international trumpet guild journal

Special Supplement to the

to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching,and literature associated with the trumpet

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THE 2016 INTERNATIONAL TRUMPET GUILDCONFERENCE, ANAHEIM, CALIFORNIA

SPECIAL REPORT • COMPILED BY PETER WOOD

COMPLETE 2016 CONFERENCE REPORTMAY 31 – JUNE 4, 2016

http://www.trumpetguild.org

Tuesday, May 31

This opening evening of the 41st annual conference of theInternational Trumpet Guild was packed with anticipationand excitement over the first conference to be held on theAmerican West Coast in twenty years. The Hyatt Regency

Orange County is an incredible venue in thriving metropoli-tan Los Angeles, and there were several exciting events fortrumpet players to enjoy as delegates poured in from all overthe world. In the afternoon, interested trumpeters were treatedto a tour of the local Kanstul trumpet factory, and 350 playersparticipated in an outdoor performance of John Williams’s

2 ITG Journal Special Supplement © 2016 International Trumpet Guild

The Hyatt Regency Orange County, site of this year’s conference


SPECIAL DAILY REPORT • COMPILED BY PETER WOOD

Kanstul Tour

© 2016 International Trumpet Guild ITG Journal Special Supplement 3

1984 Olympic Fanfare as a prelude to the evening’s gala open-ing concert. This special prelude performance, conducted byDoc Severinsen, featured Arturo Sandoval soloing on Here’sThat Rainy Day and smashed the previous Guinness WorldRecord (105 trumpeters) for the most trumpet players ever toperform a fanfare together “in a line.” It was quite a memo-rable experience indeed!

Opening Gala ConcertArturo Sandoval and Georgina Jackson

Arturo Sandoval and Georgina Jackson’s conference-launch-ing concert kicked off with his exciting rhythm section gener-

ating Latin-rock fire. The section included two keyboards andSandoval playing synthesizer. A Harmon-muted Sandovaldanced with the melody. On the second selection, the well-known Latin classic, El Manisero/The Peanut Vendor, Sandovaldemonstrated his technical mastery of the instrument by run-ning his improvisation into the stratosphere and spinningextended lines. The multi-keyboard format provided ground-work for outstanding solos by the performers. A balladicentrance, sending up Sandoval’s warm, large sound as anentrance for a super-fast rendering of the classic Cherokee, inwhich Sandoval paid homage to the great Clifford Brown byperforming Brownie’s solo verbatim. Technical issues unfortu-nately cut Sandoval’s stint short. The Cal-State – Long Beach

Kanstul Tour

Kanstul Tour

ITG Photography publishes high quality pho-tos from every event of the conference. High Res-olution digital images of the events are availableon the site under “Featured Galleries.”

Please visit often, as the galleries are updatedseveral times per day.http://internationaltrumpetguildphotography.zenfolio.com


Above: Jim Olcott and Arturo Sandoval.Below: Doc Severinsen conducts the World Record Fanfare group on the Olympic Fanfare.


Big Band, under the baton of jazz great Jeff Jarvis,followed with a Kentonesque burner titled Van-tage Point. The tight ensemble played with a driveand energy that was palpable throughout the con-cert. UK trumpeter and vocalist Georgina Jacksonthen joined the big band and rendered the classicassociated with the great Ziggy Elman And theAngels Sing. Jackson’s vocal and trumpetingprowess were on immediate display. Jacksonsoared into her horn’s upper register as she playedthe iconic selection verbatim, a la Elman. AutumnLeaves was presented instrumentally by way ofGeorgina’s lush flugelhorn playing. The LongBeach unit, which framed Jackson beautifullythroughout her segment, offered tight ensemblesupport. Its various soloists shined. Jarvis’s ani-mated conducting helped inspire great dynamiccontrast throughout. Jackson, with outstandingsupport from the big band, then delivered aknockout performance of another Songbook clas-sic, Stormy Weather. Maestro Sandoval then tookthe spotlight with the ensemble and performed hiswell-known selection Funky Cha Cha. Forays intothe horns’ upper register were peppered withspeed-of-light bebop improvisations. The rhyth-mic intensity of Sandoval and the big band was Arturo Sandoval

Georgina Jackson and Arturo Sandoval


supremely evident. A change of pace was offered with a beau-tiful Latin ballad titled Closely Dancing. Jackson returned andjoined Sandoval on Hoagy Carmichael’s Stardust. The twoartists, along with the Long Beach band delivered the selectionwith magnificent sound and dynamic mastery. In a neat refer-ence to the conference’s locale, Jackson and Sandoval played aterrific arrangement of the Disneyland-affiliated When YouWish Upon a Star. The duet trumpeting of Jackson with San-doval, combined with the superb support of the ensemble wasa concert highlight. Jazz trumpeter Til Brönner paired withSandoval and Jarvis’s team on a Dizzy-ing—and gala concertfinale—send-up of Salt Peanuts. Brönner and Sandoval hadfingers flying and dueled away at warp speed. The early tech-nical issues notwithstanding, the evening’s performance bril-liantly set the musical stage for the 2016 ITG Conference.Bravo! (NM)


ADDITIONAL PHOTOS

41ST ANNUAL CONFERENCE OF THE INTERNATIONAL TRUMPET GUILD

MAY 31 – JUNE 4, 2016 • ANAHEIM, CALIFORNIA



Above: Hyatt Regency Lobby • Below: Bob Cole Conservatory of Music Concert Jazz Orchestra


Above: Doc Severinsen conducts the World Record Fanfare group on the Olympic Fanfare.Below: Arturo Sandoval


Georgina Jackson


Above: ITG Treasurer Mark SchwartzBelow: ITG Board Member Dai Zhonghui and his family


Above: Till Brönner and Bobby ShewBelow: Eric Miyashiro

Wednesday, June 1Today was the first full day of the conference and was truly

fantastic! Filled with recitals, concerts, and lectures by playersfrom all over the world, there was something to inspire justabout everyone, and opportunities for socializing and makingconnections abound. The exhibit rooms are well attended, andparticipants seem to be enjoying everything very much. It hasbeen a super first day, and we all look forward to what is tocome over the next three!

David Hunsicker: Warm-up SessionDavid Hunsicker kicked off the first morning of the confer-

ence with a well-attended and informative warm-up session.Although his materials were familiar to many (including exer-cises by Schlossberg, Arban, Cichowicz, and Daval), Hunsick-er demonstrated several ways in which these well-known stud-ies could be adapted for the needs of modern players andteachers. The participants seemed to enjoy many of thesetwists, particularly the addition of lip trills at the top of theCichowicz flow studies, the attempt to play an Arban study inone breath, and the use of a metronome at quarter note = 130to practice single tonguing. Hunsicker peppered his presenta-tion with insightful comments about the ways in which certainstudies could be used diagnostically with students and theways in which he might expand upon the printed materials forhis personal practice. His convincing demonstrations on thetrumpet underscored many of his points. (BH)

Brianne Borden Warm-up Session: Yoga for TrumpetBrianne Borden, currently a DMA student at Arizona State

University and certified yoga instructor, led a crowded roomof participants through some basic yoga techniques that areapplicable to trumpet playing. The focus of her class centeredaround control over the breath (Pranayama) and body poses(Asana). Brianne stressed the importance of maintaining aproper alignment, working from the feet to the top of the head.She explained how the bones of the body stack properly andone can put himself or herself in the best physical playing posi-tion. During a series of such exercises and stretches as neck and


Garden Grove United Methodist Church, one of the venues at this conference



ITG Photography publishes high-quality pho-tos from every event of the conference. High-res-olution digital images of the events are availableon the site under “Featured Galleries.”



shoulder rolls, wrist and intercostal stretches, and a three-partbreath exercise, Borden invited the participants to notice whatfelt different so they could develop increased body awarenessfor their own practice sessions. Participants left with a greatersense of self-awareness, a greater knowledge of yoga, and someimportant tools to prevent common injuries. (DM)

Robb Stewart Presentation: Variety in Form and Tone in Soprano Brass

Internationally known brass instrument restorer and crafts-man Robb Stewart presented an early-morning session full offascinating detail. He treated the audience to a slide showhighlighting instruments from his workshop and private col-lection (see his excellent website: www.robbstewart.com) todemonstrate the bewildering variety in design and manufac-ture of soprano brass instruments over the past two hundredyears. With more than forty years of experience restoringantique brass instruments, Stewart possesses a rare mastery ofthe intricate inner workings of various valve systems, tubingconfigurations, and bell designs. His vast knowledge was onample display as he discussed, for example, patent litigationbetween Gautrot and Adolphe Sax, a Prussian posthorn withtwo Berliner valves, cornopeans with Stölzel valves, and duplexinstruments like echo bell cornets. During the session manyaudience members no doubt muttered the words of Stewart’spresentation title, “I’ve never seen one of those!” (EK)

Steve Leisring Clinic: From College to Comeback PlayersSteve Leisring gave an intriguing clinic focused on develop-

ing efficient and easy playing. The topic was geared towardplayers of all levels and covered fundamental ideas that areparamount to every trumpet player. Leisring broke the presen-tation into what he found to be the three most essential com-ponents of playing—product, setup, and air. The product issimply knowing how you want to sound and hearing the

pitches on the page. The setup involves developing anembouchure that has the right balance of strength and relax-ation. The air needs to be natural and focused. Leisring hadseveral great demonstrations that kept the presentation engag-ing and relatable. He also highlighted several simple devicesthat he uses in his own practicing and with his students,including breathing devices and a pen. Leisring’s creativeapproach to fundamentals offered a fresh perspective on fre-quently discussed topics. (EM)

John Thomas Jazz Masterclass: Let’s PlayIn his clinic, John Thomas attempted to demystify the art of

beginning jazz improvisation through modal and scalar tech-niques. An experienced and patient teacher with an effortlesslyrelaxed sound, he had thoughts on note choices, rhythmicphrasing, and style. To demonstrate, Thomas invited a largegroup of very enthusiastic audience members of all ages to thestage to practice blues scale use and modal playing over MilesDavis’s tune So What, and he offered some very useful tips. Hesuggested avoiding the flat third on the first four bars of a blues.He also warned against using backing tracks in practice,because doing so can become a crutch that can lead to playingwrong notes over chords. In addition, he promoted thinkingsimplicity and good time while soloing, rather than trying toplay lots of notes. Finally, he explained the concept of usingbebop scales to develop improvised lines where chord tones fall

Steve Leisring John Thomas


on downbeats, a technique eagerly practiced in unison by sev-eral hundred audience members. (AN)

Alan Siebert Non-Pro Player Clinic: Coming Back from Injury and Injury Avoidance

Alan Siebert, professor of trumpet at the University ofCincinnati College-Conservatory of Music and ITG past pres-ident, presented an exceptionally intriguing lecture discussingrecovery from and avoidance of playing injuries. Siebert com-menced by performing Lauren Bernofsky’s unaccompaniedFantasia. Here he demonstrated how he himself was able tobounce back from a lip injury that he had experienced at anearlier age. He shared his personal and inspiring story of theprocess through which he recovered. He explained anddescribed different types of injuries and medical issues that onemay encounter and then demonstrated how to prevent injurythrough strengthening exercises with lip bends from the Stampmethod. Throughout the lecture, Siebert stressed the impor-tance of good blood flow, low body tension, and use of a dailyroutine that focuses on fundamentals to help prevent injury.(AW)

Denny Schreffler Presentation: Herald Trumpeting On Stage and at the Track

Denny Schreffler coordinated a colorful look at fanfare andherald trumpet playing from various perspectives. The sessionopened with an impressive performance from the Ball StateUniversity Fanfare Trumpet Ensemble, directed by Dr. Brit-tany Hendricks, in which Hendricks spoke of the advantagesand challenges of this type of ensemble in the trumpet studio.Richard Smith then gave an overview of 900 years of fanfaretrumpeting in Britain, from the thirteenth century to the 1937coronation of King George VI. Jack Kanstul and Getzen’sDavid Suber shared their perspectives on the design andacoustics of today’s herald trumpets. Jay Cohen, performer atthe Santa Anita track, gave a humorous look at the buglingbusiness, and period instrument performer John Cather pro-vided additional historical insights about heralding, fanfaring,and whiffling. Schreffler was joined by Bill Pfund and the oth-

ers for a variety of fanfares, making this an enjoyable andinformative session. (LAH)

Charles Daval Lecture-Recital: Notable Cornet Soloistsof the Sousa Band (Not Herbert L. Clarke!)

In his lecture-recital, Charles Daval celebrated several solocornetists from the Sousa band and important solo repertoirethat was performed with the band. He talked about AlbertBode, Alice Raymond, Walter B. Rogers, Emil Keneke, FrankSimon, and John Dolan. Daval’s passion for this project wasevident as his stories of each soloist were fascinating andinsightful. It was exciting to hear each player’s distinct andunique path to the band. Daval performed several of the cor-net solos often performed with the band, including works byDamaré, Rossini, Rogers, and Boccalari, among others. Davalwas also joined by Raquel Rodriguez in an elegant perform-

Denny Schreffler

Ball State Herald Trumpet Ensemble


ance of Clarke’s Side Partners. Throughout the presentation,Daval performed with a gorgeous cornet sound, crisp articula-tion, complete effortlessness, and terrific style. His beautifullyrical lines, accompanied by his virtuosic playing, made thewhole performance engaging and entertaining. Daval’s presen-tation was dedicated to his father, a trumpet player and stu-dent of cornetists from the Sousa band. (RG)

Eisuke Yamamoto and Hideyuki Kobayashi:Trumpet/Organ Recital

Presenting a recital of music for trumpet and organ wasEisuke Yamamoto, professor of trumpet at Kunitachi Collegeof Music in Japan and an ITG board member. He was sup-ported by organist Hideyuki Kobayashi and introduced byCathy Leach, ITG vice president. Yamamoto opened the pro-gram with Albinoni’s Sonata in C, performed on G trumpet,which provided a warm and full sound with excellent clarity.The next work was a fluid and expansive rendition of Hov-haness’s Prayer of St. Gregory. The third composition on therecital was a lesser-known work by Tamihiro Ozeki. This piecewas written for the victims of the recent Japanese tsunami anddisaster at Hiroshima. Yamamoto’s emotional connection tothis piece was evident in his performance and provided anexcellent contrast to the other works on the program. Tele-mann’s Concerto concluded this performance with Yamamotoshowcasing his facility and ease in the piccolo trumpet’s upperregister. (BW)

John Schlabach: Connecting the Ear to the Brass PerformerIn today’s session, Schlabach emphasized the importance of

letting the ear guide one’s playing. By working on the aural

aspects of musical development, the music created in the imag-ination will be what comes out of the bell. According toSchlabach, “The horn doesn’t produce the music.” Pitches andrhythm are a starting place, but nuance and expression mustalso be led by the ear. Schlabach led the audience throughsome of his aural drills, including singing patterns withoutmusical notation while fingering in different keys. He sharedmany insights from his teaching experience, including explain-ing ways to help students deal with learning disabilities andperformance anxiety and offering strategies for taking studentsthrough this process of learning to make music with the ears.(LAH)

Raymond Deleon: RecitalFrom his first notes, Raymond Deleon captured the audi-

ence with his bold and exciting tone. Throughout the entireprogram he demonstrated his incredible technique and versa-tility on the trumpet. The recital contained works from allfacets of the repertoire, ranging from an exciting and energeticrendition of the Böhme Concerto to flashy and brilliant Mén-dez arrangements and the subtle beauty of Saint-Saëns. Theprogram also included Arban’s Variations on a Theme from“Norma,” again demonstrating Deleon’s precision and masteryof technique, and Peskin’s Concerto in C minor. As he played,Deleon seemed completely immersed in the music and hardlyglanced at the stand. His commitment to each piece was stun-

