dynam-
a great second trumpet now for the last ics, phrasing, and finesse are
25 years and is still going strong. Charlie pared because they’ll be tested!” required to make these pieces
Daval, formerly with Boston, played sparkle. All systems must be work-
with us for a few seasons, a fabulous player. Doug Lindsay is ing nicely for this repertoire.
our associate principal and fourth trumpet. I’ll put it this way: Hayes: What pieces do you feel best exhibit your strengths?
I don’t want to take too many pieces off if I want to keep my Collins: Although the Pops at times can be a tough assign-
job! Doug always comes through brilliantly with what is need- ment, I have always looked forward to the challenge of that
ed. Recently retired, Marie Speziale is a departed colleague music. Trumpets are usually featured, and many solos right out

© 2007 International Trumpet Guild March 2007 / ITG Journal 49

of the movie sound tracks await the first trumpet player. Some
of the most rewarding performances for me have been Pops
nights. It often reminds me of the wind ensemble days where
the solo cornet plays just about everything. You rarely rest. In
high school we did a lot of dance band gigs. You played all
night and never thought about being tired. Now we play all
night, and try not to think about how tired we are!
Hayes: Are there any pieces you dread to see on the schedule?
C o l l i n s : Yes, but I’m not
telling. They might all show
up next year! Ideally, you
should have the philosophy,
“I can’t wait to play this piece,
and here’s how it goes!” So
that’s the goal. Sometimes
you reach it and sometimes
you have to pretend you’re
having fun. I try to have the
attitude of enjoying each
piece, or at least making the
listeners believe that. Why
should the audience pay to
hear us hating our work?
H a y e s : How many times
have you soloed with the CSO?
Col lins : I have performed
the Haydn and Hummel con- CSO Trumpet Section, early 1980s. L – R: Marie Speziale,
certos several times. A few Charles Daval, Steve Pride, Phil Collins
seasons ago we did Let the
Bright Seraphim with Kathleen Battle, and last season I did the
Shostakovich Concerto for Piano, Trumpet and Strings.
Hayes: What trumpet players, solo or orchestral, inspire you
today? Who are your favorites?
Collins: Today, there are way more than a handful of fabu-
lous trumpet players that can do it all. I’ve always admired Phil
Smith for his power, sound, technique, and lyricism. Maurice
André is in a class by himself! Marsalis likewise is flawless.
Charles Schlueter is a monster. He always inspires me with his
sound quality, the way he uses his air, and his determination.
Doc Severinsen is another idol. He has recorded with us on
several occasions. His approach to the horn, his sound, style,
and stamina is awesome. Somehow he always improves our
section just by his presence. I always admired Gil Johnson’s
playing… very vocally oriented and buoyant. And you have to
mention Bud Herseth. The lessons I had with him were as
encouraging as his performances in the orchestra. Efficiency,
positive attitude, power, and confidence are only the tip of the
iceberg with him. Loving to perform like he has for so many
years has set the standard for us all.
Hayes: Do you have favorite orches- “I have to remind myself that ing to learn to correct problems.
tras, in terms of definitive recordings of
particular pieces? teaching is not about me. It is all ing is not about me. It is all about
Collins: No favorites. So many or- about motivating students to love motivating students to love making
ch estras have great players! There
used to be a short list of top “listen- making music on the trumpet…” them to crave practice times. Vacchi-
able” orchestras. But now the quality
across the board is amazing. A number of orchestras are record-
ing on par with the best. San Francisco and Minnesota come
to mind.
Hayes: For the equipment buffs out there, what is your basic
set-up these days?
50 ITG Journal / March 2007
Collins: I use a standard Bach C, 229 bell, 25 H pipe, 1C
mouthpiece, with various backbores. There was a time that I
worked with Dave Monette on leadpipes and bells, so I had
horns at the time with some of his parts. Then, after he came
out with the complete trumpet, I owned a couple of those. The
recording that we did in the early 1980s of the American Eagle
Waltz, was mostly Bach with a Monette pipe and bell. It had a
different sound and was really easy to play. The Gielen record-
ing of La Mer was done on
one of the first Monette
trumpets. We also frequently
use the Monke rotary valve
trumpets for certain reper-
toire. I use a Laskey 80MD
mouthpiece for that.
Hay es : What are your
thoughts on playing small
horns for certain licks in the
orchestra?
C o l l i n s : I try to avoid
switching instruments mid-
stream. I prefer to stay with
one instrument throughout a
piece. Rarely, I will use a D
trumpet or something small-
er. In the high passage in the
fifth movement of Bartok’s
Concerto for Orchestra, I use a
D trumpet. And I did pick
up a piccolo for the brief high F-sharp passage in the record-
ing of the Grand Canyon Suite.
Hayes: Do you think you gravitate to the bigger horns because
you originally learned the licks that way?
Collins: Yes. Actually, I learned a lot of the repertoire on the
B-flat trumpet in high school. But the C trumpet is generally
the “workhorse” for most of us and seems to be most success-
ful in getting the job done.
Hayes: You are currently teaching at The University of Cincin-
nati, College-Conservatory of Music. How many years will this be
for you at CCM? What are you most enjoying about your teach-
ing?
Collins: This is my fourth year teaching at CCM. I enjoy
good students and the beautiful facility. I find teaching to be
rewarding when the students are eager to learn, and when I am
able to encourage and inspire them, as I have been by others. I
enjoy the challenge of recognizing a problem, and then finding
a solution. Inspiring them is one thing, but diagnosing and solv-
ing problems is yet another. I find it helpful in my own playing,
being alert to difficulties and continu-
I have to remind myself that teach-
music on the trumpet and enticing
ano said even in his later years that
whenever he had a trumpet in his hands he was in “seventh
heaven!” Even if students do not pursue a career in perform-
ance of some sort, my goal is that they will always find satis-
faction in playing, and appreciate and understand the hard
work required to produce exciting trumpet playing.
© 2007 International Trumpet Guild
 Hayes: As a student of yours, I appreciate your willingness to
work on anything giving me trouble… solo, orchestral, or any-
thing else.
C ol lin s : If you ever went to Chicago for a lesson with
Arnold Jacobs, you first wondered if you had come to the
wrong part of the building. Outside his studio you might find
oboe players, singers, trumpet players, horn players, trombone,
etc. as well as every tuba player within a hundred miles, all
there to see Mr. Jacobs! You soon discovered that what he had
to offer was music instruction, encouragement, and the appro-
priate therapy for the ailment of the hour! The instrument did-
n’t matter. You could have a great lesson even if all you brought
with you was your mouthpiece!
The point is that any piece, solo, etude, or orchestral
excerpt, can be improved upon and the performing of it could
be made easier. I marveled at how well Jacobs could mentor
students. I don’t think he ever had a “basket case.” So, when
students bring in something unfamiliar, I try to help with their
air, streamline their mechanics, and generally encourage them
to enjoy bringing to the music all that they can. It doesn’t have
to be only the standard orchestra material. Music is music.
Hayes: What was the inspiration behind your method book In
the Singing Style?
Collins: The idea occurred to “…when students bring in something quality ensemble. Since the win-
me after a lesson with Arnold
Jacobs. He used to have us play unfamiliar, I try to help with their air, part of the ensemble, a team spir-
solos from the repertoire of other
instruments—horn, voice, violin,
streamline their mechanics, and gen- ita combination
oboe, etc. His purpose was to get erally encourage them to enjoy bring- “BRAINS,” as Broiles used to say.
us to focus on playing beautiful
music, using the creative rather ing to the music all that they can.”
than the analytical side of the
brain. It was about performing the gorgeous melody and not
the boring etude. After one lesson I came to work waxing elo-
quently on the horn solo from Tchaikovsky 5th. I know my
horn colleagues were not amused; that was their territory.
Thereafter, I would wax at home.
CSO Trumpet Section with Doc Severinsen 2002. L – R: Marie Speziale,
Steven Pride, Doc Severinsen, Phil Collins, and Doug Lindsay
© 2007 International Trumpet Guild
In the Singing Style is the compilation of 47 favorites. Some
have called this “Sunday practice.” The goal is to enjoy playing
and keeping it fresh. Arban had the same idea with The Art of
Phrasing.
Hayes: What do you see as most lacking in today’s trumpet play-
ers, students and professionals?
Collins: Fortunately, trumpet playing is not rocket science.
It shouldn’t be that hard. It is evident however, that many stu-
dents neglect to develop and refine the basics, and fail to famil-
iarize themselves thoroughly with the repertoire. The require-
ments to win a good job must be given attention consistently
over time. If these elements are present, any student should be
able to distinguish himself above the rest:
1. A full clear sound 5. Correct style and phrasing
2. Good intonation 6. Proper articulation
3. Dynamic contrast 7. Relaxed approach to the instrument
4. Excellent rhythm 8. Simply playing better than everyone
8. else!
It should be added that one additional element should
become obvious by the final round of auditions, and that is a
maturity of musicianship that shows flexibility and sensitivity.
Having the mindset of “I am king, listen to me all the time!”
gets old and doesn’t work in a
ner of the audition will be only
concept is very important. It is
of “BLOW” and
Just because one lands a job
doesn’t mean that he or she has
arrived, and all facets of playing
are now perfected. Weaknesses and problems still remain. At
this point, they must be managed. Broiles used to say, “We are
all students… only some of us get paid.” The learning never
stops. I recall Thomas Stevens, the seasoned pro of the L.A.
Philharmonic for so many years, telling me that maintaining
your edge on the job was like trying to fix a
wobbly table. You no sooner remedy the wobble
on one side, than another leg needs attention.
(One of my sons asked me if you retire when all
the legs are gone!) Tom was preparing Mahler
#5, Rite of Spring, and a dozen other heavy
responsibilities at the time. From what I’ve
heard him do over the years, he must have been
an excellent table repairman!
Haye s: Do you have any advice for aspiring
orchestral trumpet players?
C o l l i n s : Yes. Practice smart. Don’t waste
notes. Play only good ones, and try not to
sound like a student. Listen carefully to many
recordings, attend as many live performances as
possible, and discipline yourself to practice effi-
ciently. As you sit and listen either to a record-
ing or a concert, jot down the techniques used
by the performers. For instance, notice soft
attacks, long singing lines, intonation, extreme-
ly loud projecting passages, rhythm, types of
articulation, high note diminuendos, etc. Then
go to the practice room and organize your ses-
sion to include each of those elements of good
March 2007 / ITG Journal 51
playing. Cover as many basics as possible each day, and just
because you are working on a technical facet of your playing,
don’t forget about the music you must perform. Never play
boring notes.
Learn to improve your weak areas. Never mind your
strengths, they’ll always be good. Seek out the best teachers/
performers and learn all you can from them. Take this serious-
ly and go for it! Don’t get discouraged. Don’t constantly com-
plain about your chops. Learn to
play anyway. Do not abuse the em- “Play great all the time light days, and light on hard days. Remembering that
bouchure, but don’t let it govern
your emotions either. Play great all no matter what.”
the time no matter what. When you
get a job, a lot of the time you may not feel like playing your
best. Get used to it! Compete!
Hayes: A common word among aspiring musicians today is ver-
satility. Being at home in all styles—solo, orchestral, jazz, com-
mercial—is important to one’s success. You are one of those players;
what are your thoughts on that?
Collins: I think versatility will take care of itself without
worrying about it. Any trumpet player will become versatile in
time just because he or she plays the instrument. Consider how
many opportunities come our way over the years: concert
bands, orchestras, quintets, marching bands, stage bands, Dix-
ieland combos, jazz improvisation, solo recitals, natural trum-
pets, brass choir, weddings, Broadway shows, studio work, cir-
cuses, polka bands, etc. Anyone who begins to pursue music
will find that a variety of styles will become part of the experi-
ence. My junior high and high school dance band experience,
for example, was great preparation for the Pops.
Hayes: I know that you are quite proud of your family. Would
you tell us a little about them?
Collins: Sure. I have six children, a daughter and five boys,
three grandchildren and a fourth on the
way. Our daughter has recorded a violin
CD. She also has arranged many hymns and
“…it’s important for me rehearsal.
classics recorded for orchestra and choir by to condense practice road?
IBLP. The boys have studied piano, violin,
and trumpet. Two are currently in the min- into just what I need.” with me. Having learned much by trial and
istry, and two are studying at the Cleveland
Institute of Music, one on viola and the other on classical gui-
tar. Our youngest, should be joining his brothers there on
viola next year. My wife teaches violin and piano privately.
Hayes: Thirty years is a significant time to hold a principal
position in a major orchestra. What do you consider some of the
key elements to your longevity with in Cincinnati?
Collins: I believe that the Lord has given me the ability to
play the trumpet, and has allowed me to have this job for this
long. I realize that it is a gift, not a right. Scripture says that He the types of things needed on a pops gig. There is currently a
ultimately is the one who makes the appointments. Grateful-
ness and appreciation for what He has provided for me and for
our family is a needed perspective for longevity.
Enjoying your work is often a difficult goal to maintain,
however. It is a challenge to finish the week having played your
best and not having been defeated by obstacles. Those obsta-
cles could be my own critical attitudes, pressures, distractions,
acoustics, and numerous circumstances beyond my control.
Sometimes it doesn’t take much to break your concentration.
When I think of how the great players respond to these pres-
sures, I cannot imagine them not playing great no matter what.
My mother has said to me in so many words, “Remember why
52 ITG Journal / March 2007
you’re there and just do it.”
Physical conditioning is also very important. Since so much
of what we do involves most of your body, it makes sense to
keep it in shape. A Mahler symphony is an athletic event! Why
handicap yourself with poor health? The job is hard enough as
it is.
Hayes: What is your daily practice routine?
Collins: It’s always a balancing act with the varying demands
of the repertoire. Generally, it could be hard practice on
you always need to be fresh for the next service, you
cannot overdo it. As a student, I used to practice up to
five hours a day. A lot of it turned out to be unproduc-
tive, just pounding my head against the wall. Now it’s impor-
tant for me to condense practice into just what I need. One
teacher advised us to play until it feels good, and then put it in
the case. Many short sessions are better than one grueling
slugfest! This helps guarantee fresh chops the next time you
play, and you will not require a long warm-up period. I have
always been impressed with those players who could just pick
it up, play and sound great immediately.
Daily, I try to cover scales, arpeggios, range, dynamic con-
trast, different articulations, and flexibility. I try to remember
what’s on the page for the concert, what types of things I’m
going to need. My practice sessions often have something to
do with what we will have to play that week.
Hayes: When you have a major piece coming up in the sched-
ule, how far ahead do you begin working on that particular chal-
lenge?
Co l lin s : Usually I’ll begin preparing weeks beforehand.
However, most of the repertoire should be basically under
control all the time. Technique needs to be maintained
and improved; therefore, the sooner I begin serious work on a
piece, or revisit it… the easier it is at the first
Hayes: What do you want to do down the
Collins: Increased teaching would be fine
error on the trumpet, I believe I can help stu-
dents avoid lots of wasted time. It would be great to really help
students enjoy their ride and to help them reach their goals
sooner. We have often talked in our section about real life sit-
uations encountered in the orchestra world that we were never
taught at the conservatory.
Over the past five years, I have been working on a “Pops”
book. These are pieces I’ve written that are typical of the
demands of the pops repertoire. The idea is to prepare for all
Singing Style, Book II in the works as well. I also anticipate con-
tinuing to be of assistance to my family in their pursuits.
Hayes: Well, thank you again for taking the time to meet with
me. I am confident the ITG readership will enjoy what you have
had to say and will benefit from your vast experience.
About the Author: Adam Hayes is a professional trumpet
player and music contractor based in the Atlanta and Cincin-
nati areas. He is also currently in pursuit of the Doctor of
Musical Arts degree at the University of Cincinnati, College-
Conservatory of Music.
© 2007 International Trumpet Guild
 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; historicinstruments@trumpetguild.org

E-f lat alto t rum p et b y Gusta v

Adolf Eschenbach, Berlin, ca. 1900.
Brass and nickel-silver.
Engraved on garland: G. ESCHEN-
BACH BERLIN.
In 1974 Donna Crown gave this E-
flat alto trumpet to her husband Tom.
At that time they were living in Berlin
for a year. She found it at a flea mar-
ket. That year Tom Crown had ex-
changed p l a c e s w i t h A r n o L a n g e
o f t h e Deutsche Oper. Arno went to
Chicago and played with the Lyric
Opera orchestra; Tom went to Berlin
and played with the Deutsche Oper.
Gustav Adolf Eschenbach (1843 –
1927) came from a widespread family
of brass instrument makers with roots
in Markneukirchen. His son Fritz Es-
chenbach, born in 1887, took over his
workshop and was still the leading
brass repairman in Berlin in the 1970s.
He worked for the Deutsche Oper, the
Berlin Philharmonic, and the Berlin
Musical Instrument Museum. When
shown this trumpet in 1974, Eschen-
bach, then in his eighties, remembered
when it was being made in his father’s
workshop, around 1900. Fritz Eschen-
bach’s workshop must have been as his
father’s was in 1900. All tools, includ-
ing the lathe, were hand or foot pow-
ered, and there was a lone electric light
bulb, hanging from the ceiling, which
was not used in daylight hours.
Nothing is known about the original
use of this trumpet. The key resembles
Richard Wagner’s bass trumpet, which
he commissioned from Carl August
Moritz in Berlin for the performance
of Das Rheingold in Munich. Other
German opera houses followed the
Munich example when performing
Wagner’s music. The Dresden opera
house purchased a bass trumpet in E-
flat with crooks for D and C in 1888
for a Rheingold performance.
Submitted by Tom Crown, Western Springs, IL
(Photo © Randy Welsh, Downers Grove, IL)

© 2007 International Trumpet Guild March 2007 / ITG Journal 53

 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; profile@trumpetguild.org

MARION FRACK EGGE

Marion Frack’s inspiration and introduction to the
trumpet came by way of the Allentown Band, a 178-
year-old community band in the Lehigh Valley region of
eastern Pennsylvania. At concerts she attended with her
family, Marion was particularly intrigued by the sound
of cornet soloist Willard Schisler. As good luck would
have it, Schisler was a resident of Nazareth, Pennsylva-
nia, her own hometown. The eleven-year-old seventh-
grader begged her father for a cornet, but he hesitated
because brass instruments were not considered appropri-
ate for girls in the 1940s. Finally relenting, he came up
with the thirty-five dollars needed for a new cornet and
arranged for Marion to study with Schisler, at the same
time warning her that she had “better be serious about
it.”
By the time she was in high school, Marion was play-
ing Clarke solos in a group organized by Schisler that
took live music programs into nearby public schools.
When Schisler was called to duty in the U.S. Army near
the end of World War II, he arranged for Marion to con-
tinue her studies with Albertus L. Meyers, at one time a
cornet soloist with John Philip Sousa, and then conduc-
tor of the Allentown Band. Unfortunately for Marion,
Meyers allowed no females (except a harpist) in his band
at the time.
While still in high school, Marion auditioned for the
newly formed Lehigh Valley Symphony Orchestra and
was named to fill the third trumpet chair. This orchestra
was a joint venture by the three largest cities in the
Lehigh Valley—Allentown, Bethlehem, and Easton. It
wasn’t long before the Allentown group decided to go its separate way. The Allentown Symphony Orchestra performed its
first concert on October 28, 1951, one day after Marion’s twenty-first birthday. Conductor of the new orchestra was Donald
Voorhees, who at the time also conducted the “The Bell Telephone Hour” orchestra on a weekly television show. Voorhees,
an Allentown native, wanted to give back something to his hometown; he did so by donating his services to the Allentown
Symphony.
William Smith, assistant conductor of the Philadelphia Orchestra, succeeded Voorhees as conductor of the ASO in 1983.
Smith continued as ASO conductor until his death in 1993. After a series of guest conductors, Diane Wittry took over in
1995. During all that time, Marion played third trumpet (sometimes second, but mostly third). In addition, she was person-
nel manager and librarian of the ASO and also librarian and contractor for the Allentown Symphony Pops from 1981 to 1988.
Marion retired from the ASO at the end of the 2002 – 2003 season after fifty-one years of continuous service.
In addition to orchestra work and playing in church, Marion has been engaged in a variety of other musical ventures. In the
1950s and early ’60s, she was first trumpeter for the all-girl “Downbeats,” a nine-piece group that primarily did club dates.
She also played first trumpet during the short life of the Lehigh Valley All-Girl Orchestra in the 1950s. For nine seasons, Mar-
ion played with the Muhlenberg College Summer Theatre pit orchestra, and she still does an annual musical with another
Allentown theatrical group. For more than sixty years, Marion has performed as part of a quintet that furnishes brass tower
music for the annual Bethlehem Bach Festival. She plans to continue as long as she can “manage to climb the tower steps.”
In 1968, her love for brass ensemble music led Marion to be a co-founder of the Pennsylvania Brass Quintet. The group

54 ITG Journal / March 2007 © 2007 International Trumpet Guild

 played together for eleven years. The quintet’s tuba player was Ronald Demkee, who also happened to be conductor of the
Allentown Band. In a casual remark at quintet rehearsal, Marion revealed that what she wanted most as a child was to play
with the Allentown Band. Her phone rang in June of 1978; it was Ron, calling to fulfill her childhood dream. He asked her
to sit in for a trumpet player who, because of a last minute emergency, was unable to play a band job. On that day, and con-
tinuing to the present day, Marion has occupied the second trumpet chair of the Allentown Band.
Marion lives in Yardley, Pennsylvania, with husband Richard, a drummer and C.P.A. They will celebrate their fifty-second
wedding anniversary in June 2007. Richard and Marion are both members of A.F.M. Local 45 (Lehigh Valley, Pennsylvania),
wherein she serves as a member of the Executive Board and publishes the local’s quarterly newsletter. Freelance editing fills
much of her spare time. One such effort is her editing of Marvin Stamm’s Internet newsletter, Cadenzas. And then, of course,
“there’s always practice, practice, practice…”
Summing up her various activities, Marion says, “I have enjoyed the opportunity to wear so many different hats, and I have won-
derful memories of all those experiences. My busy life is often hectic, but I wouldn’t have it any other way. The one thing that has
kept my head and my heart together is the trumpet. I can’t imagine what my life would be without music.”

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; yaaward@trumpetguild.org. For more details, please visit the ITG Web Site at
http://www.trumpetguild.org/resources/yaa.htm

ADRIANNA DROZ
It is with great pleasure that we introduce Adrianna Droz as the
March ITG Young Artist recipient.
Adrianna is a student at Kamiak High School in Mukilteo,
Washington. As a promising student at Harbor Pointe Middle
School under the guidance of band director Steve Moody, Adrian-
na performed in the concert band, jazz ensembles, and participat-
ed in solo and ensemble contests while studying privately with
Joseph Gudorf, band director at Evergreen Middle School in near-
by Everett. As a middle school student, Adrianna was awarded the
John Phillip Sousa Award for outstanding musicianship and lead-
ership, serving as a role model for other trumpeters in the program.
In her sophomore year at Kamiak High School, Adrianna
received a superior rating with her performance of the Goedicke
Concert Etude at State Solo Contest while continuing to work dili-
gently on the transposition studies of Bordogni and the character-
istic studies of Arban.
Currently a junior and one of Kamiak’s top trumpeters, Adrian-
na is a member and soloist with the marching band; top concert
band under the direction of Toby Bathurst; and the jazz ensemble,
conducted by Scott McKinlay. Both conductors praise Adrianna’s
beautiful sound, musicianship, dedication to teamwork, mentor-
ing, and, above all, her impeccable work ethic.
Rounding out this year’s many accomplishments, Adrianna has
been selected to perform with the National Wind Ensemble and
will perform in May in Carnegie Hall under the direction of Pro-
fessor Emeritus (University of Michigan) H. Robert Reynolds.
Aside from her busy high school musical life Adrianna, is a
shortstop and catcher for an area select softball team as well as her
high school girl’s softball team. She is even known on occasion to
hit one out of the park! Best wishes and congratulations to Adrianna. Bravo to her many supporters and excellent teachers.
In recognition of her outstanding talent, ITG will provide Adrianna Droz with a complimentary one-year membership.

© 2007 International Trumpet Guild March 2007 / ITG Journal 55

 CLINIC
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; clinic@trumpetguild.org
THE TWENTY MINUTE WARM-UP ROUTINE
BEFORE SCHOOL
BY JEAN MOOREHEAD LIBS
T
oday’s high school musician often runs from dawn to
dusk, taking six or seven classes in addition to activi-
ties before and after school. Add jazz, concert and
marching bands, orchestra, outside honor bands, youth
groups, and private study, and you have a schedule that would
be stressful for any student, much less one who is striving to
master a musical instrument. To avoid a major chop melt-
down for students with this kind of schedule, the following 20
minute warm up routine can be done before school or during
the lunch hour.
The first thing the student should understand is that a warm
up is analogous to any other form of physical exercise. Even
the world’s greatest runners don’t just sprint down the track
without properly stretching and warming up. We all know the
secret to beneficial exercise is regularity and consistency. A fun-
damental daily warm up is the key to proper maintenance and
advancement on the trumpet. Begin with this premise and
take 20 minutes to start your busy day!
2 minutes—lip buzzing the five-note pattern from Warm up
Studies of James Stamp.
2 minutes—mouthpiece buzzing the five-note pattern.
2 minutes—playing the five-note pattern on the horn.
6 minutes—buzzing tracks from Daily Play Along Brass
Builder by Rob Sayer or The Buzzing Book by James Thomp-
son.
2 minutes—Bill Adam leadpipe buzzing/centering routine.
2 minutes—scale of the week.
4 minutes—first set of the Flow Studies by Vincent Cichow-
icz.
Lip Buzzing: To begin, gently buzz your lips, loosely flap-
ping them like a horse! Get the
blood flowing and air moving. “A fundamental daily warm-up is steps quickly.
Next, form the lips into a slight
pucker as if saying the word “pip,” the key to proper maintenance to develop good pitch placement and
and work to buzz a first line F or and advancement on the trumpet.” a centered sound at an early age using
the D a third below. Try to match
pitch with the piano for a second or two, descending down
from F to B-flat, then back up in a five-note pattern. You may
only be able to get a few of these notes initially, but over time
you will develop a range of at least an octave.
The benefits of lip buzzing are twofold. First, a more cen-
tered sound will develop along with crucial corner control
56 ITG Journal / March 2007
FRANK G. CAMPOS, COLUMN EDITOR
allowing the lips to stay relaxed in the mouthpiece. Second, it
is excellent ear training. If you do not have access to a piano,
use a tuner that makes sound as a reference, or buy a pitch pipe
to carry in your case. For a more in-depth study of lip buzzing,
see Roy Poper’s Guide to the Brasswind Methods of James Stamp
(Balquhidder).
Mouthpiece Buzzing: Ideally, you should sit at a keyboard
for your initial mouthpiece buzzing sessions while buzzing the
five-note patterns as prescribed by James Stamp in his Warm-
ups and Studies (Editions BIM). (See example one.)
Most students can buzz an octave on the mouthpiece com-
fortably, but for the first few months, buzz only the first four
five-note patterns in the routine. Add a step at a time as your
chops strengthen, and after a few months, playing up to the
top of the staff should be attainable. You can use the piano or
tuner as a pitch reference. If you have Internet access available
there is a web site (http://www.smartmusic.com) that has tuner
and metronome samples of the SmartMusic program for free.
I highly recommend buying a subscription to SmartMusic for
home practice. Many schools have these set ups in practice
rooms for student use.
On the Horn: Repeat this same five-note pattern on your
trumpet for two minutes. Listen carefully to the diatonic pro-
gression within each five-note pattern and your ear and lip will
learn the sequence of half and whole
Buzzing Tracks: Students can learn
the buzzing methodology of James
Thompson, professor of trumpet the Eastman School of
Music. Thompson’s former student Rob Sayer wrote an addi-
tional method titled Daily Play Along Brass Builder. This is a
wonderful teaching tool for high school and some undergrad-
uate students before undertaking James Thompson’s The
Buzzing Book (Editions BIM). Sayer’s book can be purchased
© 2007 International Trumpet Guild
at http://www.themusicclass.com, an excellent web site for
music educators. Begin with two or three tracks daily after
careful study of the text in each book. If you feel you are not
quite ready for these materials, buzz simple tunes on your
mouthpiece, checking with a tuner or keyboard for pitch ref-
erence.
Leadpipe Buzzing: All players must work daily to achieve
and maintain a centered sound. Playing in the center or mid-
dle of the pitch produces a naturally full tone quality and keeps
the chops fresher longer. One of the most well known center-
ing exercises is that of Indiana University professor emeritus
Bill Adam. For this exercise, take off your tuning slide and
buzz an E, D or C concert on the leadpipe alone until you feel
a nice full centered sound. Work to buzz for 8 to 10 seconds
at quarter note MM=72. Ultimately you should buzz all three
of these notes ascending and/or descending for two minutes.
Always buzz at an easy conversational dynamic level.
Scale of the Week: High school students frequently audition
for honor bands, summer camps and district or state solo con-
tests, which naturally progress to auditions for undergraduate
music schools and beyond. Scales are a big part of all of these
auditions! Knowing all twelve major and three versions of
minor is just the beginning of the “scale trail” Take one new
scale weekly and work on it each day in your warm up. Create
your own exercises or see the following books for examples:
Scale Studies—Gabriel Pares (Rubank)
Daily Scale Builder—Rob Roy McGregor (Balquhidder)
How to Play High Notes, Low Notes and All Those in
Between—John J. Haynie (Colin)
Flow Studies: Among the most well known and respected
mainstream warm up routines are the flow studies of former
Northwestern University professor Vincent Cichowicz. Finish
your warm up routine with the first set of these flow studies.
(See example two).
Play at half note MM=60. Alternate your dynamics from
soft to loud as you gain control of this exercise. Use a tuner to
© 2007 International Trumpet Guild
Make Plans Now to Attend
2007 ITG Conference
May 29 – June 2, 2007
University of Massachusetts
develop awareness of pitch tendencies, proper support, and
breath control.
If you are uncertain about any of these exercises, work with
your private teacher to add, delete, or complement any of the
above material. In the words of the great cornet soloist and
pedagogue Herbert L. Clarke, “A spoonful of medicine will
cure whereas a pound will kill.” Just twenty minutes, done reg-
ularly and consistently with a mission, and you will ascend the
spiral staircase of learning to play the trumpet.
About the author: Jean Moorehead Libs holds BME and MM
degrees from the University of Michigan. Her principal teach-
ers were Clifford Lillya and Armando Ghitalla. Jean was for-
mer principal trumpet with the Singapore Symphony, and she
currently performs with Today’s Brass Quintet, the Ann Arbor
Symphony and its brass quintet, Michigan Opera Theater
Orchestra, Michigan Sinfonietta, and the Michigan Chamber
Brass.
A dedicated educator, Ms. Libs has taught at Olivet College,
The United World College of Southeast Asia, Northern Michi-
gan University, Wayne State University, Oberlin College Con-
servatory of Music, the University of Michigan, and the Uni-
versity of Michigan All-State program at Interlochen. Current-
ly Jean is adjunct professor of trumpet at Concordia Universi-
ty in Ann Arbor. During her tenure as Pedagogical Topics edi-
tor for the International Trumpet Guild Journal, Jean was the
author and editor of dozens of articles.
March 2007 / ITG Journal 57
 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; health@trumpetguild.org