Eisuke Yamamoto

John Schlabach


ning, and he impressed everyone as his strength seemed onlyto grow as he continued without break between pieces. Deleondelivered a tantalizing recital full of flare, beauty, and finessethat brought the audience to its feet. (EM)

Cindy Shea and The Mariachi Divas: ConcertFollowing a prelude performance by the University of North

Dakota Trumpet Ensemble, trumpeter Cindy Shea and TheMariachi Divas treated the audience to a varied program oftraditional Mexican mariachi music, blues (in B-flat, no less),jazz (Boogie Woogie Bugle Boy), and even a couple of Disneyfavorites (including It’s a Small World), breaking many of thestereotypes of a traditional mariachi performance. Following adramatic entrance after an offstage trumpet solo, Cindy Shealed the group on a program that demonstrated their versatilityand an obvious love of performing. The nine-member ensem-ble, in which everyone plays an instrument and sings, has theappearance of a traditional mariachi ensemble, but it is far

from traditional. Today’s concert dis-played the blending of musical genres,cultures, languages, and performancepractice. They literally left audiencemembers dancing in the aisles. (CL)

Military Band Excerpts CompetitionFinals

The final round of the ITG MilitaryBand Excerpts Competition featuredcompetitors Forrest Johnson, RyanBrewer, and Bret Magnolia performingvarious excerpts commonly found onmilitary band auditions. This was thefirst year of this competition andshould become a popular event in thefuture. The competition began withForrest Johnson, student of RichardJohnson. Forrest’s performance washighlighted in The Debutante excerptby his fluid sound and effortless tech-

nique. Next to perform was Ryan Brewer,student of Gary Wurtz at Stephen F.Austin University. Ryan’s performancewas highlighted by a flawless perform-ance of excerpts from Hindemith’s Sym-phony in B-flat. The last competitor wasBret Magnolia, student of WilliamCampbell at the University of Michigan.Bret showcased his excellent technique inthe more technical excerpts on the list.All performers were exceptionally calmunder the pressure of this competition,no doubt inspiring all those in atten-dance. (BW)

Arturo Sandoval: MasterclassSandoval began his masterclass by dis-

cussing his daily routine. Each day afterhe wakes, he begins by improvising at thepiano, even before he brushes his teeth.The Mariachi Divas

Military Band Excerpts Competitors and Judges

Raymond Deleon and Miriam Hickman


To demonstrate, he improvised a lengthy piano solo for theaudience. He then opened the class up to questions, statingthat he would rather answer questions than present a pre-planned lecture. Sandoval stated that the “bottom line” in themusic business is to be a good musician, rather than having theright sound or technique. When asked a question about therhythmic complexity of claves in Cuban music, Sandoval toldthe questioner, “Don’t think about it,” again stressing theimportance of music over mechanics. He discouraged the useof phrases such as “on top of the beat” or “behind the beat”and instead stated that musicians should play “with the beat.”Sandoval also trumpeted the merits of practicing with his San-doValves system. (JD)

Jon Lewis and Tamir Akta: Joint Trumpet and Piano RecitalJon Lewis, one of the top studio recording musicians in Los

Angeles, and Tamir Akta, soloist and educator from Israel,presented a fantastic and highly anticipated recital, accompa-

nied by Rebecca Wilt. Jon Lewis per-formed his portion of the recital first,incorporating a variety of styles and trum-pets that clearly demonstrated why he isso highly respected. Smiles throughoutthe audience during Lewis’s performanceof Gershwin’s Piano Prelude No. 1 indi-cated that this would be a special recital.Lewis played with such ease and beauty ofsound that he was a delight to listen to,and his easygoing banter with the audi-ence between pieces added to the enjoy-ment of his performance. His sound qual-ity and intonation throughout the rangeof the horn was impeccable. Tamir Aktabegan his portion of the recital with anarrangement of Gershwin’s Rhapsody inBlue, treating the audience to a passionateand virtuosic performance. The finalwork on the program was Amilcare

Ponchielli’s Concerto for Trumpet. Akta’s technical elegancethroughout his performance made this a special piece to endan outstanding recital. (JoB)

Orchestral Excerpt Competition FinalsAudience members were treated to beautiful music making

during the finals of the Orchestral Excerpts Competition. Thefinalists rose to the occasion in the face of a challenging list.Alex Mayon (student of James Thompson at Eastman) beganthe competition with an effortless performance of the Credofrom Bach’s Mass in B Minor. He then demonstrated his pow-erful tone in the openings to both Pictures and Mahler 5, aswell as Doctor Atomic Symphony and Poem of Ecstasy. High-lights from Tessa Ellis (student of David Bilger at Curtis)included crisp articulations during Ravel’s Piano Concerto and

Arturo Sandoval

Jon Lewis Orchestra Excerpts Competition Judges and Competitors


the “Ballerina’s Dance” from Petroushka. Consistency,smoothness, and beauty of sound were evident in her controlof Tannhäuser and Mahler 1 (movement III). Finally, Christo-pher Boulais (student of Wiff Rudd at Baylor) demonstratedprecise tonguing on both the Ravel and La Mer and a lyrical,beautiful tone on the Adams. His performance was a fittingend to a wonderful performance by all the finalists. (DD)

Alex Sipiagin and Hermon Mehari: Jazz RecitalAlex Sipiagin began his joint jazz performance with Hermon

Mehari with his own composition dedicated to the lateMichael Brecker. In true Brecker fashion, Sipiagin cleverlyused pentatonic language and the full range of the instrumentin a virtuosic solo. Mehari joined him on the next originalcomposition, and the contrast between the two trumpeters wasstriking. Sipiagin is fiery and intense, with every phrase breath-lessly tumbling into the next utterance, while Mehari was cooland measured, with meaning behind every note choice.Mehari continued the performance alone with a selection ofstandard tunes, displaying his ability for spontaneity by effort-lessly changing registers in the middle of a musical line. Therhythm section for the afternoon deserves special mention;they were formidable in their own right, growing ever morecomfortable and creative as the concert progressed. (AN)

Student Meet & Greet ReceptionOn a cool Southern California evening, students gathered

for a splendid outdoor event to mix, mingle, and enjoy a lovelyreception. Hosted by Grant Manhart, the evening was cheerfuland relaxed, with students and ITG board members minglingand visiting together. ITG President Brian Evans attendedwith his wife, as well as Past President Alan Siebert. Whileeveryone visited, door prizes were given away, and studentsshared stories about their different schools and backgrounds.The overall atmosphere was warm and welcoming, and thiswas an enjoyable way for students to meet each other at thestart of the 2016 ITG conference. (SW)

Non-Pro/Comeback Players ReceptionThe non-pro/comeback players reception was an informal

event that began with introductions and announcements aboutupcoming events at the conference. Other related issues andevents such as articles, helpful websites, and other upcomingactivities were described as well. ITG President Brian Evans wasalso in attendance and thanked the committee for its contribu-tions and ideas. Evans stressed the importance of this particulardemographic to the ITG Conference. In addition, the groupthanked Brian Evans and the ITG board for the resourcesoffered to the group. They stressed the importance of playing

in masterclasses as a great learningopportunity; active learning is more ben-eficial than just being an observer. Thesession ended with the group minglingand discussing ideas with each other in agreat display of networking, support,and camaraderie. (RR)

First Trumpets ConcertA large crowd gathered in the grand

ballroom for a concert titled “FirstTrumpets,” featuring four principaltrumpeters from around the world,accompanied by the Bob Cole Conser-vatory Wind Symphony, directed by Dr.Jermie Arnold. Because Bernardo Medelwas unable to perform, the wind ensem-ble opened the concert in grand stylewith a rousing selection.

Justin Bartels, principal trumpet ofthe Colorado Symphony, was next witha moving rendition of the ArutunianConcerto, replete with bravura playingand soulful lyricism. A particular high-light was the slow muted section whereBartels used a straight mute to lend asubdued air of nostalgia to the familiarclassic. His interpretation of Dokshiz-er’s famous cadenza was full of bravurapyrotechnics, and Bartels received sensi-tive, well-balanced support from theBob Cole Conservatory Wind Sympho-ny throughout.

Andrea Giuffredi took the stage next,wearing a dashing white suit. He ener-gized the audience with entertainingshowmanship, soulful playing, and aHermon Mehari


colossal sound. In his first piece, CARUSO, by Lucio Dalla,Giuffredi serenaded the audience with pop-flavored cinematiclyricism. He ended on a stunning high note, holding the trum-pet with one hand while raising the other arm in triumph. Thefun continued with Giuffredi’s second piece, Suite for Giuffro,

an upbeat Latin-flavored numberby Nunzio Ortolano. As the windensemble played the rhythmicintroduction, Guiffredi pulled afemale band member from thefront row and joyfully dancedwith her for a brief time. Moretheatrics ensued as the entire bandstood up to play the end of theintroduction before Giuffredipicked up his trumpet again andlaunched into his solo. When itwas over, the audience rewardedhim with a thunderous ovation.

Kazuaki Kikumoto, principaltrumpet of the NHK SymphonyOrchestra in Japan, was next in adynamic performance of SatoshiYagisawa’s Trumpet Concerto.An accessible, cinematic piece, theYagisawa Concerto put Kikumo-to’s gorgeous, full-bodied soundand sensitive musicianship onample display. Particular high-lights were the cadenzas that

linked the contrasting sections of the one-movement piece.The final piece on the program was David Gillingham’s

When Speaks the Signal Trumpet-Tone, featuring ThomasHooten, principal trumpet of the Los Angeles Philharmonic.The first movement, “When stride the warriors of the storm,”

Andrea Giuffredi

Tom Hooten


opened with atmo spheric soundscapes over which Hootenplayed evocative muted passages to create an air of mystery. Apercussive battle interlude followed, featuring Hooten playingrapid-fire articulation and dramatic flourishes. A long, quietsnare drum roll transitioned to the second movement, “Byangel hands to valor given.” The audience was transfixed byHooten’s velvety flugelhorn in Gillingham’s elegiac music fea-turing rising fourths reminiscent of mournful bugle calls. Thespell was broken by the frenetic rhythmic statements thatopened the final movement, “Shall the proud stars resplendentshine.” Hooten, on piccolo trumpet, dazzled with blazing vir-tuosity while the band contributed fantastic playing, especiallyfrom the percussion section. Afterwards, the audience leapt toits feet in an enthusiastic, sustained ovation. (EK)

Chuck Findley Jazz Concert: Songs from the MoviesArguably one of the most rec orded trumpeters in studio rec -

ording history, Chuck Findley’s performance reinforced hisstat ure as one of the best of the best. Chuck and his trioopened with a Latin-tinged On Green Dolphin Street. Findley’ssupreme abilities were immediately on dis play there and on the

following ballad medley, Johnny Man del’sReady to Start and Hen ry Mancini’s Two forthe Road. An uptempo The Song Is You provid-ed ample opportunity for Findley and pianistBill Cunliffe to stretch out. A multi-instru-mentalist, Findley performed I’m Old-Fash-ioned with a gorgeous tone and ample trom-bone skills. Bassist Luther Hughes and drum-mer Paul Kreibich supported Chuck’s slidetrumpeting performance of Clifford Brown’sSandu. A burning version of Secret Love con-cluded the concert on a literal high note.(NM)

Chuck Findley


ADDITIONAL PHOTOS






The Mariachi Divas


The Mariachi Divas

ITG Student Volunteers


Eric Berlin and Rich Stoelzel

Justin Bartels


Andrea Giuffredi

Kazuaki Kikumoto


Tom Hooten

Dr. Jermie Arnold, Brian Evans and Mrs. Evans


Tom Hooten and Jermie Arnold

Andrea Giuffedi and his daughter


Doc Severinsen and Chuck Findley

Jim and Vera Olcott with Jens Lindemann


L – R: ITG Ad Manager Amanda Yadav, Dario Frate, and Jaime Tyse

ITG Website Director Michael Anderson (center), with Jim and Vera Olcott


ITG Board Member Ryan Gardner (right) and his students from Oklahoma State University

ITG Student Volunteers

© 2016 International Trumpet Guild ITG Journal Special Supplement 31David Wooten and Dina Kennedy Hawkins

Jens Lindemann and Marc Reese


André Bonnici of Les Trompettes de Lyon

Brian Walker


Boyde Hood and Charles Schlueter

Ronald Romm and James Thompson

Thursday, June 2As the 41st annual ITG Conference wraps up its third day,

it is becoming increasingly apparent how truly internationalthis event is. More than ever, it seems, we are meeting andhearing inspired trumpet artists from all over the globe. Todayalone, we have heard players of all musical genres from notonly all over the United States, but also Australia, Belgium,Canada, England, France, Japan, Israel, Italy, Mexico, Russia,and Thailand. There is a strong sense that this is a familyreunion of sorts. It is great to connect with kindred spirits ofall ages and from so many different places and walks of life!

Tamir Akta: Warm-up sessionTamir Akta began the morning by taking his audience

through a series of exercises designed to increase airflow andtone support by using the diaphragm. Beginning with an easyflow of air through the mouthpiece, continuing to form a buzz,and finally adding the horn to play long tones, he had studentslean forward as they played to keep the body relaxed and theair moving. Using a series of arpeggiated Schlossberg exercises,Akta recommended that students push their stomachs out onlower notes and back in when they jump to higher ones. Hethen used these principles to ascend to the extreme upper reg-ister, all while avoiding having the throat close up. Near theend of the class, Akta used Clarke’s Technical Studies to workon articulation, multiple tonguing, and technique and suggest-ed that trumpeters play these exercises in minor, whole-tone,and other scales, in addition to major. (AN)

Charles Daval Warm-up Session: Vincent Cichowicz’s Warmup

Charles Daval began his presentation on Vincent Cichow-icz’s warmup by explaining that Daval’s former teacher

“absolutely hated the concept of warming up the way that mostpeople think of it.” In fact, Cichowicz wrote his famous long-tone studies (commonly known as “flow studies”), to encour-age his students to emphasize musicianship immediately,rather than playing mindlessly for the first portion of the day.Daval held participants to this standard throughout the morn-ing, often insisting upon a better start, better sound, or betterpulse. Following the long-tone studies, Daval led the audiencethrough Cichowicz’s own idea of flow studies, which wereshort etudes consisting of elaborations on a simple melodicline. “In each of these flow studies,” Daval explained, “youhave to find the long tone.” Thanks to Daval’s insights, theaudience left with a deeper understanding of some of the mostcommonly played exercises in the trumpet canon. (BH)

Surasi Chanoksakul Lecture Recital: Thai Composers and Their Works for Trumpet

The session opened with an excellent performance by theMahidol Trumpet Ensemble of The Battle of Maiyarap fortrumpet sextet by Thai composer Jinnawat Mansap. SurasiChanoksakul, principal trumpet of the Thailand PhilharmonicOrchestra, presented an informative and interesting history ofthe trumpet in Thailand. The beginnings of Thailand’s trum-pet history date back to 1511 when two natural trumpets werepresented to the king by Portuguese traders and stored in thepalace. However, no one knew how to play them. The first





recorded history of trumpet instruction did not begin until1836, and then it was by an oboe player. Chanoksakul contin-ued through a timeline of important events in Thailand’strumpet history that eventually lead to 1976, when the studyof music began at the universities in Thailand. Chanoksakulended his session with an impressive performance of a newcomposition, Pas de deux no. 1, written for him by Thai com-poser Kitti Emmyz Kuremanee. As evidenced by strong per-formances by both the Mahidol Trumpet Ensemble and SurasiChanoksakul, the future of trumpet performance in Thailandis bright. (JoB)