CHILDREN AND HEARING LOSS

BY KRIS CHESKY

C
urrent trends in hearing conservation emphasize the noise-induced hearing loss among school-aged children. In
need to focus on children in order to prevent perma- addition to skyrocketing sales and use of these devices over the
nent damage that occurs as a result of noise. Among past two years, audiologists are concerned about the combined
the millions of young people in the USA, an estimated 12.5% impact of extended durations of use, the potential for high
of those between ages 6 – 19 years already have permanent loudness levels, and the types of earphones that deliver the
hearing loss as a result of exposure to sound. As a result, the sound directly to the ear. Researchers reported data from stud-
first-ever scientific confer- ies of various music players (Apple iPod,
ence devoted to preventing Apple iPod Nano, Apple iPod Mini, Creative
and studying noise induced “…an estimated 12.5% of those Zen Micro, and the SanDisk Sansa). Sound
hearing loss (NIHL) in between ages 6 – 19 years already levels from each player were measured as
children was held in Oc- transmitted through different types of ear-
tober 2006 in Cincinnati. have permanent hearing loss as a phones, ranging from the “stock” earphones
As a trumpeter, educator, that come with the products to “isolator” ear-
and parent of young chil-
result of exposure to sound.” phones that block outside noise, to “supra-
dren, I feel compelled to aural” earphones that fit over the ears. Find-
report on this event to ITG members. The following includes ings indicated that the output sound levels from the five music
a few major issues raised during this event. players were very similar, especially at the highest volume lev-
A group of scientific sessions focused on the potential of an els. At the highest volumes, the researchers pointed out that
early period of heightened sensitivity to damage from loud these levels are dangerous—so dangerous that they recom-
sounds. The hypothesis that young children are more suscep- mend “listening at those levels a few minutes a day, if at all.”
tible to sound has emerged from animal studies. Researchers At 80% of the maximum levels, listening should be regulated
have confirmed that young ears of mice are substantially more to an hour and a half. The take-home message: monitor use,
vulnerable to noise than those of adult mice. Threshold shifts especially with school age children and teenagers. These
are apparently larger at post-exposure times and they seem to devices can be loud and dangerous.
extend across a broader range of frequencies. Studies also show Because permanent hearing loss is preventable, education
that noise exposure to these young ears can exacerbate hearing and guidance on levels of exposure and hearing protection can
loss and inner ear damage that commonly develop as ears age. go a long way towards minimizing these hideous problems. For
The transfer to the human child is speculative at this time and school-aged children, having a solid knowledge base can serve
more research is needed. However, these as a basis for guiding
findings are of concern and do question how “Because permanent hearing loss is children throughout
we think about the time-limited effects of their formative years.
noise exposure and that we should be con- preventable, education and guidance Several examples of
cerned about the long-term effects of sound how to do this were
exposure to very young ears. The take-home
on levels of exposure and hearing presented. The more re-
message from these sessions: limit the loud- protection can go a long way towards search-based and note-
ness levels and duration of exposures to worthy examples of ed-
young children. Look for and avoid loud minimizing these hideous problems.” ucational programs in-
toys and other sound-producing sources— cluded the Dangerous
especially those potentially positioned close to the ears. Be Decibels project and the “Listen to your Buds” campaign.
aware that there are hearing protectors specifically for young Dangerous Decibels is developed out of the Oregon Health
children. Sciences University together with Oregon Museum of Science
Several conference sessions focused on the increased use of & Industry. In addition to a local museum exhibit and associ-
portable music players. Hearing conservationists strongly
believe that the new digital technologies are contributing to Continued on Page 67

58 ITG Journal / March 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; jazzcorner@trumpetguild.org

A HIGHER SENSE OF DIRECTION

BY CHUCK TUMLINSON

I
n a past column (“Improving Your Sense of Direction,”
ITG Journal, March 2005), I stressed the need for the
inexperienced improviser to be able to effectively connect
the thirds and sevenths when negotiating chord progressions.
I also offered suggestions for approaching chord tones.
Once the player is able to connect these tones, there are
other, more advanced possibilities for guide tones. This col-
umn will outline some of those possibilities and offer some
methods of practice to gain mastery over these techniques.
Thirds and sevenths offer good, fundamental direction since
they do contain the functional colors of the chord. This reso-
lution of thirds and sevenths can be regarded as one level.
Another level that offers interesting colors involves fifths and
ninths. A look at the resolution of fifths to ninths and vice-
versa reveals the basic movements (see Example 1).
Unlike thirds and sevenths, where any variation in the pitch-
es changes the chord (if you raise a minor third a minor sec-
ond, it becomes a major third which changes the chord quali-
ty from minor to major), you can vary the fifth and ninth.
Instead of changing the basic quality of the chord, these varia-
tions add interest in color with extensions and alterations. Fur-
thermore, you could substitute a thirteenth (sixth) for the fifth
and obtain other variations. Note that when employing exten-
sions and/or alterations, you could either use what the chord
symbol dictates or substitute your own. The context and your
own ears should help determine what notes you use (see Exam-
ple 2).
You should practice these with simple approaches. Example
3 is just one example.
It would also be good to practice arpeggios such as this one,
which connects both the third to seventh at the bottom and
the ninth to the fifth at the top. The first goes up and down

Example 1: Basic Movement of 5ths, 9th

13th on resolution

11th to root resolution

#9-b9 to 5th on resolution

Example 2: Some variations on these resolutions

© 2007 International Trumpet Guild March 2007 / ITG Journal 59
 Example 3: An example of approach to practice

Example 4: Examples of arpeggios to practice

Example 5: Excerpt from “Invitation” by Bronislav Kaper (from ms. 17)

Example 6: Excerpts from “Donna Lee” by Charlie Parker (ms 8 and 30)

the minor ninth chord. The second alters the fifth and ninth
on descent (Example 4).
Examples 5 and 6 are some examples from standard and jazz
tunes. They have been transposed to the key of C.
You can also mix and match resolutions toward any chord
tone (Example 7).
This is an idea that resembles some things that John Col-
trane played in the late 1950s. It combines the last resolution
presented in Example 7 with two of the resolutions presented
in Example 2; see Example 8.
Make sure you apply this only after mastering the use of
thirds and sevenths. As I have suggested before, you should
discover a lot of this information on your own. Transcribe and
study solos (especially people like Charlie Parker, 1950s John
Coltrane, Kenny Dorham, and Tom Harrell), and play chords
with these resolutions as the top notes on piano. I have listed
only a few patterns. Apply these patterns to your improvising,
but also vary these patterns and place your own imprint on
these concepts. These are only templates or outlines of what
you might eventually play. Devise your own patterns that use
these concepts. Eventually work toward implementing these
ideas into your own playing without a predetermined pattern
until they become a subconscious part of your playing.
About the author: Chuck Tumlinson is the director of jazz
studies and jazz trumpet instructor at California State Univer-
sity – Fullerton. He earned a bachelor’s degree at Wichita State
University, and the master’s and doctorate from the University
of North Texas. He has performed with the Count Basie Orch-
estra, the North Texas One O’Clock Lab Band, Dizzy Gille-
spie, Rosemary Clooney, and Al Jarreau.

3———b9———5 7———#9—b9———5 7———#11————9

Example 7

Example 8
60 ITG Journal / March 2007 © 2007 International Trumpet Guild
 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; editor@trumpetguild.org
TEN THINGS EVERY TRUMPET PLAYER NEEDS
TO KNOW ABOUT TEACHING HORN
BY HOWARD HILLIARD
T
here are a lot of trumpet players teaching horn. They
could be public school teachers in brass or horn class,
band directors, high brass professors at colleges too
small to carry a dedicated horn instructor, or just private teach-
ers who take on the occasional horn player. Often it’s not the
obvious differences that make it problematic to teach horn but
the subtle differences that are not always apparent. Some of
these subtle differences might seem obvious after they’ve been
pointed out. Some of the differences are particular to the horn.
1. Emission of air and the double horn
As a general rule many of the same comparisons between B-
flat trumpet and piccolo trumpet find their parallel between
trumpet and horn as well as between the F and B-flat side of
the double horn. Just as few trumpet players warm up on the
piccolo, warming up primarily on the B-flat side of the horn as
opposed to the F side of the instrument dramatically changes
the emission of air and the development of the breath. It’s fair-
ly common to come across older high horn players that depend
on the shorter double descant or triple horn to extend their
careers. Even with years of experience, these horn players often
lose their characteristic double horn sound on the descant
horn. For historical and practical reasons horn players in most
regions base their characteristic sound on the F horn side, not
the B-flat side of the horn.
2. Lip Slurs
Any trumpet player who has ever done lip slurs with a band
knows that they generally fit into a comfortable range and use
the full selection of partials within that range. Unfortunately,
this is not the case for the horn. No informed horn player
would ever use the lip slur exercises favored by the vast major-
ity of bands. To add insult to injury, students often use their
band warm-up for their personal warm-up. At the crux of the
problem are two issues. The first is connected with the emis-
sion of air on the double horn. Even horn players in Europe
who regularly play on the B-flat side of the horn in the middle
register begin with lip slurs on the F side of the horn. The sec-
ond issue is the doubling of available harmonics in the same
octave compared with the trumpet. The combination of
greater resistance on the longer F horn with the additional har-
monics makes it more difficult to do the lip slurs. This diffi-
culty is a good thing because it promotes a better sound and a
more precise buzz. Lip slurs that use these extra harmonics
© 2007 International Trumpet Guild
done on the F horn are very important to the horn player’s
development.
3. Valve exercises
One of the primary differences when you compare trumpet
studies to horn etudes are the classic valve exercises. The Clarke
Studies, Stamp exercises, and many of the Arban exercises
emphasize the smooth passage of air going through fast, pre-
dominantly stepwise valve changes. Many of the classic horn
etudes still widely used today can be played either on natural
horn or valve horn (i.e., Kopprasch and Gallay, just to name a
few) and don’t even require valves. Horn players need to spend
a lot more time on exercises that follow the harmonic series
and have leaps to develop both physical accuracy and pitch
identification.
4. Tonguing
The longer the instrument, the more articulation is required.
The lower the note, the more articulation is required. The
darker and heavier the sound, the more articulation is
required. In addition, horn players need to over articulate
because of the following: there is a hand in the bell; they sit in
the back of the band or orchestra; and the bell faces backwards.
Two out of three of these may not be present in a chamber
music or solo situation (the hand is always in the bell), so
orchestral horn players tend to use heavier articulations that
will be heard clearly at the back of the hall.
5. “Einsetzen” vs. “ansetzen”
These are the two classic mouthpiece placements for horn.
“Einsetzen” means to set in to the lower lip and “ansetzen”
means to set on the white outside the lower lip. It’s pretty rare
to find a trumpet player that uses “einsetzen” because it’s gen-
erally not effective for high notes. For a horn player, it’s anoth-
er matter altogether. Nine out of ten beginners will gravitate
towards playing with both lips inside the horn mouthpiece. If
they have full lips it will make the typical ⅔ upper lip / ⅓
lower lip division difficult to achieve because there isn’t enough
room in the mouthpiece. Rolling the lips in maybe an option
but at that point the lips are usually crowding the mouthpiece
on low notes and there may have to be a shift to “einsetzen” for
the low notes. If the lips are too full to fit into a standard inside
diameter cup you can try using a larger inside diameter cup.
When placing ⅔ upper lip and ⅓ lower lip inside the mouth-
piece seems physically impossible, it’s time to think about set-
ting into the lower lip for all registers.
March 2007 / ITG Journal 61
6. Mouthpiece angle
In general, horn players need to be more downstream than
trumpet players. Most of this is connected with the mouth-
piece placement. With small beginners, holding the horn on
the knee often forces them to play straight out like a trumpet
until they have sufficient stature and strength to bring the bell
in from the knee toward the body and carry more of the weight
of the horn on the left shoulder.
7. Pivoting
Trumpet players are no strangers to pivoting. The classic
trumpet method “The Pivot” is a famous tract recommending
the practice. The degree of pivot varies depending on the facial
structure. This is equally true for a trumpet or horn player and
probably should not be discouraged unless the movements
seem excessive. The key difference for a horn player is the fact
that many horn players play with the bell on the leg, impeding
a pivot. If you have a horn player with a need to make a sub-
stantial pivot, playing off the leg may be indicated.
8. Embouchure movement
The lower the instrument, the more the embouchure should
be allowed to move. Even though one can hit low notes on the
horn with minimal movement, low notes may need substantial
jaw movement, if only for voicing. In addition, an embou-
chure shift might be necessary if there is a break between the
middle and low registers. Students usually arrive at this shift on
their own because of their physiology. In an ideal world with
an ideal facial structure, embouchure motion would be mini-
mal, but reality sometimes dictates more movement.
9. Fingerings
There are a lot of possible fingerings on the horn. Tone and
intonation are the principal criteria that reflect the standard
fingerings and the change between the F and B-flat horn above
second-line G. Often response and ease of finger patterns will
dictate B-flat horn fingerings that would otherwise be out of
tune or poor in tone quality when playing slowly. At the top of
the staff, G-sharp and A can be played either 2/3 and 1/2, or
2 and 0 depending on the horn and the horn player’s tenden-
cy to play sharp in the upper register. The tradeoff is usually
between a more in-tune longer tubing length or a more secure
shorter length. There is a fairly large divergence in the low reg-
ister where both F horn and B-flat horn fingerings are possi-
ble. The choices boil down to establishing priorities among
tone, intonation, response, ease of fingering, and the stability
of a longer tube on a held note.
10. Choice of mellophones
The last point is directed to anyone who has a role in choos-
ing which mellophone to use. There are two kinds of mel-
lophones commonly used today. One is in high F, one octave
above a single F horn. It uses a trumpet-like leadpipe and a
trumpet mouthpiece and requires an adaptor for the horn
mouthpiece. The other also goes by the name of a marching
French horn and only takes a horn mouthpiece. It is in the key
of B-flat one octave below the trumpet. Having horn players
use the high F mellophone is like marching a piccolo trumpet
with an oversized mouthpiece and a mismatched leadpipe.
About the author: Howard Hilliard holds degrees in horn
performance from the University of North Texas (DMA) and
the University of Southern California (MM and BM). He has
played professionally throughout the United States, Mexico,
and Europe. From 1987 to 1993 he served under principal
conductor Zubin Mehta as co-principal horn with “L’Orches-
tra del Maggio Musicale Fiorentino” in Florence, Italy. Hilliard
has been a voting member of the National Academy of Record-
ing Arts and Sciences and has taught and performed extensive-
ly in the Dallas/Fort Worth area.

INDEX TO ADVERTISERS Editions Marc Reift . . . . . . . . . . . Col

Cvr = Inside Front Cover
Col = Color Section
5 Starr Music Products. . . . . . . . . 118
AAIIRR Acousti-Coil . . . . . . . . . . Cvr
BERP . . . . . . . . . . . . . . . . . . . . . . 105
Blackburn Trumpets. . . . . . . . . . . Col
Bob Reeves . . . . . . . . . . . . . . Col, 109
Brass Buzzer . . . . . . . . . . . . . . . . . 115
BrassClef . . . . . . . . . . . . . . . . . . . 124
Brixton Publications . . . . . . . . . . . 120
Cambrass / Stomvi . . . . . . . . Col, 114
Cannonball Musical Instruments . . 125
Chase Sanborn . . . . . . . . . . . . . . . Col
Cherry Classics . . . . . . . . . . . . . . . 109
Chopsaver. . . . . . . . . . . . . . . . . . . Col
Chop-Sticks . . . . . . . . . . . . . . . . . 108
Conn-Selmer (Conn) . . . . . . . . . . Col
Conn-Selmer (Bach) . . . . . . . . . . . Col
Crystal Records. . . . . . . . . . . . . . . 110
Curry Precision Mouthpieces . . . . Col
DANSR (Denis Wick) . . . . . . . . . Col
David Zuercher . . . . . . . . . . . . . . Col
Dillon Music . . . . . . . . . . . . . . . . 111
Edwards Trumpets . . . . . . . . . . . . Col
Fanfare Caseworks . . . . . . . . . . . . 124
Ferree’s Tools . . . . . . . . . . . . . . . . 108
Getzen . . . . . . . . . . . . . . . . . . . . . Col
GMP Torpedo Bags.. . . . . . . . . . . Col
Greg Fishman Jazz Studios . . . . . . 126
Hickey’s Music Center . . . . . . . . . 111
Hickman Music Editions . . . Col, 119
HornTrader.com . . . . . . . . . . . . . 112
Hub v. Laar . . . . . . . . . . . . . . . . . 124
JA Musik GMBH (Mark Pender) . Col
JA Musik GMBH (Challenger) . . Col
Jeffrey Purtle. . . . . . . . . . . . . . . . . 109
Jupiter Band Instruments . . . . . . . 123
Kanstul Musical Instruments . . . . 120
Kelly Mouthpieces . . . . . . . . . . . . 115
Ken Larson’s BrassWerks . . . . . . . Col
Lamont School of Music /
Rafael Méndez Brass Institute . . 118
Lieksa Brass Week . . . . . . . . . . . . 118
MakeMusic. . . . . . . . . . . . . . . . . . 121
Maller Baroque Brass . . . . . . . . . . 113
Mike Thompson . . . . . . . . . . . . . 105
Najoom Music Products. . . . . . . . 107
National Trumpet Competition . . Col
Naumann Trumpets . . . . . . . . . . . Col
Oberlin Conservatory of Music . . 120
OnBoard Research . . . . . . . . . . . . 114
Pickett Brass . . . . . . . . . . . . . . . . . 112
Robert’s Engineering /
Blue Juice . . . . . . . . . . . . . . . . . Col
Sam Ash . . . . . . . . . . . . . . . . . . . . 108
Schilke (Trumpet Line) . . . . . . . . Col
Schilke (John Faddis) . . . . . . . . . . Col
Select-A-Press . . . . . . . . . . . . . . . . 111
Sheet Music Service . . . . . . . . . . . 122
Skidmore Jazz Institute. . . . . . . . . 122
Sonaré Winds . . . . . . . . . . . . . . . . Col
StarsTeachMusic . . . . . . . . . . . . . 115
Superscope Technologies . . . . . . . 116
Synergy Brass (Radian Arts) . . . . . Col
TAP Music Sales. . . . . . . . . . . . . . Cvr
Triplo Press . . . . . . . . . . . . . . . . . 110
Trumcor Mutes Inc . . . . . . . . . . . 117
TrumpetWorks. . . . . . . . . . . . . . . 116
Wavesong Press . . . . . . . . . . . . . . 112
Weril . . . . . . . . . . . . . . . . . . . . . . Col
Willson Bandinstruments . . . . . . . Col
Yamaha. . . . . . . . . . . . . . . . . . . . . Col

62 ITG Journal / March 2007 © 2007 International Trumpet Guild

 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; pedagogy@trumpetguild.org

ROTATING WARM-UPS
BY TIMOTHY ZIFER

A
t the start of each morning I, like most trumpet/brass idea of a rotating warm-up schedule I needed to find new
players, go through a warm-up routine that prepares me materials as well as rediscover past advice. My search led me to
to teach, demonstrate, practice, rehearse, and perform the books listed in the sidebar (alphabetically by the author’s
throughout the day. During the early stages of my formal study last name).
of trumpet I was always in search of the “perfect” warm-up This list of books is by no means a comprehensive list. I add
routine. The requirements were simple: 30 – 40 minutes in books and materials that I find work well for me or perhaps for
length, buzzing (mouthpiece, lips, or both), and fundamentals a particular student. One set of books in particular that I want
(long tones, fingers, tongue, flexibility, etc.). All this had to be to investigate in the near future is Anthony Plog’s Trumpet
accomplished in a fashion that Method Books 1 – 5, Balquhidder
would not leave me feeling either too “Human nature lends itself to Music. Additionally, I use materials
tired or not warmed up enough. I that have been given to me by teachers
desperately wanted to find a routine ad diction, sometimes without over the years that were either com-
that would satisfy the abovemen-
tioned requirements. I found such a
the individual even knowing it.” posed by my teachers or copied from
unidentified sources.
routine, several times! Had I taken The most difficult part of imple-
note of the various teachers and the many master classes I had menting the rotating warm-up schedule was quitting my nor-
attended over the years, I would have noticed that not many mal warm-up routine. I was also concerned with getting start-
professionals had the same routine or followed a rigid ed, what routine I should begin, and how it would affect my
approach. I was in search of a routine that fit my personality, playing. To quell these concerns I governed the rotation with
one of structure and organization. Over the years I have accu- my earlier mentioned list of requirements (30 – 40 minutes in
mulated many different warm-up techniques and routines. I length, buzzing, fundamentals, long tones, fingers, tongue,
have, at times, interjected a new technique, but only within the flexibility, etc.), and stuck to the premise that none of this
context of my regular routine. Human nature lends itself to could leave me feeling either too tired or not warmed up
addiction, sometimes without the individual even knowing it. enough. These governing principles served me well, and I in
As I practiced one day I could not help feeling like I was in a turn developed a plan:
rut, feeling as if was I was simply going through the motions of I do not repeat any routine two days in a row. I
warming up. I was playing long tones because that is what I allow myself the flexibility to change or implement
always did every morning. This observation made me realize other routines depending on how my chops feel on
that I needed to change things to stay fresh as both a performer any particular day. If a particular book or routine does
and teacher. not contain certain desired warm-up techniques, I
The warm-up routine I followed closely for years was Allen make an adjustment. For example, Buzzing Basics Vol-
Vizzutti’s Trumpet Method Book I Technical Studies, published ume I contains terrific buzzing and long tone rou-
by Alfred Publishing Company (the warm-up routine is also tines, yet I supplement scale and flexibility exercises
printed at the beginning of his second and third method from the Clarke Technical Studies to complete my
books). On pages 4 and 5 Vizzutti outlines a very fine routine, warm-up. The Clarke Technical Studies contain no
which included buzzing, long tones, buzzing or long tone exercises
technical drills, and other fundamental “Breaking any routine you have so I add some buzzing either
related materials I adhered to for many based on a particular study
years. I find his method books provide established for a long period of or an exercise from another
a solid foundation for my college fresh- time requires a shift in thinking.” source; i.e., Sachs.
men and my advanced private high Breaking any routine you have
school students. Additionally, these method books serve as established for a long period of time requires a shift in think-
wonderful maintenance manuals for the advanced performer. ing. I came to this realization one day when I felt that my
Vizzutti’s warm-up routine includes everything that I found warm-up was no longer accomplishing my desired goal. The
important for a sound warm-up. However, to implement my fear and superstition of one particular warm-up landed me in
© 2007 International Trumpet Guild March 2007 / ITG Journal 63
 A PARTIAL LIST OF WARM-UP SOURCES

Clarke, Herbert L. Technical Studies for the Cornet, Carl Fischer

Clark based this book on ten studies with an ensuing etude after each study. I use this particular book in conjunction with
other routines (i.e., Sachs, Thompson).

Little, Lowell. Embouchure Builder for Trumpet, Belwin Mills Publishing Corp.
Little provides 42 studies within his book. The studies range from long tones to flexibility studies. I add singing, buzzing, and
playing to many of his routines (i.e., #1 – 8).

Sachs, Michael. Daily Fundamentals for the Trumpet, International Music Company
Sachs divides his book into three chapters with the first covering his warm-up routine. The warm-up includes buzzing, long
tones, low-mid range intervals, articulation, lip slurs, Clarke studies (variations on Clarke’s technical studies), scales, arpeg-
gios, chromatics, broken thirds, octaves, low articulation, descending half steps, timing drills, note bending, and warm-
down exercises.

Schlossberg, Max. Daily Drills and Technical Studies for Trumpet, M. Baron Co.
This book is divided into eight parts: long tones, intervals, octave drills, lip drills, chord drills, scale drills, chromatic scale
drills, and etudes.

Stamp, James. Warm-Ups + Studies, Editions Bim

Stamp includes breathing, preliminary warm-ups, basic warm-ups, alternative warm-up I – III, slur exercises, bending exercis-
es, supplementary study, octave studies, scale velocity, concentration, quick breath exercise, staccato control, and three
studies.

Thompson, James. Buzzing Basics for the Advanced Trumpet Player Volume I, Atlanta Brass Society Press
Thompson includes a buzz-along CD that covers nine different buzzing and playing exercises. I supplement this book with
other studies/warm-up material to complete my warm-up.

Van Cleave, Mark. Maximizing Practice Volume 1: A Daily Practice Routine for Developing Trumpet Skills, D’note Publications
Van Cleave covers long tones, advanced long tones 1 – 3, flexibility, fingers, tonguing, and a warm-down. Additionally, Van
Cleave covers a variety concepts: the importance of learning skills, analysis is paralysis, the mind, three basic stages of
development, air, skills, sound concept, resonance, and warm-up.

Vizzutti, Allen. New Concepts for Trumpet, Alfred Publishing Co., Inc.
This book contains warm-up and smooth tones, reading enhancement studies, multiple tonguing, response rejuvenation,
introduction to 25 etudes, introduction to 20 duets, high notes, music study—why bother?, the trumpet player’s
embouchure, blow don’t buzz, the trumpet as a touchstone, mouthpieces, concepts of musicality, and professional music
careers.

a rut and feeling stale. My mind and playing are now fresher
and this expanded knowledge can be passed on to my students.
This concept will also lead me to find new material to contin- Make Plans Now to Attend
ually supplement the rotating schedule. Through implement-
ing the Rotating Warm-Up Routine, I feel I have improved
both as a performer and teacher. 2007 ITG Conference
About the author: Timothy Zifer is an associate professor of
music at the University of Evansville. His duties include studio
May 29 – June 2, 2007
trumpet, conducting the wind ensemble, trumpet ensemble, University of Massachusetts
and as a degree advisor for the Music Management program.
Zifer received his DMA in trumpet and wind conducting from
Louisiana State University, MM in trumpet from Louisiana
Amherst, Massachusetts
State University, and his BM in Music Education from The Eric Berlin, Host
Ohio University. He serves as principal trumpet with the
Evansville Philharmonic and the Shepard Brass (UE Faculty
Brass Quintet). Zifer and the University of Evansville hosted www.trumpetguild.org
the 2001 ITG Conference.