Ryan Gardner Presentation: Building a Trumpet StudioRyan Gardner, associate professor of trumpet at Oklahoma

State University, presented a well-attended lecture outlininghis process in building a trumpet studio. While there is littledoubt that many attended to find out “what is in the water” atOklahoma State University with all of their recent successes,Dr. Gardner laid out an exceptionally methodical approach tothe individual and group dynamics in studio teaching. Utiliz-ing one of his student ensembles at OSU to provide playingexamples, Gardner took the audience through the Stampmethods and various buzzing tools that he uses in teaching,noting his studies with Boyde Hood and James Thompson.Gardner emphasized his focus on group fundamentals andchamber music playing as a reason for their success. Hisensemble also performed several works for trumpet ensemble,most notably a world-class performance of Anthony Plog’sFive Contrasts. (BW)

Elisa Koehler Presentation: Playing with HistoryElisa Koehler stated that her purpose today was to “provide

a sweeping survey of a thousand years of trumpet history infifty minutes,” and she did exactly that. This fast-paced lec-ture/demonstration included an overview of the trumpet’s his-tory, an introduction to period instruments, and a list ofresources to help interpret the music on both historical andmodern instruments. “It’s all about bringing the music to life.”Numerous slides and audio examples added a great deal to thewalk through history, and Koehler demonstrated on theBaroque trumpet and cornetto, as well as the cornet. In thispresentation, even history buffs found new tidbits of informa-tion; referencing portraits of Gottfried Reiche and J.S. Bach’sfather, she stated, “An open shirt was the sign of a trumpetplayer,” and “Did you know that Hindemith played the cor-



Surasi Chanoksakul

Ryan Gardner


netto?” Koehler has provided a very useful list of resources onher blog post “Playing with History” at elisakoehler.com.(LAH)

Panel Discussion: Opera First TrumpetsBrian Evans led a powerfully informative discussion with

some of the preeminent operatic trumpet players in the world.A member of the Australia Opera and Ballet Orchestra, Evansspoke with Ryan Darke (principal trumpet of the Los AngelesOpera), Francesco Tamiati (principal solo trumpet of theTeatro alla Scala), and Manu Mellaerts (first solo trumpet atthe National Opera House “La Monnaie” in Belgium). Allthree players expressed the need for flexibility in the pit, stat-ing that no performance is ever the same, and emphasized theneed for an intense level of concentration to navigate success-fully the many “moving parts” of an opera house. Additionally,they shared the belief that listening to and interacting withsingers has molded their approach to breathing and phrasingin their trumpet playing. Attendees left with a greater knowl-edge and understanding of the world of opera and how thetrumpet fits into it. (DM)

Lecture Recital: The Music of Ray BurkhartThe Southern California-based composer

Raymond Burkhart presented a potpourri ofseveral of his works for brass quintet. The USNaval Academy Band Brass Quintet served asthe resident program performers. What a fit-ting concert for our Anaheim conference! Thequintet was in fine form as they demonstrateda wide variety of styles and colors, maximizingthe artistry of each composition. Burkhartspoke briefly before each selection about hisexperiences as a composer and occasionallyabout his inspirations or commissions for hiswork. Selections from Bouquet de Brass, Isle ofColours, Five Sea Shanties, and Ricordi d’Italiawere all sparkling showcases on the program,

and each demonstrated the expertise of the ensemble and thecompositional brilliance of Burkhart. Certainly the highlightof the program was the Double Concerto for Flutist, Trumpeter,and Orchestra, featuring Malcolm McNab (trumpet), hisdaughter, Stephanie McNab (flute), and Naomi Sumitani(piano). (AH)

Raquel Rodriquez Presentation—Sousa’s Cornet Soloists:Their Life and Music

Raquel Rodriguez presented a lecture-recital on four virtu-oso cornet players: Herman Bellstedt, Frank Simon, Herbert L.Clarke, and Walter B. Rogers. She began by explaining the his-torical and cultural context of wind bands at the turn of thecentury, which set the stage for the popularity of these soloists.Rodriguez has done extensive research on these performers andtheir music, and she shared much background informationabout their training and performance experience. Rodriquezwas joined by pianist Gail Novak on three cornet solos.Rodriquez navigated the music with ease, demonstrating a richpalate of colors on a Getzen Eterna cornet. The most difficultpassages sounded graceful, and she had an enviable light anddelicate touch in the multiple-tonguing sections. To close the

Elisa Koehler

Opera First trumpets Panel - Manu Mellaerts, Francesco Tamiati, Ryan Darke and Brian Evans.


session, Rodriquez was joined by Mark Lynn and CharlesDaval for a virtuosic performance of The Three Aces. (LAH)

Jeffrey Work and Rebecca Wilt: Trumpet and Piano RecitalJeffrey Work, principal trumpet of the Oregon Symphony

since 2006, presented a stunning recital with collaborativeartist Rebecca Wilt and guest trumpeter David Bamonte.Work began the recital with James Stephenson’s L’esprit de latrompette, choosing the E-flat trumpet version of the work.Bamonte’s tone was vibrant and crystal clear, with a playfullightness in his approach to this composition. Next on therecital was one of Fisher Tull’s Eight Profiles (to R.F.) for solotrumpet. Each profile features two movements: one lyrical andone technical. Work navigated between both movements flaw-lessly with great lyricism, regardless of the technical demands.David Bamonte then joined Work on Franceschini’s Sonatain D for two trumpets. The blend and intonation between thesoloists were quite pleasing. The final compositions on therecital were wonderful contrasts, with Work concluding the

recital with a historically informed performance of Hummel’sConcerto in E. (BW)

Andrea Giuffredi and Georgina Jackson: Jazz RecitalITG Treasurer Mark Schwartz introduced Italian trumpeter

Andrea Giuffredi by comparing his style of trumpet playing tothat of Harry James. Giuffredi opened the jazz recital withthree Italian favorites: Nino Rota’s Theme from “The Godfather”and La Voce del Silenzio, and Ennio Morricone’s theme fromCinema Paradiso. Georgina Jackson opened her segment of the

Raquel Rodriquez

Rebecca Wilt, Dave Bamonte, and Jeff Work

Andrea Giuffredi


recital with “I Can’t Get Started,” and she treated the audienceto jazz vocals on “Just Squeeze Me.” Giuffredi returned to thestage for Ciribiribin, a Harry James favorite, and Volare. WhenMiss Jackson returned, she performed Bobby Shew’s flugel-horn piece Nadalin. The recital closed with a jam-session ver-sion of Take the A Train with Jackson and Giuffredi joined byclarinetist Peter Long. The entire audience enjoyed the livelyperformances and humor from both soloists. (CL)

Jens Lindemann Presentation: The Power of the PiccoloIn typical Jens Lindemann fashion, his presentation entitled

“The Power of the Piccolo” was full of great information, fun,jokes, and laughter. Jens demonstrated superb piccolo trumpetplaying on both B-flat and C piccolo. He shared his newacronyms to identify the different registers of the instrument.As opposed to categorizing them as high or low, he insteadcalls them “FAVE” (Faster Audio Vibration Experience) and

“SAVE” (Slower Audio Vibration Experience). This concepthelps one think of the vibration for different registers. He alsotalked about learning not to overblow when using a practicemute and using resistance as your friend when playing piccolotrumpet. He stated, “Practicing piccolo with a practice mute islike practicing with weights on a baseball bat. After you learnnot to overblow and focus the aperture, it starts to feel better.”Lastly, Jens took questions from the audience and demonstrat-ed how the “FAVE” register uses less air than the “SAVE” register.(AW)

New Works Recital #1Michael Mikulka’s Concerto for Trumpet began with a

flourish of articulated notes and altissimo playing. The trum-pet and piano duo played beautifully together with sensitivityand grace. The piece incorporated jazz elements woven with

beautiful melodic soaring lines. Soloist Andrew Stetson han-dled the difficult piece with ease and a great sense of musicality.The second movement was mournful and exquisite in its sim-ple beauty. (RR)

The first movement of John Prescott’s Concerto for Trum-pet began with fast double-tonguing figures that Grant Petershandled easily. He showcased his superb technical facility witha great sense of control. The piano accompaniment was busyand truly complementary with the trumpet part. The piecewould be a great flashy opener for a recital. (RR)

Composer/trumpeter Stephen Dunn’s Duo for Trumpetand Cello had a “Philip Glass” sensibility in its structure andminimalistic nature. The duo collaborated well, and the pieceemphasized a higher level of collaboration that the duo han-dled with great refinement. The second movement utilized theflugelhorn, which gave the piece an interesting sonority withthe two “low” instruments. (RR)

David Vayo’s Swarm Wind Speak was composed for theConcordance ensemble. The title is emblematic of the differ-ent characters of the piece. The ensemble used a conductor asthe piece incorporated many tempo transitions and mixedmeters. The piece also utilized extended techniques for thewind-like sounds. The ensemble received a rousing applausefor their efforts. (RR)

Robert Frear performed Uri Brener’s Deceptions for trumpetand piano, accompanied by Miriam Hickman. The piece wasinspired by the artwork of M.C. Escher, whose work seeks tocreate a sense of illusion and visual ambiguity. These charac-teristics are captured musically through rhythmic, melodic,and stylistic gestures. Frear’s fine performance showcased awonderful command of the instrument, as well as a good bitof wit and humor. (JD)

The first movement of James Stephenson’s Mexican FolkloreSuite was performed by the chamber ensemble Drumpetello.Consisting of Mary Thornton, trumpet, Carrie Pierce, cello,and Matthew McClung, percussion, the trio presented thiswhimsical tale with polish and panache. The balance andblend of this nontraditional instrumentation was excellent; inparticular, the upper register cello blended quite nicely withthe muted trumpet. (JD)

Stephen Dunn and Gail Novak performed the first move-

Jens Lindemann

Andy Stetson


ment of Anthony Plog’s Sonata. The movement begins in acelebratory fashion and ends quietly. Trumpeter Dunn navi-gated the work’s angular leaps and significant multiple-tonguechallenges with ease, and pianist Novak provided superb col-laboration. (JD)

Rudolf Haken’s Serenade for Flugelhorn and Piano was per-formed by Peter Wood and Jasmin Arakawa. Wood’s warmflugelhorn sound and delicate treatment of the work’s beauti-ful melodies made for a very enjoyable performance. This finenew work will likely find its way onto many recital programs;while upper-register demands in the flugelhorn part may pres-ent challenges to some players, the piece’s straightforward linesand simple accompaniment (mostly quarter note chords)would make it accessible to many players. (JD)

Joseph Nibley and Jasmin Arakawa performed JamesStephenson’s Sonata No. 2, a work that was composed as partof Nibley’s doctoral dissertation commissioning project. Thisdemanding work was a fitting conclusion to the afternoon’sprogram, and Nibley greeted the piece’s significant technicaland physical demands with great confidence and vigor. (JD)

Frank Campos and Nicholas Walker Recital: Haiku CoverFrank Campos, professor of trumpet at Ithaca College, and

string bassist Nicholas Walker gave a stellar recital entitled“Haiku Cover: An Eclectic Mix of Musical Genres.” As the title

suggests, they performed a good overviewof jazz and classical styles. The programincluded a dazzling arrangement of Flightof the Bumblebee, the popular Three PianoPreludes by George Gershwin, Andantefrom Sonata for Flute BWV 1043 byJ.S. Bach (showcasing Campos’s beautiful,warm tone), the endless phrase lengths ofthe Scottish Highland Dance, and StevieWonder’s Happier than the Morning Sun.Campos made the audience feel welcomeby talking between pieces and performingthe entire recital from memory. The levelof musicianship, fun, and overall polishdemonstrated by this duo can only be theresult of good friends performing togetherrepeatedly. (AW)

ITG Jazz Improvisation Competition FinalsITG Board Member Kelly Parkes introduced

Jazz Improvisation Competition chair JasonCarder, who welcomed the audience to the finalscompetition and introduced each of the threefinalists: Jonathan Dely, Cody Rowlands, andBenjamin Seacrist. All three musicians performedthe same five tunes: Smoke Gets in Your Eyes,Limehouse Blues, Stompin’ at the Savoy, It CouldHappen to You, and Forest Flower. The three final-ists demonstrated superb improvisational skills.Each tune featured an extended trumpet (orflugelhorn) solo, followed by brief solos from themembers of the rhythm section, with the trumpet(or flugelhorn) returning with the head. Thefinals competition was judged by Chuck Findley,Eric Miyashiro, and Bobby Shew. Thanks are alsoin order to preliminary judges Alan Hood, Gor-don Vernick, and Matthew White. (CL)

Drumpetello: Mary Thorton, Mathew McClung, Carrie Pierce

Frank Campos

ITG Jazz Improv Competition Judges and Competitors


Kazuaki Kikumoto and Yusuke Satake: Trumpet and Piano Recital

Kazuaki Kikumoto presented an afternoon recital full ofvariety and impressive playing. He opened with a fine per-formance of the Hindemith Sonata, brimming with power anddepth of expression. Pianist Yusuke Satake did an outstandingjob with the ferocious piano part. Next was a colorful piece forC trumpet by Kučera, titled The Joker. Kikumoto dazzled withsparkling articulation and angular gymnastics in the playfulpiece. Following a brief intermission, he played an arrange-ment of the “Un Bal” movement from Berlioz’s SymphonieFantastique on cornet with a warm, buttery tone and refinedexpression. Next was Nishimura’s avant-garde piece forC trumpet and piano, Halos. The work featured extendedtechniques on both the piano and the trumpet, juxtaposingbursts of pianistic frenzy with meditative lyricism. Kikumotoclosed the program with a fine performance of Vincent Bach’sHungarian Melodies, ironically enough, on a Yamaha cornet.(EK)

Tiger Okoshi and Gianni Marinucci: Jazz RecitalAfter a slight technical delay, Okoshi opened the perform-

ance with a self-described “sound painting” entitled ToryanseToryanse, brilliantly improvising over a pre-recorded texturalharmonic/rhythmic bed. Okasa, also played over a recording,was an uptempo piece with Okoshi’s horn screaming andspewing ribbon-like runs. With the rhythm section joining,Tiger performed a selection titled The Beginning of the Ending.A departure from the two prior pieces, his gorgeous flugelhornsound brought warmth to the melody. Blue in Green, anotherslower piece, had Okoshi again running extended lines on theballadic material. Melbourne’s Gianni Marinucci opened hissegment with a neat improvised solo before delivering the

theme and a swinging cover of Look for the Silver Lining. Mar-inucci’s lines flowed brilliantly over the selection made famousby Chet Baker. Gianni then grabbed his flugelhorn and playeda ballad titled Simple Song. On the selection, the artist’s flugel-horn sent out lush lines and significant tonal warmth. Marin-ucci’s effortless execution, along with the rhythm section’s ter-rific support, highlighted and concluded the concert. (NM)

Boyde Hood Presentation: The Connection between Musicianship and MusicalityMusicality was the topic of discussion in Boyde Hood’s

presentation to a full room. He encouraged attendees to “never

Kazuaki Kikumoto

Tiger Okoshi

Boyde Hood


look for a technical solution; always look for a musical solu-tion.” He then went on to divulge words of wisdom gainedfrom his vast experiences that included his personal career, aswell as lessons with Bud Herseth. It was through these experi-ences that he found his own success as both a performer and ateacher. He shared his belief that in order to attain one’s opti-mum musicality, he or she must concentrate diligently onpitch and rhythm, practice slowly, practice what one cannotdo, and, above all, understand the music. This focused workwill eventually provide a clear concept of sound and intent andenable a musician to trust himself and “tell the story.” Hood’spresentation was poignant and impactful, andit was obvious that attendees loved hearingfrom such a legend in the industry. (DD)

Pierre Dutot and Ensamble Nacional deTrompetas de México: Recital

Renowned trumpet professor and soloistPierre Dutot took the stage with ten of Mexi-co’s finest trumpeters for an unforgettablerecital Thursday evening. Opening the recitalwith a brilliant fanfare by Andre Telman, theensemble, with Dutot as soloist, performed awide variety of music selected from their newlyreleased CD México en Bronce. Highlights weretheir arrangement of Misty, which featuredDutot on flugelhorn; La Virgen de la Macarena,featuring Juan Luis Gonzalez; and two piecescomposed specifically for the ensemble, Rapso-dia Mexico—Americana, and Mexico en Bronce.

The group shined most in their performance of traditionalMexican music, playing with a captivating style, finesse, andpurity of sound. The energy from the ensemble and Dutot wascontagious, and the musical performance superb. The relaxedenvironment encouraged the audience to clap and cheerthroughout the recital. (SW)

ITG Solo Competition FinalsThe final round of the 2016 ITG Solo Competition featured

three fine soloists. All of them brought their own unique flairto Philip Sparke’s Concerto for Trumpet (the required piece)

and dazzled the audience with their chosen solos. First on theprogram was Jonathan Britt, a student of Charles Saenz atBowling Green State University. Britt played CharlesChaynes’s Concerto pour trompette with a measured persist-ence that highlighted the piece’s great intensity. Next cameBrent Proseus, a student of Richard Stoelzel at McGill Univer-sity. Proseus played James Stephenson’s Sonata for Trumpetwith commanding power, light playfulness, and a beautifulsense of lyricism. Eric Millard, a student of ChristopherMoore at Florida State University, played the Concerto forTrumpet by Franz Constant. Millard’s silvery tone and singingapproach to playing provided a brilliantly touching interpreta-tion. The contestants were accompanied by Gail Novak andRebecca Wilt, who provided a stunning soundscape for thesesoloists. (DM)

Francesco Tamiati and Rebecca Wilt: Trumpet and Piano Recital

Italian trumpet soloist FrancescoTamiati presented a brilliant recital ofmusic for trumpet and piano on Thursdayevening. Already enjoying a busy solocareer in Italy, Switzerland, Belgium, Ger-many, India, and Peru, Tamiati expressedhis delight in coming to America to presentthis solo program. He also shared hisappreciation to the International TrumpetGuild and the many opportunities it pro-vides for trumpet players. He opened hisprogram with Domenico Scarlatti’s Sonatano. 17, arranged for B-flat trumpet. With

Pierre Dutot

Ensamble Nacional de Trompetas de México

ITG Solo Competition Judges and Competitors


great flair and finesse, Tamiati executed the piece’s many tech-nical flourishes with ease. He then played a transcription ofGioachino Rossini’s aria “Una voce poco fa” from the operaBarbiere di Siviglia. Tamiati stated that he chose to play E-flattrumpet for this piece because this smaller instrument allowshim to achieve the vocal colors appropriate to an aria. Withgenerous rubato, great dynamic contrast, and seamless tech-nique, Tamiati presented a highly expressive and highly vocalperformance. On Johann Sebastian Bach’s Arioso from Canta-ta BVW 156, Tamiati stated that he chose flugelhorn for thiswork in an effort to match the timbre of the cello more closely.Tamiati’s spinning vibrato and nuanced, expressive lines madefor a most beautiful performance. Returning to the Italianvocal tradition, Tamiati played a transcription of the aria

“Nacqui all’affanno… Non più mesta” from Rossini’s LaCenerentola. Again choosing to use E-flat trumpet to achieve avocal tone quality, Tamiati shows that the E-flat trumpet trulyis a soprano voice that can be used in far more settings thanthree classical trumpet concerti! In a brief departure from theevening’s theme of music for trumpet and piano, the nextwork on the program was Vincent Persichetti’s familiar unac-companied Parable XIV. Tamiati stated thatsince Persichetti has an Italian heritage,Tamiati would take some liberties in hisinterpretation and attempt to convey a freshItalian flair in his performance. Tamiati thenperformed the standard Concert Etude byAlexander Goedicke. Nested within a pro-gram of highly vocal and expressive literature,it was most refreshing to hear Tamiati’s light,lyric approach to this familiar study piecethat has received many aggressive and bom-bastic performances by the world’s develop-ing trumpet students. Next on the programwas Eric Ewazen’s A Song of the Heart. This

“song” fit nicely with the program’s emphasison a vocal approach to trumpet and certainlyreinforced Tamiati’s mastery of the trumpet’scantabile style. Throughout the recital, the

trumpet’s capabilities as an expressive, singing instrument wasclearly evident. Pianist Rebecca Wilt provided splendid collab-orative accompaniment for the entire evening. This was a mostenjoyable program that was greeted with generous and effusivepraise from the appreciative audience. (JD)

All-Star Jazz ConcertCaruso Jazz Competition winner Hermon Mehari opened

the festivities with a stunning rendition of It Could Happen toYou, followed by Ask Me Now. Alex Sipiagin then took thestage and performed two of his originals: One for Mike andSteppin’ Zone. The Cal-State Fullerton Jazz Orchestra deliv-ered a student’s composition, Bolivia. Georgina Jackson’svocalizing and screaming trumpet served up Rockabye YourBaby and What a Wonderful World. Tanya Darby then tookthe spotlight, performing I Wish I Knew and Manteca. EricMiyashiro played Winter Games and ended the evening’s showwith his contemporized arrangement of Rocky. This was an all-star evening for sure! (NM)

Francesco Tamiati

Alex Sipiagin

The Cal-State Fullerton Jazz Orchestra


ADDITIONAL PHOTOS





Tanya Darby


Georgina Jackson


Eric Miyashiro

Friday, June 3There was something for just about everyone today at the

jam-packed ITG conference. Beginning with two differentwarm-up sessions, the fast-paced schedule included master-classes and concerts in a wide variety of styles, and the dayended on a true high note with theincredible Hollywood Epic Brass.There is much socializing happen-ing at all times of the day and night,and spirits are extremely high.Never a dull moment!

Ryan Darke: Warm-up SessionRyan Darke, principal trumpet

of the Los Angeles Opera, provideda fresh perspective on warming upto a room of about a hundred par-ticipants. He titled the session

“Setting Yourself Up for ProgressDuring Your Warmup.” He de -cribed a warmup as an opportunityto experiment to find new andmore efficient ways of playing,challenging us to ask ourselves

“How are we to make progress if weare only affirming what we alreadyknow?” Throughout the session, hepushed everyone to blow more

evenly, approach playing with a sense of calm concentration,play softer, and even improvise. More than anything, Darkeurged those in the room to avoid “warming into yesterday,”but to approach the beginning of the day as an improvementover the day before. (DM)

Jason Bergman: Non-Pro/ComebackPlayer Warm-up Session

Jason Bergman’s warmup for non-pro and comeback players coveredmany staple exercises and endeavoredto show participants how they cancraft a beautiful sound without stress-ing the embouchure. Bergman spentthe first portion of the session onbuzzing exercises, using the piano as areference point for pitch. These exer-cises culminated in Stamp studies thatspanned two octaves and took theaudience up to G on top of the staff.Following this portion, which was themost thorough, Bergman had theaudience play several other studies onthe trumpet, including Cichowicz,Arban, and a double-octave scale exer-cise to help with articulation. Berg -man stressed the fact that althoughthese exercises are well known, theplayers who utilize them on a regular




Ryan Darke


basis possess beautiful sounds. He encouraged his audience toconsider scheduling a half-hour session with these types ofstudies in the mornings, followed by more intensive practice atnight. (BH)

Justin Bartels Masterclass: OrchestralExcerpts Competition Finalists

Justin Bartels, principal trumpet of theColorado Symphony Orchestra, had thethree finalists of the orchestra excerptcompetition sit on stage with him. Hementioned, “Everyone played wonder-fully” at the competition, but he feltthere were stylistic elements that hewould like to address. The first excerptthey played was Petroushka (Ballerina’sDance). Bartels said that it is important,when playing this excerpt, that youknow what is going on within the orch -estra before you enter and while you areplaying. He stated it would make a bigdifference in how you perform thisexcerpt. The opening to Mahler Sym-phony No. 5 was performed by each of the finalists. He men-tioned he has taken many lessons on the Mahler 5 excerpt, andeveryone has different ideas on how it is to be performed. Hisadvice was to take all the different ideas and create your own

“convincing” performance. Bartels provided a few commentson not overpracticing in the warm-up room before an audition.He says that much can be gained by just practicing the begin-ning of each excerpt. The masterclass ended with an excerptfrom The Poem of Ecstasy by Scriabin. Bartels’s comments foreach of the finalists resulted in noticeable improvements. Hisplaying of these excerpts provided an excellent model of soundand execution that clarified his musical ideas for the finalistsand the audience. (JoB)

Panel Discussion: Expert Guidance on Building andMaintaining Your Trumpet Studio

On Friday morning, a panel of private trumpet studio teach-ers including Joan LaRue, Barb Hudak, Meghan Turner, andDarren Mulder discussed the topic of building and maintain-ing a private trumpet studio. Topics addressed were recruit-ment, lesson location, lesson length, fees, cancellations, lessontopics and materials, motivation, etc. The diverse panel gaveseveral opportunities for the audience to ask questions, whichresulted in a variety of opinions and responses. This presenta-tion was extremely informative for all private teachers. (AW)

Jason Bergman: Masterclass for Comeback and Non-Pro players

Board of Directors Member Grant Peters introduced Dr.Jason Bergman, assistant professor of trumpetat the University of North Texas, who pre-sented a masterclass for comeback and non-pro players. Bergman listened to several play-ers. One is a pilot for Virgin Australia airlineswho happened to be in town when he learnedthe ITG Conference was taking place. Anoth-er works in information technology. Othersare retired from various professions. Someplay trumpet at church or in communitybands. Bergman coached players on theimportance of being able to sing and buzznotes in order to center pitches on the trum-pet. He also spoke about performance anxietyand the value of playing in front of peopleoften. Mouthpiece selection was a populartopic among many of the players in atten-



Justin Bartels (R) and Orchestral Excerpts finalists

Expert Guidance on Building and Maintaining Your Trumpet Studio


dance. Bergman emphasized that good mouthpiece selectiondepends on the player and the type of playing being done.(CL)

Panel Discussion: Jazz ComposersTrumpeter/composers Ralph Alessi,

Hermon Mehari, and Alex Sipiagin,along with moderator John Adler, gave abrief overview of their respectiveapproaches to jazz composition. Sipiaginexplained that many of his compositionsare derived from ideas that develop whilehe is practicing trumpet; certain phrasesand colors emanate. He then moves tothe keyboard to work things out. Mehariwrites initially from the piano and saidthat he finds inspiration from anywhereand at any time, be it a musical or non-musical environment. Alessi drawsinsights from etudes for the trumpet andother instruments, and his ability to playelectric bass affords him additional assis-

tance. He also writes and performs trumpetetudes. For younger players, he suggests writ-ing as much as possible and having peopleperform your music. Mehari stated that hehas an opera in progress, and Alessi said thathe also uses short pieces and ties them togeth-er. Additional recommendations includedexploring different tempos, varying chordtypes, and working with voicings before dev -eloping chords. This was a highly insightfulsession. (NM)

Lecture-Recital: A Glimpse into the Life ofLes Trompettes de Lyon

Les Trompettes de Lyon, with Pierre Ball -ester, André Bonnici, Dider Chaffard, Jean-Luc Richard, and Ludovic Roux, use manydif ferent combinations of instruments,including bass trumpet, to create unusual col-ors for a trumpet ensemble. The program wasstructured around the performance of classi-

cal works (seated), followed by a standing performance of anamusing and innovative arrangement of the previous work. A

notable example was their arrange-ment of Bach’s Jesu, Joy of Man’sDesiring from Cantata 147, inter-spersed with beautiful singing andfollowed by a second arrangement ofthe same work in the form of an Irishjig. Other examples included Vival-di’s Four Seasons, Dvorak’s NewWorld Symphony, a Mozart sympho-ny, and others. The program endedwith a fantastic arrangement of theRadetzky March in all keys! Theirlively and amusing performance style,innovative arrangements, humorouscomments, and wide variety of musi-cal genres made this an exceptionallyentertaining session. (JE)

Jason Bergman (L)—Comeback and Non-Pro Players Clinic

Jazz Composers Panel

Les Trompettes de Lyon


United States Naval Academy Brass Quintet Presentation—Successful Chamber Music: It’s All About the Process

The US Naval Academy Brass Quin-tet opened their session about chambermusic preparation with two movementsfrom Susato/Iverson’s RenaissanceDances, featuring Davy DeArmond’ssparkling piccolo trumpet and MatthewManturuk’s dynamic percussion. Focus-ing on the process behind the creation ofchamber music, DeArmond stressed sev-eral points, including the need to “checkyour ego at the door” to facilitate goodverbal communication during rehearsaland the importance of nonverbal cuesduring performance. He also talkedabout the importance of collaboration(emphasizing that each member of thequintet is an equal and that everyonemust have “buy-in”) and bringing outthe individual strengths of each player inthe group. Each member of the quintetwas featured in the pieces performed,including trumpeter Matt Harriman,tuba player Jarrod Williams, trombonistRussell Sharp, and hornist Adam Tillet.Works performed included Jack Gale’sSuite from West Side Story, BrittonTheurer’s Animal Rights, and a MalcolmMcNab Medley, featuring the legendarystudio trumpeter as soloist. (EK)

Justin Bartels Masterclass: SoloCompetition Finalists

The three finalists from the 2016 ITGSolo Competition were treated to a mas-terclass with Justin Bartels, principaltrumpet of the Colorado SymphonyOrchestra. Although the final round ofthe competition was completed onThursday afternoon, the competitors donot hear the results until the awards pres-entation on Saturday. The three studentfinalists were Eric Millard (Florida State

University), Brent Proseus (McGill Univer-sity), and Jonathan Britt (Bowling GreenState University). Justin Bartels coachedeach student individually on the competi-tion pieces and spoke to the audience aboutsuch broad concepts as preparation, sound,articulation, phrasing, and musicality. (AH)

Lecture-Recital: Los AngelesPhilharmonic Trumpet Section

The LA Philharmonic trumpet sectionbegan their fantastic lecture-recital by per-forming Variants with Solo Cadenzas byWilliam Schmidt. This work featured eachindividual member of this superbly talentedsection. Their ability to blend and performin a cohesive, unified manner was excep-

tional throughout the piece and throughout the entire recital.The section then performed several well-known orchestral

Malcom McNab and the Naval Academy Band Brass Quintet

Justin Bartels and Solo Competition Finalists

LA Philharmonic Trumpet Section. L – R: Stéphane Beaulac, Chris Still, Jim Wilt, Tom Hooten


excerpts with helpful commentary and witty banter. Theirpraiseworthy collegiality, experience, and wisdom was on fulldisplay. For example, the group demonstrated how to generatecharacter and emotion in Verdi’s Requiem by skillfully match-ing timbre, intonation, and style. Their presentation of thechorale from Mahler’s Symphony No. 3 was simply sublime.Play Level 1 by Andrew Norman is a new work that featuresvirtuosic excerpts that Tom Hooten and Stéphane Beaulacexecuted with incomparable finesse. This was a truly inspira-tional, informative, and insightful look into one of the bestorchestral trumpet sections in the world. (JaB)

Trumpet and Piano Recital—Manu Mellaerts and Katrien Verbeke: Belgian Pearls of the Interbellum

Manu Mellaerts presented a recital, entitled “Belgian Pearlsof the Interbellum,” that was an interesting display of uniquepieces not often heard. The program opened with Theo Char-lier’s Solo de Concours, on which Mellaerts maneuvered easilythrough the work’s significant technical demands. He offeredinteresting insights about each piece and composer and men-tioned that Charlier had written two operas that were lost inthe war but were indeed performed. Mellaerts also performedJoseph Jongen’s Concertino, Leon Stekke’s Concerto, and JanHadermann’s Wicker Work for trumpet and tape and receiveda well-deserved standing ovation after his last note. (RR)

Logan Place Presentation—Trumpet Playing and Braces: Issues and Solutions

Logan Place, instructor of trumpet at Southeastern LouisianaUniversity, presented a detailed and informative session on howto deal with playing issues when students get braces. He men-tioned that his own experience comes from not only his teach-ing, but also his own experience having played with bracesthroughout his high school years. Place divided his presentationinto three different subject areas: the pre-brace phase and the

communication that should happen with students and theirparents, the difficulties that students face with playing once thebraces are on, and the phase of playing after the braces areremoved. There isn’t any one solution, but one of the mostimportant ideas presented was that the teacher needs to be pos-itive with the student and provide as much encouragement aspossible. Valuable solutions were provided in dealing with thisdifficult problem of playing with braces. (JoB)

New Works Recital #2The second New Works Recital of the conference started

with a bang (or more like a click) as Benjamin Berghorn tookthe stage to perform Eric Nathan’s Toying for unaccompaniedtrumpet. Several extended techniques were required, includingthe removal of slides, loosening of valve caps, use of practiceand plunger mutes, and slapping of the mouthpiece. Berghorndemonstrated commanding technique and dramatic flairthroughout this playful work.