64 ITG Journal / March 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; website@trumpetguild.org

HOME RECORDING STUDIOS: A PRIMER

BY BART BRADY CIAMPA

A
pproximately a dozen years ago, one of my daughters
asked me to record some mellow songs to help relax one
of my overactive grandsons at bedtime. I happened to
have the original single-floppy disk version of Band-in-a-Box
and used it along with a cassette recorder to compose and
record about a dozen tunes that I sent along to her. A lot has
changed since the days of rudimentary equipment and early
music software that was designed for use as “backing tracks”
for home recording. Computers have made quantum leaps in
processing speed, storage capabilities, and sound production.
Software and hardware have become increasingly sophisticat-
ed, and prices (in terms of the dollar’s purchasing power, when
compared to the early days of computing) have declined, mak-
ing home studios more affordable than ever.
Let Your Budget be Your Guide
I have been truly amazed by the quality of the output I’ve
heard that has been produced by home studios using only a
few very modest pieces of equipment. On the other hand,
while scanning web sites and online catalogs, my ultimate
“wish list” would surpass many thousands of
dollars. In my case, over the past decade I’ve “…fight the temptation
experimented with many different software
programs and have tried to incorporate to accumulate a lot of
hardware that was as affordable as possible,
finding used equipment available through
gear before
web sites and online auction sites. My advice starting to record.”
is to fight the temptation to accumulate a lot
of gear before actually starting to record. (To get an idea of the
scope of home studio possibilities, plus hints about establish-
ing a home studio, do a web search using “Home Studios” as
keywords.)
The Actual Studio Space
By definition, if you want to have a recording studio—how-
ever modest or sophisticated—in your home, you are limited
by the space available. I have seen home studios ranging from
converted basements/garages that rivaled professional facilities
with the most ultra-modern technology, to the most basic
setups in just a tiny corner of a room. So, whatever the circum-
stances, regardless of what is available for space in your home,
you can make a home studio “work” if it has minimally accept-
able acoustics and an electrical outlet or two for the equip-
© 2007 International Trumpet Guild
ment. Beyond that, the sky’s the limit!
Basic Equipment Recommendations
I think all would agree that the foundation for home-based
recording rests with the computer. My suggestion would be to
begin with what you already have available and upgrade mem-
ory, soundcards, etc., as necessary after determining what soft-
ware and hardware requirements need to be met. Obviously,
the more sophisticated the computer and its software, the
more options and capabilities one has at his disposal.
There are two basic approaches to home recording. The first
is to use only the computer and its software to create sound
tracks. This is done with software-based mixing programs,
software synthesizers, sound fonts, and recording software.
The second is a hybrid approach and uses the computer, its
software and external hardware such as sound modules, mix-
ers, CD recorders, etc., to record tracks. There are advantages
and disadvantages to each method. Again, my suggestion is to
let your budget dictate where to begin and then allow your
setup to evolve from there, thus avoiding a large initial capital
outlay. As with most skill-based endeavors, home-based
recording is an evolutionary process and, as in
trumpet playing, we progress from one stage
of expertise to another as a result of practice
and experimentation.
Software: You’ll need a multipurpose music
actually software program to record, edit, mix and,
hopefully, to render a track which is suitable
for uploading. Also, it is very helpful if this
software program has the ability to convert
from the actual recorded audio files (.wav files) to a com-
pressed format such as MP3, which is the “standard” for
online music web sites. Over the years, I’ve experimented with
programs such as Sound Forge, Cool Edit, Cake Walk, Sonar,
Cubase SX, and several others. But, my favorite and the one I
keep returning to is PG Music’s Power Tracks Pro Audio. I’ve
been using this program since its inception and it has evolved
over the years through twelve major revisions. At $49.95, it is
one of the most affordable, has the requisite “bells and whis-
tles,” and its learning curve is manageable even for newcomers
to home studio recording. Virtually all of the multipurpose
music programs have “plug-ins” included for effects such as
echo, reverb, and pitch shift. But, you can’t beat “free” for the
price of basic recording software… such software is included
with your Windows/Apple operating systems. Plus, “freeware”
March 2007 / ITG Journal 65
or “shareware” programs such as Audacity are available and directly to your computer’s hard drive via your music software
downloadable from the Internet via a simple web search. In program and then to the computer’s CD recorder. The “indi-
addition, a web search with “Music Creation Software” as key- rect” method records to a stand-alone CD recorder. I happen
words will produce hundreds of citations for software to be to prefer the latter since it allows me to obtain a more “analog”
considered. sound. However, those advocates of the “direct” method would
Mixers: Mixers are designed to control the level of input/ consider it much more cumbersome since it requires the addi-
output coming from sound sources with the goal of balancing tional step of transferring the audio files from the CD to the
the audio elements to produce the desired finished product. I computer’s music software program. It also requires another
feel most comfortable with an actual hardware mixer rather piece of equipment. But a used, stand-alone CD recorder can
than the mixers that come bundled with music software. I like be purchased online for less than $100. If hard disk storage
to be able to “tweak” the knobs/sliders and I like the “hands space is an issue for you, not having myriad memory-intensive
on” feeling of control over the sound output. I also like any audio files filling your hard disk is a distinct advantage. My
piece of equipment that enables me advice is to begin
to approach music from an analog with the equipment
rather than digital perspective. The
“People who compose, arrange, perform, and you already have
tracks seem warmer to me when record music deserve to be paid for their and progress from
using this approach, but it is strictly there. Do a web
a matter of personal preference. efforts… observing copyright rules is the law.” search using “CD
Mixers are available from a variety Creation Software”
of sources and range in price from fifty dollars to huge studio as keywords and “free” programs will come up including
models costing thousands. Again, let your budget be your MusicMatch, Real Audio, and several others. Windows Media
guide and remember, if it’s only going to be you and maybe a will also record CDs.
few others recording in your studio, you may only need a Onl i ne Mus i c Ve nue s : There is a steep learning curve
mixer with four microphone inputs. I found eleven mixers involved with recording the actual sound file, entering it into
ranging from $49.95 to $149.95 on the Zzounds web site. your music software program, editing it, “syncing” it up with a
Brands to consider include Mackie, Allesis, Evolution, M- background that you have constructed, mixing the tracks for
Audio, Digi-Design, and Yamaha. the desired balance, and finally producing an acceptable audio
Microphones: As with other equipment, there’s a broad wave file. Once this has been done, your music software can
range of microphones available from the very affordable to the convert the audio wave (.wav) file into the standard com-
extremely expensive. Some would disagree with me, but the pressed format (.mp3) that is ready to be uploaded to an online
quality of the microphone in a home-based studio setting isn’t music web site. (Acceptable .mp3 files require approximately
as crucial as, let’s say, a live performance venue. What I’m say- one-tenth the disk storage space that would be required by an
ing is that the home studio environment is a bit more “forgiv- audio wave file.) There are numerous web sites that are
ing.” Of course, you’ll want the best possible sound reproduc- available to showcase your music. Some are free such as
tion, but many of the above-mentioned software programs will http://www.myspace.com and some require an annual fee for
be able to tailor the sound to your taste once it is recorded. expanded membership. Many of these fee-based online music
There are, for example, microphone modeling programs avail- sites also offer a free membership which limits the number of
able both as stand-alone and as plug-ins that can emulate vir- songs allowed on the site. The regular annual fees for these sites
tually any of the microphones on the market today. Needless are in the $50 to $100 range and include sites such as
to say, you must begin with an audio file of reasonably good http://www.artistlaunch.com and http://www.broadjam.com,
quality. A relatively affordable “studio” microphone in the to name two.
$150 range is the Behringer model B-2. Its specifications and A R e m i n d e r A b o u t C o p y ri g h ts : People who compose,
performance can easily accommodate the wide range of arrange, perform, and record music deserve to be paid for their
acoustical conditions extant in “makeshift” home studios. For efforts and our system of copyright compensation is the
those on the tightest budgets, paying close attention to on-line method of accomplishing this. But obtaining permission to
auction sites such as http://www.ebay.com or used equipment record copyrighted material on a CD, for example, is different
sites such as http://www.craigslist.com can yield reasonably from using copyrighted material on a web site. Getting permis-
priced old standards such as the Shure SM-57 or SM-58 in sion to use copyrighted material on a CD is usually done
used but good condition. through The Harry Fox Agency in the form
Other brands to consider
include AKG, Sennheiser,
“…even the most expensive equip- of what is called a Mechanical License. In
this case, the royalties are paid “up-front”
and ElectroVoice. Even “off- ment can’t magically make a before the CD can be produced; usually
shore” brands available at about nine cents per copyrighted song per
local electronics outlets such poorly played track sound good.” CD. If you are the copyright owner or if
as Radio Shack can get the you can obtain written permission from the
job done to some degree. It goes without saying that even the owner of the copyright, you can circumvent The Harry Fox
most expensive equipment can’t magically make a poorly Agency process. There is another more complicated method
played track sound good. On the other hand, marginal equip- requiring you to periodically compensate the copyright holder
ment can make it more difficult for good playing to shine. directly. For purposes of our discussion here, using copyright-
CD Recording: So, how do I get my audio track recorded ed material online can be accomplished by obtaining express
onto a CD? Again, there is the “direct” method by recording written permission of the owner or, as I have done, subscribe to

66 ITG Journal / March 2007 © 2007 International Trumpet Guild

a fee-based professional performing artist’s program such as
BMI’s Digital Internet Licensing agreement. The basic annual
fee for this license is approximately $300 per year plus addi-
tional costs based on a sliding scale related to income produced
by the use of the music. (See http://www.bmi.com for details)
The bottom line is that observing copyright rules is the law.
Where do I beg in? All you need is a bit of motivation, a
modicum of ability, a microphone that you can plug into the
line input jack of your computer’s sound card, and some sim-
ple music recording software which is actually included as a
part of your Windows or Apple operating system. From there,
follow three simple steps… experiment, refine, and evolve!
Good luck and happy recording!!
About the author: Bart Brady Ciampa spent twenty years in
the field of education and received the Ph.D. from Boston
College in 1972. His last position was as Dean of the Gradu-
ate School at Wayne State College, Wayne, Nebraska. He was
licensed as a stockbroker in 1983 and founded and served as
president of an investment firm in Vancouver, Washington,
where he retired in 1998. He has been a trumpet enthusiast
since his first lesson in 1952 and has recently begun to explore
the world of wind synthesizers.
Health & Awareness continued from page 58
said, the conference delegates stressed the need for educators of
all kinds to step up and help. Currently, there is no single dis-
cipline willing to educate our children in the public school set-
ting about hearing loss. Because of this dilemma, educational
programs and materials like dangerous decibels are underused.
Being an advocate for music education, I hope that this educa-
tional opportunity becomes a priority for all who teach music.
This NIOSH grant-funded conference was jointly spon-
sored by the Centers for Disease Control, National Institute
for Occupational Safety and Health (NIOSH), the National
Institute of Deafness and Other Communication Disorders
(NIDCD), the National Hearing Conservation Association
(NHCA), the Marion Downs Hearing Center (MDHC), the
Oregon Health & Science University (OHSU), and the Uni-
versity of Northern Colorado (UNC).
WEB-BASED RESOURCES
Conference web site:
http://www.hearingconservation.org/conf_childrenconf.html
Listen to your Buds:
http://www.listentoyourbuds.org

ated programming, Dangerous Decibels hosts an excellent web Dangerous Decibels:

site that includes an information center, online education
materials, and an extensive teacher’s guide. The Listen to your
Buds project is a new public awareness campaign sponsored by
the American Speech-Language-Hearing Association (ASHA)
and includes web-based cartoon characters to help children
learn safe listening habits when using personal listening
devices. The ASHA campaign is geared specifically toward use
of personal listening devices whereas Dangerous Decibels pro-
gram is more generalized.
Overall, the conference stressed the need for education that
is designed to improve knowledge and change attitudes.
Changing at-risk behavior is the key to lowering the prevalence
of hearing loss among school-aged children. With that being
http://www.dangerousdecibels.org
About the author: Kris Chesky holds a joint faculty position
with the University of North Texas College of Music and the
UNT Health Science Center Department of Medicine. He is
the Director of Education and Research for the Texas Center
of Music and Medicine. Chesky serves on the Board of Direc-
tors for the Performing Arts Medical Association, the Scientif-
ic Review Board for the Medical Problems of Performing Artists
Journals, and the Editorial Committee for the ITG Journal.
His research focuses on the medical problems of musicians and
applications of music in medicine.

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 vicepresident@trumpetguild.org

© 2007 International Trumpet Guild March 2007 / ITG Journal 67

 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; studio@trumpetguild.org

SITTING IN WITH THE SYMPHONY:

A COMMERCIAL PLAYER’S GUIDE
BY RAY NELSON

I
have had the good fortune of viewing the various issues commercial gig one night to having to sit in the symphony
implied in the title of this column from both sides of the orchestra the next morning or afternoon. My chops and sound
fence; first as the regular orchestra member watching a were never quite right for the orchestra after the salsa gig.
commercial player sit in, and more What I’ve found really helps is to go home after
recently as a commercial player re- “…the key to success on the hard blowing gig, take out the “legit” gear, and
quired to adapt to the needs of a do some light in-the-staff playing, some lip bends,
specific section. For the commercial any gig is preparation…” and whisper tones. This helps to get the chops
player, the orchestral world is a long loosened up and accustomed to the bigger
way from your basic club date, “Brick House” gig, combo gig, mouthpiece, and helps to adjust the ear and chops towards the
or local theater run of “Fiddler.” So in this article I will lay out “legit” sound I will be using the next day. It takes discipline to
some basic tips to make the transition onto the orchestra stage do that at 2:00 A.M., but is well worth the 15 minutes it takes
more comfortable. to reset things.
As we all know, the key to success on any gig is preparation, The biggest mistake I have seen players make when sitting in
and you can’t prepare if you don’t know what you’ll be playing. with the orchestra is showing up ten minutes before the start
So take the time to call the principal trumpet and ask what will time, blowing a few notes, joking with the guys, and opening
be on the gig, what part you will be playing, the book just before downbeat…
and if there are any surprises you need “My goal is to sound like I’ve let the clams begin! For the first
to know about (solos, hard transpositions, rehearsal I always show up an
etc.). Believe me, he will appreciate the call. played that music a hundred hour early so I can relax, get in a
Whether it’s a pops concert or playing off- times on the first read through.” good warm-up, get used to my
stage on a Mahler symphony, chances are surroundings, and most impor-
you won’t want to use the same sound you take into a salsa or tantly, see what is required of me in the music! My goal is to
R&B gig. So it’s important that you spend time preparing your sound like I’ve played that music a hundred times on the first
sound and chops to match the setting you are about to enter. read-through. Be sure to work out any tough licks or transpo-
At least a week before the first orchestra rehearsal, I start sitions before the rehearsal. You’re not getting paid to miss
doing some light practice on the bigger mouthpiece I will be transpositions and play clams.
using. If I will be playing C trumpet, I start getting reacquaint- Here is a list of things I have seen subs/extras do
ed with that as well. Have your transposition chops together, that I would advise against:
at least a whole step up or down, and be ready for chromati-
cism and angular jumps. Inner orchestral parts can be particu- • Don’t point your bell at string or reed players while warm-
larly challenging. If you find out that you will be transposing ing up.
to A, F, E-flat, etc., • You should not practice loud high notes, shakes, or any-
s t a r t w o r k i n g o n “It’s always a good idea thing else that is not needed on the gig.
those transpositions. • Don’t complain about the orchestra not swinging hard
Try to get the music to get recordings of what enough… they never will, so relax and have a good time.
in advance. No matter you will be playing.” • Never tell the section how something should be phrased
how conscientious you while playing a lower part unless they ask you. I’ve had
are in that regard, there will be times when you won’t see your sections ask how to phrase commercial licks before while
parts until the first rehearsal. It’s always a good idea to get on the third or fourth book, in which case I tell/show
recordings of what you will be playing. Listening is always them, but I would never lean over and tell the principal
good policy, no matter what the setting.
One issue that I ran into was moving from a hard-blowing Continued on Page 73
68 ITG Journal / March 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; chamber@trumpetguild.org

PERFORMANCE SUGGESTIONS FOR J.S. BACH’S

2ND BRANDENBURG CONCERTO
BY CHRIS GEKKER

T
he 2nd Brandenburg Concerto by J.S. Bach is best ic concertos of Richter and Michael Haydn would appear sev-
approached as a piece of chamber music. Often per- eral generations later, in the early classical era, and really are
formed with orchestra led by a conductor, it is also anomalies, representing the final “flare” in the dying art of solo
commonly done without conductor, even using solo instru- clarino playing after 1750. The 2nd Brandenburg remained
ments for the ripieno (the tutti ensem- almost unknown (and untried) until the late 1800s.
ble). It is certainly not a trumpet con- “It is certainly not a Initial performances used E-flat clarinet or other
certo, and an audience that is interest- winds for the high trumpet part. Our beloved Theo
ed in listening to this type of music trumpet concerto…” Charlier, in the early 20th century, was the first trum-
will probably not enjoy hearing a peter to perform this music multiple times. Modern
trumpeter dominate the sound of the group. specialists on natural trumpet, like Michael Laird, have played
First, some background: the six Brandenburg Concerti get the high part brilliantly, so we know it can be done. But the
their name from a presentation copy, drawn from revised ver- question remains, could it have been intended down the
sions, presented to the Margrave of Brandenburg in 1723. For octave, where a horn-like instrument pitched in F would nor-
some time the music was thought to be associated with Bach’s mally sound? The lower octave makes the music sound more
time as Kapellmeister in Cöthen (1717 – 1723) but more “Bach-like,” to my ears, when heard in context of his other
recent research points to his previous post in Weimar (1708 – work, but no one will ever know for sure. We can all certainly
1717). At this time the young Bach was studying the rich Ital- agree that there is a real visceral thrill of hearing the high trum-
ian concerto tradition and searching for his own voice. As he pet part played with taste and brilliance, so let’s talk about get-
was to do periodically, this music was ting ready to prepare for the
very likely composed for his own study. “Piccolo practice should focus on challenge of this great music.
His own name for the six concertos was First of all, any trumpeter
Concerts avec plusieurs instruments (Con- efficient, secure execution that even- looking at the 2nd Branden-
certos with several instruments), a tually allows us to go from written burg needs to realize that it is
rather offhand title for this daring, re- not a mandatory piece in our
markable music. In any case, we cannot low F to the G above the treble staff.” repertoire; you can have a
verify if Bach was writing for a particu- very successful career with-
lar group of musicians, and there is no documented proof of out ever doing it. Once we accept that, it’s a good idea to look
any public performances of this music during Bach’s life, at our skill on piccolo trumpet as a progression through sever-
except for the 5th Concerto (an early version of #1 may have al layers of literature, and a smart trumpeter will understand
appeared in his Hunt Cantata BWV 208). For us trumpeters, that deliberate, gradual progress will achieve the best results.
it’s worth noting that Bach had not yet settled in Leipzig, Piccolo practice should focus on efficient, secure execution
where he would begin writing so that eventually allows us to go from written low F to
extensively for trumpet, specifi- “No other Baroque com- the G above the treble staff. I find that scale and chord
cally for Gottfried Reiche. patterns, going through all keys and mostly using lega-
This scenario might possibly poser wrote for the trum- to tongue is better than any sort of strenuous etudes.
explain why there are questions When low F to high G is secure on the A piccolo,
about the trumpet part in the pet in that tessitura…” switch to the B-flat for the same exercises. I practice
2nd Concerto, such as whether my entire piccolo repertoire on the B-flat as well, in
Bach meant it to be heard in the high octave. It’s higher than effect playing all my D major literature in concert E-flat, mak-
any of his other trumpet music, and the voicing with strings ing music performed on the “A” feel easier. Short, frequent
and winds is treated differently. No other Baroque composer practice periods are best. Keep as fresh as possible all the time,
wrote for the trumpet in that tessitura either. The stratospher- while gradually increasing your work load over time. I try to
© 2007 International Trumpet Guild March 2007 / ITG Journal 69
work the piccolo once or twice a week all year round, for 10 –
15 minutes or so, but when preparing for a heavy schedule of
piccolo performances I will begin practicing piccolo on most
days, almost daily but probably averaging 5 – 6 times a week.
Depending on the kind of shape I’m in, I’ll begin this three to
six weeks before rehearsals start. Sessions are never more than
30 minutes, which includes resting at least as much as playing.
After so many years of playing piccolo, I’m not sure we ever
really develop endurance on this instrument—it’s more a mat-
ter of getting smart!
Here are some specific suggestions for preparing the Bran-
denburg:
1. Become adept at playing up to high concert F with a cen-
tered, compact sound. Get comfortable “playing small.”
You will need to balance with flute, oboe, and violin, and
to do this also practice smooth fluent articulation, using
mostly legato tongue. I know the Brandenburg goes up
one step higher; I’ll address that below.
2. Get to know as much Bach as you can, to understand the
basic language of this music. Recordings are great for
this. Study them, also have them on in the background…
you’ll acquire a good sense of style over time. My recom-
mendations for listening to Bach include the following:
Glenn Gould’s Goldberg Variations, any piano transcrip-
tions played by Dinu Lipati, Nathan Milstein’s Sonatas
and Partitas on violin, Susan Rotholz’s Flute Sonatas with
Kenneth Cooper, and Stephen Taylor’s Concerto for
Oboe d’Amore and his Sinfonia to the Wedding Cantata.
Listen to some of the recordings of the B minor Mass that
feature the trumpet parts on natural instruments. John
Elliot Gardner’s is excellent, featuring Crispian Steele-
Perkins on first trumpet. If you want to experience an
amazing display of expressive articulation on early music,
albeit not on Bach, check out Bruce Dickey on his CD
Quel Lascivissimo Cornetto.
3. Practice with the metronome, at a moderate tempo that
will likely be slower than your performance. This will
make the piece harder: it’s natural to want to rush slight-
ly on difficult passages. If you can stay around quarter
note = 86 for the first and third movements you’ll have
earned a high degree of skill and conditioning, and your
rehearsals and performances, obviously without the
metronome, will feel easier. Make a tape of the slow
movement, and listen to it between practicing the first
and third movements. It is quite possible to be well pre-
pared for the piece, yet get thrown off by the “standing
around” aspect of that second movement. If you get used
to always hearing it, you’ll be comfortable with the
pacing.
4. Learn what you can leave out—there are various places
where you can rest without harming the music. I’ve heard
performances where the trumpeter was determined to
play every note, which is admirable, but it can lead to a
kind of grim seriousness which takes away from the audi-
ence’s enjoyment of the music. If every note is played,
there are a number of passages where the trumpet should
be felt rather than heard.
70 ITG Journal / March 2007
5. The piece does go to high G concert, but I would not rec-
ommend setting this note up as any sort of personal mis-
sion. It’s not that important. If it’s overplayed, we are
simply missing what Bach is about. One of my teachers,
who played the piece sublimely, used to ask the flutist to
play the note. I will do that as well, though I sometimes
play it, hopefully in context, and of course did it for the
recording. Depending on how I feel on any given day, my
preference is to do my best to stay within the ensemble in
the first movement, playing the solo lines up a bit but
mostly blending. On the third movement it is appropri-
ate to bring out the trumpet’s natural brilliance, while
knowing when the part is subordinate to the other
soloists.
6. My usual piccolo is a Schilke P5-4, but I prefer a Yama-
ha C for the Brandenburg. The high notes are not easier,
but it produces a smaller, darker sound. The Schilke is
more “trumpet-like.” My usual routine is to prepare the
piece on the Schilke B-flat up until the first rehearsal,
staying loose and strong, then switch to the Yamaha, in a
sense “drawing in” the sound to blend with the ensemble.
Concerning mouthpieces, find what works, period.
Don’t feel obligated to use the same mouthpiece that you
use on regular piccolo repertoire. For many years I used a
Purviance #8 on my Schilke, and a Bach 11EW on the
Yamaha. John “Peppy” Pettinato altered it beautifully for
me, opening it up bit by bit until the high register was
well slotted (how he is missed!). After I switched to Mon-
ette mouthpieces, I changed to a P6LM that Dave and
his assistant Dean Comley sized to the Yamaha. But
many players successfully use their regular mouth-
pieces… just don’t feel compelled to conform to some
preconceived protocol.
7. Don’t schedule the piece when your schedule is heavy. I
have performed the Brandenburg over 80 times, with
one bad experience, when I did it during a week with two
orchestra concerts (Das Lied von der Erde and Petroushka)
and a full quintet recital. All the preparation in the world
will not make up for being stupid!
8. Finally, a tip that I can’t really explain, but it makes a dif-
ference. (Miles Davis swore by this habit, in his suit and
tie days.) Just before going on stage, retie your shoes.
Real, real tight…
Good luck, and best wishes!
About the author: Chris Gekker is professor of trumpet at the
University of Maryland. His performances of the Brandenburg
at Carnegie Hall and Lincoln Center have received critical
praise, as has his recording with the St. Luke’s Chamber
Ensemble. He has also been in demand on piccolo for per-
formances and recording with popular artists such as Sting,
Elton John, and Billy Joel. His Fifteen Studies for Piccolo Trum-
pet is available from Colin Publications and has just been
translated into Japanese.
© 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; orchestra@trumpetguild.org

VANCE WOOLF AND THE LOUISIANA

PHILHARMONIC ORCHESTRA
BY JAMES WEST

V
ance Woolf is principal trumpet with the Louisiana The Louisiana Philharmonic Orchestra came back to New
Philharmonic Orchestra. He first came to America Orleans in the first week of December 2005. They gave a con-
from New Zealand in 1992 to cert in the St. Louis Cathedral in Jackson
study with Mario Guarneri and Stanley “The Philharmonic members Square. The orchestra hoped that a con-
Friedman in California. He then went to cert would give the ravaged city a sense
Miami to study with Gil Johnson. John- scattered after hurricane of normalcy. The Louisiana Philharmon-
son, whom he describes as his “best bud,” Katrina, and did what they ic joined forces with the Baton Rouge
made him realize that playing the trum- Symphony in the spring of 2006 to per-
pet was what he wanted to do. While pur- could to find work.” form Mahler’s Symphony #5. Two per-
suing a degree at Rice University, he won formances were given: one in Baton
the audition for principal trumpet in New Orleans. His wife Rouge and one in New Orleans. The orchestra finished an
Samantha also won a position playing French horn with the abbreviated season in May of 2006. Orchestras from around
orchestra. They were playing with the world have sent donations to help sus-
the Louisiana Philharmonic and tain them during these most difficult times.
practicing to move up in the sym- “The New York Philharmonic The 2006 – 2007 season is well under
phonic world when Katrina came set up phone banks and raised way. The orchestra is still alive and kicking.
ashore in late August of 2005 and Attendance is even up! The Louisiana Phil-
changed everything for so many more than $400,000. They did harmonic Orchestra seems to be here to
who lived in the coastal region of this for the New Orleans musi- stay. Hurricane Katrina has met its match!
Mississippi and Louis iana. The
Philharmonic members scattered cians ‘in their spare time!’” About the author: James West teaches
after Hurricane Katrina, and did trumpet at Louisiana State University in
what they could to find work. The orchestra established a web Baton Rouge. He serves as principal trumpet of the Baton
site so that they could keep in touch with one another. Rouge Symphony. West is active in solo, chamber, and orches-
Vance Woolf and Greg Miller, the principal trombone in tral realms of trumpet performance.
New Orleans, found some work in Seattle doing sound-
tracks for a while. That’s when Vance began to experi-
ence the generosity of his fellow musicians. The Seattle
Symphony allowed the New Orleans musicians to play
in their orchestra, and gave a benefit concert for them.
The New Orleans orchestra members reassembled for the
first time in Nashville, where they gave a concert for the
Red Cross. The orchestra members were transported to
Nashville, and fed and housed during this time. Vance re-
marked that it was “very therapeutic” to see all of the
members of the orchestra again. The orchestra was then
invited to participate in a benefit given by the New York
Philharmonic Orchestra. All of the musicians were flown
to New York, and a huge benefit concert was given for
them. The New York Philharmonic set up phone banks
and raised more than $400,000. They did this for the
New Orleans musicians “in their spare time!”
Vance Woolf
© 2007 International Trumpet Guild March 2007 / ITG Journal 71
 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; orchprofile@trumpetguild.org

THE JOHNSTOWN (PA) SYMPHONY ORCHESTRA

TRUMPET SECTION
History World War II took its toll on the membership. Russell Ger-
The Johnstown Symphony Orchestra was founded by a hart became conductor in 1944, and by the time he left in
group of Johnstown musicians who were eager to share their 1951, the JSO virtually fell apart. In 1953, the group reorgan-
music with a community hungry for cultural growth. January ized and Cantor Manfred Kuttner, originally from Frankfurt,
1929, the eve of the Great Depression, was ill-chosen as the Germany, became conductor. In 1958, a symphony chorus, a
time to launch the symphony. Its predecessors, most notably youth symphony, and a women’s auxiliary were added. Phillip
the Cambria [Theater] Symphony and the Cambria Iron Spurgeon became the first full-time resident conductor in
Works Orchestra, didn’t survive. However, it did not daunt 1961. As the JSO improved in the quality of its performances,
the spirit of the group under the leadership of Hans Roemer. Johnstown area businesses and the Johnstown Symphony Aux-
By 1932, the Municipal Recreation Commission adopted iliary combined efforts to provide the JSO its financial sup-
the group and financed it through the Depression years. By port. In 1969, Dr. Michael (Mischa) Semanitzky became
1937, the JSO discontinued presenting free concerts. During music director and for four notable years the organization grew
its 1938 – 39 season, the JSO broadcast over KDKA radio in in all directions. Concentrating on presenting dynamic pro-
Pittsburgh with NBC carrying the program. The JSO was grams, Dr. Semanitzky soon filled the Cochran Auditorium to
being hailed as “one of the outstanding independent orchestras capacity. In addition, the choral groups, youth symphony and
of the East.” auxiliaries were expanded.
Donald Barra became
music director in 1973. In
addition to the seven con-
cert subscription series, he
instituted a “pops” concert
presented in May on the
campus of the University
of Pittsburgh at Johns -
town. In 1978, the JSO
was asked to participate in
a Public Broadcasting ra-
dio series entitled “Ameri-
ca in Concert,” heard in
more than 70 major cities
throughout the country.
Maestro Istvan Jaray,
cur rent Music Director
and Conductor, was en -
gaged in 1984. During his
more than twenty years at
the helm, the JSO has sup-
ported a chamber series in
a local refurbished movie
theater, repeats of John-
stown concerts in Indiana,
The Johnstown Symphony Orchestra Trumpet Section PA, fully staged musicals,
L – R: Kevin Eisensmith, Matt Barabas, Lori Anton opera festival concerts, free