Manu Mellaerts

Jeffrey Work

Benjamin Berghorn


Yan Zheng’s Hunting was inspired by a traditional Chinesepoem and skillfully performed by Eric Liu. A sparse openingwas followed by a delicate theme filled with light gestures thatLiu and pianist Wenfan Yang handled deftly. There was asinging lyrical section, followed by a return to the delicatedance and a playful tag ending.

Charles Calloway’s rendition of Brad Baumgardner’s Thiswon’t hurt a bit! (and other lies) was a display of unaccompa-nied fun. Calloway made the many glissandos seem light andeasy as he handily brought the two themes, one lyrical theother nimble, together. The piece wrapped up with a grand liptrill, a delightful end to this clever work.

Robert Frear and pianist Miriam Hickman brought manycharacters to life in their performance of Charles Reskin’s Chetthe Jet. The piece is based on a series of detective novels featur-ing a police dog academy washout named Chet and his owner.Frear showed no fear navigating the many technical and lyricalchallenges in this jovial piece.

Fred Sienkiewicz and composer Amit Weiner collaboratedon the next dramatic piece, In the Gates of Jerusalem. Thethree-movement work represents three historic gates in thecity and are composed using Baroque forms. Sienkiewicz’sstellar memorized performance of this work showcased manydifferent difficult techniques from lip bends and growls tothe demanding upper register necessary at the conclusion ofthe piece.

The only piece on the recital to include an electronic accom-paniment was Matthew Burtner’s Golden Sparrow. Exquisitelyperformed by Glen Whitehead, this piece starts with birdsongs in the accompaniment, with the trumpet folding intothe electronic texture. Although not possible for this perform-ance, an additional artist with a canister of light is supposed togradually open the canister for even more dramatic effect.

Maico Lopes and Miriam Hickman performed FelipeSenna’s Farras No. 4 for Flugelhorn and Piano. A gentle dance-like theme opens the work, followed soon thereafter by a freersection filled with graceful flourishes. Lopes’s luscious flugel-horn sound, combined with Hickman’s skillful playing,brought an energetic conclusion to this interesting work.

The final selection of the recital was Ross Wixon’s Eveningon the Town, masterly performed by Jeffrey Work and MiriamHickman. The piece consists of three miniature movementsmeant to depict three delightful urban scenes. The composer’sprogram note indicates influence by such mid-century com-posers as Norman Dello Joio, Leonard Bernstein, and HalseyStevens, and Work and Hickman transformed the music intoenchanting vignettes that the audience enjoyed greatly. (RT)

Joint Trumpet Recital: Bernardo Medel and Chung-Mom Ho

Chung-Mom Ho, originally from Taipei, gave an especiallystirring recital featuring a variety of compelling works fortrumpet and piano. Ho, who studied in Paris with Guy Tou-vron and Eric Aubier, is poised to become a leading soloist ofhis young generation. His recital demonstrated his ability to

Eric Liu

Robert Frear

Maico Lopes


play in a diversity of styles and genres. For example, his elegantperformance of Neruda’s Concerto for Trumpet, his melan-cholic and moving interpretation of Enescu’s Légende, and hisvirtuosic rendition of Gershwin’s Rhapsody in Blue highlightedthe captivating technical and emotional expression he is able toachieve. Yiu-Kwong Chung’s Viva Taipei was a folksy and par-ticularly lyrical highlight of this recital. It is important to notethe valuable and consummate collaborative participation ofGail Novak on the piano. Both performers were able to con-nect effectively with each other and the audience. Keep an eyeon this rising star! (JaB)

Research Room PresentationsDr. Jeremy McBain, University of Texas at Tyler: “The Role

of the Cornet à Pistons in the Early Symphonic Works of Hec-tor Berlioz.” McBain’s lecture provided an interesting look atthe social and musical factors in France at the beginning of thenineteenth century and Berlioz’s role in promoting the accept-ance of valved brass instruments in France. McBain’s interestin this topic began when preparing Roman Carnival Overturefor an audition while in college. The advanced techniquerequired in the cornet parts led him to study Berlioz’s use ofcornets and trumpets in his orchestrations. As valved brassinstruments were being introduced elsewhere, French musi-cians preferred the “noble” sounds of the natural trumpet,considering the trumpet à pistons to be inferior. However, thecornet à pistons was becoming popular in open-air concertsand likely influenced Berlioz’s use of the instrument. McBainoutlined the composer’s revisions of his orchestrations of vari-ous works from natural trumpets and one trumpet à pistons toa section of two natural trumpets and two cornets à pistons,providing melodic color and harmonic possibilities that influ-enced the direction of brass writing in the Romantic period.The lecture provided many interesting insights, including astatement by Arban to the effect that even with excellent abil-ity, one can starve playing the trumpet, while it is possible tomake a comfortable living playing the cornet. McBain’sappendices, including his own transcriptions and comparisonsof manuscripts and printed parts, are available on his website(www.bit.ly/1UcImCf).

Dr. Aaron Witek, University of Louisiana at Monroe: “Gor-don Mathie, Master Teacher and Performer: A Reflection onHis Career and Teaching Methodologies.” Witek gave anoverview of the extraordinary career of Gordon Mathie and hiscontributions to the trumpet world. Mathie was a foundingmember of ITG and received the organization’s first Award ofMerit in 1999. He is a revered pedagogue who believes inteaching by example and setting goals. He took notes on everylesson each week and invited his students to evaluate him inorder to improve his teaching. In his studio, tone production,sight reading, and transposition were emphasized. Mathie alsomade many contributions to the field as a performer and bypublishing pedagogical books, articles, instrumental studies,and ensemble works. Witek’s presentation included manyquotations from former students, giving a glimpse of Mathie’spersonality. He is known as the “crown prince of humour,”and he still practices daily, even in his nineties.

Dr. Russell Zimmer, University of Nebraska-Lincoln: “ANew Look at the Playing Style of Theodore ‘Fats’ Navarro andHis Influence on Modern Jazz Trumpet.” Zimmer’s doctoralproject involved developing a method to work on bebop lan-guage by studying live recordings of Fats Navarro made in1949 – 50, which “captured a sound I like to hear.” Dr. Zim-mer began playing jazz around the age of twenty and foundgaps in the standard jazz methods. His presentation showedNavarro to be a rather quiet, reserved person—in contrast tohis fiery playing style. Zimmer discussed Navarro’s tone, tech-nique, and treatment of eighth notes in his creative improvisa-tions and traced his influence as a mentor of Clifford Brown.Zimmer also provided the audience with selected exercisesfrom his method book, which provide practical study materialfor some of Navarro’s techniques, such as scale and triad pat-terns with diatonic and chromatic surround/enclosures.

Michelle Glasscock, University of North Texas: “IncreasedLearning and Mastery through Focus of Attention, Internal vs.External, in Trumpet Performance and Pedagogy.” Glasscockintroduced the idea of “Focus of Attention” (FoA) which hasbeen widely studied in sports psychology and motor skillsacquisition, but which has received very little attention in themusic world. Internal FoA is defined as directing the attentionto what the body is doing, while external FoA guides the atten-tion to something outside of the body. Research has shownthat an external FoA results in faster learning and an increasedretention rate in improving physical skills than internal FoA.Glasscock offered many possibilities in trumpet pedagogy suchas asking a student to “hear the sound you want” or “put it inthe back of the hall” as external focus of attention, while direc-tions such as “firm corners, flat chin, big breath” are examplesof internal FoA. Many of these ideas have been introduced totrumpet players from famous brass performers of the ChicagoSymphony and their students who have become renownedteachers. It is commendable that researchers such as Glasscockand others are delving into how and why these ideas are soeffective in music teaching.

Emily McGinnis, University of Missouri-Kansas City:“Female Participation in Brass Bands: International Perspec-tives.” Ph.D. candidate Emily McGinnis began playing inbrass bands in 2012 and stated that these ensembles push herfar more than any other group in terms of the level of musi-cianship, technical ability required, and wide variety of music.Her study included a look at the history of brass bands, which

Chung-Mom Ho


began in the early nineteenth century in industrial areas ofNorthern England. She received a knowing laugh from theaudience when she said that these bands were formed, in part,to keep people away from booze and out of trouble, “althoughin my experience…” In fifty of the top brass bands in theworld, McGinnis studied male-to-female ratios of players,ratio differences in instrument types, and ratio differences invarious countries. She also interviewed fourteen women abouttheir brass band experience and categorized their experience asgender-negative, -neutral, or -positive. Women reported somegender-negative experiences such as lower expectations, unfairseating arrangements, and greater bias from older men. Gen-der-positive experiences included the fact that youth bandshave more equal ratios of male-to-female members and thatthere are reports that younger men seem to treat women moreequitably. McGinnis suggested that we can effect positivechange by being good role models ourselves, advocating forfemale musicians, and encouraging girls to play brass instru-ments. She reminded the audience that “we teach them music,but we also create the musical environment.”

Gilmore Cavacante da Silva, Valdosta State University:“Estudos Bem Humadoros Para Trompete by FernandoMorais: An Introduction.” Da Silva talked briefly about his-toric Brazilian trumpet sources, one dating to 1645, but heexplained that neither historical nor current trumpet teachingpractices in Brazil are well documented. He surveyed teachersin Brazil and found that they rely heavily on such traditionalmethods as Arban, Stamp, Cichowicz, Clarke, Charlier, andBitsch, mostly from the second half of the twentieth century.Da Silva introduced the audience to Fernando Morais, aBrazilian horn player, teacher, and composer. His etudes fortrumpet are twelve character pieces in Brazilian style, which hefeels deserve attention because 1) this is good music worthy ofstudy and performance; 2) the collection helps to preserve theBrazilian styles of music; and 3) they areuseful alternatives to other, better-known etudes. These etudes are compa-rable to those of Charlier in terms oftechnique, endurance, and musicalmaturity. Da Silva analyzed two of theetudes that display elements of Brazilianpopular music including African Landurhythms and Medieval church modesand reiterated that they are inventive,pleasing to listen to, and fill the nichefor trumpet music in the Braziliannational style. (LAH)

Ralph Alessi: Jazz RecitalRalph Alessi’s jazz recital was an exer-

cise in creativity, art-form and innova-tion. An inspired contemporary per-former and composer, Alessi began theconcert with an original titled Snap.Using quarter tones and other uniqueembellishments, Alessi’s free explo-rations were at times riveting. Flipping and Flitting, Friday the13th was the next effort. Alessi and the rhythm section weresuperbly in sync, blending and negotiating beautifully. Howl-ing was a vampish melody with Alessi exploring the entirerange of his trumpet. His mastery of the instrument’s capabil-

ities was readily apparent. A meditation on Bach’s SonataNo. 1 (Adagio) concluded the performance, arguably one ofthe most creative and interesting of the conference. A bravuraperformance! (NM)

Concert: The Romm Trio The Romm name is a dynasty in the musical world, and

the family trio recital left no doubt of that. From beginningto end, the three melded on a level beyond any regular cham-ber ensemble, bringing a special energy to the performance.The program featured a wide variety of musical selectionsfrom many genres and nationalities. The group performedBach’s Toccata and Fugue in D Minor as an homage toRon’s time in the Canadian Brass and a stunning arrange-ment of Over the Rainbow. The trio got a bit zany as they

adorned themselves with costumes to enhance a self-arrangedset of opera scenes. After a spirited version of Piazzolla’s Lib-ertango, the crowd was happy to receive an encore of thefamed Leroy Anderson’s Trumpeter’s Lullaby. The Rommsperfectly captured the essence of each transcription and

Ralph Alessi

The Romm Trio


arrangement and delivered a brilliant and dynamic experi-ence for everyone in attendance. (EM)

Kevin Gebo Masterclass: Military Band Excerpts Competition Finalists

The three finalists from the first annual ITG Military BandExcerpt Competition participated in a masterclass withKevin Gebo, noted trumpet soloist and Staff Sergeant in theUnited States Army Band. Although the final round of thecompetition was completed on Wednesday afternoon, thecompetitors do not know of the results until the awards pres-entation on Saturday afternoon. The three student finalistswere Ryan Brewer (Stephen F. Austin State University), BretMagnolia (University of Michigan), and Forrest Johnston.Kevin Gebo coached each student individually on their com-petition excerpts and directed them on expression, time, andstyle. He encouraged the students to prepare each excerptwith flexibility in mind, in the event that the audition com-mittee asks for the excerpt to be performed in a specific way.Gebo spoke to the audience about the military band programin general and the many options for musicians considering amilitary career. (AH)

Kathryn Adduci and the Los Angeles Baroque Ensemble: Concert

Kathryn Adduci, associate professor of trumpet at San JoséState University, presented a delightful concert on the valvelessBaroque trumpet, accompanied by the Los Angeles BaroqueEnsemble. Adduci opened the program with the familiar Con-certo in D by Giuseppe Torelli. From the very first notes, itwas clear that the audience was in for a special treat by a sea-soned early music specialist. Playing a four-hole vented trum-pet, Adduci’s sterling sound melded beautifully with the gutstrings of the period-instrument ensemble. In Johann WilhelmHertel’s challenging Concerto No. 3, Adduci demonstratedher remarkable technique and agility. Adduci discussed theimportance of historically informed performance practice,

explaining the “swinging” notes inégalesthat the ensemble chose to apply to theTelemann Sonata. With a soaring upperregister clarino, as well as a wide array oftechnical capabilities on this challenginginstrument, Adduci treated the audienceto a charming afternoon of Baroquemusic. (JD)

The Hollywood Epic Brass: ConcertThe Hollywood Epic Brass was formed

in 2013 by their conductor, Kevin Kaska,a noted composer and orchestrator offilm scores who either composed orarranged all of the pieces on the program.Comprised of some of the finest studiobrass and percussion musicians in LosAngeles, the ensemble also included harpand organ and featured Malcolm McNabas principal trumpet. Throughout theconcert at Garden Grove UnitedMethodist Church, Abraham Laboriel,Sr., served as master of ceremonies, pro-viding introductions to the selections

performed. The performance also featured a chorus comprisedof choir members from Garden Grove Methodist and GraceFirst Presbyterian Church of Long Beach.

The concert commenced with a sonic explosion of brass andpercussion in Kaska’s Gloria in Excelsis Deo, which heralded aprogram that would prove to be truly epic. With beautiful lyricsolos from McNab, contrasting with tutti brass statements ofastonishing power, the work also included a wordless choralbackground that underscored the work’s atmosphere ofgrandeur.

The following piece, All Men, All Things (Under God’s GoodGuidance), began with organist Jaebon Hwang playing anextended solo that was later augmented by low brass beforeprogressing to a triumphant conclusion. Next was Scarborough

Kevin Gebo—Military Band Excerpts Master Class

Kathryn Adduci


Fair & The Water is Wide, which highlighted contemplativesolos by violinist Alyssa Park and McNab in Kaska’s poignantarrangement.

Jaebon Hwang was showcased again in a solo organ adapta-tion of Simple Gifts that added a note of contrast to the largebrass ensemble selections on the program. The first half of theconcert concluded with a festive Medley of Christian Hymns,including such favorites as “All Creatures of Our God andKing,” and “Holy, Holy, Holy.” The combined choir of nearlyfifty singers performed with heartfelt enthusiasm, and morethan a few audience members accepted Laboriel’s invitation tosing along.

Following intermission was a performance of BSO 2000Fanfare, a work that Kaska had written for the Boston Pops atthe beginning of his career. This included an impressive solofor Malcolm McNab, full of soaring lyricism. Kaska’s arrange-ment of the Thanksgiving hymn, We Gather Together, wasgiven the full Hollywood treatment, complete with a tri-umphant ending.

A contrasting slow piece followed—Kaska’s setting of OShenandoah, featuring Alyssa Park on another fine violin soloand the group’s principal trombonist, Bill Booth, in a master-ful display of lyrical playing. The next piece on the program,Irish Folk Suite, featured soaring lyrical solos by MalcolmMcNab and a variety of familiar Irish melodies. A particularhighlight was a dramatic cadenza by the organ, playing theopening flourish from Bach’s Toccata in D Minor, which wasfollowed quickly by The Irish Washerwoman. The piece ended

with a rousing rendition of Danny Boy, featuring Allen Fogelon horn.

The final selection on the program was a spirited march,titled Halls of Freedom, complete with full-throttle organ play-ing and emphatic percussion flourishes. Following a veryenthusiastic standing ovation, the ensemble played anothermarch as an encore. (EK)

Hollywood Epic Brass


ADDITIONAL PHOTOS





Above: The Romm Trio

Left: Ralph Alessi (R) and theConference Jazz Trio


Hollywood Epic Brass

Saturday, June 4Believe it or not, the 41st annual ITG conference has come

to an end! It has been a really wonderful week here in Califor-nia with a multitude of inspiring artists and clinicians. Trum-pet players have come together and had a universally great time.While probably sad to see it all come to an end, many will behappy and relieved to get a little extra sleep. There are only360 more days until the start of ITG 2017 in Hershey, Penn-sylvania; start making plans now to attend, and be sure to restup!

Pierre Dutot: Warm-up SessionThe hymn from Beethoven’s Symphony No. 9 rang true at

the beginning of master teacher Pierre Dutot’s warm-up ses-sion. Dutot started his college studies as a gym teacher, givinghim a foundation in physiology. This led to his belief that onemust be “a sportsman of the lips.” Dutot then went throughthe life of the trumpet player, starting with some breathingexercises, doing some body stretches, and discussing body res-onance. Moving on to the mouthpiece, he did call-and-response scale exercises with the participants. A critical part ofDutot’s teaching is a four-step process utilizing singing, visu-alizing, buzzing, and ending with the trumpet. “No problems,only solutions,” he stated, and then went into describing 26exercises from the Arban book that he and Andre Henry havecollected in a new publication. The session ended with theparticipants playing through a few select exercises from thebook. (RT)

Karen Koner Youth Day Warm-up Session: Teaching Aural Skills to Beginning Brass Players

Karen Koner’s Youth Day warm-up session demonstratedthe ways in which teachers can use rhythm cards to teachyoung students how to understand basic musical concepts.Though not a trumpet player, Koner nevertheless made herpresentation interactive, relying heavily upon call and responseand requesting assistance from trumpeter Raquel Rodriquez,who played the demonstrations. By the end of the session, theaudience was improvising simple melodic patterns usingsolfège, predetermined rhythms, and an audio track with aprerecorded groove. Koner’s demonstration encouraged inter-action between the participants, often asking them to work insmall groups or pairs, and illustrated the ways in which eventhe simplest musical concepts can become both fun and chal-lenging if combined creatively. (BH)

Tanya Darby Masterclass: Jazz Improvisation Competition Finalists

The University of North Texas’s Tanya Darby began herenergetic and wonderfully informative masterclass by dis-cussing the importance of being versatile and finding theappropriate sound for every situation. Some of the parametersto consider are a thin vs. wide sound, brightness, and soundvolume. Her most important message to aspiring lead playersis that all the high notes in the world matter little if your timeisn’t great. Joined by drummer Paul Kreibich, she demonstrat-ed where to place accents within the beat in order to make ajazz line swing. One great tip is to sit down with a drummerand just play quarter notes together in order to find a unified





basic pulse. The two demonstrated this concept and then werejoined by the Jazz Improvisation Competition finalists toapply the same idea to Frank Foster’s Shiny Stockings, placinggreat importance on not rushing to downbeats. (AN)

Tom Hooten: Youth Day MasterclassTo put it simply, Tom Hooten’s masterclass was inspiring.

Structured on three main points, Hooten’s talk covered theimportance of honesty and integrity, practicing and audition-ing, and combating nerves. His truthful personality camethrough as he shared his journey as a trumpet player andexplained how he overcame personal challenges. He empha-sized the need for people to be honest with themselves and

their playing and to then show integrity by acting on thingsthey need to change. With regard to practicing and audition-ing, Hooten shared his insights on how we can each be betterorganized and spend more time reinforcing good habits. Healso shared three basic rules: that air comes in easily, that airgoes out easily, and that the horn does not smash your face.The masterclass was a huge success and a perfect start for theYouth Day events. (SW)

Michael Sachs Presentation: James StampMichael Sachs, principal trumpet of the Cleveland Orches-

tra, drew a substantial and enthusiastic crowd to his presenta-tion on the methods of James Stamp. He began with a heart-felt tribute, crediting Stamp for the bulk of his success. Hedescribed Stamp’s teaching as being individually tailored toeach student. Sachs went on to explain that proper airflow isthe main impetuous behind the method. He insisted that onedoes not blow into the trumpet, but through it; the trumpet isa conduit for the air, which must always have a forwardmomentum. This theory applied to all of the Stamp exercisesincluding lip buzzing (either on pitch or an octave below),mouthpiece work, and the exercises. He provided backgroundon the flagship exercise of the book, pointing out its roots inSchlossberg. Attendees left with a much firmer grasp on themethod and a greater appreciation for the master pedagogue.(DM)

Youth Solo Competition: Junior DivisionThe Junior Division Competition kicked off the Youth Day

at 8:00 A.M. New for this year, the age requirement was raisedto fifteen and under, and the number of competitors from pre-



Tanya Darby

Tom Hooten


vious years nearly doubled to nine in total. Pianist Gail Novakaccompanied the first six competitors: Brian Copeland, ErikThomas, Stefan Flip, Daichi Sakai, David Young, andThomas Piipe. Rebecca Wilt accompanied the final three com-petitors: Antonio Salvia, Steve Kim, and Jeremy Bryan. Allplayers chose one solo from a pre-approved list of five piecesfrom composers Ropartz, Barat, Bernstein, Bozza, and Handeland also performed a piece of their choice. The judges wereKaren Gustafson, David Hunsicker, Elisa Koehler, and AaronWitek. These young musicians displayed immense courageand maturity while delivering some fantastic performances foran audience of friends, family, teachers, and other conferenceattendees. (SH)

Youth Solo Competition: Senior DivisionThe Senior Division of the Youth Solo Competition was full

of young talent. The ten competitors each performed two pre-pared works, one from a required list of five standard pieces(Arutunian, Pilss, Goedicke, Neruda, and Enescu) and anoth-er selection of their own choosing. The level of technical abil-ity and mature sound concepts was astounding. Parents andfamilies proudly looked on as their students performed withgreat poise and conviction. The musical intuition and atten-tion to detail was impressively thorough. Each candidateshowed a strong level of mastery of challenging pieces of thetrumpet repertoire and brought great energy to their perform-ances. It is reassuring to observe that the next generation oftrumpet players is full of talent with a high aptitude for musi-cal nuance. (EM)

Alex Sipiagin: Youth Day Jazz Improvisation ClinicRussian trumpeter Alex Sipiagin presented an informative

session on jazz improvisation aimed at younger players as partof the conference’s Youth Day. Sipiagin opened his presenta-tion by performing with a jazz quartet. He discussed his ambi-tion as a young trumpeter in Russia to come to America, thebirthplace of jazz, and his delight at spending the past 25 yearsas a jazz musician in New York City. He noted that improvi-sation is like “composition on the spot.” He listed his twomost important requirements for good jazz improvisation:

know the melody very well and know the chord changes. As aseasoned jazz musician, Sipiagin noted that these are the twomain priorities he has when learning new pieces. He alsoemphasized the importance of having a good sound and goodtime, and he touched on more advanced aspects of jazzimprovisation, such as playing “outside” the harmonic struc-ture. (JD)

ITG Open Members MeetingThe annual ITG open members meeting began with ITG

President Brian Evans introducing the ITG Board membersand then giving a brief overview of the minutes from the boardmeeting held at the beginning of the conference. He men-tioned that the 2017 conference will be held in Hershey, Penn-sylvania, and that the 2018 conference will be held in San

Alex Sipiagin

ITG Board of Directors—Annual Member Meeting


Antonio, Texas. There was also some discussion at the boardmeeting about developing regional conferences. Completeminutes of the board meeting will be available on the ITGWebsite within a few weeks. Treasurer Mark Schwartz said thatITG is financially stable but that his goal is to see 1,500 newmembers this year. The remaining time was open for questionsand comments from those in attendance. There was good dis-cussion on ways to encourage new membership and improvethe conferences. (JoB)

Americus Brass Band: Civil War Instruments ConcertThe Americus Brass Band recreates a town band from Amer-

icus, Georgia, that was formed in 1859 and enlisted with theSumter Light Guard at the beginning of the Civil War. Play-ing antique instruments from the 1860s, the Americus BrassBand was formed forty years ago and has performed on thesoundtrack for the film Glory and many other projects. Bandleader and B-flat cornetist Richard Birkemeier served as emceefor the concert and shared a great deal of historical informa-tion with the audience. For example, town band membershave often doubled as firemen, and bands provided the onlysource of entertainment for Civil War troops during the win-ter. Music performed during the session included the ArizonaQuickstep (featuring sparkling E-flat cornet playing by KurtCurtis), The Fireman’s Polka, Violet Waltz (with a lovely bari-tone horn solo by Phil Keen), and The Battle Cry of Freedom.(EK)

Eric Miyashiro: Jazz ConcertThe Eric Miyashiro jazz concert opened with his Winter

Games, featuring Miyashiro on piccolo trumpet, flugelhorn,and trumpet. The fanfare-esque piece highlighted the soloist’scommand of the instrument over its entire range. Eric’s com-ments after all of the selections were informative and humorous.Anecdotes about Maynard Ferguson prevailed. The less-fre-quently-heard tune from Maynard’s book Dance to Your Heartfeatured Eric on flugelhorn with a gorgeous tone. Smile fea-tured a neat Bill Cunliffe (director of the Cal State Fullertongroup) piano solo, as well as Eric’s rich flugelhorn and brilliant

trumpet. A contemporized version of Gonna Fly Now and Bird-land demonstrated the ensemble’s abilities and Miya shiro’s

screaming trumpeting. As Eric said, he lovestrumpet. That love was readily apparent inthis knockout performance. (NM)

Ronald Romm Masterclass: A FirsthandLook at Building a Chamber Music Career

As he does so often these days, RonaldRomm’s masterclass was a family affairthroughout. Joined on stage by his sonAaron (trumpet) and wife Avis (piano), Rontalked about his earliest days as a musicianlearning to develop his sound and versatilitythrough playing in his family’s dance band.While explaining the formation of the Cana-dian Brass, he stressed that beginning cham-ber groups should strive for good fundamen-tals, listen first, play with a beautiful soundalways, and focus more on the other voicesin the group instead of each one’s own. Thetalk was interspersed with short performanc-es by the trio, one notable highlight being abeautiful and poignant arrangement ofAmericus Brass Band

Eric Miyashiro


Rachmaninoff’s Vocalise. Passing through numerous topicslike creating different musical styles, staying in shape, andkeeping a family together while living on the road, the group’slove for music was unyielding and infectious. (AN)

Michael Sachs: Orchestral MasterclassIn Michael Sachs’s masterclass, he provided an overview of

how he prepares orchestral passages for performance. He wentthrough seven different orchestral excerpts and demonstratedin detail how he practices each of them. One of the things heemphasized was making sure that one understands the contextof the excerpt. Preparation by listening to recordings andstudying scores is essential to the learning process. He fre-quently referred to fundamental playing concepts that helearned from James Stamp, such as cultivating sound andthinking not only about the beginnings, but also the ends of

notes. He encouraged such practice tech-niques as playing at slower tempos, slur-ring passages that are tongued, andtonguing passages that are slurred. Hisperformances of these excerpts were abenchmark for which trumpet playersshould strive. He encouraged everyone toremain an “eternal student” and to culti-vate their imagination and determinationto keep improving as players. (JoB)

R. Dale Olson Presentation: TheEquilibrium Concept of Trumpet

Performance, RevisitedInternationally noted researcher Dale

Olson presented a fascinating sessionconcerning “The Equilibrium Conceptof Trumpet Performance—Revisited.”Olson explained that he has found itmore important to discuss “How a trum-

pet is played,” rather than “How to play a trumpet.” He sum-marized his ideas about equilibrium in one sentence: “Whenone thing changes, everything else changes.” Olson pointedout that three forces need to be in balance to create equilibri-um: Intraoral Air Pressure (in the oral cavity, before themouthpiece), facial muscle force, and embouchure-mouth-piece (E-M) force. Emphasizing the primacy of objectiveresearch methods over subjective mental imagery, Olson dis-cussed his 2013 research with Dr. Martin Schumacher (Neu-roradiology) at the University of Freiburg concerning motorfunction in trumpet playing using real-time MRI anaylsis.Through this study, he has concluded that the configurationof the tongue and oral cavity are one of the primary determi-nants of tonal quality in brass playing. (EK)