72 ITG Journal / March 2007 © 2007 International Trumpet Guild

July 4th concerts, Young People’s concerts for area fifth
graders, Young Artist competitions, and touring concerts from
Everett to Clarion, PA, and many places in between. The
Johnstown Symphony Orchestra performed at the nationally
televised ceremony in Shanksville, PA, for the September
11, 2002, anniversary of the 9/11 terrorist attacks on the US.
The JSO was chosen from symphonies across the U.S. from
Seattle to Pittsburgh to represent that the attacks were on all
aspects of life in America.
The Section
Kevin Eisensmith, principal
Instruments. C trumpet: Conn Vintage One 1B-46C; B-
flat trumpet: Conn Vintage One 1B; D/E-flat trumpet:
Yamaha YTR 9610; F/G trumpet: Yamaha YTR 9710; B-
flat/A piccolo: Getzen Eterna 940
Mouthpieces. Trumpet: Warburton 2 MD / 10* for all
“classical” playing, including piccolo; Lead mouthpiece:
Warburton 2 SV / 7*
Kevin Eisensmith is professor of trumpet at Indiana Uni-
versity of Pennsylvania, where he also directs the IUP Trum-
pet Ensemble and the IUP Jazz Ensemble. From 1990 to
1998 he served as associate professor of trumpet at Eastern
Kentucky University, where he taught applied trumpet and
was the Director of Jazz Ensembles. He holds degrees from
Temple University (DMA), Georgia State University (MM),
and Indiana University of Pennsylvania (BME). His former
teachers have included John Head and Seymour Rosenfeld.
Eisensmith served as the solo trumpeter with the U.S.
Army Forces Command Band (FORSCOM’S OWN) in
Atlanta, Georgia. He has performed as principal trumpet
with many regional orchestras in the Atlanta, Pittsburgh,
and Philadelphia areas and frequently served as an extra
trumpeter with the Atlanta Symphony Orchestra. Eisen-
smith held the principal trumpet position with the Lexing-
ton Philharmonic Orchestra from 1990 to 1998.
Matt Barabas, second trumpet/associate principal
Instruments. C trumpet: Bach 229 lg. bore, 25R leadpipe;
B-flat trumpet: Bach 197 (NY #7); D/E-flat trumpet:
Yamaha 9610 custom; A/B-flat piccolo: Stomvi Combi;
flugelhorn: Cousenon, GR leadpipe
Mouthpieces. B-flat/C trumpets: Najoom 1C/C, 24BB;
D/E-flat trumpets: Najoom 1CC,117BB; Piccolo trumpet:
Najoom 1C/S,117BB; flugelhorn: Bach 1½C Mega Tone
Matthew Barabas, a Johnstown native, studied trumpet
performance at Carnegie-Mellon University. A student of
Anthony Pasquarelli, Barabas served as principal trumpet of
the Pittsburgh Youth Symphony and played in the Carnegie-
Mellon Philharmonic. An active chamber musician,
Matthew is a member of the Laurel Brass and Touch of Brass
performing with these ensembles throughout western and
central Pennsylvania. Barabas maintains private trumpet
studios in Altoona and Latrobe, PA.
Lori Anton, third trumpet
Instruments: C trumpet: Bach Stradivarius model 229,
25H; B-flat trumpet: Bach Stradivarius model 37; Cornet:
Bach Stradivarius model 184G; B-flat/A piccolo: Stomvi
Elite; flugelhorn: Yamaha “Bobby Shew”
© 2007 International Trumpet Guild
Mouthpieces: C and B-flat trumpets and cornet: Bach 3C;
Piccolo: Bach 5C; flugelhorn: Yamaha Bobby Shew
Lori Anton is a member of the Johnstown and Altoona
symphonies and substitutes in other local symphonies.
While at Pennsylvania State University she studied trumpet
with Robert Howard and graduated with a B.S. in biology.
At Michigan State University she earned a master’s degree in
botany, which she used to work as a lab technician and uni-
versity lecture and lab teacher. Anton is currently a student
of Langston Fitzgerald III, at Penn State. She teaches over 30
piano and trumpet students privately. Also active with brass
ensembles, she recorded two CDs with Joan Dixon and the
Emmanuel Brass, and performs with the Laurel Brass Quar-
tet, founded by her husband Bryan (trombone and eupho-
nium).
Studio / Commercial Scene continued from page 68
how to play his part, no matter how “wrong” it sounds.
It’s a respect thing.
• On pops concerts always phrase exactly like the principal
player, no matter how “straight” you think it sounds. Try-
ing to lead from the third book is a great way to ensure
you never get called back.
• Whether it’s the opening to Pictures or the trumpet solo
from In the Mood, never practice the solo that another
trumpeter will be playing on the concert, especially if it’s
a “jazz” thing and you can play it better.
• Don’t sit and brag on all the really “cool” gigs you have
been playing. If they ask, just say you’ve been staying busy.
Keep the focus where it should be, on their gig.
A brief note on equipment…
If the section is using C trumpets, and you own one, try and
use your C. If they are using B-flat trumpets, use that instru-
ment. However, if the transposition is killing you on C trum-
pet, and you need to play it on B-flat, do it. Let the principal
know that you are having a tough time with it, and ask, “Hey
man, I’m having a hard time with this one, mind if I play it on
B-flat, I don’t want to clam all over it?” I had to do that once,
and the principal didn’t have a problem with it. You will need
to work a little harder to match sounds, but it’s worth it, and
sure beats butchering the part.
Be sure to bring a full complement of mutes to the gig
including several straight mutes, two or more cups, and at least
two Harmon mutes (one heavy and one light). As with any gig,
you want to match the section’s color.
In closing, much of what we need to do to prepare for sit-
ting in with the symphony is no different than what we do to
prepare for any gig. As players we all want to be respected, and
the orchestra is showing you respect by calling you, so return
that respect by being prepared. That’s just good policy.
About the author: Ray Nelson is currently touring with Este-
ban. His recording for motion picture, television, and radio
include performance credits with the San Diego Symphony
(one year), the Phoenix Symphony, Manhattan Transfer,
Mannheim Steamroller, the Temptations, the Miracles, Peach-
es & Herb, and Heatwave. You can learn more about Ray Nel-
son by visiting his web site (http://www.raynelson.net).
March 2007 / ITG Journal 73
 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; sciencedesk@trumpetguild.org

WHAT DO YOU DO
WHEN A SEMITONE IS TOO BIG?
BY THOMAS MOORE

W
ithin the musical community we often discuss it is almost always ratios that matter. Therefore, knowing that
music in very Western terms. We assume that the two notes differ by ten hertz may be important if the note
musical scale is divided into octaves, and that each being tuned is the A₁ with a frequency of about 55 hertz, but
octave is divided into twelve semitones. However, in many it may be completely trivial if the note is A₇, which has a fre-
parts of the world the Western scale is much too restrictive. We quency of 3,520 hertz. In the first case ten hertz is a detuning
sometimes refer to the type of music that requires subdivisions of about twenty percent and this frequency is classified as
smaller than one-twelfth of an octave as being microtonal, but another note entirely (F₁). In the second case it is merely three-
again this term is a result of our parochially Western view- tenths of one percent of the frequency, a difference that could
point. probably not be detected even by a trained musician (unless
Yet even those of us steeped in the Western the two notes were played
musical tradition often play notes that do “…it is difficult for those of us simultaneously).
not fit within the concept of a twelve-note While referring to frequen-
octave. Microtonal intervals are called for in who study the science of music cies rather than notes results
some modern and postmodern music, but to relate the frequency to the way in an unambiguous represen-
even if we disregard this type of music we tation of the musical scale,
still must deal with bending notes, slurs, and we humans interpret sound.” and microtones can easily be
glissandos. Then there are the problems asso- accommodated in this way, it
ciated with tuning and temperament. is difficult for those of us who study the science of music to
In the last edition of this column I noted that there are sev- relate the frequency to the way we humans interpret sound.
eral possible ways of tempering an octave. Although we insist The Western musical scale is arranged in octaves and semi-
that any two notes that are an octave apart have the ratio of fre- tones because our brains are sensitive to musical intervals. We
quencies of 2:1, how we get to that factor of two in twelve know that when two notes with frequencies having a ratio of
steps is a matter of taste. Dividing the octave into twelve equal small numbers are played at the same time the sound is pleas-
steps may be a common method, but it is not the only one; ing and we refer to them as being consonant. So the octave
therefore, even the definition of a semitone can change on a (2:1), fifth (3:2), third (5:4), etc. are pleasing to listen to
daily basis. regardless of whether we are talking about notes played by
This examination of microtones brings to mind the fact that tubas or piccolos. The smallest ratio in the Western scale is the
it is sometimes necessary to discuss intervals that are smaller semitone, or one-twelfth of an octave, which has a ratio of
than equal-tempered semitones. We may often observe how approximately 1.06 with the note below it. So what do we do
out of tune a note is or how far one can bend a if the ratio between two notes is less
note in qualitative terms, but how do we quan- “100 cents only makes an than this number?
tify intervals that are smaller than a semitone? To meaningfully discuss ratios that
One way that scientists often use to get equal-tempered semi- are very small, we must further subdi-
around the problem of quantifying small inter- tone, and not all scales vide the semitone, and it is common
vals is to revert to the concept of frequency. to define the most basic ratio as
Each note is uniquely defined by the number of are equal-tempered.” 1:1.0005778. This strange number was
times the air pressure increases and decreases in chosen because it is the ratio you get
one second. Therefore, referring to the frequency of this oscil- between two contiguous notes if you divide an octave into
lation unambiguously identifies the pitch regardless of its rela- 1200 equal parts. This ratio is referred to as a cent. If you wish
tion to other notes. Thus, to say that two notes differ by ten to prove this is the correct ratio, multiply 1.0005778 by itself
hertz (ten cycles per second) is an unambiguous statement. 1200 times; the product will be 2, proving that indeed there
Unfortunately, it only tells part of the story because in music are 1200 cents in an octave. One must be very careful and not
74 ITG Journal / March 2007 © 2007 International Trumpet Guild
take this to mean that in all cases 100 cents equals a semitone,
100 cents only makes an equal-tempered semitone, and not all
scales are equal-tempered.
Having defined the cent, we can define all of the musical
intervals in terms of cents instead of ratios. For example, the
musical fifth occurs when the two notes have a ratio of 3:2, but
another way of defining the fifth is to say that the two notes
differ by 702 cents. Two notes make a major third if they are
separated by 386 cents.
One of the interesting things about the cent is that adding
cents is like multiplying ratios. So if you wish to ascend the
scale by a fifth and then a third you can either discuss the ratio
of 15:8 (3:2 multiplied by 5:4) or you can refer to an increase
of 1088 cents (702 cents + 386 cents). Both of these scenarios
result in the same answer, but adding cents rather than multi-
plying ratios provides an intuitive understanding of the result.
For example, in this case it is obvious that you end up a little
more than an equal-tempered semitone below an octave above
is easier to understand if we consider ascending an octave by
multiplying 386.31 cents times three, which is 1159 cents.
Thus ascending an octave by perfectly tuned major thirds
results in a note that is 41 cents flat. This is almost half of a
semitone; even an untrained ear can tell that kind of differ-
ence.
About the author: Thomas Moore is associate professor of
physics at Rollins College in Winter Park, Florida, where he is
teaching and directing an experimental research program ded-
icated to understanding the physics of the modern trumpet.
He has worked as a research scientist at the Lawrence Liver-
more National Laboratory and spent several years on the fac-
ulty at West Point.

COMING IN THE
where you started because an increase of 1100 cents would be
exactly one semitone short of an octave. (This example also
demonstrates why tempering pianos is such a big deal.)
There is another reason to use the cent rather than absolute

JUNE 2007
frequencies when comparing pitches; comparisons in cents can
be made without referring to the pitch at all. For example, if
we make the statement that a person can distinguish between

ITG JOURNAL
two notes that are 10 cents apart, that is an unambiguous
statement; however, if we were to make this statement in terms
of the musician’s ability to resolve frequency, we would have to
specify which frequencies were being resolved. A frequency dif-
ference of 10 cents is about 0.3 hertz at the pitch of an A₁ and
about 20 hertz at A₇.
• Twentieth-Century Brazilian Solo
“Recent research has shown that Trumpet Works by Luis C. Engelke
when tuning an instrument a
good musician can distinguish • Gary Bordner: A Balanced Approach
mistuning of about 3 cents.” to Life and Trumpet by Michael
Flaherty
Recent research has shown that when tuning an instrument
a good musician can distinguish mistuning of about 3 cents.
Much of this ability apparently has to do with the presences of
• A Commitment to Excellence: An
the upper harmonics, because if only pure tones are used Interview with Brian Lynch by
instead of sounds from actual musical instruments the ability
to discriminate drops to between 5 cents and 10 cents. How- Thomas Erdmann
ever, measurements of musicians during performance have
shown that a professional musician may deviate from perfect • A Tribute to the Life and Legacy of
tuning as much as 20 cents on a regular basis while interpret-
ing the music. Vincent Cichowicz compiled by
There is of course no reason why the cent must be used in Gary Mortenson
whole-number increments. A major third is actually 386.31
cents, not 386 cents as stated above. Therefore, regardless of
the musical scale that is used, or where it comes from in the • Bach Cantata Trumpet Parts: A
world, the use of the musical cent in describing the pitch is Compendium by Elisa Koehler
convenient.
As a final thought, it is interesting to return to the column
in the January ITG Journal concerning the difference between • Plus columns, news, reviews,
a G-sharp and an A-flat. One can ascend an octave by incre- clinics, and much more!
mentally ascending three major thirds, but since 5/4 multi-
plied by itself three times results in a factor of 1.95 and not 2,
the octave will be mistuned. How much it is mistuned will be

© 2007 International Trumpet Guild March 2007 / ITG Journal 75

 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; cdreviews@trumpetguild.org; phone: 251-460-7821.

James Ackley—Recital Music for Trumpet
James Ackley, trumpet; Elena Kaßmann, piano
CR6001 (CD); Claronade Records, Burke Recording, P.O.
Box 32381, West Roxbury, MA 02132
Bradshaw: Sonata for Trumpet and Strings; Hansen: Sonata in
E-flat, op.18; Bradshaw: A Sunday Excursion; Wads-
worth-Walker: Suite for Unaccompanied Trumpet;
Pilss: Sonate für Trompete und Klavier.
The name James Ackley has
become familiar to those who
have attended recent ITG con-
ventions. Ackley is currently on
the faculty of the University of
Connecticut, where he coordi-
nates the Applied Music pro-
gram. This CD contains a col-
lection of interesting, little-
known music. The most famil-
iar work is Karl Pilss’s Sonata
für Trompete und Klavier, written in 1935. In a standard three-
movement format, this sonata was dedicated to Helmut Wo-
bisch. Ackley’s performance is flawless. Robert Bradshaw’s
Sonata for Trumpet and Strings was scored for trumpet and
piano by the composer… Ackley performed this work at the
2004 ITG conference in Denver. The work opens with a beau-
tiful, lyric section for muted trumpet, followed by an allegro
where Ackley demonstrates well-controlled articulation.
Robert Bradshaw studied trumpet for over 20 years, enabling
him to understand scoring for the instrument. The brief sec-
ond movement is pointillistic and gives way to a lyrical muted
third movement. The opening declamatory writing of the
fourth movement moves to an allegro, bringing the work to a
rousing conclusion. Thorvald Hansen’s Sonata in E-flat for
cornet and piano is a beautiful, lyrical work written during the
nineteenth century. It is a piece that deserves to be performed
much more frequently. Robert Bradshaw’s A Sunday Excursion
is an expressive work for flugelhorn, exploiting the warmth of
that instrument. Cherilee Wadsworth-Walker’s Suite for Unac-
companied Trumpet is an appealing piece using many different
techniques, including quick multiple tonguing, wide leaps,
flutter tonguing, and expressive muted writing. The liner notes
are very informative, giving background information on each
of the composers and works. Of particular interest is the list-
ing of equipment used. James Ackley is a fine performer, and
76 ITG Journal / March 2007
Elena Kaßmann provides wonderful collaboration throughout
the entire program. (Paul T. DeBoer, professor of music,
Houghton College, Houghton, NY)
Jeroen Berw ae rts—In the Lime ligh t: Romantic Mu sic for
Trumpet and Piano
Jeroen Berwaerts, trumpet; Maria Ollikainen, piano
De Haske DHR 16-014-3 (CD); De Haske Classical, P.O.
Box 744, NL-8440 AS Heerenveen, Holland
Brandt: First Concert Piece in F minor, Op. 11; Brandt: Sec-
ond Concert Piece in E-flat; Charlier: Solo de Concours
for Trumpet; Enescu: Légende; Charlier: Second Solo
de Concours; Böhme: Trumpet Concerto in F minor,
Op. 18; Höhne: Slavic Fantasie.
Jeroen Berwaerts is definite-
ly “in the limelight” on this
appropriately named disc of
Romantic-era works. It is quite
apparent from the opening
statement of the first selection
on the album, the Brandt First
Concert Piece, that his playing
possesses a sense of confidence
and virtuosity that will grab
attention immediately. More
impressive is the fact that his proficient command of the
instrument, as well as his experienced and sensitive interpretive
abilities, are never compromised at any point on the recording.
One of the many highlights of this CD is Berwaerts’ rendition
of the Enescu Légende. Although all of his presentations are
outstanding, the dialogue between the pianist and the trumpet
is particularly superb in this work. His performance clearly
tells a story as he switches easily from the more melancholy
lyrical reflective opening to the fast and lively middle technical
section with his crystal clear multiple tonguing and intona-
tion. The last selection on the disc, Höhne’s Slavic Fanstasie,
completes the album nicely and leaves the listener wanting to
hear more. What strikes this reviewer most about this album is
the power and passion behind Berwaerts’s playing, evident in
his full, rich, pleasing sound in all registers. The choice of
repertoire is excellent and flows well in the order presented.
The liner notes, written by Edward Tarr and available in mul-
tiple languages, are very thorough and provide information
about the composer of each work. The recording levels are all
© 2007 International Trumpet Guild
within appropriate ranges, and the sound quality is clear
throughout. Berwaerts easily captures the essence of the Rom-
antic era in this fine recording. (Janel Reed, freelance trum-
peter/band director, Eagle Point, OR)
The Paul Cacia Jazz Orchestra—Legacy: The Last Sessions
Paul Cacia, solo trumpet/flugelhorn; Charlie Davis, Wayne
Bergeron, Rick Baptist, Joe Davis, and Frank Szabo,
trumpets; Eric Jorgenson, David Stout, Mike Daigeau,
Rich Bullock, and Phil Teele, trombones; Tommy John-
son, tuba; Vince DeRosa, Art Maebe, Gus Klein, Jim
Avery, and Jeff DeRosa, French horns; Marshall Royal,
Buddy Collette, Don Menza, Jay Migliore, Jack Nimitz,
and Rusty Higgins, saxophones; Louie Bellson, Paul
Smith, Jimmy Rowles, Milcho Leviev, Dave Stone, and
Jeff Falcone, rhythm section; Jennifer Wood, vocals;
Vincent Falcone, string conductor; Harry “Sweets” Edi-
son, Tito Puente, Conte Candoli, “Snooky” Young, Jack
Sheldon, Gabe Baltazaar, Ray Reed, Bill Watrous, Pete
Christlieb, Sal Marquez, Pete Candoli, Stacey Rowles,
and Chuck Findley, guest soloists
Empressario 5500 (CD); Empressario Records, 10153 River-
side Drive Suite 409, Toluca Lake, CA 91602;
http://www.paulcacia.com
Puccini (Cacia/Stout): Nessun Dorma; Strayhorn (Wilkins/
Cacia): Take the A Train; Arlen/Koehler (Nestico):
Stormy Weather; McCoy (Cacia): Why Don’t You Do
Right; Rugolo (Rugolo/Cacia): Overtime; Denis/Brent
(Rugolo/Cacia): Angel Eyes; Jordon (Holman): Jordu;
Monk (Rugolo/Cacia): ’Round Midnight; Porter (Ru-
golo/Cacia): Love For Sale.
This latest CD by high-note
solo trumpet artist Paul Cacia
was almost fifteen years in the
making, from 1991 to 2005.
Created as a labor of love, it is
a tribute to the arrangers and
musicians who have contrib-
uted to the legacy of big band
jazz over the years. For some of
the guest artists, these were in-
deed their last recording ses-
sions. Surprisingly, the CD opens with the aria “Nessun
Dorma” from Puccini’s opera Turandot, arranged as a tour-de-
force feature for Cacia. We have all heard the cliché “the soloist
soared over the orchestra,” but here Cacia gives new meaning
to this phrase, ending with a few A’s above high C and a final
jaw-dropping C-sharp above double C. The rest of this collec-
tion is no less impressive. The Ellington theme A Train is given
an interesting treatment that features Snooky Young with
plunger and Cacia again commenting in the upper register
over the ensemble. The three ballad performances highlight
Cacia’s warm flugelhorn sound in addition to his trumpet.
Vocalist Jennifer Wood makes a convincing appearance on the
old Peggy Lee/Benny Goodman hit Why Don’t You Do Right?
Another highlight is Pete Rugolo’s Overtime, where most of the
guest artists get a few choruses of solo exposure. The arrange-
ments are beyond reproach, considering the stellar cast of writ-
ers, but the sound of the orchestra occasionally becomes a bit
ponderous with the addition of French horns and strings. In
general, the clarity of the sound is quite good. Those listeners
© 2007 International Trumpet Guild
with the appropriate equipment can take advantage of this
CD’s HDCD format. With this effort, Paul Cacia continues to
showcase his command of the trumpet’s upper register. (David
Johnson, professor of harmony, Berklee College of Music)
J o h n C o u l t o n — S o u n d s o f S p l e n d o u r : M u s i c f o r Tr u m p e t
and Organ
John Coulton, trumpet; David Dunnett, organ
Coul0I (CD); http://www.johncoulton.net
Charpentier (Wallace/Wright): Prelude to Te Deum; Fauré
(Schnorr): “Pie Jesu” from Requiem; Albinoni (Alain):
Concerto in F Major; Gounod (Capdeville): Ave Maria;
Purcell: Sonata in D; Eben: Windows; Martini (Alain):
Toccata; Franck (Sturznegger): Suite de Danses; Hov-
haness: The Prayer of Saint Gregory; Torelli: Sinfonia con
tromba; Traditional (Thilde): Gloria in Excelsis Deo.
Australian-born trumpeter
John Coulton is currently
prin cipal trumpet with the
Britten Pears Orchestra and an
active freelance performer
throughout the United King-
dom and Europe. This 2006
re lease demonstrates the ex -
treme musical competence of
both Coulton and organist
David Dunnett. For the entire-
ty of the recording, Coulton’s tone is full and colorful through-
out the range of the trumpet. In particular, his performances of
works from the nineteenth and twentieth centuries are full of
emotional drive and beauty. This is especially evident in his
rendition of Eben’s Windows, in which he provides the listener
with a thrilling interplay of power and subdued lyricism. Coul-
ton’s piccolo trumpet playing is generally well mannered and
elegant; but, to this listener, it unfortunately seems to fall vic-
tim at times to an extremely close microphone placement that
robs his timbre of nuance. This is particularly noticeable on the
Albinoni, Purcell, and Torelli works where the sound of the
organ reverberates fully while the trumpet is left sounding
overly dry. This criticism aside, however, this recording is a
very high quality effort. (Christopher Belluscio, graduate
trumpet student, The Hartt School, West Hartford, CT)
Fanfare Consort—The Intimate Sonate
Fanfare Consort, Thomas Freas, Artistic Director and Clarino
Fanfare Consort CI-CD102 (CD)
Corelli: Sonata in D Major for clarino 2 violins, and continuo;
Biber: Sonata in C Major for clarino, 2 violins, and con-
tinuo; Corbett: Sonata in C Major, op. 1, no. 12, for
clarino, violin, and continuo; Fantini: Sonata Detta del
Monte, Sonata Detta del Capponi, and Sonata Detta
del Panicalora for clarion and harpsichord; R.P.F.G.:
Sonata in C Major for clarion, 2 violins, and continuo;
Biber: Sonata in C Major for clarion, 2 violins, and con-
tinuo; Anonymous: Sonata in D Major for clarion, 2
violins, and continuo.
The Fanfare Consort, based in Connecticut, is one of the
more interesting period instrument ensembles on the early
music scene. Led by trumpeter Thomas Freas, this group’s
repertoire includes a significant number of works for the nat-
ural trumpet. Freas is ably assisted on this CD by Baroque vio-
March 2007 / ITG Journal 77
 linists Jorie Garrigue and Mary
Hostetler-Hoyt, Baroque con-
trabass player Peter A. Hoyt,
and harpsichordist Margaret
Irwin-Brandon. Four of the
works do not include trumpet;
those will be ignored for pur-
poses of this review. The son-
atas are all edited by Freas from
copies of the original manu-
scripts or early prints, with the
Corbett, Corelli, and anonymous sonatas taken from two sets
of manuscripts in the British Museum. Freas uses a natural
trumpet (4-hole system) by David Edwards, after an original
by Simon Beale, London, 1667. As a player, Freas is fluent and
quite adept at performing the diminutions, ornaments, and
improvisatory passages that were expected from competent
players in the Baroque period. His grasp of the uneven articu-
lations of the period is very good, and the musical concept and
interpretation of all of the sonatas is exceptional. It is worth
comparing Freas’ interpretations with those of Paul Plunkett
on his 1992 CD Baroque Trumpet and Strings (reviewed in the
May 1993 issue of the ITG Journal by Craig Hurst), as an
example of how two different players will arrive at very differ-
ent approaches to the same works (Corelli and Biber), yet each
within the bounds of accepted Baroque performance practice.
The group as a whole also has a good grasp of the Baroque
concept of rhythmic vitality; in other words, many of the
pieces “dance.” If there is a flaw in this recording, it is the use
of the contrabass alone as the sustaining bass instrument of the
continuo. Without the upper octave of the bass line represent-
ed by either a cello or a bassoon, the continuo becomes some-
what “grumbly.” The Intimate Sonate is recommended without
reservation to anyone interested in hearing Baroque music per-
formed well on historically accurate instruments, and as a
model to trumpet players interested in studying the stylistic
improvisations of the period. (H. M. Lewis, professor of
music, Georgetown College, Georgetown, KY)
Aaron Lington Quintet—Cape Breton
Aaron Lington, baritone saxophone; Paul Tynan, trumpet;
Dahveed Behroozi, piano; John Shifflet, bass; Tim
Solook, drums
http://www.NohJohmusic.com
All selections by Lington: Diffusion; Cape Breton; The
Black Widow; Orion; Remember When; The Westfold;
Prime Directive.
Cape Breton is “a remote
and beautifully rustic area in
Nova Scotia,” and this out-
standing group of musicians
reflects that image with some,
cool, relaxed jazz: comfortable,
swinging, and marvelously
performed. Leader/composer
Aaron Lington plays a superb
bari sax and, when joined by
Canadian trumpeter/flugel-
hornist Paul Tynan, evokes memories of the legendary pairing
of Gerry Mulligan and Chet Baker. This reference is exempli-
fied on the opening track, Diffusion, which introduces the
78 ITG Journal / March 2007
quintet with Lington’s swinging bari and Tynan’s eloquent
trumpet being fed changes by pianist Behroozi. With the deli-
cate lines of bassist Shifflet and tasty drumming by Tim
Solook, this track defines the dedication of this group to
straight ahead jazz values. Paul Tynan leads on the title track
Cape Breton, which gives him space to explore his feel for emo-
tional expression on the flugelhorn—which he does admirably.
His interpretation is extremely tasteful. On The Black Widow,
Tynan’s sound and fluid technique allow him to be inventive
and interesting. Intriguing, as on Orion, is Tynan’s judicious
use of vibrato. Sometimes there is none at all; and, at other
times, it is introduced subtly to enhance the emotive moment.
Paul Tynan is currently an assistant professor of music at St.
Francis Xavier University in Nova Scotia, where he teaches
trumpet and arranging and directs ensembles. He holds
degrees from The University of North Texas and SUNY Pots-
dam’s Crane School of Music. Maynard Ferguson recorded
Lington’s big band arrangements of Diffusion and Cape Breton
for his recent—and, sadly, his last—studio album (that album
features Maynard, with Wayne Bergeron on lead trumpet, and
is due out sometime in 2007/08). The sound quality of this
recording is excellent. Minor criticisms are that Lington’s com-
positions tend to be somewhat generic. It is hard to distinguish
one from the other, but they are all finely crafted jazz vehicles.
The lack of liner notes is unfortunate, although Lington was
gracious in providing information upon request. This is a CD
for jazz lovers who want to kick back and be engulfed with
comfortable fresh sounds and swinging combo jazz. What a
fine concept—perfectly executed. (Ron Lipka, freelance trum-
peter and retired professor of music, Albuquerque, NM)
Sergei Nakariakov—From Moscow with Love
Sergei Nakariakov, trumpet/flugelhorn; Jenaer Philarmonie;
Andrey Boreyko, conductor
Teldec Classics 8573-85558-2 (CD); Warner Classics, Warner
Music; http://www.warnerclassics.com/sergeinakariakov
Arutunian: Concerto for Trumpet and Orchestra; Vainberg:
Concerto for Trumpet and Orchestra, op. 94; Glière
(M. Nakariakov): Concerto for Horn and Orchestra,
op. 91.
Recorded in July 2001, From
Moscow with Love consists of
three concerti from Soviet-era
Russia. In fact, each of the
composers represented moved
to Moscow at some point in
his life. It seems fitting that
Nakariakov’s rendition of
Alexander Arutunian’s Concer-
to for Trumpet opens the al-
bum; after all, how could a
trumpet player not include the Arutunian on a Russian-
themed recording? Nakariakov displays his dazzling virtuosity
as he executes precise, crisp articulation while attaining a beau-
tiful romantic lyricism throughout. Next, Nakariakov presents
Moissei Vainberg’s Concerto for Trumpet. The Shostakovich
influence on Vainberg’s writing is prevalent throughout. In
addition, in the third movement entitled “Fanfares,” one can
easily recognize quotes from Mahler, Mendelssohn, and
Stravinsky, among others. The recording concludes with
Nakariakov’s performance of Reinhold Gliere’s Concerto for
© 2007 International Trumpet Guild
Horn, arranged by Sergei’s father Mikhail. Nakariakov’s rich
flugelhorn playing is a gorgeous contrast that complements the
previous selections well. In light of Nakariakov’s other record-
ings, it appears that From Moscow with Love has a larger picture
in mind. Nakariakov’s performance encompasses something
more global than just virtuosic trumpet playing. Instead,
he pays homage to three compelling individuals through
whose music one can only begin to comprehend their life
experience under Soviet dictatorship. (Eric Miller, United
States Military Academy Band, West Point, NY)
Daniel Rosenboom—Bloodier, Mean Son
Daniel Rosenboom, trumpet and MIDI programming; Der-
rick Spiva Jr., piano and MIDI programming; Randy
Gross, tabla; Jacqueline Humbert, voice; Michael Pis-
aro, sine tones; David Rosenboom, trumpet manipula-
tion; Jake Vossler, electric guitar; Orest Balaban, electric
bass; Austin Wrinkle, drum set and tabla
NWCD 0238 (CD); Ninewinds Records; P.O. Box 10082,
Beverly Hills, CA 90213; http://www.ninewinds.com
Daniel Rosenboom: Evolution; Golia: 39.1 Degrees Celsius;
David Rosenboom: Zones of Coherence; Spiva: Twen-
ty-Seven; Lax: Every Night; Pisaro: Every Night (Har-
mony Series No. 12C); David Rosenboom: Music for
Unstable Circuits (+Drums+Trumpet); Didkovsky:
Bloodier, Mean Son.
Daniel Rosenboom earned
his bachelor’s degree at the
Eastman School, where he
studied with James Thompson
and recently completed his
MM degree at UCLA, where
he studied with Jens Linde-
mann. At just 25 years old,
Rosenboom has already earned
accolades for his innovative
programming and virtuosic
performances. Filled with extraordinarily interesting and cut-
ting-edge works, this debut solo album was released in Febru-
ary 2006, and the title is an anagram on the soloist’s name.
Rosenboom’s own three-movement work, Evolution, leads off
the recording and features a highly rhythmic and appealing
fusion of rock and contemporary classical styles. There is
prominent use of percussion and electric guitar timbres, and
Rosenboom plays with spectacular energy, tone, and flexibili-
ty. He also performs two of his father’s virtuosic electronic
compositions with jaw-dropping ease. Zones of Coherence is a
four-movement work with pre-recorded and electronically
manipulated trumpet sounds that accompany the live playing.
Rosenboom handles the wide intervals and the many interest-
ing extra-musical sounds deftly and plays at all times with
amazing flexibility, dead-on intonation, and remarkable char-
acter and emotion. Music for Unstable Circuits uses analog
computer circuit noise with electronically manipulated impro-
vised trumpet added. One of the highlights of the disc for this
reviewer is Derrick Spiva Jr.’s Twenty-Seven, a fascinating jux-
taposition of piccolo trumpet with piano, drums, and the pop-
ular Indian sitar and tabla. Heavily influenced by jazz, this
piece is quite tonal, and Rosenboom’s gorgeous trumpet sound
really sings. The liner notes are brief, but the listener is direct-
ed to the artist’s web site (http://www.danielrosenboom.com)
© 2007 International Trumpet Guild
for more complete information. Overall, this recording uses a
very “out of the box” approach to trumpet music. For a com-
pletely different and very exciting musical experience, check
out Daniel Rosenboom. We are certain to hear more from him
in the future. (Peter Wood, assistant professor of trumpet, Uni-
versity of South Alabama, Mobile, AL)
Christian Scott—Rewind That
Christian Scott, trumpet; Walter Smith III, tenor saxophone;
Matt Stevens, guitar; Zaccai Curtis, piano; Luques Cur-
tis, acoustic bass; Thomas Pridgen, drums
Concord CCD-2244-2 (CD); Concord Music Group, Inc.,
100 North Crescent Drive, Suite 275, Beverly Hills, CA
90210; http://www.concordmusicgroup.com
Scott: Rewind That; Scott: Say It; Scott: Like This; Davis: So
What; Scott: Rejection; Scott: Lay in Vein; Scott: She;
Scott: Suicide; Scott: Caught Up; Harrison: Paradise
Found; Scott: Kiel.
Jazz, hip-hop, rock, and
R&B all converge on Christian
Scott’s debut album, Rewind
That. Consisting of mostly
original compositions, this disc
also contains a funk-inspired
version of Miles Davis’s So
What and a gentle arrange-
ment of Donald Harrison’s
Paradise Found. The extensive
liner notes, which contain six
pages of comments by Tod A. Smith, are very specific about
the musicians and equipment used on the disc. Throughout the
recording, Scott’s expressive lyric sound captivates the listener
through graceful melodies and tasteful improvisation. In the
title track, Rewind That, Scott explores a variety of trumpet col-
ors. In this track, he begins by playing with a feathery sound in
the lower register, experimenting with just enough air in his
sound to create variety without compromising his sound’s
core. Later in the track, he showcases his abilities in the upper
register. Say It is filled with passion, particularly in Scott’s
solo, exhibiting his mature improvisation skills. While the disc
does demonstrate Scott’s enviable facility and range on the
instrument, his improvisation generally is more about style and
mood and less about technical virtuosity. Most of the tracks
on this album are set in a similarly relaxed mood, even Suicide,
which could leave some listeners begging for more variety.
Even so, this is a quality release from a talented new artist
from whom we can surely expect many great things in the
future. (Jason Dovel, doctoral student, University of North
Texas, Denton, TX)
Brian Swartz Trio—Three
Brian Swartz, trumpet/flugelhorn; Larry Koonse, guitar;
Darek Oles, bass
Summit DCD-455 (CD); Summit Records, Inc., P.O. Box
26850, Tempe, AZ 85285-6850;
http://www.summitrecords.com
Swartz: Samba de Outono; Loesser: I’ve Never Been in Love
Before; Arlen: My Shining Hour; Swartz: Mi Sonita;
Van Heusen: I Thought About You; Mandel (Swartz):
Emily; Young: A Ghost of a Chance; Swartz: Out of
View; Golden/Hubble: Poor Butterfly; Berlin: The Best
March 2007 / ITG Journal 79
 Thing for You is Me; Berlin: How Deep is the Ocean;
Swartz: Father to Many.
Brian Swartz is a Los Angeles
trumpeter performing regularly
as a jazz soloist/sideman and as
a studio musician for film
and television soundtracks.
Three is Swartz’s latest release
on the Summit label and the
first on which he uses the trio
format. Swartz produces a
warm relaxed tone reminiscent
of Chet Baker and early Miles
Davis. The liner notes of the CD indicate that Swartz intends
this release to pay homage to Baker and his trio albums record-
ed in 1979. Of the twelve selections on the disc, four are
Swartz originals while the remaining eight are standards.
Swartz is a very accomplished performer, playing mostly cool
(Poor Butterfly), but also, at times, hot (My Shining Hour, The
Best Thing for You is Me). Larry Koonse and Darek Oles shine
in their roles as sidemen and soloists. Koonse’s solos on How
Deep is the Ocean and The Best Thing for You Is Me are partic-
ularly noteworthy. The trio format works quite well on this
recording. The rock solid time of Oles and the comping of
Koonse are so effective that this reviewer does not miss the
drums or piano. The recording quality is excellent, as one
would expect from Summit Records. The extensive liner notes
add to the enjoyment of the disc, allowing the listener to
understand Swartz’s concept for each tune. This disc is notable
for its pure musical pleasure and as a textbook example of the
musical possibilities inherent in the trio format. (Douglas
Lockard, associate professor of trumpet, East Texas Baptist
University, Marshall, TX)
James Thompson with the Eastman Wind Ensemble—Dan-
zante
James Thompson, trumpet; Eastman Wind Ensemble; Mark
Davis Scatterday, conductor
Summit Records DCD 459 (CD); Summit Records, Inc, P.O.
Box 26850, Tempe, AZ 85285-6850; 480-491-6430;
sales@summitrecords.com
http://www.summitrecords.com
Ewazen: Danzante; Stewart: Folk Music; Hetu: Concerto for
Trumpet, Op. 42a; Colombier (Scatterday): Emmanuel;
Wilson: Leader, Lieder.
The Eastman Wind Ensem-
ble recording Danzante fea-
tures trumpeter James Thomp-
son on several contemporary
compositions. The title track
was composed by Eric Ewazen
in 2004 and is a well-crafted,
tuneful trumpet showpiece
that will certainly please all lis-
teners. Jaques Hetu’s Concerto
is a delight to experience. Its
playful angular motives and clever orchestration remind this
reviewer of Tomasi or Stravinsky. However, the highlight of
this recording is Dana Wilson’s Leader, Lieder. It is a dramatic
and colorful concerto for trumpet, full of juxtaposed ideas and
jazzy influences. This is not just a collection of clever motives
80 ITG Journal / March 2007
and riffs; it is a composition that utilizes all the colors and tex-
tures of the wind ensemble to create drama and artistry. There
is only one reluctant observation concerning this recording
project, that perhaps the overall sound of the CD is a bit over-
produced, so that it lacks the brilliance that one hears in live
performances. However, this listener’s only slight criticism
should not deter any serious musician from experiencing this
CD. Danzante is an excellent recording of newer trumpet
works and will help all listeners gain a greater understanding of
the possibilities of modern trumpet and wind ensemble
artistry. (John Falskow, Music Department Chair, Tacoma
Community College, Tacoma, WA)
Various Soloists—Trumpet Players and Trumpet Music of
Ukraine
Simeon Balderman, Igor Baranovsky, Nikolai Berdyev, Timo-
fei Dokshizer, Vladimir Kafelnikov, Alexander Korsh,
Viktor Leisman, Georgi Orvid, Konstantin Posvalyuk,
and Valery Posvalyuk, trumpet; V. Rogoza, S.Risol, per-
cussion; A. Zhak, S. Solodownik, Bencion Shchupak,
Natalya Romenska, piano; Chamber Orchestra of Mos-
cow Conservatory; Symphony Orchestra of Ukranian
Radio and Television; Kiev Military District Staff Band;
Alexander Serdyuk, organ; State Wind Orchestra of
Ukraine; P. Dubnik,G. Kozdoba, V. Ivanov, A. Berdous,
A. Kolinko, additional trumpeters on track 1; Mykola
Bulanko, Alexander Poteenko, additional trumpeters on
tracks 21 – 23
ITG 113 (CD); International Trumpet Guild, David C. Jones,
241 East Main Street, #247, Westfield, MA 01086-
1633 USA, treasurer@trumpetguild.org
Posvalyuk: Fanfare for the Millennium; Aleksandrov: Sonate in
B-flat Major for Trumpet and Strings; Rimsky-Kor-
sakov: Flight of the Bumble Bee; Shostakovich: Three
Fantastic Dances, op. 5; Sarasate: Zigeunerweisen (Gyp-
sy Airs), op. 21 no.1; Glazunov: Albumblatt; Dremlyu-
ga: Concerto for Trumpet and Orchestra (movement 1);
Shakhov: Scherzo; Svirsky: Scherzo; Lysenko: Elegy;
Clarke: Carnival of Venice; Bach/Gounod: Ave Maria;
Albinoni: Concerto in E-flat Major (movements 2 and
3); Arban: Carnival of Venice; Lapinsky: Concert-Poem
for 3 Trumpets and Orchestra; LoPresti: Suite for Five
Trumpets.
Spanning three full genera-
tions of trumpeters, this CD is
a tribute to the Ukrainian
school of trumpet perform-
ance. The liner notes provide a
short biography about each
performer, information about
each of the featured compos-
ers, and historical background
by Valery Posvalyuk. The fea-
tured performers include the
elder statesmen Timofei Dokshizer, Nikolai Berdyev, Simeon
Balderman, and Georgi Orvid. The crossover generation offers
such artists as Vladimir Kafelnikov, Valery Posvalyuk and Vik-
tor Leisman, as well as the “young lion” trio of Konstantin Pos-
valyuk, Igor Baranovsky, and Alexander Korsh. The selections
chosen are excellent, as they provide an opportunity to hear
several pieces not available anywhere else, some re-mastered
© 2007 International Trumpet Guild
classics, and many well known works such as Flight of the Bum-
blebee, Albumblatt, Carnival of Venice (both Arban and Clarke
versions), Ave Maria, and Albinoni’s Concerto in E-flat Major.
Works such as the transcription of Sarasate’s Zigeunerweisen
(Gypsy Airs), op. 21 no.1, Lysenko’s Elegy, and Aleksandrov’s
Sonata for Trumpet and String Orchestra in B-flat Major (in
three movements) are ones that many trumpeters will want to
add to their repertoire after hearing them here. Many distin-
guishing features of the Ukrainian school of performance are
represented here. The characteristic wide vibrato or “singing
tone,” which strives to replicate the vibrato of the human
voice, is heard in the second movement of Albinoni’s Concerto
in E-flat Major, performed by Vladimir Kafelnikov, as well as
in Timofei Dokshizer’s performance of Zigeunerweisen. Virtu-
osic technique is demonstrated in Dokshizer’s playing of Flight
of the Bumblebee and Lesman’s performance of Arban’s Carni-
val of Venice; and long, lyrical phrasing is heard in Lysenko’s
Elegy, as performed by Valery Posvalyuk. This reviewer was
honored to review this incredible collection and enthusiastical-
ly recommends this CD to all. (Jim Martincic, freelance trum-
peter/educator, Chicago, IL)
Joshua Whitehouse—Cornet Fantasie
Joshua Whitehouse, cornet and trumpet; Gail Novak, piano
DCD 453 (CD); Summit Records, Inc., P.O. Box 26850,
Tempe, AZ 85285
Brandt: Concertpiece #1, Op. 11; Gaubert: Cantabile et
Scherz etto; Hanson: Sonata for Cornet and Piano;
Enescu: Légende; Senée: Concertino; Balay: Petite Pièce
Concertante; Höhne: Slavische Fantasie; Thomé: Fan-
tasie; Ropartz: Andante et Allegro; Brandt: Concert-
piece #2, Op. 12.
Cornet Fantasie is an excel-
lent offering by trumpeter
Joshua Whitehouse. Currently
a doctoral candidate at Arizona
State University, Whitehouse
has chosen some lesser-known
cornet works by such com-
posers as Vasily Brandt, Thor-
vold Hansen, and Philippe
Gaubert to showcase on this
recording. Admirably accom-
panied by Gail Novak on piano, Whitehouse treats the listen-
er to a veritable clinic in triple and double tonguing. It is not
the technical fireworks, however, that are most impressive; it is
the pure tone and attention to musical nuance that White-
house achieves throughout the disc. Of particular note is
Philippe Gaubert’s Cantabile et Scherzetto. Whitehouse’s ren-
dition of this relatively unknown work is electrifying. His sense
of musical line is impeccable and technically flawless. On the
production side, Summit Records has done a nice job of pack-
aging. The liner notes are adequate, but a little disappointing
is the lack of full notes for every work on the album. The
recording quality is, for the most part, good. However, certain
works sound almost as though the cornet and piano are in dif-
ferent rooms. These are minor complaints, however; and this
author truly believes that this is a recording that is well worth
investigating. (Seelan Manickam, trumpet instructor, Univer-
sity of Massachusetts-Boston, Boston, MA)
© 2007 International Trumpet Guild
Briefly Noted
Still Life: Chamber Music by Karen Amrhein
MMC2136 (CD); MMC Recordings;
http://www.karenamrhein.com
This is a recording of interesting music by the young com-
poser Karen Amrhein. It contains works for a variety of forces
(trumpet, clarinet, violin, euphonium, guitar, horn, string
quartet, and choir) with either piano or chamber orchestra
accompaniment and includes one 4½-minute piece for trum-
pet, the Trumpet and Piano Sonata, performed effectively and
with great character by ITG member Jim Sherry. This com-
pact three-movement work opens with trumpet alone in a fan-
fare style playing mostly perfect fourth intervals. In the fugal
middle movement, the trumpet leads the way with the subject,
followed by a great deal of contrapuntal interplay with the
piano. The slow and elegiac finale, entitled “Farewell,” is quite
attractive with its tonal (or nearly-tonal) harmonies. In spite of
being marred slightly by some conspicuous background hiss at
times, this CD overall is well produced and worth a listen.
Adam Czerepinski Sextet—Dimensions
http://www.adamcz.net
Adam Czerepinski is a fresh voice among modern jazz trum-
pet players. A native of Madison, Wisconsin, Czerepinski stud-
ied at the Berklee College of Music and the Manhattan School,
where he is now a doctoral student and faculty member in the
pre-college division. Having served as a sideman on several
previous albums, this is Czerepinski’s first recording as a leader.
He wrote all the tunes on the album, and his trumpet playing
sparkles throughout. He plays with superb intonation, and his
sound is attractively clean and smooth. The rhythm section
provides a solid backdrop for Czerepinski’s imaginative solos.
One can hear the influence of Chet Baker in the opener, Dual-
ity, an intriguing work with a serial harmonic language, on
which Czerepinski solos in an easy laid-back style. The title
work, Dimensions, is a ten-movement suite in which Czerepin-
ski explores a full range of tempi, styles, meters, colors, and
characters. The final track, Until That Time, is a triple meter
chart with a very cool, mellow, introverted character. Overall a
very interesting and enjoyable disc of contemporary jazz!
Ryan Haines Big Band—New Horizons
SBJ-2138 (CD); Sea Breeze Records, P.O. Box 1910, Pismo
Beach, CA 93448-1910
Ryan Haines is a trombonist and arranger, and has worked
with various U.S. Air Force jazz ensembles. This, his second
release on the Sea Breeze label, is a great success. Haines wrote
all the compositions on the disc, and all are available in print
from Walrus Music Publishing and Otter Distributors. The
recording includes hard swinging bop tunes, a shuffle, and gor-
geous ballads (including a stirring arrangement of America the
Beautiful to close the recording). The Washington, D.C. area
ensemble plays right in the pocket. The lead trumpet playing of
Brian MacDonald and Kevin Burns sizzles with great sound,
intonation, and clarity of articulation; and the occasional
trumpet solos by Rich Sigler and Tim Leahey are played tasti-
ly as well. The highlight of the album is the amazing trombone
solo work by Haines on virtually every chart, in which he
exploits the outer reaches of the instrument’s high register with
ease. This is a really exciting album of original big band jazz.
Continued on Page 105
March 2007 / ITG Journal 81
 MUSIC REVIEWS
BRIAN 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 musicreviews@trumpetguild.org) at Southeastern Louisiana Univ-
ersity and Luis Engelke at Towson State University (EMail musicreviews2@trumpetguild.org)
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.

lege trumpet students. The work is somewhat reminiscent of

Stravinsky’s Fanfare for a New Theatre, and will likewise chal-
lenge the audience. This exciting and interesting work is an
appropriate opener for a recital. (Nick Volz, doctoral trumpet
student, Indiana University, Bloomington IN)