Bobby Rodriguez and the UCLA Latin Jazz Band: Jazz Concert

Bobby Rodriguez provided a brief biographical introductionand explanation of clave, or the “groove” of Latin music. Heand the ensemble launched into his original, a “bomba” calledBarcelona Boogie. The ensemble was on fire here and through-out the performance. Rodriguez provided a few anecdotes

The Romm Trio

Michael Sachs

Dale Olson


about his career and education. A tribute to the great GeraldWilson called El Conquistador was a multi-faceted Latin tonepainting. The terrific ensemble then supported the very finevocalist Selena in the classic Sway. Additional comments about

“going for your dream” prefaced the final selection, a salsa titledDescarga. All in all, it was a rhythmic feast of Latin fare from aterrific ensemble and leader. (NM)

Recital of Quality Pieces for Solo FestivalJohn Adler, Brian Evans, and Robert Frear shared the stage

Saturday afternoon with pianist Miriam Hickman to present afantastic recital of works selected specifically for late highschool and early college students. The audience enjoyed a vastvariety of music, including works by Turrin, Ropartz, Irik,McKee, and Ross. Each piece was executed spectacularly andprovided new options for young players and teachers alike.Peace, composed by Benjamin Boone, can be played on flugel-horn or B-flat trumpet and includes opportunities for simpleimprovisation, while James L. Klages’s La Connteur can be per-formed with band and resembles a classic cornet solo. A won-derful part of Youth Day, the recital was a great resource for all

in discovering new pieces and hearinggreat trumpet playing. (SW)

Bob Malone and Wayne Tanabe: ClinicBob Malone and Wayne Tanabe from

the Yamaha Corporation combined theirwealth of experience for a wonderful inter-active clinic, focusing on the gains thatcan be made by providing seeminglyminor adjustments to various parts of thetrumpet. Malone began by taking theaudience back to the day that they firstdecided to buy their trumpets, explainingthat the proper balance of resistancebetween the air and the trumpet led to thedesired sound, response, and consistency.They then invited two participants ontothe stage. With one player, they changedthe cork material on the water key of themain tuning slide. With the other, theyadjusted the the position of the mouth-piece in the leadpipe. In each case, the dif-ference was transformative, dramaticallyimproving the player’s sound, response,and consistency. They went on to cautionthe audience against adding items thatcould dampen the horn’s resonance (O-rings, handguards, etc.). (DM)

Charles Leinberger Presentation—“Deguéllo,” No Mercy for the Losers:

The Enduring Role of the Solo Trumpetin the Soundtrack of the Old West

Charles Leinberger, associate professorof music at the University of Texas at ElPaso, presented his lecture on the use ofthe solo trumpet in the old west moviesoundtracks to a room of interested andenthusiastic trumpet players. The lecturewas jam-packed with details about the

trumpet players who performed on these soundtracks andcharacteristics of the trumpet style and role in western films.Leinberger offered video examples from numerous movies,including Cowboy (with Rafael Méndez appearing in the filmand performing two solos), A Fistful of Dollars (with MicheleLacerenza playing trumpet on the soundtrack), and six otherfilms. The most common characteristic of all these films wasthe use of the trumpet during the climax of the story. Audi-ence members enjoyed the presentation very much and hadplenty of questions for Leinberger. (AW)

Youth Day Panel Discussion: Auditioning for College Music Programs

Members of the panel included John Adler (University ofNorthern Colorado), Stephen Dunn (Northern Arizona Uni-versity), and Raquel Rodriquez (Tennessee Tech University).The session began with the moderators providing some generaladvice about auditioning for college. They encouraged stu-dents to visit the colleges in which they are interested, maketime to take a lesson with the trumpet teacher, sit in on musicclasses, and talk with students already at that college to see

Bobby Rodriguez—UCLA Latin Jazz Band

Bob Malone, Wayne Tanabe with Jason Yi


whether that school will be a good fit. They also discussedchoosing the right audition music and trying to find out howthe audition process will operate (whether it entails playing foran individual or an audition committee, for example). Theinformative session ended with questions from students andparents about preparing for college auditions. (JoB)

Festival of Trumpets and ITG Awards PresentationITG President Brian Evans took the podium and opened

the festivities with information about award winners and pastluminaries who had hosted the conference while keeping theaudience laughing with his humorous and witty spirit. Thevarious award winners (scholarships, competitions, etc.) wereannounced at various points throughout the concert of trum-pet ensembles. Additionally, the late Michael Tunnell wasawarded the ITG Award of Merit, and Reese Land and MarkLynn were present to accept the award on behalf of Tunnell’swidow, Meme. Alan Siebert was also presented with an awardof appreciation for his outstanding service as president of ITGover the past two years, and the annual “passing of the bugle”ritual took place as Richard Birkemeier handed over the con-ference artist committee chair duties to next year’s chair, KevinGebo.

Following introductions and thanks by ITG President BrianEvans, Jeffrey Piper led an ensemble of eight trumpeters inJoseph Turrin’s exuberant Festival Fanfare. The piece utilizedthe close harmonies typical of Turrin’s writing and offered alively start to the concert. (BH)

The performers for Anthony Plog’s Suite for Six Trumpetsnavigated the intricate contrapuntal writing with skill. Stag-gered entrances and brilliant sonorities in the first movementcame through with ease, and the well-blended chorale (per-formed with cup mutes) evidenced a high degree of control.The finale featured a driving eighth-note pulse followed bysoaring chords that brought the work to a dramatic conclusion.(BH)

Barry Ford’s transcription of Leroy Anderson’s popularRakes of Mallow opened with a dissonant fanfare before givingway to the bright tonality of the main theme. The arrange-ment highlighted the capabilities of many individuals, passingaround exposed and intricate solo lines before romping to anaccelerating conclusion. (BH)

Marcus Grant’s Suite for Six Trumpets opened with a well-executed fanfare before transitioning to an intricate vivace.The middle movement, with its many suspensions and beauti-ful harmonies, showcased the performers’ expressive capabili-ties. The finale combined these ideas and got a laugh from theaudience for its synchronized foot stomp towards the end.(BH)

Eighteen performers took the stage to perform David Mar-latt’s exciting Windscape, which used both flugelhorn and pic-colo trumpet. Frequent meter changes, a beautiful centralchorale, and brilliant accents from the piccolo part made thisperformance enjoyable for audience and participants alike.Many performers were perennial ITG attendees, and it was atreat to see and hear them performing together onstage. (BH)

Festival of Trumpets

Festival of Trumpets


Giovanni Gabrieli’s Canzona Primi Toni a 8, arranged byDavid Marlatt, began with two choirs of trumpeters on oppo-site sides of the stage. The antiphonal effect was glorious inthis large ballroom. (RR)

Glauber L.A. Santiago’s Sun and Stone was a contemporaryBrazilian piece that had a bold, majestic character that wouldnot be out of place in a movie about a hero’s journey. It wasan interesting piece that was played with a certain amount ofswagger by the ensemble. (RR)Prelude and Allegro for Trumpet Sextet by Zach G. Davis

began with beautiful melodious lines that highlighted theensemble’s well-balanced sound. The Allegro portion was wellexecuted and featured a great deal of stylistic sensitivity acrossthe ensemble. (RR)

Erik Morales’s Conquest was a fun piece that featured catchymelodies in all the parts. Special kudos goes to Chase Hawkins,who played beautiful solo lines throughout the work. (RR)

The concert closed with conductor David Turnbull’s tran-scription for mass trumpet ensemble of Triumphal March fromAida by Giuseppe Verdi. The very recognizable melodies andfanfares were played with great enthusiasm, and the groupreceived a rousing applause for their efforts. It was a terrificway to end this annual extravaganza. (RR)

Les Trompettes de Lyon: ConcertThe French trumpet quintet Les Trompettes de Lyon present-

ed a highly entertaining performance on the final evening ofthe conference. The Royal Ballroom was filled nearly to capac-ity to hear them perform in classical, pop, and jazz styles, allwhile singing, dancing, marching, and moving around thestage. While one of the trumpet players performed exclusivelyon the bass trumpet, the other four moved from trumpet tocornet, flugelhorn, bass trumpet, and piccolo trumpet as the

show moved along quickly from one tune to the next. Thisvariety of instruments provided a rich, fresh tone color thatnever became boring or stale.

The show opened with the Triumphal March from Verdi’sAida and quickly morphed into Khachaturian’s Saber Dance.They quoted the classical and operatic repertoire all evening,including Ravel’s Bolero and Strauss’s Thus Spoke Zarathustra,among others. They used innovative props, including largeposters of famous trumpet players and entertainers to whomthey played tribute—Maurice André, Louis Armstrong, BorisVian, and Bourvil. One of their routines involved using smallrotating stools on which they stood, twirling and dancingaround during Bolero, thus adding to the already quirky natureof Ravel’s music itself.

The group managed to mix in some Beatles music in a freshnew way by blending seven different songs inside a typicalchorale arrangement. They weaved in and out of the choraleand famous Beatles tunes by asking the audience to see if theycould spot the compositional “mistakes” of the chorale, whichthey fixed by mixing in the Beatles tunes. During this piecethey also stood in a line and reached over at various points toplay the valves of the next player in an impressive display ofcontrol and virtuosity.

Toward the end of the performance, Les Trompettes de Lyonpulled a few marches out of the proverbial hat, including Ken-neth Alford’s Colonel Bogey March. While many people haveinvented their own humorous lyrics to this popular march, thequintet added their own version, including the line “Trumpets,will get your ears so clean…” etc. One of the more entertain-ing pieces on the program was their rendition of the famousSpanish March El Gato Montes, which involved a large, over-sized balloon that they kept afloat with their trumpet bells.They each took turns balancing the balloon while they played



the tune and passed them (the melody and the balloon)around until the balloon met its demise by knife-point at theend of the piece.

The musicians of Les Trompettes de Lyon, Pierre Ballester,André Bonnici, Didier Chaffard, Jean-Luc Richard, andLudovic Roux, have created a unique blend of high-level musi-cianship, physical comedy, singing, dancing, and entertainingarrangements. The audience enjoyed the performance greatlyand gave the group an immediate, enthusiastic standing ova-tion with raucous applause. They delivered an encore andmarched through the crowd while the audience clapped alongto a thunderous, accelerating finish. (SH)

Gordon Goodwin’s Big Phat Band: Jazz Concert

The closing concert of the 2016 ITGConference featured the world-renownedGordon Goodwin’s Big Phat Band. Theeighteen-piece all-star ensemble is com-prised of some of the finest studio musi-cians in the Los Angeles area and has madenumerous recordings and received multi-ple Grammy nominations.

The band’s opening number, Why WeCan’t Have Nice Things, was an up-temposelection that featured outstanding impro-vised solos by alto and tenor saxophones,as well as loads of power from the brass.Don’t Blink featured the band’s guitarist.The trumpet players traded off the open-ing muted soli section with ease, melding

their lines and sounds with seamless precision. Throughoutthe tune, the band—and trumpet section specifically—demonstrated its remarkable ability to play with great energy,yet also with great control.

On Sunset and Vine, the saxophones demonstrated their ver-satility with nimble doubling on flute, and it also featured out-standing improvised solos by tenor saxophone and bass. Band-leader Goodwin recognized lead trumpeter Mitch Cooper,who was playing his first performance with the Big Phat Band,for his outstanding trumpet playing, as well as his “cool glass-es.”

Gordon Goodwin’s Big Phat Band

Jack Sheldon (R) and his personal assistant


The ensemble’s own version of George Gershwin’s familiarRhapsody in Blue was replete with the lead alto player doublingon clarinet for the famous moments of this classic. The leadtrombonist deserves kudos for his beautiful and soaring upper-register cantabile in the lyrical section, and lead trumpeterCooper again shone brightly with his power and projection,particularly on the shakes in the climatic ending.Garage Gato is about Goodwin’s daughter’s domineering cat

who lived for 23 years in the family’s garage. It was obviousthat this was one of the audience’s favorite selections of theevening, as evidenced by many members rising from their seatsto dance in the aisles. Another highlight was the delicate andlyrical Lost in Thought, which showcased the band’s ability toplay softly and sweetly.

The conference program noted that tonight’s concert by theBig Phat Band would be dedicated to celebrating the life andcareer of Jack Sheldon, a legendary American trumpeter andsinger. Toward the end of the concert, ITG Treasurer MarkSchwartz read Sheldon’s impressive biography and welcomedhim to the stage. Aided by a personal assistant, the 84-year-oldSheldon proceeded to play and sing They Can’t Take ThatAway From Me with the band. The most appreciative audiencegreeted this living legend’s performance with an overwhelmingand extended standing ovation that lasted for several minutes.

The band featured the trumpet section with Back Row Poli-tics. All four of the virtuoso players came to the front of thestage for a fiery and thrilling jaunt. With outstanding artistryand creative programming, Gordon Goodwin’s Big Phat Banddemonstrated why it is one of the most sought-after jazzgroups in the world. What a way to end this terrific confer-ence! (JD)


ADDITIONAL PHOTOS





Michael Sachs


John Adler

Bob Malone and Wayne Tanabe



Gordon Goodwin’s Big Phat Band


Jack Sheldon


Balquhidder Music / Glen Lyon Books ScholarshipSeth Johnson, Florida State UniversityTeacher: Chris MooreDonor: Rob Roy McGregor

Best Brass Co. ScholarshipMitchell Weber, Clovis High SchoolTeacher: Keith SacaneDonor: Best Brass Co.

Bill Pfund ScholarshipJesse Baker, Kennesaw State UniversityTeacher: Doug LindseyDonor: Bill Pfund Trumpets

Gard Bags ScholarshipEnrico Solito, Bowling Green State UniversityTeacher: Charles SaenzDonor: Talwar Brothers Ltd

Ken Larsen’s BrassWerks ScholarshipSally Tepper, Baylor UniversityTeacher: Wiff RuddDonor: Ken Larsen’s BrassWerks

Smith-Watkins ScholarshipKayleigh Neff, Boston UniversityTeacher: Terry EversonDonor: Smith-Watkins

SCHOLARSHIP WINNERS






Thompson Music Co. Scholarship #1Anne Linebarger, Florida State UniversityTeacher: Chris MooreDonor: Thompson Music Co.

Thompson Music Co. Scholarship #2Jeremy Bryant, Dollen Middle SchoolTeacher: Betsy Bright MorganDonor: Thompson Music Co.