Friedman, Stanl e y. Symmetrical Studies. Asher Rose Music,

Cooman, Carson P. Sun Tracing (Op. 634). Trumpet in C or
in B-flat and piano. Musik Fabrik, 2005.
Concert organist Carson Cooman has composed over seven
hundred works, including numerous compositions for trum-
pet. Sun Tracing, his recent offering to the trumpet world, is an
intrada written for trumpeter Jordan Winkler and pianist
Donna Amato. This brief work uses several twentieth century
compositional devices as means of dramatic discourse.
The two outer fanfare sections surround a middle one char-
acterized by contrasting lyricism and growing intensity.
Cooman’s unifying motive throughout his outer sections is the
fanfare-like rhythm of a dotted quarter note followed by three
sixteenth note triplets. The trumpet part uses this fanfare
rhythm as an angular melody while exploring numerous inter-
vals, emphasizing the tritone and major seventh. The piano
part also navigates through tritones and major sevenths as it
provides a varied canvas of chord clusters, major ninth chords,
and polyrhythms.
The middle section begins in a more lyrical manner, a wel-
come contrast to the opening material; however, this lyrical
trumpet melody quickly develops into an exciting dialogue
with the upper voice of the piano. Further adding to this
maniacal discourse is the left hand of the piano, which features
a polytonal bass ostinato. The work appears to climax with a
sustained concert c´´´ accompanied by a polyrhythmic piano
part (seven against four). Suddenly, the composer reduces his
texture to two piano notes, his recurring major seventh inter-
val. These two pitches are repeated for nine measures in a man-
ner that gives the listener the impression of time standing still.
While this passage may be stagnant, it creates a sense of height-
ened intensification that ultimately leads to the return of the
opening fanfare melody. An exact restatement of the opening
melody is followed by a brief and exciting ending.
This piece incorporates complex rhythms, harmonies, and
melodic figures providing a high degree of difficulty. The range
is c´ to c´´´ concert, and it is accessible for most advanced col-
82 ITG Journal / March 2007
2004.
A four-time winner of ITG’s composition competition,
Friedman is no stranger to the trumpet world. His output for
trumpet includes Solus for solo trumpet, Variations on the Rag
(brass quintet), and the 2003 ITG Composition prize-winning
brass quintet, Spanish Dances. Friedman’s experience is vast,
having performed with the New Zealand Symphony, the Israel
Philharmonic, and the Los Angeles Philharmonic.
Symmetrical Studies is a book containing exercises, etudes,
and two works for solo trumpet titled Variations on a Limited
Pitch Field and Sidewinder. Drawing upon his years as a
teacher and as a former student of James Stamp, Friedman
offers extremely practical advice in his introductory com-
ments. Here, Friedman discusses some fundamental principles
of Stamp as well as his own, serving not only to clarify Stamp’s
ideas, but also to expand upon his own. For example, Fried-
man writes, “Stamp believed the converse of conventional wis-
dom, that bad embouchures actually result from poor playing
(off-center pitch placements, rushing, and out-of-tempo
breathing).” There are numerous other practical “hints” that
are sure to aid any trumpeter.
The musical example section of the book begins with a
“start-up” long-tone exercise that uses two basic ideas: main-
taining “calm” Cs (a perfectly centered tonic pitch) and
“springing the valves,” a technique where the finger slides ver-
tically off the valve to allow more coordination between the
fingers and the embouchure. An easy etude concludes this sec-
tion, allowing the trumpeter to place the two aforementioned
concepts in a more musical context. The book continues with
several sections covering topics such as expanding intervals,
scale studies, “chill-downs” (warm-down exercises), and artic-
ulation studies. Two solo works, suitable for recital perform-
ance, are included in the book as well.
An extraordinary addition to the pedagogical and solo liter-
ature, this book is designed to supplement other methods. It is
indeed important to have in one’s possession James Stamp’s
© 2007 International Trumpet Guild
Warm-Ups & Studies as well, since much of Friedman’s book
expands upon Stamp’s book and concepts. The two solo works
are also available separately; however, their inclusion in this
book represents a fantastic value. (Bryan W. DePoy, ITG
Music Reviews Editor)
Halligan, Richard. Meditation. Trumpet and Piano. Balquhid-
der Music, 2006.
Meditation is a very beautiful work for trumpet and piano by
Richard Halligan, who is known as a performer and composer
of many genres and styles. Halligan was a member of the pop-
ular rock band Blood, Sweat and Tears from 1967 to 1971. He
has written music for film, television, and radio as well as tra-
ditional concert works. Meditation was commissioned in 1997
by Roy Poper, who has served on the faculty of University of
Southern California and the Oberlin Conservatory of Music.
This is a short, thoughtful work, lasting a little over three
minutes with a simple, yet effective construction that features
a lyric trumpet melody moving cantus firmus-like over a synco-
pated ostinato pattern in the piano. This pattern is based on
chords emphasizing perfect fourth relationships, and the
melody is reiterated several times with increasing augmenta-
tion until it finally returns in its most simple form at the end
of the piece. The technical requirements of the piece are lim-
ited, but the musical demands will require the performer’s
attention. Frequent upward and downward slurred intervals of
sixths and sevenths will need to be executed in a seamless fash-
ion in order to maintain the elegance of the piece. The per-
former will also need to be comfortable with long, sustained
notes in a very transparent musical environment, where pitch
and vibrato wobbles would be very apparent to the listener.
Range could also be a problem for younger players, as it
extends from concert c´ to c´´´. The c´´´ occurs at the climax
of the piece and needs to be performed with control and beau-
ty. There is plenty of rest for the performer after each reitera-
tion of the melodic line. The piano part is very straightforward
and will not present difficulty to most accompanists, and both
B-flat and C trumpet parts are provided with this publication.
Meditation is a very useful work as a change-of-pace piece in
a recital setting or as a stand-alone work for a contemplative
occasion. The piece is an excellent showcase for displaying the
lyrical capabilities of the trumpet. (James Zingara, associate
professor of trumpet, Troy University, Troy AL)
Haydn, Franz Joseph. Concerto in C Major. Arranged and edit-
ed by Dennis L. Horton. Trumpet and Piano. Elan
Brass Impressions, 2000.
In this edition, Dennis Horton has taken Haydn’s famous
trumpet concerto and transposed the work down a minor
third. With so many editions of the concerto already available,
one might ask why another is needed. Horton’s long tenure at
Central Michigan University and work with university and
high school students inspired this adaptation, and there are
indeed many pedagogical reasons why this edition is very use-
ful. First, trumpet instructors often assign young players the
concerto to work on classical style and melodic playing; how-
ever, these young soloists frequently focus too much on pro-
ducing the higher notes at any cost and with little regard for
stylistic nuance or proper sound production. With the playing
range much more comfortable for young players, more atten-
tion can be paid to these important elements. Next, the edition
© 2007 International Trumpet Guild
can be performed as written in the key of D major on B-flat
trumpet, or the E-flat parts can be read on the C trumpet as
written and performed with the piano. When the latter is
done, not only can this be an excellent work for the novice C
trumpet performer to polish intonation and consistency of
sound, but the fingerings will remain the same when the work
is later performed on E-flat trumpet in the original key.
As with most publications of this concerto, the editor pro-
vided additional articulation and dynamic markings to facili-
tate a musical performance. Rob Roy McGregor contributed
the excellent interpretive markings for this edition. Of addi-
tional benefit are many piano cues in the trumpet part that
should engage young performers and encourage them to learn
solos in their entirety cognizant of the accompaniment as well
as the solo part instead of merely counting measures of rest.
Overall, this is an excellent edition that will be of great bene-
fit to all aspiring young soloists, until the range and endurance
concerns of the original version are more comfortably man-
aged. (Luis C. Engelke, Music Reviews Editor)
Iveson, John (arr). Let’s Face the Music. Trumpet and Piano (or
CD). Brasswind Publications, 2004.
John Iveson performed as principal trombonist with the
renowned Philip Jones Brass ensemble. In addition, he per-
formed as principal trombonist with the BBC Symphony
Orchestra and the Royal Philharmonic Orchestra. Many of
Iveson’s arrangements are considered standards in brass ensem-
ble repertoire. He has also worked extensively in the commer-
cial world of film and television studio recording and was pro-
fessor of trombone at the Royal College of Music from 1970
until 1996. He now teaches at the Royal Northern College of
Music, Manchester.
This eclectic compilation consists of eight arrangements of
mostly familiar tunes. From the Berlin tune Let’s Face the Music
and Dance and big band favorite Begin the Beguine to the Man-
cini hit Moon River, the pieces in this collection are sure to find
appeal with a wide variety of audiences. Customized for the
younger player, these relatively accessible pieces come with text
that makes recommendations regarding interpretation by pro-
viding helpful hints. Adding to the value of the collection is an
accompaniment CD.
While the literature in this collection lacks profundity, the
works will appeal to a more novice audience. As pedagogical
tools for introducing a basic swing style, these pieces are high-
ly effective. (Bryan DePoy, Music Reviews Editor)
Plog, Anthony. Method for Trumpet (Book 4 & 5). Balquhid-
der Music, 2005, 2006.
The first three volumes of Anthony Plog’s Method for Trum-
pet titled “Warm-Up Exercises,” “Fingering Exercises (Part I),”
and “Fingering Exercises (Part II) “ were published in 2004
and reviewed in the January 2005 ITG Journal. Plog’s fourth
and fifth volumes titled “Tonguing Exercises and Etudes” and
“Flexibility Exercises and Etudes” further address technical
development for the advanced trumpeter. One might wonder
why these final two volumes might be necessary with many
fine studies addressing articulation and technique already
available; however, both new volumes are extremely useful and
address these two subjects with both original and ground-
breaking approaches. This method can substitute, supplement,
or follow Arban and Clarke studies.
March 2007 / ITG Journal 83
 Volume 4 is divided into 12 sections composed of exercises
and etudes in each of the following areas: single tongue, dou-
ble tongue, triple tongue, quintuplets, septuplets, and mixed
articulations. The progressive development of difficulty
regarding each specific articulation is well planned. Most inno-
vative in this volume is the treatment of articulated quintuplets
and septuplets, representing Plog’s successful effort to
address requirements in twentieth and twenty-first century
trumpet techniques not addressed in many common meth-
ods. The Mixed Tonguing Exercises include rapid meters
changes including 4/16, 7/16, 6/16, 9/16, and 13/16.
Volume 5 (Flexibility Exercises and Etudes) is divided into
four parts titled Flexibility Exercises (I), Flexibility Exercises
(II), Flexibility with Valves, Miscellaneous Flexibility, and
Flexibility Etudes. Each part is further divided into numerous
groups of exercises or etudes. Because the many studies based
upon flexibility (with one constant valve combination) are
only written in the open position, they do not utilize a lot of
actual print space. The efficiency of this presentation of mate-
rial is commendable. Notable is how often Plog both uses dif-
ferent rhythms within the same flexibility exercises requiring
players to execute the interval changes at different speeds,
including the use of quintuplets. The Flexibility with Valves
section is particularly useful for developing interval accuracy
and steady airflow, as well as facile and even technique. The
final two sections cap off the studies by providing quick inter-
vals separated by short rests in Miscellaneous Flexibility and
interesting musical studies based on flexibility with Plog’s
usual wittiness in Flexibility Etudes. (Luis C. Engelke, Music
Reviews Editor)
Pursell, John. Advanced Arpeggio Studies. Trumpet. AMG
Publishing, 2004.
This publication consists of 22 etudes for the advanced per-
former. Their difficulty in regard to range, technique, and
articulation are comparable to Walter Smith’s Top Tones; how-
ever, on the average, Pursell’s studies are shorter than Smith’s.
The book is divided into two parts: General Studies and Key
Centered Studies. One of the book’s strengths is that the stud-
ies frequently cover less commonly used and difficult tonalities
such as C-sharp and F-sharp major and B-flat minor.
The first study covers various articulation patterns through
sixteenth-note arpeggios encompassing two octaves. The six
general studies that follow again cover two octave arpeggios in
various patterns; however, the player is encouraged to use as
many varied articulations and dynamics as possible while the
patterns progress through several tonalities. The final three
studies presented in the first half of the book are titled Minor
Arpeggios, Dominant Sevenths, and Diminished Sevenths.
These general studies focus on one or two patterns each and
cover several different rhythmic patterns and meters. These
interval studies are disjunct, increasing up to a span of two
octaves. A few are reminiscent of the interval studies by Max
Schlossberg.
Mastering and perfecting these studies will undoubtedly
yield improvements in technique, flexibility, articulation, and
ear training. Considerable time will be needed to master each
study, even for advanced players. (Luis C. Engelke, Music
Reviews Editor)
84 ITG Journal / March 2007
Smith, Zack. Ten Holiday Favorites for Brass Quintet. C.L.
Barnhouse Company, 2006.
This collection of Christmas carols has been expertly
arranged in a variety of jazzy and pop settings. Delighting
audiences should be quite easy with these fun and even humor-
ous adaptations. These arrangements sound much more
advanced than their actual level of difficulty. In fact, not only
should professionals not have any difficulty sight-reading the
tunes at a performance, but advanced high school students
should also deliver quality performances with a moderate
amount of rehearsal.
The overall difficulty can be classified as Grade III – IV as
the first trumpet part rarely extends beyond the top of the
staff. For less experienced players, a fine recording by the Belt-
way Brass Quintet (reviewed in the March 2006 ITG Journal)
that accompanies the score and parts will be useful for learn-
ing the various syncopated rhythms and necessary stylistic
nuances. Performing the entire set of ten arrangements takes
25 – 30 minutes, but any number can be extracted for a small-
er set. Ample rest, relatively short tunes, and comfortable tes-
situra all make these tunes attractive, but the interesting and
diverse settings in particular make for superior quintet arrange-
ments that stand out above many other similar publications.
A few specific examples of the creativity of the arrangements
include the following: O Christmas Tree set in common time
in a moderate swing tempo (and a great walking bass line), Jin-
gle Bells with a street parade feel, We Three Kings as a jazz waltz,
Jolly Old St. Nicholas fused with Pachelbel’s Canon, and a
“funky” rendition of We Wish You a Merry Christmas. Lush
settings of Silent Night and Away in a Manger provide contrast
from the up-tempo tunes, and as with all of the arrangements,
these two include well-scored commercial harmonies. Charlie
Peterson’s version of I Heard the Bells on Christmas Day, the
only arrangement not by Zack Smith, presents this Christmas
classic brilliantly scored in a dual tango/fight song type fash-
ion! While there are several opportunities to include short
improvised solos, well written solo alternatives are provided.
Locating excellent brass quintet literature that is neither over-
ly difficult technically nor physically taxing is often a challenge.
These holiday arrangements produce a fresh and hip sound.
Every working brass quintet will find the set a more than worth-
while investment. (Luis C. Engelke, Music Reviews Editor)
Thrower, Daniel. 50 Fanfares for All Occasions. Trumpets Duet
through Quintet. Hickman Music Editions, 2005.
The title accurately describes this functional collection of
short fanfares for two, three, four, and five trumpets. Most of
the fanfares were written or adapted by Daniel Thrower; David
Hickman arranged four of the fanfares. The fanfares that have
been arranged include composers from different time periods,
such as Altenburg, Purcell, Haydn, Tchaikovsky, and Mus-
sorgsky. This collection is divided into ten fanfares for two
trumpets, 13 for three trumpets, 18 for four trumpets, and
nine for five trumpets. Most of the fanfares are four to eight
measures in length, with the upper range never exceeding d´´´,
and in numerous fanfares g´´ is the highest note required from
the first trumpet. Asterisks have been placed by the 18 fanfares
that can be performed on natural trumpets.
Thrower has conveniently titled his own compositions with
names that state their potential use or style, such as Jubilee,
Continued on Page 86
© 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;
bookreviews@trumpetguild.org
Davis, Michael and Shari Feder. Brass Buzz. New York, New
York: Club Hip-Bone. Softcover, 43 pp, CD, DVD.
Brass Buzz is an in -
struction and play-
along book series for the
beginning brass player.
In addition to this vol-
ume for trumpet, prom-
inent New York trom-
bonist Michael Davis
has published beginners’
books for French horn,
trombone, and tuba.
From the start, Davis
shows himself to be an
excellent motivator and
educator who can com-
municate with younger
students. He peppers
his introduction with
words like fun, cool, fire you up, and totally psyched. Even
before covering the basics of breathing and intonation, Davis
mentions the importance of visualization in forming one’s
sound. He later suggests such images as a spinning tennis ball
for air control or a giant rubber ball rolling down the street to
symbolize a full, round sound. He goes on to recommend the
formula of “Listen-Evaluate-Adjust” as a means of striving for
constant improvement. These concepts may seem rather
advanced to include in a beginner’s method book, but Davis
presents them in a very approachable, fun manner.
There are eighteen one-page exercises, each one covering a
different aspect of basic brass playing: tuning, tonguing, slurs,
air control, flexibility, range, scales, and intervals. Davis also
covers the more advanced concepts of attacks, ear training,
improvisation, and playing in different styles. The exercises are
written in a tasteful jazz font, and a page of motivational
instruction accompanies each exercise. The range of the exer-
cises goes from g to e´´, and each carries a hip title like “Bullet
Train” and “Smooth and Creamy.”
The accompanying CD has a recording of each exercise
played by New York performing and studio trumpeter Trevor
Neumann. Studies are presented twice, once with trumpet and
once without for play-along. The keyboard accompaniment,
played by co-author Shari Feder, is interesting and fully orches-
trated, making for a fun experience of playing and learning.
The accompanying DVD features in-studio video of Neu-
mann playing each exercise, and includes commentaries by
Michael Davis who stresses the importance of not only hearing
but also seeing a working, professional trumpet player in
action.
© 2007 International Trumpet Guild
Michael Davis has done an excellent job of producing a
high-quality method book that will attract, instruct, and moti-
vate the beginning brass player. Younger students will benefit
from this book’s solid methodology and entertaining play-
along media. Experienced players will ask, “Where the heck
was this book when I was a beginner?” (Bob La Torre, Stan-
wood, Washington)
Davis, Richard. Becoming an Orchestral Musician: A Guide
for Aspiring Professionals. London: Giles de la Mare
Publishers Limited, 2004. Softcover, 231 pp.
Becoming an Orches-
tral Musician is an ex-
haustive look into the
preparation and day-to-
day activities of orches-
tral musicians. Richard
Davis is principal flute
with the BBC Philhar-
monic and professor of
music at the Royal
Northern College of
Music. The book is re-
plete with interviews
from his British col-
leagues and, of course, is
told from an English
perspective. Some of the
terminology may be
new to the non-British
reader, but the concepts
presented ring true for all orchestral musicians.
The chapters include Introduction to the Profession, Form-
ative Years, Performing Philosophies, Auditions, Ensemble
Playing, Nerves, Counting, Conductors, Intonation, Mechan-
ics of the Orchestra, Surviving in the Profession, and Alterna-
tive Careers. All of these chapters contain excellent advice on
issues faced by professional musicians. Some of the best points
pertain to orchestral etiquette, tuning, and practicing. Exam-
ples include: don’t play other parts during rehearsal breaks;
always keep your calendar with you; always return phone calls
in a timely fashion; and how to write an orchestral audition
resume. All these topics represent the minor details that are so
important but not necessarily taught in the traditional music
curriculum. The technical discussion on playing in tune with
the use of combination tones is very interesting. I also enjoyed
practice tips such as play short time intervals throughout the
whole day while resting before becoming fatigued. Then start
again early to keep muscle memory fresh in the embouchure.
March 2007 / ITG Journal 85
 In my reading of Becoming an Orchestral Musician I thought
that a great deal of its content was stating the obvious. Musi-
cians are often called to the profession at an early age—it is
rarely the type of profession someone selects from reading a
book; however, high school and college students considering
this career path are rarely taught many of these “nuts and
bolts” concepts that professionals may take for granted. Those
students should read this book. (Paul Morton, associate pro-
fessor of trumpet, University of Louisiana at Lafayette)
Truax, B e r t . B e r t ’ s B a s i c B r a s s . Dallas, Texas: Author
(http://www.BertTruax.com), 2003. DVD.
Trumpeter and com-
poser Bert Truax is one
of Dallas/Fort Worth’s
most sought-after teach-
ers and performers. For
twenty-three years he
was a member of the
Dallas Symphony Or -
chestra, and his perfor-
mance credits also in -
clude the prestigious
Philadelphia Orchestra.
As a composer, his
Trumpet Concerto was premiered by David Bilger and the Dal-
las Symphony, and his Hymn to Gil was performed at the 2004
ITG Conference in Denver as a tribute to the late Gilbert
Johnson, with whom Truax studied while a student at the Cur-
tis Institute of Music.
Bert’s Basic Brass is an interactive DVD produced with the
intent of developing fundamental skills in brass players. In the
author’s words, “On this DVD I want to show you the basics
of mastering any brass instrument… The ability to focus on…
air, embouchure, and articulation—in combination with tech-
nique—is what will help you achieve excellence.”
Much of Mr. Truax’s pedagogy is based upon the teachings
of James Stamp, a former teacher of the author. In the chapter
entitled “Mouthpiece,” Truax models Stamp’s familiar and
often-played Basic Warm-up (No. 3 in Warm-Ups + Studies),
and then encourages the viewer to actively participate in these
studies while they are being performed on the DVD (for addi-
tional information, visit Karl Sievers’s report of Bert Truax’s
presentation at the 2003 ITG Conference entitled Stamp
It Out: http://www.trumpetguild.org/2003conference/wed/
104.html).
In “Articulation,” Truax stresses the importance of articulat-
ing on, rather than through, the air column. He also empha-
sizes the importance of listening in skill development, stating
“The art of listening is what brings music to life.” Concerning
the respiratory process as it relates to brass playing, the author
advocates pushing outward during both inhalation and exha-
lation.
“The difference between having a talent for music and actu-
ally becoming a musician,” according to Truax, “is the hours
spent in the practice room.” In a world of increasingly-
advanced technological developments, students today are not
as content as they once were to rely on printed music as the
sole (or perhaps even primary) source of their musical instruc-
tion outside of applied studios. The ability to incorporate
CDs, DVDs, and other similar types of materials into tradi-
86 ITG Journal / March 2007
tional methodology not only enhances the presentation of the
pedagogical content, but also inspires the student to practice
or study beyond what might have been expected without this
additional content.
Interspersed with well-played examples, colorful graphics
and quirky humor, Bert’s Basis Brass will engage students while
providing them with fundamental concepts rooted in the
teachings of the author and his mentor, James Stamp. (John
Korak, Chair of the Music Department, Southern Illinois Uni-
versity Edwardsville)
Music Reviews continued from page 84
Regality, Game Show Winner, Celebration, Processional, Show-
Biz Fanfare, Red Carpet, Grand Opening, and Hearty Congrat-
ulations. This collection is clearly printed with a score and five
individual parts. 50 Fanfares for All Occasions should become a
valuable asset to any trumpeter’s library both for its function-
al use and as an enjoyable set of fanfares to read with other
musicians. (Jon Burgess, associate professor, Texas Christian
University, Fort Worth, TX)
White, Ph ilip. Wedding Music. Trumpet and Organ. Brass
Wind Publications, 2005.
While there are numerous resources when it comes to find-
ing wedding music, this unique collection has a pleasant mix-
ture of traditional tunes and original compositions. White has
appropriately divided the pieces into three sections: proces-
sionals, interludes, and recessionals.
The section containing processionals consists of the
omnipresent Trumpet Tune by Purcell and the Prince of Den-
mark’s March by Clarke, White includes original compositions
titled Toccata and Fanfare and Flourish for a Festive Occasion.
The Toccata and Fanfare is an extremely effective recessional
that features modal melodic lines and mild dissonances in the
accompaniment. This flashy work contains a hint of mod-
ernism while maintaining tasteful harmonies and rhythmic
and melodic excitement. The organ part alternatively contains
pedal-like accompaniment figures and scalar passages; the
drone is utilized during the more rhythmically complex figures
in the trumpet. Toccata and Flourish features a much more
complex, arpeggiated organ part coupled with series of fanfare-
like figures in the trumpet part. Part two, Interludes, features
pieces that are more subtle and melancholic, such as Passepied
One and Passepied Two from J. S. Bach’s Suite No. 1. In this
section White also features an original composition, Soliloquy,
which contains a stunningly beautiful melody with a mostly
static organ accompaniment. Vocal in nature, this piece would
be appropriate for an organ and trumpet recital. The recession-
als consist of some well known pieces, such as Trumpet Tune by
Stanley and Prelude from the Te Deum by Charpentier. Here,
again, we find one of White’s compositions, titled Fanfare for a
Special Occasion. While not melodically as interesting as his
other compositions in this set, it is an effective fanfare, suitable
for any occasion warranting this kind of music.
Two CDs are included with this publication. One is
designed to enable someone to make an informed choice when
selecting music, and the other is an accompaniment CD. This
collection is notably successful for its organization and inclu-
sion of standard literature and for the quality of its original
compositions by Philip White. (Bryan DePoy, ITG Music
Reviews Editor)
© 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: news@trumpetguild.org 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
Engelke performs with Wind Orchestra Eintracht in Brazil
On July 14 and 16, 2006, the Wind Orchestra Eintracht
presented concerts in the cities of Estrela and Sapiranga in
Southern Brazil. Luis Engelke was the soloist and guest con-
ductor, performing five works for solo trumpet including
Luis Engelke and the Wind Orchestra Eintracht
Arban’s The Carnival of Venice, Monterde’s La Virgen de la
Macarena, Gilberto Gagliardi’s Trompete de Espanha, and José
Ursicino da Silva’s Fantasia Carnavalesca (with guest trum-
peters Tiago Linck and Jezer da Silva). The performances were
sponsored by numerous corporate donations under Brazil’s
culture incentive laws. Founded and directed by José Lenhard
and conducted by Lincoln da Gama Lobo, the ensemble was
created in 1993 to assist students and young professionals,
bring music of various styles to the general public and support
social causes through food donations rather than ticket sales.
These highly successful concerts raised more than 2,500
pounds of rations donated to the region’s underprivileged pop-
ulation. Source: Centro Cultural Eintracht.
ETSU Brass Day with Romms, Mitchell, Tennessee Brass
As part of East Tennessee State University’s Brass Day on
September 8 – 9, 2006, the Avis/Ronald Romm Duo, Senior
Master Sergeant Clarence Mitchell (The United States Air
Force Band), and The Tennessee Brass performed two days of
concerts and master classes held at ETSU and Science Hill
High School in Johnson City, Tennessee. Over 300 listeners
© 2007 International Trumpet Guild
attended the various events. David Champouillon, executive
director and co-principal trumpet of The Tennessee Brass,
Bach performing artist, and associate professor of trumpet at
ETSU, served as the organizer for the various events.
On Friday, September 8, Senior Master Sergeant Clarence
Mitchell of The United States Air Force Concert Band (Wash-
ington, DC) presented a master class for the music majors at
ETSU. His topics included breathing,
imagery, careers in music, and life in the
Air Force Band. Mitchell performed ex-
cerpts for the students on all the different
pitched trumpets. He also coached ETSU
trumpet majors Kelly Scollin (Hummel
Trumpet Concerto) and Jeff Kleiber (Han-
del Suite in D). The improvement in their
performance was instant. SMSgt Mitchell
is also co-principal trumpet of The Ten-
nessee Brass. Mitchell’s and Champouil-
lon’s relationship goes back over 28 years
beginning with their time together for four
years in the United States Air Force Band
of the Golden Gate at Travis Air Force
Base, California, and studying together
with Laurie McGaw, now retired associate
principal trumpet of The San Francisco
Symphony.
On Saturday, September 9, The Ten-
nessee Brass held an open rehearsal of that
evening’s concert repertoire. The Avis and
Ronald Romm Duo treated Brass Day attendees to a recital
that included traditional arrangements of The Carnival of
Venice (Staigers) and La Virgen de la Macarena (Méndez). The
highlights of the concert were original arrangements from the
Romms’ two CDs (Wellness For The Soul, Vol. 1 Seeing The
Light and Vol. 2 Living The Dream) including Jubilation,
Pavane, The Ultimate Opera, Rhapsody In Blue, and Three Prel-
udes. To conclude the recital, the Romms invited Champouil-
lon to perform with them their arrangement for two trumpets
of DeFalla’s Ritual Fire Dance. After the concert, the Romms
presented a master class based on fundamentals, musicianship,
and true collaboration between trumpet and piano. Coaching
sessions with Kelly Scollin (Hummel Trumpet Concerto) and
Tennessee Brass member Sarah Chumney (Tomasi Concerto)
rounded out the session.
The Tennessee Brass has become one of the leading profes-
sional large brass ensembles in the southeast and includes per-
formers from a seven state area including The Symphony of
the Mountains, Knoxville Symphony, Virginia Beach Sympho-
ny, Lexington Philharmonic, Johnson City Symphony, and
March 2007 / ITG Journal 87
faculty from Lander University, Appalachian State University,
Grand Rapids State University, University of Tennessee, East
Tennessee State University, and the University of Memphis. As
the featured ensemble, The Tennessee Brass’s concert included
Fanfare from La Peri (Dukas), Fanfares Liturgiques (Tomasi),
Four Preludes (Shostakovich), Requiem (Verdi), America, the
Beautiful (Ward/Dragon), Nimrod from Enigma Variations
(Elgar), and “Nessun Dorma” from Turandot (Puccini.) The
concert’s highlight was Romm’s performance in A Tribute to
Louis Armstrong with The Tennessee Brass including When It’s
Sleepy Time Down South and Hot Licks-Hot Lips. Source: East
Tennessee State University.
The Tennessee Brass
Maurice André masterclass in Monserrat, Valencia (Spain)
From July 17 to 21, 2006, the “XXVI International Week of
Chamber Music” was held in Monserrat, Valencia (Spain). The
featured instruments were the trumpet and trombone, with
Maurice André as trumpet teacher, assisted by Nicolás André
and Vicente Campos. The trombone teachers were Jesus Juan
Oriola and Salvador Tarrassó. On July 21, trombone virtuoso
Christian Lindberg presented a master class and on
July 22, there was a final concert by the teachers.
Every morning, the students warmed up together
with Maurice André, using the routine he uses
every day. He also addressed various technical prob-
lems with all the students. After lunch, the students
played concertos accompanied on piano for Mau-
rice André, who gave his great advice to everyone.
He covered all aspects of playing the trumpet dur-
ing these classes: technical advice, musical expres-
sion, musical style, and his wonderful philosophy
of life! In the evening all students could attend ses-
sions on a number of different subjects including
3D sound & effects, musical tuning systems, a doc-
umentary on Monserrat Caballé’s life, and more.
After this wonderful experience, the course con-
cluded with a concert on Saturday, featuring Mau- L – R: Craig Knox, tuba; Richard King, horn; Geoffrey Hardcastle, trumpet;
rice André, Vicente Campos, Nicolás André, and Maestro Naoto Otomo; Anthony DiLorenzo, trumpet and composer; and
Christian Lindberg as soloists with the Deutsche
88 ITG Journal / March 2007
Kammerorchester conducted by Rista Savic. The concert
included the following solo works:
• Concerto for 2 Trumpets by H.G. Stölzel, with Vicente
Campos and Nicolás André
• Concerto in E-flat Major by J.N. Hummel with Maurice
André
• Concerto for Trombone by J.G. Albrechtsberger with Chris-
tian Lindberg
The concert was incredible. The orchestra was wonderful,
and all soloists showed unbelievable technical and musical
skills. Maurice André’s version of the Hummel was especially
emotional, not only for his beautiful playing, but for the
vigour and strength to play so well
so advanced in life. Watching and
hearing Maurice André playing live
in concert was inspiring for all of us
who had been admirers of his art
for decades… a dream come true.
The course will remain forever in
the memories of all who attended
for the course. Source: Juan José
Macián Macián.
Tokyo: Center City premieres
DiLorenzo’s brass quintet
concerto Chimera
The Center City Brass Quintet
(CCBQ) traveled to Tokyo to per-
form the world premiere of Chim-
era, a concerto for brass quintet and
orchestra, on July 15, 2006. The
piece was commissioned by the To-
kyo Symphony Orchestra and was
composed by Anthony DiLorenzo,
trumpeter and founding member of the CCBQ. DiLorenzo’s
works are heard regularly on the major television networks and
in motion pictures and have been performed by major ensem-
bles such as the San Francisco, Colorado, and Utah symphony
orchestras. Under the direction of Naoto Otomo, the concert
took place in the Tokyo Metropolitan Art Space, a modern
concert hall seating 2,000 where the Tokyo Symphony has a
regular concert series. The 18-minute work, in three move-
Steven Witser, trombone
© 2007 International Trumpet Guild
ments, requires an orchestra including full string, woodwind,
and percussion sections, and a reduced brass section. The brass
quintet soloists performed at the front of the stage, spanning
both sides of the podium. The near-capacity crowd’s enthusi-
astic applause indicated an encore was desired. The quintet
obliged with a solo performance of Fire Dance, also by Di-
Lorenzo.
DiLorenzo, who has composed and arranged numerous
works for the CCBQ over the years many of which the quin-
tet has recorded on the Chandos label explains why this was a
particularly special project for him: “There are very few con-
certos for brass quintet and orchestra, and I was so excited not
only to have the opportunity to help fill that void, but also to
write a piece that took advantage of the playing and personal-
ities of my colleagues in the CCBQ, whom I have known and
worked with for so many years. It was great that this premiere
was with a major orchestra in one of the world’s capitals.”
The commission came about at the urging of Maestro
Otomo, who has known of the CCBQ since 2001 when it par-
ticipated in the inaugural Music Masters Course in Kazusa
(MMCK), a summer festival he co-founded with Alan Gilbert,
Music Director of the Stockholm Philharmonic. This educa-
tional festival attracts conservatory students from Japan,
Europe, and the U.S., who come to study with the CCBQ and
other prominent faculty from around the world. Members of
the quintet have returned each summer since to participate in
the festival.
Also especially noteworthy about the concert was the pres-
ence in the audience of former Prime Minister of Japan, Hata
Tsutomu, who traveled to Tokyo with his wife especially to
hear the concerto, having heard a performance of another Di-
Lorenzo piece earlier this summer at the MMCK festival. The
esteemed guest came backstage afterwards to congratulate Di-
Lorenzo and the quintet on its performance.
Trumpeter Anthony DiLorenzo is a graduate of the Curtis
Institute and was student competition winner and soloist with
the New York Philharmonic and Boston Symphony Orchestra.
He has played principal trumpet with the New World Sym-
phony and Utah Symphony, and second trumpet with the
Philadelphia Orchestra. Trumpeter Geoffrey Hardcastle is a
graduate of the Cleveland Institute of Music. He has held posi-
tions with the Cleveland Orchestra, and is currently second
trumpet with the Buffalo Philharmonic. For more information
about the Center City Brass Quintet, visit its web site
(http://www.centercitybrassquintet.com). Source: Center City
Brass Quintet.
Norris develops Ewazen Sonata orchestration
Phil Norris, professor of music and trumpet at Northwest-
ern College, St Paul, Minnesota, has begun an orchestration of
Eric Ewazen’s Sonata for Trumpet for Southern Music Compa-
ny and the composer. The second movement score is complete
and the first movement core material has been written. The
entire work will be available through Southern Music as a
rental in the fall of 2007. In the meantime, inquiries may be
made with Norris by EMail (pen@nwc.edu).
Concerning the second movement score, Ewazen remarks: “I
have been looking at your scoring, and I think it is just beauti-
ful! I enjoy a variety of colors, and that is just what you are
achieving… with the resonant strings, the alternating mel-
© 2007 International Trumpet Guild
odies, and your gorgeous harp/percussion writing giving the
piece that extra sparkle. My instrument (in addition to piano)
was cello! So it is fun for me to see how you are approaching
the strings—great! ... I look forward to the other movements.”
Phil Norris has degrees in trumpet from Northwestern Uni-
versity and the University of Minnesota. He is active as a com-
poser, arranger and freelance trumpeter as well as a past con-
tributor to the ITG Journal and conference presenter. Source:
Phil Norris.
Håkan Hardenberger at the
University of Missouri-Columbia
One of the world’s leading trumpet soloists, Håkan Harden-
berger, visited the University of Missouri – Columbia campus
on October 23, 2005. His recital tour started in England, and
Columbia, Missouri was the second of only three stops in the
United States. Hardenberger gave a two-hour master class and
after a short break performed a fiendishly difficult recital for
trumpet and piano, including Honegger’s Intrada, Enescu’s
Légende, Hindemith’s Sonate, Berio’s Sequenza X, Ligeti’s Mys-
teries of the Macabre, and Goedicke’s Concert Etude as an
encore.
Trumpet players from Columbia as well as the students
from the studios of Grant Peters (Missouri State University),
John Korak (Southern Illinois University – Edwardsville),
Greg Jones (Truman State), Alan Wenger (Central Missouri
State University), Steve Leisring (University of Kansas), Keith
Benjamin (University of Missouri – Kansas City), Judith Sax-
ton (Wichita State—about 6 hours away!), and many others
were all inspired by Hardenberger’s enthusiasm, vast experi-
ence, and knowledge about the trumpet and music making.
Hardenberger was surprised by how far many in attendance
came to hear him teach and play. He enjoyed answering their
intelligent and insightful questions that showed keen interest
and a high level of awareness of what is happening in the
trumpet world.
Hardenberger with master-class participants Bryan Koerner,
Rachel Nold, David MacDonald, and Brett Nelson
The recital was simply mind-blowing… the avant-garde
works of Berio and Ligeti were extremely well received by the
audience. No one moved during the entire 17-minute-long
Sequenza. Håkan Hardenberger seemed very pleased with that
night’s recital. He said that to some degree, his success was due
to the friendly acoustics of the hall and the special reception of
the audience. He felt that there was an exchange of energy that
always inspires and “recharges” him. It was truly a day to
remember. Source: Iskander Akhmadullin.
March 2007 / ITG Journal 89
 Giuffredi (centre) and master class participants
Andrea Giuffredi master class in Beijing
On September 21 and 23, 2006, the virtuoso soloist, Italian
trumpeter Andrea Giuffredi, held two great days of master
classes at Beijing’s Central Conservatory of Music. The conser-
vatory’s many trumpet students as well as leading players from
the Beijing Symphony Orchestra were able to share two days
of teaching and practical demonstrations.
Giuffredi discussed many aspects of trumpet playing, from
classical concertos to orchestral studies, giving important
advice about the physical and technical development of trum-
pet playing. He listened to and offered suggestions to the Chi-
nese students, who remained enthusiastic and very impressed
with his way of playing. He gave examples from nearly all the
trumpet repertoire, playing in an indefatigable way with a
power of sound and skill in the high notes that was a revela-
tion to his delighted students. All of this happened in a very
pleasant atmosphere and, given the great success of this visit,
our aim is to see Andrea Giuffredi again very soon in Beijing!
Source: Wang Hong Jian.
H.M. Lewis visits Belmont
H.M. Lewis, professor of music at Georgetown College,
Kentucky, was the guest of the trumpet studio at Belmont
University in Nashville, Tennessee. On October 3, 2006,
Lewis presented a lecture recital on the development of cornet
design from the Civil War era to the mid-20th century. He
skillfully demonstrated the differences in cornet design (and
the resulting differences in timbre) by playing portions of cor-
net solos and orchestral excerpts on a wide range of more than
twenty instruments taken from his vast personal collection,
including such horns as an E-flat “leader” saxhorn and antique
cornets by Holton, Couturier, Bach, and many remarkable
examples of various instruments made by C.G. Conn.
The next day, Lewis performed with the Belmont Universi-
ty Wind Ensemble under the direction of Gary Schallert in an
outdoor concert. The ensemble performed works by Leonard
Bernstein, John Cheetham, George Gershwin, Shelley Han-
son, Claude T. Smith, and Franz von Suppé. Lewis performed
a beautifully agile rendition of J.O. Brockenshire’s The Mead-
90 ITG Journal / March 2007
ow Lark on an antique C.G. Conn E-flat cornet. He then
played C.L. Barnhouse’s duet variations on Rock of Ages on his
York Monarch B-flat cornet… he was joined by Joel Treybig
on an antique Gisborne Defiance Class B-flat cornet. The
enthusiastic noon-hour audience filling the atrium of the Wil-
son Music Building was composed of students, faculty, and
Nashville natives. Source: Joel Treybig.
Raymond Burkhart speaks on Brass Chamber Music
in Northfield, Minnesota
Trumpeter/musicologist/composer Raymond Burkhart pre-
sented his paper “Brass Chamber Music in Circuit Chau-
tauqua” at the International Wind Music History Conference
in Northfield, Minnesota. The July conference was a joint
meeting of the Historic Brass Society and the Internationale
Gesellschaft zur Erforschung und Förderung der Blasmusik
(IGEB) and was held in conjunction with the Vintage Band
Festival. The conference involved 38 scholars from the United
States, Canada, Austria, Bulgaria, New Zealand, Finland, Swe-
den, England, Belgium, Poland, and Luxembourg, and the
Vintage Band Festival presented 16 vintage bands from the
United States and Germany.
Burkhart’s paper revealed the activity of small brass ensem-
bles, particularly brass quartets, within Lyceum and on the
Chautauqua circuit in early 20th-century America. The role of
these ensembles and their music within the context of the his-
tory of brass chamber music and in relation to brass band
music was also explored, as were aesthetic and social consider-
ations. Burkhart, who is instructor of trumpet at Pomona Col-
lege and instructor of Baroque trumpet at Claremont Gradu-
ate University, performed two of his original compositions for
unaccompanied trumpet, The Seven Angels and “Solo” from A
Summer Remembrance, for the Historic Brass Society member-
ship meeting which officially closed the conference. Source:
Raymond Burkhart.
The Fourth International Jeju Brass Competition
The Fourth International Jeju Brass Competition took place
in Jeju (or Cheju), South Korea, from August 12 to 20, 2006.
Although there was no first prize awarded in this year’s compe-
© 2007 International Trumpet Guild
tition, the second prize went to Kazuaki Kikumoto of Japan. Nirschl instruments in North and South America. For addi-
The third prize was awarded jointly to Chung-mon Ho (Tai- tional information, please see the company’s web site
wan), and Sung Jae Chang (Korea). The Head of the Jury for (http://www.gemstonemusical.com). Source: Gemstone Musi-
all instruments was Armin Rosin (trombone soloist, Ger- cal Instruments press release.
many). The international trumpet jury was made up of Bai Lin Tom Crown Practice Mutes
(China), Eric Aubier (France), Ahn Hee-chan (Korea), Her-
bert Lange (Buccina Ensemble Bonn, Germany), Bruce Barrie Tom Crown Mutes is adding two new mutes to its extensive
(Chestnut Brass Company, USA), Suh Hyun-suk (Korea), line of metal trumpet mutes: a trumpet practice mute for B-
John Charles Thomas (Chestnut Brass Company, USA), Lee flat, C, or D trumpet, and a piccolo trumpet practice mute.
Kang-il, (Korea), and Jury Chair Max Sommerhalder (Ger- These mutes, according to the company, are also ideal for very
many). More information on the Brass Festival and Competi- soft muted orchestral or solo passages. Tom Crown’s statement
tion is on their web site (http://www.chejusbf.or.kr). Source: continues: “The new Tom Crown practice mutes, compared
John Charles Thomas. with other practice mutes, are very free blowing and very, very
soft. This, plus excellent intonation, make them a great addi-
INDUSTRY NEWS tion to the trumpet player’s tools. Need to practice some more
before the performance tomorrow? Going to an audition? It’s
Conn-Selmer announces new late and you don’t want to bother the neighbors? Worried
Bach model TR500 student trumpet about warming up in church before that B Minor Mass? Here
Conn-Selmer has announced the introduction of a new stu- is the ideal solution. The Tom Crown trumpet and piccolo
dent trumpet under its famous Bach brand name. The Bach trumpet practice mutes are perfect for any quiet practice setting
model TR500 trumpet offers an affordable option for begin- or for muted orchestral or solo passages that must be played
softer than pianissimo.”
ning players, giving Bach fans a choice in instrument designs
within the Bach student line. Created for teachers who prefer
a traditional student trumpet design, the Bach TR500 trum-
pet is “built to the most stringent specifications.” The TR500
features a .460˝ bore, nickel silver trim, a red brass lead pipe,
a pin-style third slide stop, nickel silver pistons with two point
valve guides, fixed third slide finger ring, and first slide thumb
hook. Finger buttons are genuine mother-of-pearl, the outfit
includes the same hard shell case as other Bach student trum-
pets, and the trumpet comes with a Vincent Bach 7C mouth-
piece.
The design and construction of the Bach TR500 differs
from that of the specially constructed Bach TR300H, one of
the most popular student trumpets in the world. For teachers
who prefer the construction and concept of sound of tradition-
al Bach student trumpets, the TR300H continues to be avail-
able. The Bach TR500 design is more in keeping with other
competitive models but at a lower price. For those who prefer
this more standard design, the TR500 offers an affordable
option for beginning players. Visit the company’s web site for
more information (http://www.conn-selmer.com). Source:
Conn-Selmer.
Gemstone introduces W. Nirschl brass to the USA
Walter Nirschl has teamed with Gemstone Musical Instru-
ments to introduce the W. Nirschl brass line to the United
States. The Gemstone press release tells us that this collabora-
tion brings together the best of American design with German
Cassone endorses new Tom Crown practice mutes
engineering. Based in Geretsried (Bavaria, Germany), Walter
Nirschl comes from a family with a rich tradition of musical “John Hagstrom, a member of the Chicago Symphony
instrument building. Walter said of the partnership, “I am Orchestra trumpet section, and Gabriele Cassone, leading Ital-
pleased to be associating with Gemstone Musical. Their strong ian trumpet virtuoso, both endorse the mutes. John says: ‘I
sales and marketing departments will complement the prod- have had the good fortune to test Tom Crown’s new practice
ucts we are introducing for school music dealers.” Gerardo mutes for the trumpet and the piccolo trumpet. They both
Discepolo, CEO of Gemstone, said of the partnership, “Gem- offer a responsiveness and evenness of resistance that is as good
stone Musical is committed to bringing the best instruments to as any practice mute that I have tried. The best feature, how-
school and professional musicians at an affordable price. Wal- ever, is the excellent intonation in all registers. If you have had
ter’s expertise is a key component ensuring the best of German difficulties finding a practice mute that does not distort your
engineering for unparalleled quality.” In addition to the W. trumpet’s characteristics to the extreme, these mutes are the

© 2007 International Trumpet Guild

Nirschl line, Gemstone will be distributing the Meister Walter perfect answer. I will look forward to using them both regular-
March 2007 / ITG Journal 91
ly!’ Gabriele says: ‘Una sordina ideale per passaggi orchestrale He continued to entertain at local nursing and veterans
pianissimo ma che devono avere brilliantezza di suono.’ Trans- homes and hospitals up to the time of his death. His favorite
lation: ‘An ideal mute for pianissimo orchestral passages that style was Dixieland Jazz. Dennis Truncellito, who knew Koons
also must have a brilliance of sound.’” The practice mutes will for the last ten years, said, “Koons certainly was a great all
soon be available at local retail music stores. around player and his jazz was truly relaxed, happy, and cre-
For further information, please visit their web site ative. He was a wonderful, consummate musician and trumpet
(http://www.tomcrownmutes.com). Source: Tom Crown. player extraordinaire.”
Dick Koons spent most of his life teaching in Pennsylvania
RECENT APPOINTMENTS and New Jersey. Among his innumerable students were Carol
Reinhart and the present author. As a student of his for almost
Rodriquez to Washburn fifteen years, I heard many stories from him and those who
Raquel H. Rodriquez has been appointed instructor of trum- knew him. Koons could play in every style, transpose by sight,
pet and coordinator of brass studies at Washburn University in play harmony, and hear something once and play it in any key.
Topeka, Kansas, where she also performs with the faculty brass Source: Karen E. Stober.
trio. She has served on the faculties of Southeastern Oklahoma Michele Bonanno, 1962 – 2006
State University, Brookhaven College (Dallas), Tarrant County
College (Hurst, TX), and the University of North Texas. Michele Bonanno, principal trumpet of the Orchestra Sin-
Raquel has performed in a wide variety of musical settings. fonica Siciliana, died on October 27, 2006. He studied at the
She was a member of the 1992 Star of Indiana Drum and Conservatory “Bellini” in Palermo, Sicily, with Antonino Bi-
Bugle Corps. This organization soon became Brass Theater tonto. Even as a young player he was notable for the quality of
and had successful touring summers with the renowned Cana- his sound and his many solo successes, and after an early career
dian Brass. Raquel was a performing member of Brass Theater in orchestral and chamber music he took the Orchestra Sin-
in 1995 – 96 and 1998. During this time she performed in the fonica Siciliana principal trumpet post in Palermo in 1986.
Hollywood Bowl, Tanglewood, Wolf Trap, Interlochen, Blos- Since then he has also performed many times as soloist with
som, Ravinia, and the Mostly Mozart Festival at Lincoln Cen- the orchestra. The orchestra’s programme was suspended fol-
ter. She also recorded a CD with the Canadian Brass (Brass lowing Bonnano’s death as a mark of respect.
Theater II) as well as a PBS special that was nationally aired in
1996. This organization again went through a rebirth and in
the fall of 1999 became a show called Blast! Raquel was a
member of the original London cast.
As an orchestral musician Raquel has performed with the
Plano, Irving, and Richardson Symphony Orchestras, Cham-
ber Orchestra of Denton, Amarillo Symphony Orchestra,
Aspen Festival Orchestra, and the Denton Bach Society. In
2002, Ms. Rodriquez performed Henri Tomasi’s Concerto for
Trumpet with the University of North Texas Symphony Orch-
estra under the direction of Maestro Anshel Brusilow. As a
chamber musician she has performed with a variety of ensem-
bles including Baroque chamber orchestras, brass ensembles,
and jazz ensembles. In her doctoral studies, Raquel studied the
Baroque trumpet and performed with the University of North
Texas Baroque Trumpet Ensemble.
Ms. Rodriquez received her BM and MA degrees from West
Texas A&M University and is currently a DMA candidate in
trumpet performance at the University of North Texas where
she is a student of Keith Johnson and Eugene Corporon.
Source: Raquel H. Rodriquez.

IN MEMORIAM
Richard “Dick” Koons, 1923 – 2006
Richard “Dick” Koons died on October 7, 2006, following
a stroke. He was 83. After graduating from Eastman, he spent
more than six decades as a professional musician. Koons was a
top call player in New Jersey since the 1960s.
Dick Koons played in the National Symphony Orchestra in
Washington DC, often filling in for Leonard B. Smith when
Smith could not play. He was also the first chair trumpet in the
Rochester Philharmonic. While with the San Antonio Sym-
phony, he played under the batons of Sir Thomas Beecham
and Leopold Stokowski.
92 ITG Journal / March 2007
Michele Bonanno
Michele Bonanno was married with two daughters. The
orchestra’s web site says that his sudden death has left an over-
whelming void both emotionally and artistically, and speaks of
someone who was not only a fine musician and a serious and
well-prepared professional, but also a kind and sensitive col-
league. Leonardo Maniscalco adds: “I remember his beautiful
sound and his quiet smile… my heart is broken by his sudden
death.” Sources: Leonardo Maniscalco and Orchestra Sinfoni-
© 2007 International Trumpet Guild
ca Siciliana.
 2006 ITG BUSINESS REPORT
SUBMITTED BY KEVIN EISENSMITH, SECRETARY
T
he 2006 annual meeting of the Officers and Board
of Directors of the International Trumpet Guild
began on Monday, June 5, 2006, at the Best West-
ern Meeting Room in Williamstown, New Jersey. Present
were President Jeffrey Piper, Vice President William Pfund,
Treasurer David Jones, Secretary Kevin Eisensmith, Past
Old Business
The meeting was called to order at 6:30 P.M. by President
Piper. The first item addressed was the approval of the minutes
for the 2005 meeting of the Officers and Board of The Inter-
national Trumpet Guild held June 21, 2005, at the Grand
Hotel in Bangkok, Thailand. Mortenson moved that the minutes
be approved; Olcott second; passed unanimously. The minutes
from the 2005 ITG Business Meeting and the minutes from
the 2006 Winter Officers Meeting were reviewed briefly.
Financial
Treasurer David Jones reported on the finances of ITG. He
projected a deficit for 2007; memberships are down, and he
has been having a difficult time collecting advertising fees.
Jones will provide Walters with a list of delinquent advertisers.
Those who have not paid their fees by July 1 will not be
allowed to advertise in the 2006 – 2007 (Volume 31) Journal.
Jones stated that there are approximately 50 delinquent
accounts at present for a total of about $40,000. Jones also
stated that all delinquent bills are charged interest. Mortenson
recommended that delinquent advertisers be reported to the
Credit Bureau. Mortenson moved that once an advertiser has
been sent two notices of delinquency and is 6 months delinquent
in payment, they will be reported to the Credit Bureau and ITG
will pursue collection. In the case of extenuating circumstances, the a free additional year’s membership; Pfund second; passed unani-
Treasurer may negotiate with the advertiser for extensions; Tun-
nell second; passed unanimously.
ITG began using PayPal in late October 2005. Since that
time 606 members have utilized the PayPal Account, for a
total of $27,442.00 in transactions. These funds have
earned $229.25 in interest. Jones stated that PayPal seems to
be working, and he expects it to increase in popularity.
Upon reviewing the budget, Dunnick asked why annual
storage costs are $7,000. Jones explained that there is much
Officers at the Board Meeting, L – R: Vice President William Pfund, Past President
Stephen Chenette, President Jeffrey Piper, and Secretary Kevin Eisensmith.
Not pictured: Treasurer David Jones
© 2007 International Trumpet Guild
President Stephen Chenette, and Board Members Michael
Anderson, Frank Campos, Kim Dunnick, Brian Evans, Lau-
rie Frink, Pat Harbison, Frank Kaderabek, Cathy Leach,
Gary Mortenson, Jim Olcott, Vera Hørven Olcott, Anatoly
Selianin, Roger Sherman, Alan Siebert, Michael Tunnell,
Neville Young, and Zhonghui Dai.
material to store. At present ITG rents two 10x20 storage units
and a few smaller units. Jones stores back issues of the ITG
Journal, almost 3,000 copies of the Dokshizer book, and other
items. Jones tries to have 500 extra copies of each Journal pro-
duced; copies of the Journal are given to advertisers, authors of
the various articles, and so on. Jones still has copies of Journals
from the 1980s. Anderson proposed offering back issues on
eBay, as there are people interested in purchasing complete sets
of the Journal. Dunnick recommended contacting a college
trumpet professor in Massachusetts (where Jones resides) and
inviting a student to organize back issues into “sets.” These sets
would be complete, based on the available issues, and offered
for sale on eBay. The student would be offered a percentage of
the proceeds. It was further recommended that some back
issues be recycled. Jones and Anderson will pursue.
Jones addressed a problem that arose following the Bangkok
conference. He inadvertently forgot to print out the 88 names
of people who became members at that conference and to pass
that information on to his assistant. Twenty of those member-
ships were donated student memberships. These names have
now been put into the database and back issues of Journals and
other material are being mailed. Hørven suggested giving the
88 Bangkok members a free year’s membership. Olcott moved
that all members who became ITG members in Bangkok be given
mously.
Anderson felt that ITG does not do a good job of policing
registration at conference. He proposed having an ITG mem-
ber present at the registration table at each conference to greet
new members, and perhaps give them a “gift.” ITG must be
more involved in the registration process. Pfund suggested that
the Membership Coordinator be given this task. Anderson also
feels that ITG must do a better job of accounting. Piper will
speak with Membership Coordinator David Scott about taking on
this task. Jones recommended that ITG
pay for the representative’s motel room at
the conference.
Treasurer Jones reported that he
would like to engage the services of a
Certified Public Accountant (CPA) to
perform a review of ITG’s books and
operations. Gregory Galanek, a CPA
who has his own accounting practice,
can provide the organization with such
a review. Because his is a small firm, it
does not have a large amount of over-
head, a factor that helps to keep the
March 2007 / ITG Journal 93
price of the service relatively low. If an audit is required,
Galanek’s firm works with another slightly larger firm to con-
duct the audit.
Costs are: Audit of financial statements $2,500 – $3,500;
Review of financial statements $1,000 – $1,500. Dunnick
asked if this review is reflected in the 2007 budget. Jones stat-
ed that he had included the full $3,500 audit fee in next year’s
budget. Jones stated that to his knowledge, ITG has never
been audited. Dunnick confirmed that an audit was never
accomplished before Jones became Treasurer, as record keep-
ing to that time had been incomplete. A check of the By-Laws
shows that: “Annually, the Treasurer will have the ITG
financial records audited professionally, and will make a writ-
ten Financial Report to the Internal Revenue Service before
the required date of our fiscal year.” Pfund moved that during
this year, as soon as is practical, that a full audit be conducted on
ITG’s financial books; Chenette second; passed unanimously. A
schedule for annual reviews and audits will be determined and
instituted before next year’s conference.
Piper began a discussion of declining memberships. Campos
stated that this has been addressed at previous Board meetings;
he asked what has been done thus far to retain old members
and to recruit new members. He suggested that we make the
entire process easier. With the Internet, it should be easier for
anyone to complete the membership process. Anderson stated
that if new offerings are to be internet-driven, a much more
concerted effort must be made to keep the web site up-to-date
and current. Much discussion followed. Piper appointed the
following committee to address this issue: Kim Dunnick,
Chair, Mortenson, Olcott, Harbison, and Anderson. They will
prepare a report for the Mid-Winter Officers Meeting to be
held in January 2007.
William Pfund stated that the ITG Finance Committee
reports the status of the ITG investments at both the Annual
ITG Board Meeting and the Mid Winter ITG Officers Meet-
ing. David Jones, ITG Treasurer, continues to invest the ITG
Encumbered and Unencumbered Funds in safe, interest-bear-
ing accounts with the highest reasonable rate of return. Near-
ly all of the Legacy Endowment funds have now been trans-
ferred to an account in Ithaca, under the supervision of Kim
Dunnick, Legacy Endowment Chair. The Legacy Funds are
held separately from the rest of the budget, and are contained
in a money market account that is currently paying 4.77%.
Dunnick reported that records are up to date. He encour-
aged board members to contribute to the Legacy Fund. To
date less than $20,000 has been donated; he had hoped to have
over $50,000 accumulated by this point. The money will be
used for special projects and is currently not earmarked for
anything specific. A reception will be held at 4:00 P.M. on Fri-
day afternoon for all donors.
Jones reported that ITG holds its Encumbered and Unen-
cumbered funds in two Certificates of Deposit (CDs). Each
earns an interest rate of 5.13% with an Effective Yield of
5.25%. Current 6- and 12-month regular CD rates are in the
2.9% to 3.25% range.
Pfund suggested that the Vice President be given the job of
Finance Committee Chair, overseeing the work of the Treas-
urer, the Legacy Endowment, and finances in general, and that
the committee should consist of the Vice President, the Presi-
dent, and the Past President. Campos stated that some people
in the position of Vice President might be less able to under-
94 ITG Journal / March 2007
stand the particulars of finance. Discussion regarding the con-
sistency of the committee and other factors followed. Dunnick
recommended that the position of Chair of this committee
remain at the discretion of the President. The Board agreed.
There was no change in the policy.
President Piper presented a letter received from Peter Voisin,
a long-time member now living in Hendersonville, NC. Voisin
proposes: 1. The establishment of a USA headquarters; 2. Set-
ting up records, computer servers, staff, library, and meeting
center; and 3. The Development of a Hall of Fame that would
include a display of pictures, recordings, artifacts, and instru-
ments to be preserved for future generations. Voisin is interest-
ed in pursuing these possibilities and offered to do what he
could to gather resources, people, and planning. Piper stated
that the Legacy Committee will look into the possibilities of
creating a USA Headquarters.
In addition, Voisin wanted to encourage all members of ITG
to call their local American Legion/VFW and volunteer to play
“Taps” for the “greatest generation of Americans that served
America.” He stated that veterans “are dying out faster than
they can find trumpet players!” Board member Neville Young
mentioned the idea of working with the organization called
“Buglers Across America.” Mortenson remarked that the Guild
has already worked with this organization and that upcoming
Journals will again address the playing of “Taps” for military
funerals and other occasions.
Publications and Technology
Mortenson reported that with the conclusion of the Volume
30 publication season he has completed five years in his role as
publications editor for the International Trumpet Guild. Dur-
ing that period he has: added an assistant editor/principal
proofreader position, welcomed Joe Walters as the ad and lay-
out professional, and introduced an Intern Assistant Editor.
Other highlights include: Volume 26—Editor’s Corner
added. Volume 27—Web Site Reviews added (Michael Ander-
son, editor), journal jr. added (Kristin Mortenson, editor), and
the ITG Editorial Committee established. Volume 28 - Health
and Awareness Column added (Kris Chesky, editor). Volume
29—Orchestra Section Profile added (Murray Greig, editor).
Volume 30—a complete overhaul in the Journal with a new
cover scheme, new headers for columns, and new formatting
for feature article introductions. Volume 31 will see the intro-
duction of two new columns: Chamber Music Connection
(Marc Reese, editor) and Studio, Commercial Scene (Eric Bol-
vin, editor). Web Site Reviews (Michael Anderson, editor) will
become a general technology column.
Cover schemes for the Journal have been prepared for the
next 5 years; Mortenson is looking at additional covers for
beyond that period. The interior paper weight has also been
changed; a lighter paper is now being used. This avoids the “1-
pound barrier” and allows for more color advertising. The
overall paper weight allows the Journal to be expanded beyond
128 pages without exceeding weight limits.
Mortenson ended his report with three requests: He request-
ed an updated laptop in the next year. A new laptop should
have at least a 60-gigabyte hard drive, and improved capabili-
ties in the area of processing speed and RAM. Anderson men-
tioned that a proposal was put forth a few years ago to create a
3-year rotation for computers purchased by the Journal Editor,
the Website Director, and the Treasurer. Anderson moved that
© 2007 International Trumpet Guild
$2,500 to be added to the 2007 budget for the purchase of a new
laptop computer for the Journal Editor; Campos second; passed
unanimously.
Over the last five years Mortenson’s logistical duties and the
amount of time required to do this job have risen dramatical-
ly. Perhaps a more appropriate level of compensation for this
work is needed at this time. Mortenson asked the Board to
consider the possibility of a salary adjustment for the Publica-
tions Editor position. Piper proposed increasing the stipend
for the Journal editor by $2,000; it is currently $15,000. Dun-
nick moved that the stipend for the Publications Editor be
increased by $2,004; Chenette second; passed unanimously.
Mortenson also asked the Board to consider providing the
same financial assistance to Joe Walters that Board Members
receive with regard to attending conferences. Mortenson
thinks it is important that Walters be at ITG Conferences
(whenever possible), so that he can make a presentation to the
Board, so that he can meet exhibitors who already advertise in
the ITG Journal, and make new contacts to promote future
growth in that regard. Mortenson moved that Walters receive the
same financial support as Board members ($200 and half a motel
room) for attendance at conferences; Anderson second; passed
unanimously.
Production and Advertising Manager Joe Walters stated that
he is pleased to be involved with ITG and that he works with
an excellent team. Walters reported that the total monetary
value of advertising placed in the Journal for Volume 30 was
$134,160.00 with the “Prompt Pay” discount and
$142,630.00 with the Full Rate. By comparison, the monetary
value of advertising for Volume 29 was: $109,060.00 with the
“Prompt Pay” Discount and $117,205.00 for the Full Rate.
Walters reminded the Board that: “these numbers reflect what’s
in [the] database of ads that have been printed (and invoiced),
not what’s been paid in.” Jones actually handles the monies for
ads. Walters reported that color ads are up to twenty pages, the
largest in ITG history. Advertisers are very interested in color
ads, and even more than 20 pages are possible in the future.
Walters requested a software update for QuarkXPress (used
for main page layout), and recommended the purchase of two
new page layout applications: “Pages,” and “Swift Publisher.”
Piper directed Walters to speak with Treasurer Jones. President
Piper thanked Walters for his fine work for the Journal.
ITG Website Executive Director Anderson commended the
considerable work put in by the web site editors. He stated that
Brian Shook has revitalized the summer camp portion of the
Youth Site. He also said the he and Gary Mortenson continue
to focus great energy toward their news coverage of the annual
ITG Conference. After several years he feels that the web site
team has a good handle on what is needed to continue to elec-
tronically document our conferences at a high level. To date,
none of the other professional organizations are providing this
level of online reporting of their annual conferences.
Anderson and Jones have implemented a secure means of
purchasing memberships and ITG products online through
PayPal. ITG no longer has issues of non-secure transactions
related to the web site. This has been working well, but it does
come at a cost to the Guild. Jones stated that the cost is slight-
ly less than the amount we currently pay to process credit
charges ourselves, around 3.5%. It is a convenient system and
was considerably easier to implement than building our own
online store.
© 2007 International Trumpet Guild
Anderson reported that his proposal approved by the Board
at last year’s meeting is still in process. The goals of the project
remain: 1. Automated updating of the membership database
through online joining and renewals; 2. A “members only”
portion of the web site. He and Jones have run into several
snags throughout the year that have kept them from imple-
menting the database portions of the proposal. They have been
working with a professional database consultant who has
helped them to work through many of the issues. They are pro-
ceeding cautiously with great attention being paid to security
and to careful planning. Anderson and Jones will meet later
this week to continue to work on the details surrounding this
effort.
Anderson has looked into the possibility of producing an
update of the ITG Journal CD-ROM that would include all
Journals since the last CD was published. While he believes
that he and Joe Walters could produce a supplemental volume
with only the new Journal articles, he feels it is more desirable
to produce a product that combines the old with the new so
that all could be searched at once. Because of size, this would
have to be done on a DVD-ROM and Anderson feels the work
to accomplish this should be sourced out to a professional com-
pany that specializes in this sort of work. This will not be near-
ly as expensive as it was for the first CD-ROM, because all of
the labor-intensive scanning has been done. A great deal of dis-
cussion followed. No action taken.
Secretary Eisensmith stated that after considerable work by
the Executive Committee, with special acknowledgement to
Steve Chenette, and the inexhaustible talents of and input
from Jim Olcott, the ITG Handbook is ready to go online.
Thanks also to Brian Evans for his careful review of this docu-
ment. Anderson stated that this is a remarkable document, and
needs to be updated regularly. Piper said the Secretary should
remain in control of the handbook. Anderson recommended
the creation of a “protocol” list that would contain important
dates in the ITG yearly calendar. Dunnick suggested that this
list appear as part of the Handbook Appendix. The job of
Handbook coordinator should be added to the Secretary’s job
description. It is decided to make the Handbook available
online to all members. Hard copies should be available upon
request. Eisensmith will coordinate the development of a protocol
calendar.
Membership
Membership Coordinator David Scott reported that in
2004 – 2005 the number of members was 6,485. The current
number of members is 6,177. Members from last year who
have not renewed total 1,362. New members for this year total
1,054. 43 new members were signed up at the Mid-west clin-
ic. More new memberships were sold at NTC and TMEA.
Scott’s plans and ideas for 2006 include: 1) Continue to have
booths at the Midwest Clinic, NTC, and Texas MEA. These
were very successful and generated new members. He contin-
ues to look for western U.S. venues. 2) Continue to look for
worldwide expansion of ITG with the help for the other coor-
dinators. Of particular interest is the Central/South American
area. He believes a well-conceived push for members in this
part of the world will be very successful. 3) Transfer the ad
trades responsibilities to Joe Walters and the ITG Journal/Gary
Mortenson. This is logical since Walters works with advertis-
ing and Mortenson would need to be in on any projects
March 2007 / ITG Journal 95
involving layout and page space. Mortenson stated that this is
already being done. 4) Expand the program in which music
companies mail out our brochures with their product. Scott
believes ITG has barely touched the surface with this program.
Scott again requested that ITG allow companies who dis-
tribute our brochures (500 and over) and companies who
exhibit at ITG Conferences have an opportunity to have their
brochures displayed at ITG Booths/Exhibits. This could be
done with a free-standing display case and limiting the compa-
nies to one brochure space in the free-standing case. This is a
gesture of good will and Scott states that there is plenty of
space in the booths. Olcott wants to speak with Scott as to why
he feels this is type of publicity is a good idea. Piper will speak
with Scott.
Finally, Scott proposed creating regional conferences, or “A
Day of Trumpet.” This could include guest ITG artists, per-
formances/clinics by regional/collegiate artists and be a good
way to bond with local members. This would encourage mem-
bership and ITG would be able to connect, in a real way, with
more trumpet enthusiasts. This is different from chapter grants
in the following ways: 1. The state/region ITG group would
have access to the money, not an individual college or entity. 2.
You would need a substantial pool of money ($30,000?) to
make this work. Scott suggested skipping a CD project for a
year or something similar to help in these costs. Olcott asked if
this is the purpose of the Affiliate Chapters. Anderson stated
that there are already several successful regional trumpet
events, including the Atlanta Trumpet Festival. Support of
regional events might encourage more student memberships.
Students would be more motivated to go to regional events
because they would involve less travel and less money. Ander-
son proposed that an increase be made so that grants could be
created to support programs already holding successful “Trum-
pet Days.” Anderson will speak with David Scott.
Board member Roger Sherman spoke about his “Trumpet
Day,” hosted at three different Pittsburgh universities. He does
not charge a fee for attendance. Board member Cathy Leach
spoke about universities co-hosting these regional conferences,
and the difficulty of charging a membership fee. Evans stated
there are many possible levels of involvement from ITG to
these regional events, and that we should not rule out any pos-
sibilities at this point. Pfund recommended that we try to not
make this too complicated. A set of guidelines should be estab-
lished to help potential hosts. Dunnick moved that a $1,000
grant be established and presented to one “regional trumpet festi-
val” as a test case, to see if ITG memberships will benefit from such
contact; Anderson second; passed unanimously. Anderson will
speak with David Scott to determine which regional trumpet fes-
tival to approach.
European Membership Coordinator Vera Hørven Olcott
reported that ITG membership has dropped 22% in the past
year in Europe. She thanked Jones and ITG for establishing
PayPal as a way to pay for memberships. She has been in touch
with many European trumpet players via EMail. She plans to
send EMail reminders to renew memberships in July, as many
members simply forget to renew. She will include a PDF of the
membership form.
It was suggested that a membership renewal reminder be
included in the June issue of the Journal. Jones stated that he
already does this, as many as 3 or 4 times a year. Eisensmith
said that it would be easier to send out a mass EMail that
96 ITG Journal / March 2007
included a link to the ITG Web Site for membership renewals.
Jones stated that FileMaker Pro, the software he uses for the
ITG membership database, has the ability to automatically
create and send out EMail reminders. Piper directed Jones to
pursue the implementation of this process.
Pacific Rim Membership Coordinator Report Brian Evans
stated that several Australian attendees to the 2005 conference
in Bangkok have yet to appear on the ITG database. Jones has
already addressed this situation. Former ITG President Vince
DiMartino will attend the Australia Trumpet Conference in
2006. In 2007 President Piper is due to visit Australia and he
and Evans expect to visit at least 3 – 4 major centers.
Evans proposed that ITG: 1. Include an offer of discounted
ITG membership for one or two years on all ATG membership
brochures and application forms. 2. Provide an offer of dis-
counted ITG membership for one or two years with all ATG
new members’ receipts. 3. One-time offer to all current non-
ITG ATG members to join ITG now at the discounted price
(one or two years). Points 1 and 2 are in keeping with what
ITG currently offers at Mid-west, NTC and TMEA. Jones
explained that memberships sold at these events offer a dis-
count, often because these events are held late in ITG’s fiscal
year. Evans, Jones and Piper will develop plans to implement these
points.
The meeting adjourned at 10:00 P.M. Monday and resumed
at 9:00 Tuesday morning.
ITG Affiliate Chapters coordinator Larry Johansen reported
that seven affiliate chapter grants were presented during the
2005 – 2006 year. Johansen requested that his budget be
increased back to $4,000 (from the current $3,000), as it was
a few years ago. He also indicated that a new chapter was being
formed in southeastern Ohio. Pfund stated that Johansen has
access to funds up to $5,000, but he must request the use of
monies above $3,000. Pfund will contact Johansen.
Sponsor-A-Trumpeter Coordinator Joyce Davis stated that
now that members are able to choose to support this program
via the ITG Web Site and the new ITG brochure, it should be
moving in a more positive way. Davis also stated that every
officer and member of the ITG Board of Directors should
sponsor at least one person.
Public Relations Director Brad Ulrich reported that little has
changed since his last report. Most significant is his continued
work with the International Romantic Trumpet Festival, held
in St. Petersburg, Russia. Ulrich has arranged for the Universi-
ty of Kentucky Brass Quintet, Vice President Bill Pfund, and
Paul Merkelo to travel to Russia for the next festival. He stated
that the Russians are very eager to develop a relationship with
ITG.
A discussion regarding declining membership was held.
Jones reported that as of May 10, 2006, paid memberships are
6,177. This is 308 below last year’s total of 6,485 paid mem-
berships and 660 below 2002’s total of 6,837 paid members.
The percentages of members not renewing from 2005 are 2.5
– 3.5% greater than the total for previous years. Jones stated
that ITG needs to develop strategies to help retain more mem-
bers. As noted in previous years, if we could retain 50% of the
members who do not renew, membership would be over
7,000. A great deal of discussion followed.
Piper shared an EMail received from Journal editor Gary
Mortenson regarding the raising of membership dues. Morten-
son understands the fear that increased dues will result in fewer
© 2007 International Trumpet Guild
members. However, he stated: “if we increased regular dues to
the $50 to $60 range, and student dues to $35, everyone
would understand why, when you factor in the current prices
of everything else.” The last raise in dues was in 1999.
Mortenson said that our fees are less than most of the rest of
the brass organizations, and we have many more “give-aways”
than anyone else; our Journal is also twice the size of their pub-
lications. Dunnick reminded the Board that it can wait four or
five years and increase the membership dues substantially, or
raise it in small increments every one to two years. Jones
remarked that by raising regular membership by $10, it would
add $37,000 to the annual budget. Mortenson moved that for
the 2007 – 2008 year, that an increase to $50 be made to the reg-
ular membership dues, and an increase to $30 be made to the stu-
dent / senior dues; Chenette second, passed unanimously. President
Piper will form a committee to review the problems surrounding
the recruiting and retention of members.
Projects
CD Projects Coordinator Jim Olcott reported that the
2006 – 2007 ITG CD, Trumpet In Transition, is well on its
way to completion in time for dissemination to the constituen-
cy any time after October 2006. The CD features Robert
Nagel performing compositions by Bloch, Martinu, Honegger,
Copland, Genzmer, Hindemith, and Nagel. Copyright issues
for the pieces on this CD are currently being addressed. Pro-
jected total cost for this project is $14,646.00. This is less than
many of the other CD projects in the recent past. Piper
thanked Frank Campos for his work in starting this project,
and Olcott for seeing it to its completion.
Olcott proposed that the CD project for 2007 – 2008 be an
update of the Journal CD published by the ITG as its CD
project for the 2000 – 2001 membership year. Harbison stat-
ed that he would like to still have a CD of trumpet music and
see the searchable database on the internet. Anderson respond-
ed that there might be enough room to include sound files in
addition to the Journal database. Anderson is asked for a cost
estimate. He stated that it was hard to anticipate at this point.
Piper directed Olcott and Anderson to research costs surrounding
a DVD featuring the 30 years of ITG Journals.
Dunnick asked if there were other possible CD projects.
Piper asked Harbison and Frink to research possible jazz proj-
ects. Harbison mentioned that he has bootleg copies of Clif-
ford Brown live recordings. Would it be possible to pursue a
release of this material? Harbison will research.
Mortenson mentioned Brandt Brass, a fine Russian Brass
Ensemble, that will be going into the studio shortly to record.
Olcott asked if they could produce a historical retrospective.
Mortenson will pursue.
A recording featuring various military bands was also men-
tioned. Steve Chenette had begun gathering information on
this project a year ago. Evans stated that European military
bands could also be approached. Chenette will pursue.
Reprint Committee Coordinator Ralph Dudgeon stated
that the reprint committee currently has two projects under-
way: the Dokshizer translation/reprint and two works for web
page electronic reprinting by Thomas Harper, Sr. and Thomas
Harper, Jr. Steve Chenette has taken the lead on the Dokshiz-
er project.
Dudgeon is working with Mortenson, Walters, and Michael
Anderson regarding the scanning of the two Harper items.
© 2007 International Trumpet Guild
Dudgeon will prepare a paragraph for the Journal on the elec-
tronic reprinting projects that will include a call for nomina-
tions of material to be considered for electronic reprint. Ander-
son moved that a policy be implemented by the ITG Board of
Directors mandating that the technical production of any electron-
ic publications and reprints be done expressly by the ITG publica-
tions staff, specifically by the ITG Publications Editor, ITG Web
Site Director, and the ITG Layout Manager; Olcott second; passed
20 – 1. Piper will notify Dudgeon.
Dudgeon mentioned Edward Tarr’s book: “The Trumpet,”
which is currently available only in German. Schott would like
a ten percent royalty on a Tarr reprint. Tarr himself seems
more interested in a major revision rather than a reprint.
Dunnick reported that the Reine Dahlqvist book, “The His-
tory of the Trumpet,” may be moving forward. Dunnick has
spoken with Edward Tarr and Verena Barth, who is a student
of Dahlqvist’s, about translating his dissertation. According to
Tarr, she is capable of translating this project, and would prob-
ably accomplish this for the $5,000 to $7,000 originally slated
for this project. ITG has already paid $2500 to Dahlqvist.
Jones moved that Dunnick negotiate with Reine Dahlqvist up to
the full amount of the original contract to secure publication rights
to the treatise; Kaderabek second; passed unanimously.
Chenette provided a summary of events leading to the pos-
sible publication of Timofei Dokshizer’s book, “The Way of
Creative Work.” The next steps include: Have the Board
authorize $3,000 payment to Mr. Dokshizer’s widow; Have
Mark Haynie prepare contracts; Anna Dokshizer translates the
book; and Leonard Candelaria edits the translation. In addi-
tion, Dunnick stated that we will need to hire someone to
make a translation of the contract.
Chenette mentioned the possibility of including portions of
a three-hour video of Mr. Dokshizer, and/or a recording of a
master class where Mr. Dokshizer talks about articulation and
performs excerpts.
Jones provided cost estimates for this project. Preparation
costs, whether for hard copy or CD, are the same: $13,710.00.
Book costs would be $20,898. CD-ROM production would be
$12,330. Totals costs for Dokshizer in book form: $34,608; in
CD-ROM form: $26,040. A great deal of discussion fol-
lowed. The concensus of the Board was that this is a good CD-
ROM/DVD project, with additional material to be made
available on the ITG Web Site. ITG would use the DVD as a
give-away for that year. Anderson stated that adding multime-
dia would add significant costs and that the total would exceed
the $27,000 quoted. This project will not be completed in this
year.
Piper suggested that we move forward with the translation of
this project. Chenette moved that ITG make payment of $3,000
to Mona Dokshizer for the English rights to Mr. Dokshizer’s book,
and a total of $5,000 ($1,000 up front with the balance upon
completion) to Anna Dokshizer for translation. Mark Haynie will
draw up the appropriate contracts, which will be translated into
Russian by an attorney to be named; Pfund second; passed 20 – 1.
Chenette will pursue.
ITG Awards
Receiving the 2006 ITG Award of Merit are: Charles
Gorham, Stephen Jones, and Leon Rapier. Also receiving this
award is Anne Hardin, who was selected in 2005 but deferred
to 2006. Joyce Davis, Vincent DiMartino, and Bengt Eklund
March 2007 / ITG Journal 97
were named as award winners but have deferred to 2007.
Philip Smith, who was selected for the ITG Honorary Award,
was to receive his award in 2007 in Amherst, MA, but is
unable to attend that conference also. Piper will pursue oppor-
tunities to present Smith with his Honorary Award.
Chenette stated that early on in ITG’s history, Louis Arm-
strong was presented an ITG Honorary Award, but no living
relatives were found at that time and no award was ever given.
It was stated that a plaque could be prepared and presented to
the Louis Armstrong Museum in Queens, NY. Piper will pur-
sue.
Piper thanked the Board for their quick action regarding
Eklund’s award. Eklund, who is quite ill, hopes to attend the
2007 conference.
Award recipients selected for 2007 are: for the Award of
Merit—Richard Burkart and Carol Dawn Reinhart; for the
Honorary Award—Maynard Ferguson and Charles Schlueter.
Conferences
2005 ITG Conference Host Joseph Bowman reported that
there were approximately 850 people in attendance at the
Bangkok conference, from more than 25 different countries,
including artists, exhibitors, and workers. Just under 400 were
paid registrants, about 200 of which registered in advance. The
conference banquet at the Grand Hotel drew about 250. Bow-
man is not aware of specific finances. The financial office at
Mahidol University, along with school director Sugree
Charoensook, handled all matters of finance concerning the
conference, with the exception of the money matters between
ITG and Mahidol, which Bowman oversaw.
Eric Berlin, host of the 2007 ITG Conference, reported that
the event will be held at the University of Massachusetts at
Amherst. Dates for the conference are May 29 – June 2, 2007.
Berlin reported that he is moving forward with plans. He has
been given a TA whose duties are solely devoted to the confer-
ence. He has been given a $5,000 grant from the Vice Provost
for Research. Berlin announced that he has also received a
Research Leadership in Action grant for $25,000 for the con-
ference.
He is pursuing corporate sponsorship for evening concerts.
He reported that the facilities are excellent. Online registration
will be available. All events will be held in the same building.
Travel to other buildings is facilitated by underground walk-
ways. Parking is $5 a day, and hotel rooms will be $75 per day.
Contracts for the space and conference services have been
signed.
Major performances will include the U.S. Coast Guard
Band with guest soloists, the New England Brass Band, Wash-
ington Symphonic Brass with guest soloist Tim Morrison per-
forming movie themes from John Williams, and the Lincoln
Center Jazz Orchestra with Wynton Marsalis. Berlin hopes to
incorporate webcasting and has support from the local public
radio station (WFCR).
Dates for the 2008 conference are June 1 – 5, 2008. The
conference will be held at the Banff Conference Center in
Alberta, Canada. Jens Lindemann will serve as host. Twenty-
five rooms have been reserved for the night of May 31st for the
Board and early arrivals. Rooms may also be available to those
wishing to stay after the conference to enjoy a holiday in the
Rockies. Thompson is working on packages and package pric-
ing which will include an all-inclusive package for single or
98 ITG Journal / March 2007
shared room (standard or deluxe) and all meals from arrival
Sunday, June 1, through breakfast on June 6, including the
banquet and gratuities. Also available will be a meal package
for those staying off-site, which will include daily lunch and
dinner from June 1 – 5, including the banquet on June 5.
Room only and a la carte meals will be available on a daily
basis.
Jones remarked that the timeline presented by Thompson
was well done, and would like to incorporate it into hosts’
information for the future. Piper directed Jones to do so.
Board members received a thorough packet of information
regarding a proposal to host the 2010 ITG Conference in Syd-
ney, Australia. Board member Brian Evans stated that this is an
idea he has had for many years. Dates for the conference would
be July 6 – 10, 2010. This would prevent conflicts for most
Australian school teachers and students.
Evans reported that the facilities are excellent, with recent
renovations having been completed. Evans has given thought as
to locations for vendors, clinics and large concerts. A confer-
ence orchestra has been retained, and Evans plans to invite
trumpeter James Morrison, the Sydney Symphony Brass
Ensemble, and others. Evans stated that he has seen strong sup-
port thus far. He expects to pursue corporate sponsorship,
along with governmental support. Hotel accommodations in
the immediate area are quite expensive, but reasonable housing
is within walking distance. A full range of accommodations
can be found.
Dunnick stated that July is the winter season in Australia,
although this usually means shirtsleeves. He also stated that
Evans is uniquely qualified to handle the organizational and
civic aspects of hosting this conference. Campos recognized
the fact that this would be an expensive conference and that
many students would not be able to attend. Mortenson
remarked that there is plenty of lead time for members to pre-
pare. Dunnick stated that with a positive vote, Evans can move
forward to secure monies for scholarships, travel, etc. Jones
moved that ITG accept Sydney, Australia, as the site for the 2010
ITG Conference; Kaderabek second; passed unanimously.
Piper noted that a host must still be found for 2009.
A discussion regarding whether or not ITG should allow
commercial recording of conferences was held. ITG currently
requires conference hosts to provide archival recordings,
although artists have the option to decline a recording of their
event. In the past, some events held in more remote locations
have not been recorded. By mistake, no event at the 2004 con-
ference was recorded. Anderson stated that Eric Berlin is work-
ing to offer webcasting of his conference events. He also hopes
to have broadcasting over the local public radio stations. Evans
also hopes to record some events in Australia. The Board
seemed hesitant to make a blanket statement. It would be bet-
ter to allow the conference host to take care of all rights, should
he/she decide to commercially record the conference. No
action taken.
Campos moved that the following statement be made part of the
conference host agreement: “ITG maintains a policy of respecting
the work of artist(s) who contribute their time to ITG. Therefore,
it is our policy to permit recording only with the permission of the
artist(s);” Jones second, passed unanimously.
The Youth division at present is the responsibility of the
conference host, who must organize it and find funding for
awards. The prize money is a small item, amounting to
© 2007 International Trumpet Guild
approximately $100 per competition. Many pursue local
music stores as donors. Jones is directed to include this informa-
tion in the host’s agreement.
Competitions
2005 Conference Competitions Coordinator Alan Siebert
stated that all five competitions went very smoothly this year,
thanks to the hard work of new and continuing chairpersons.
Siebert is accepting names for people to serve as competition
chairpersons for next year.
The Solo Competition had 31 entries this year, which is
about normal for this division. The Jazz Competition’s num-
bers dropped a bit again this year. This year there were 25
applicants for the Orchestral Excerpts Competition, a good
number. The Scholarship Competition entries for this year
were low. Corporate scholarships rebounded from 2005. The
Youth Competition, now in its fifth year, drew a respectable
number of competitors. Judges for the competition will be
chosen by the host, Bryan Appleby-Wineberg. The conference
host is again providing the prize money for this competition.
Carmine Caruso Competition host Vern Sielert reported
that the winner of the 2005 Carmine Caruso Competition,
held at the University of Washington, was Philip Dizack. Diza-
ck received $10,000. There was a tie for second place between
Thomas Heflin and Michael Stever; each received $2,500.
Consolation prizes of $500.00 were awarded to finalists
Gregory Rivkin and Ian Torres. Total budget revenues:
$47,550.00. Total Expenses: $38,384.98. Donated services
included: Magazine Ad Development/Layout provided by
UW School of Music; Publicity Poster design/layout provided
by UW student Chad McCullough; Program printing provid-
ed by UW School of Music; Competition final round piece
composed by Vern Sielert. Unused budget funds returned to
ITG: $9,165.02. Frink reminded the Board that ties are no
longer accepted by ITG. Hosts and judges must be notified of
ITG rules.
Ed Reid will host the 2007 Carmine Caruso Competition
on the campus of the University of Arizona in 2007. Reid has
reserved the date of November 3, 2007, for a final Gala per-
formance in Centennial Hall and recently met with the Direc-
tor of “UA Presents” to discuss details. Rooms for rehearsals
and preliminary rounds have been reserved. Reid will prepare
a list of potential judges and discuss with Vince DiMartino
and Laurie Frink.
Rona Sebastian assured Piper that the Herb Alpert Founda-
tion will continue to support the Carmine Caruso competition
with $15,000 a year. Currently, there is no contract with the
Herb Alpert Foundation. Piper feels it necessary to create a
contract, but also feels comfortable with the current relation-
ship.
Board member Pat Harbison expressed interest in hosting
the 2009 Carmine Caruso Competition at Indiana University.
He would prefer it be held in July or August, because of that
school’s extremely busy school year calendar. Frink said she
was concerned about a summer date: will students and the
community benefit from a summer competition? Harbison
commented that it would not be difficult to draw a concert
audience during the summer months. Eisensmith reminded
the Board that a conference location and date had yet to be
established for 2009. Harbison will move forward with a propos-
al for Indiana University to host the 2009 CC competition.
© 2007 International Trumpet Guild
Mortenson recently met with Moffat Williams, ITG Com-
position Contest Coordinator, and together they created a list
of proposed compositions:
2009 Solo trumpet and one other collaborative instrument in
a jazz idiom
2010 Trumpet solo with percussion
2011 Trumpet solo with saxophone quartet
2012 Brass quartet that features one or two trumpets
2013 Solo trumpet with string quartet
Dunnick moved that the above list be accepted by the Guild;
Young second; passed unanimously.
The 2004 Ellsworth Smith Competition was held at the
University of Alabama – Birmingham on November 3 – 6,
2004. Leonard Candelaria was host. Terry Everson will host
the 2008 Ellsworth Smith Competition at Boston University;
the month and date have yet to be determined.
Jim Olcott, Chair of the Ellsworth Smith International Solo
Trumpet Competition, reported that relations with the
Columbus Foundation are good, and continued support for
the Ellsworth Smith Competition is assured. Along with the
Columbus Foundation’s funds, expected to be approximately
$25,000, further funding for the competition by external
sources is being explored. To date, the following commitments
have been obtained: Schilke Trumpets $15,000.00 (First and
second place awards), and Blackburn Trumpets $2,000.00
(toward accompanist fees). Olcott stated that negotiations are
active with several other companies for further funding.
Terry Everson reported that he is planning a four-day com-
petition (Friday through Monday). His proposed schedule
would require only one two-round day, which would be sched-
uled morning/evening. He has maintained his original concept
of two eliminations during the live competition, in order to
facilitate orchestra rehearsal time and programming interest
for the finals. In the event the idea of using orchestra is cost
prohibitive, he would revisit the idea of the two eliminations in
favor of having more performers in the final round.
Everson hopes to hold finals with orchestra in Symphony
Hall in Boston. This performance would be held on a Monday,
the Boston Symphony Orchestra’s usual day off. He also pro-
posed using the Columbus Day weekend (October 10 – 13,
2008) for the competition. A complete breakdown of rehearsal
and performance times was included in Everson’s report,
along with proposed repertoire.
Everson stated that many (if not most) international compe-
titions have a new work on the list, commissioned specifically
for the competition. He requests that the ITG Commissioning
Committee consider getting a well-known composer to create
the final test piece, which would involve more emphasis on
musicality than “fireworks” (especially if we wanted the piece
to live beyond the competition). Everson has had some prelim-
inary conversations with the conductor of the Boston Modern
Orchestra Project (BMOP) about the idea of this excellent
group accompanying the Finals. Everson has also spoken with
a composer at Boston University who is willing to write a work
for trumpet and orchestra for $7,000. Everson will speak to
members of the Commissioning Committee for guidance and
suggestions.
Committee Reports
The Board reviewed a report from Stephen Jones, who over-
sees the ITG Archive, which is housed at Western Michigan
March 2007 / ITG Journal 99
University. No action taken.
The Board reviewed a report from Research Library Coordi-
nator Bryan Goff. Goff reported that nothing has changed
since his last report in 2005. His work with the Keith Clark
collection has been completed. Music from the Keith Clark
Library has been entered into the FSU Music Library, and will
be available for Inter-Library Loan. No action taken.
Student Liason Committee co-coordinator Michael Ander-
son reported that he and Larry Johansen have worked on for-
mulating membership requirements and a process by which the
committee could function. They have also worked to create an
announcement that could be sent around to trumpet teachers
and posted on the ITG Web Site. The announcement explains
the committee’s purpose and calls for nominations from the
teachers. Anderson and Johanson are still in the process of
forming the committee. It is their intention that the commit-
tee be formed shortly, and that EMail communication will
begin and will continue throughout the year. Frink recom-
mended that the student committee be asked why more stu-
dents aren’t attending conferences or remaining members.
Anderson invited Board members to nominate their students.
Industry Committee Coordinator Bill Pfund reported that
the Industry Committee, which consists of Pfund, Scott John-
ston, Cliff Blackburn, and Ted Waggoner, has only “met” via
EMail. They have created a mission statement. This commit-
tee will meet shortly after the close of the exhibits area on June
6 and revise their mission statement as necessary.
Amateur Players committee coordinator Kim Dunnick
reported that his Committee will meet on Tuesday evening.
Harbison will resurrect the Jazz Committee and report to
the Board in the near future. Harbison feels it important that
a representative from the Jazz Committee be part of each con-
ference’s planning committee. Piper encouraged Harbison and
Frink to be proactive with future conference hosts.
Commissions Committee Coordinator Kim Dunnick
reported that the current major ITG commission is finished.
The piece is titled “The Way of Light” and was composed by
Anne LeBaron in collaboration with video artist Austin
Switzer. Anne has been working with Bryan Appleby-
Wineberg to ensure a successful premiere. The Committee
asked that the piece be one that could be presented at most
U.S. colleges and universities with equipment that is readily
available on campus. The electronic requirements are a projec-
tor for the DVD, two speakers for the audio on the DVD, and
a screen that the projection can land on. The duration is about
14 minutes. Audience and ITG Board reaction to the piece
will have much to do about the type of pieces ITG commis-
sions in the future. Kevin Eisensmith has been appointed to
replace Dunnick on the Commissions Committee appoint-
ment. Eisensmith joins Ed Carroll and John Miller. Eisensmith
will check with Jones as to the amount of money in the budget for
commissions.
New Business
Jones submitted a proposal for a constitutional amendment.
Article V, Section 3 Standing Committees, enumerates the
various standing committees that are designated to
oversee/propose Guild projects. Rather than merely
adding/renaming these standing committees, Jones believes
that the Board could do a more effective job of managing
ITG’s committees by changing the Constitution to reflect a
100 ITG Journal / March 2007
broader focus, and allowing the actual committees to be
implemented and controlled by the bylaws. This would
mean that the Board of Directors would have the power to
adjust Standing Committees to meet the ongoing needs of the
Guild without having to seek whole membership approval
each time a change, even a minor one, is made. Campos moved
to bring this proposal to the general membership; Olcott second;
passed unanimously. Eisensmith will contact Mortenson and
Anderson to create a ballot for general membership vote.
Piper asked the following Board members to serve on a
SmartMusic committee, and to meet and solicit ideas for new
accompaniments: Anderson, Leach, Tunnell, Young, Frink.
The ITG Board of Directors will meet on Monday, May 28,
2007, at 3:00 P.M. and resume on Tuesday, May 29, 2007, at
9:00 A.M. Location to be announced at a later date.
Piper asked the following Board members to meet and to set
guidelines for the evaluation of the Web Site Director, the
Treasurer, and the Journal Editor: Pfund (chair), Eisensmith,
Campos, Evans, Davis.
Piper reviewed an offer received two years ago regarding the
donation of trumpets to the Iraq Symphony Orchestra. There
were many problems associated with this concept, and was
eventually dropped.
Pfund asked for EMail nominations for Vice-President, Sec-
retary, and Board members for 2007 – 2009.
A web site called “European Trumpet Guild” was discovered
and brought to the attention of the officers. Vera Hørven
Olcott made contact with the web site coordinator, Daniel
Rosenquist. Rosenquist has created a web site for dissemina-
tion of information for European trumpet players. To date no
membership fees have been collected and no printed newslet-
ters have been produced. This web site is not seen as threat to
ITG. However, Brian Evans, President of the Australian
Trumpet Guild, offered to make contact, in hopes that Rosen-
quist would add a link from his web site to the ITG Web Site.
President Piper reviewed a letter received from Sam Karp, a
documentary filmmaker. Karp has created a documentary
about Jim Klages, former cornet soloist of the U.S. Marine
Band and a member of ITG, who developed Multiple Sclero-
sis. This film centers around his coping with MS and how he
has struggled to manage his symptoms and regain his trumpet
performance ability. Karp requested ITG’s aid in further fund-
ing this project. After much discussion, it was decided that
ITG can not afford to donate the $5,000 to $10,000 request-
ed by Karp. Piper will notify.
Piper reviewed a letter received from Nick Taft, Principal
trumpet in the Harrison (FL) Symphony. They are holding a
golf tournament on September 30. Taft asked if the ITG could
sponsor one of the holes for a price of $150. Following discus-
sion, the Board decided to not donate $150 for the Harrison
Symphony gold tournament. Piper will notify.
Mortenson moved that ITG fully fund the 2006 Competition
Awards; Siebert second; passed unanimously.
Other Business
Frank Kaderabek presented a book on the history of Bulgar-
ian trumpet players and is interested in someone reading
through it to see if it is worthy of publication. Vera Hørven
Olcott knows a Bulgarian trumpet player who may be willing
to review it. Mortenson expressed an interest in perhaps writ-
Continued on Page 105
© 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: itg2007@trumpetguild.org. 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.
Business Report continued from page 100

ing an article based on the information. Vera Hørven Olcott

will make contact with the Bulgarian trumpet player.
Mortenson stated that Vera Hørven Olcott has worked tire-
lessly over the past several years as the conference photogra-
pher. Her work is of professional quality; Anderson said that a
friend said he would take pictures for the four-day conference,
but would charge $15,000. $1000 was earmarked for confer-
ence photographer. Mortenson moved that $1,000 in expense
reimbursement be provided to the Conference photographer for the
2007 conference; Evans second; passed unanimously.
Siebert asked about the possibility of including EMail
addresses in the ITG Directory. Walters addressed the problem
of individuals scanning the pages of the Directory for the pur-
pose of sending spam. Hørven stated that it could be the option
of the individual to have their EMail listed. Mortenson men-
tioned that this addition would add several pages to the Direc-
tory. Young felt that a secure on-line directory might be possi-
ble. Pfund also mentioned that some people’s EMail addresses
change quite frequently. Anderson reiterated that he would like
to see membership registration be automated; this would limit
the number of human errors. Dunnick asked if it is possible to
find anyone’s EMail via “googling.” No action taken.
Following the addition of budget items added, and with the
plan to pursue the back payments owed by advertisers, Treas-
urer Jones anticipates surplus of $1681.00 for the 2006 – 2007
fiscal year. Pfund moved to approve the budget; Young second;
passed unanimously.
Campos moved that the meeting be adjourned; Pfund second;
passed unanimously. The meeting was adjourned at 4:30 P.M. on
Tuesday afternoon.
Respectfully submitted,
Kevin Eisensmith
Secretary, International Trumpet Guild

Recording Reviews continued from page 81

Parables of God and Man: Music of Ste phen Sh ewan,

Volume 2
TROY 349 (CD); Albany Records, 915 Broadway, Albany,
NY 12207; 518-436-8814; fax 518-436-0643
This is a recording of all sacred music by composer Stephen
Shewan. The disc features a variety of highly engaging music
for various instrumental combinations including wind ensem-
ble, chamber orchestra, choir, brass ensemble, trumpet, piano,
and organ. Paul Shewan, the trumpet professor and wind
ensemble director at Roberts Wesleyan College in Rochester,
New York and brother of the composer, performs beautifully
on Suite for Trumpet and Piano. This sacred three-movement
work is performed with great energy, character, and with a
radiant sound. The lyrical middle movement, “The Peace, Let
Not Your Heart Be Troubled,” is poignant and absolutely gor-
geous. This movement had already achieved success as one of
the composer’s most popular pieces in the choral medium, and
he subsequently arranged it for trumpet before later adding the
outer movements to complete the full suite. Virtually all the
works on this album utilize prominent trumpet parts, and they
are all performed cleanly and with great expression by Paul
Shewan.

© 2007 International Trumpet Guild January 2007 / ITG Journal 105