Chuck Levins Memorial ScholarshipBenjamin Maynard, Ball State UniversityTeacher: Brittany HendricksDonor: Washington Music Center

Bryan and Nancy Goff ScholarshipMichael Moore, University of ArkansasTeacher: Richard RulliDonor: Bryan and Nancy Goff

George Jobe Memorial ScholarshipMatthew Wolfe, McGill UniversityTeacher: Richard StoelzelDonor: George Jobe Trust

Gordon Mathie ScholarshipJohn Drinkwater, McGill UniversityTeacher: Richard StoelzelDonor: Gordon Mathie

Charles Brady Memorial ScholarshipMark Fucito, Kennesaw State UniversityTeacher: Mark FucitoDonor: Phil Pitner

Anatoly Selianin Memorial ScholarshipMelina Catalano, McGill UniversityTeacher: Richard StoelzelDonor: Stephen Chenette

Dino Tofanelli Memorial Scholarship #1Adam Malarich, Rowan UniversityTeacher: George RabbaiDonor: American Fidelity Foundation

Dino Tofanelli Memorial Scholarship #2Stephen Spink, Baylor UniversityTeacher: Wiff RuddDonor: Andrea Tofanelli

Charles Patrick Wristen Memorial ScholarshipTamara Vaughn, Baylor UniversityTeacher: Wiff RuddDonor: Friends and family of Pat Wristen

ITG Legacy Fund ScholarshipDavid Young, Atlantic Community High SchoolTeacher: Veselin BozhilovDonor: ITG Legacy Fund

Michael Tunnell Memorial ScholarshipQuentin Erickson, Eden Prairie High SchoolTeacher: Ben ParkeDonor: Friends and family of Michael Tunnell

Scholarships coordinatorAdam Hayes

Scholarship JudgesTom BarnettJon BurgessJay CobleBrittany HendricksAlan HoodDoug LindseyMax MatzenOscar PassleyJeff PiperAmy SchendelAlan Wenger


COMPETITION WINNERS





2016 ITG Conference Competition Results

Youth Competition: Junior Division (Under 15)Chair: Marc ReedJudges: Karen Gustafson, David Hunsicker, Elisa Koehler,

Aaron WitekFirst place: Thomas PiibeSecond place: Jeremy BryantThird place: Stefan Filip

Youth Competition: Senior Division (15 – 19)Chair: Marc ReedJudges: Jason Bergman, Jennifer Dearden, Stephen Dunn,

Richard TirkFirst place: Daniel ChoiSecond place: Isaac Horwitz-HirschThird place: Yoojeong Kim

Jazz Improvisation CompetitionChair: Jason CarderPreliminary Judges: Alan Hood, Gordon Vernick,

Matthew WhiteFinals Judges: Chuck Findley, Eric Miyashiro, Bobby ShewFirst place: Benjamin SeacristSecond place: Cody RowlandsThird place: Jonathan Dely

Military Band Excerpts CompetitionChair: Amy McCabePreliminary Judges: Nathan Clark, Kevin Gebo,

Brian TurnmireFinals Judges: Davy DeArmond, Matthew Harriman,

Jennifer MarottaFirst place: Forrest JohnstonSecond place: Ryan BrewerThird place: Bret Magnolia

Orchestral Excerpts CompetitionChair: Robert WhitePreliminary Judges: Ryan Beach, Justin Emerich, Rich HarrisFinals Judges: Justin Bartels, Charles Daval, Jeffrey WorkFirst place: Alex MayonSecond place (tie): Christopher Boulais and Tessa Ellis

Solo CompetitionChair: Jason DovelPreliminary Judges: Benjamin Fairfield, Anne McNamara,

Reese LandFinals Judges: Manu Mellaerts, Raquel Rodriquez,

Ronald RommFirst place: Brent ProseusSecond place: Jonathan BrittThird place: Eric Millard


Above: Youth Competition winners, Junior division. L – R: Stefan Filip, 3rd place; Jeremy Bryant, 2nd place; Thomas Piibe, 1st place

Below: Youth Competition winners, Senior division. L – R: Daniel Choi, 1st place; Yoojeong Kim, 3rd place.Not shown: Isaac Horwitz-Hirsch, 2nd place


Above: Jazz Improvisation Competition winners. L – R: Benjamin Seacrist, 1st place; Cody Rowlands, 2nd place; Jonathan Dely, 3rd place

Below: Military Band Excerpts Competition winners. L – R: Forrest Johnston, 1st Place; Ryan Brewer, 2nd Place; Bret Magnolia, 3rd place


Above: Orchestral Excerpts Competition winners. L – R: Alex Mayon, 1st place; Tessa Ellis and Christopher Boulais, 2nd place (tie)

Below: Solo Competition winners. L – R:Brent Proseus, 1st Place; Jonathan Britt, 2nt Place; Eric Millard, 3rd place


Conference Prelude Performances*Indicates Premiere Performances • Groups listed alphabetically

Ball State University Fanfare Trumpet EnsembleDr. Brittany Hendricks, director

Sam Brock, Ben Maynard, Kieran McNamara, Amelia Scanland, Drew Tomasik, Cera Foote

Fanfare from Festive Overture Dmitri Shostakovich“Jupiter” Hymn from The Planets Gustav HolstFanfare for the Common Man Aaron Copland

The Ball State University Fanfare Trumpet Ensemble performed on herald trumpets, complete with red Ball State banners. Theensemble performed with wonderful sound and precision three short passages from well-known orchestral works. (JB)




Ball State University Trumpet EnsembleDr. Brittany Hendricks, director

Sam Brock, Drew Tomasik, Ben Maynard, Amelia Scanland, Cera Foote, Kieran McNamara

Sprightly Drew TomasikSkyview from the Garrison Drew TomasikEn quittant chez moi Drew Tomasik

The Ball State University Trumpet Ensemble started their performance with an entertaining theatrical performance, including someacting and humor, on a piece entitled Sprightly. Drew Tomasik composed all three works performed by the ensemble, and theydemonstrated excellent blend and style, especially with the piccolo trumpet part. The group performed their impressive program frommemory. (AW)

Baylor University “Gold” Trumpet Ensemble Professor Wiff Rudd, director

Cameron Abtahi, Christopher Boulais, John Burton, Brian Mendez, Sally Tepper, Tamara Vaughn

Six pieces breves en duo Jacques Castérède/Rudd

The Baylor University “Gold” Trumpet Ensemble presented a fantastic performance of Wiff Rudd’s arrangement of Six pieces brevesen duo. The group’s homogenous sound was augmented by the use of a variety of colors ranging from a four-valve flugelhorn, to pic-colo trumpet, and even a slide trumpet. The group brought the piece to life with beautiful solo lines and incredible sensitivity to blendand balance. (EM)


Baylor University “Green” Trumpet EnsembleProfessor Wiff Rudd, director

Ryan Fitzgerald, Luke Hoeft, Nathan Little, Ryan McArthur, Ross Mitchell, Stephen Spink, Tammy Voor

Four Movements from Eight Profiles Fisher Tull/Williamson

Baylor University’s “Green” Trumpet Ensemble, comprised of seven freshman, presented an extraordinary performance of four move-ments from Fisher Tull’s Eight Profiles, arranged by Williamson. The group played with rich beautiful sounds both individually andcollectively, showcasing their lyricism, excellent technique, dynamic control, and impeccable intonation. The piece highlighted eachmember of the ensemble with a terrific solo moment interspersed throughout the piece, all leading to a very exciting and triumphantending. (RG)

Boise State University Trumpet EnsembleDr. Alex Noppe, director

Randy Bauer, Cord Breuer, Joseph Johnson, Grace Lytle, Mitch Mikuchonis, AJ Salazar, Alec Scherer, Camas Stredder

Spiral David BiedenbenderDürrenhorn Passage Kevin McKee

The Boise State University Trumpet Ensemble opened with a lively performance of Spiral by David Biedenbender. They followedthat with the long soaring lines and intricate rhythmic motor of McKee’s Durrenhorn Passage. The group played with great style,blend, and sound and set the stage for the thrilling recital to follow. (EM)


California State University, Long Beach, Bob Cole Conservatory of Music Trumpet Ensemble Mr. Rob Frear, director

Tony Belletti, Tatiana Giesler, Dillon Parker, Vincent Sciacca, Nick Wees, Cameron Reeves, Harry Ostrander, James Dahl

Infinite Ascent Erik Morales

Erik Morales’s multi-textured piece was presented by this highly-energized group via a solemn, antiphonal opening that built to a fan-fare-like section. The uptempo and driving subsequent segment led to pulsating climax. The Cal State, Long Beach, Trumpet Ensem-ble provided an inspiring and exciting performance to kick off the conference. (NM)

The Chili BanditsDr. Keith Benjamin, director

Charles Calloway, Daniel Craig, Jeff Curtin, Jon Kratzer, Emily McGinnis, Phillip Olson, Kelsey Shields, Cody Young

Infinite Ascent Erik Morales

This unit from the University of Missouri – Kansas City offered a highly animated send-up of Infinite Ascent. After a beautiful choraleintro, the piece morphed into a fast, spinning-wheel build and culminated into a bursting climax festooned with flourishes. Asupremely animated and invigorated performance. (NM)


Emporia State University Trumpet EnsembleDr. Gary D. Ziek, director

Josh Cook, Bobby Little, Bailey Poage, RJ Horvat, Joe Ruiter, Ethan Dodd, Sammy Beck, Tanner Doty, Mercedes Rodriguez,Robert Nance, Rebecca Lowder, Jacob Rankin (bass), Trevor Landreth (drum set)

Burnin’ Gary D. Ziek

The Emporia State University Trumpet Ensemble, under the direction of Gary Ziek, performed Ziek’s original composition, Burnin’.This lively work for ten trumpets, bass guitar, and drum set was the perfect choice to prepare the audience for the jazz recital to follow.The twelve musicians from Emporia, Kansas, dazzled the crowd with their performance of this technically demanding piece. (CL)

Fairbanks Aurora Trumpet EnsembleDr. Karen Gustafson, director

Dr. Karen Gustafson, Dennis Degnan, Simon Traynor, Courtney Miklos, Allison Stadig, John LaCombe, William Rabun,Aidan Sandel

Fanfare and Alaska Flag Song Bicogo/DusenburyHere’s That Rainy Day Jimmy Van Heusen/OlcottEssay for Six Trumpets Rob Roy McGregor

The ensemble launched into the heraldic Fanfare and solemn Alaskan Flag Song with significant vigor. Dennis Degnan’s featured soloon the Jimmy Van Heusen classic ballad channeled Doc Severinsen with a superb supporting ensemble. Muted trumpets performedthe atonal first section of the contemporary Essay for Six Trumpets, which evolved into a frenetic muted finale. (NM)


McGill University Trumpet EnsembleProfessor Richard Stoelzel and Mr. Francis Laporte, directors

Francis LaPorte, Benjamin Hare, Brent Proseus, David Koch, Johnny Drinkwater, Matthew Wolfe

Birds of Paradise Erik Morales

Under the direction of Richard Stoelzel, the McGill University Trumpet Ensemble delivered an exhilarating performance of Birds ofParadise by Erik Morales. The sextet of four trumpets and two flugelhorns played this dramatic new work from memory. With greatbalance and blend, as well as wonderful sounds from top to bottom, this was certainly one of the finest student performances of theconference. (JD)

Missouri Southern State University Trumpet EnsembleMr. Freddie Green, director

Tyler Jones, Tony Sfortunato, Oliver Smith, Jemetris Brown, Cayla Roanhorse, Austin Kinard, Trevor Berger

Fanfare of the Bells Jennifer Fletcher

The Missouri Southern State University Trumpet Ensemble opened the session with a lively performance of Fanfare of the Bells byJennifer Fletcher. The seven members of the group demonstrated solid rhythmic playing and good balance and phrasing. (LAH)


Northern Arizona University Trumpet EnsembleDr. Stephen Dunn, director

Richard Robles, Chaz Schober, Heaven Bataille, Willem Blakely, Hunter Prather, Johnathon Rockwell, Hank Stevens,Kristopher Tena, Christian Varnam, Freddy Villa Lobos

Three Flagstaff Scenes Stephen Dunn

The Northern Arizona University Trumpet Ensemble performed an exciting new work for trumpet ensemble composed by their direc-tor, Dr. Stephen Dunn. The three short movements showcased the group’s talents, and several members of the ensemble were featuredas soloists throughout the composition. The excellent performance of this new work elicited an enthusiastic response from the audi-ence. (JoB)

Oklahoma State University Trumpet EnsembleDr. Ryan Gardner, director

Cleon Chai, Tyler Murray, Natalie Upton, Ben Miles, Noah Mennenga

Bacchanale from Samson and Delilah Camille Saint-Saëns/Gardner

The Oklahoma State University Trumpet Ensemble performed a very impressive arrangement of Saint-Saëns’ Bacchanale from Sam-son and Delilah. The group’s intonation, musical phrasing, and technical facility were outstanding; they are hallmarks of the impres-sive trumpet ensembles that are coming from Oklahoma State. Performing from memory, each member of the quintet performed ata high level. The audience enthusiastically gave the group a well-deserved standing ovation following the performance. (JaB)


Portland State University Trumpet EnsembleProfessors David Bamonte and Steven Conrow, directors

Logan Brown, Ethan Drakeley, Daniel Fineman, David Nadbornik, Chang Park, Henry Ryals, Alex Schmidt, Michael Suskin

A Walk Amongst Heroes Sean O’LoughlinConcerto Primo La Battaglia Adriano BanchieriGilded Fanfare James M. Stephenson

The Portland State University Trumpet Ensemble performed three compositions as a prelude to Jeffrey Work’s Recital. Directed byprofessors David Bamonte and Steven Conrow, all three pieces complemented each other stylistically, with the ensemble showcasinga wonderful group blend and articulation throughout. (BW)

SC QuartettoRisa Takahashi, director

Risa Takahashi, Akiko Nishimura, Momoka Furuta, Tetsuo Yamada

Country Pictures Vassily Brandt

The SC Quartetto performed a sensitive rendition of Vassily Brandt’s Country Pictures with a warm, full-bodied sound. Each memberof the quartet was evenly matched, and the group exhibited impressive ensemble, expression, and intonation. (EK)


Texas Tech University Trumpet Ensemble Dr. Andrew J. Stetson, director

Marc Lynn Sutton, Clark Preston, Lucas Meade, Christina Weston, Tiffany Sumrow, Pierce Ellison

Dürrenhorn Passage Kevin McKee

The Texas Tech University Trumpet Ensemble performed Kevin McKee’s Dürrenhorn Passage with great vigor and musicality. Thegroup displayed facile execution and showcased a notably collaborative spirit. (RR)

Thornton Trumpet Ensemble from the University of Southern CaliforniaMr. Boyde Hood, director

Andrew Rodman, Bryce Schmidt, Ernesto Montoya, Ellen Shinogle, Jonathan Kang, Michael Kallin, Young Min Kim, Najung Kim

Lux Litourum Frederick Lesserman

The Thornton Trumpet Ensemble from the University of Southern California, under the direction of Boyde Hood, provided the prel-ude to the Ray Burkhart lecture recital. The trumpet ensemble performed a brief Olympic fanfare, which was followed by Lux Litou-rum by Frederick Lesserman. The student performers were well prepared and conveyed remarkable energy throughout the perform-ance. (AH)


United States Army Materiel Command Trumpet EnsembleSSG Jeremy Morrison, director

SSG Jeremy Morrison, SGT Clint Brandau (bass drum), SGT James Old, SGT Adam Walton (snare drum), SPC David Dorfman,SPC Joshua Symborski

A Soldier’s Fanfare Williams/Kamen/Isham/OldBugles and Drums Huffer/Sousa/Brockenshire et al/Old

The United States Army Material Command Trumpet Ensemble, consisting of four trumpets and two percussionists, first performedA Solider's Fanfare, demonstrating heroic fanfares and beautiful lyricism. Their second selection was Bugles and Drums, combiningtheir sterling sounds with effective militaristic choreography. The ensemble performed their program from memory and with pinpointprecision. (JD)

University of Florida Trumpet EnsembleDr. Randolph Lee, director

Aaron Lovelady, Brantley Daniel, Lucas Owen, Josh Drourr, Brooks James, Sean Bocinsky

Ruslan and Ludmila Overture Mikhail Glinka/Morales

The University of Florida Trumpet Ensemble began with a spirited and energetic performance of Erik Morales' arrangement of Glin-ka's Overture to Ruslan and Ludmila. Two players on rotary piccolos meshed nicely with the rest of the group for a sparkling, well-blended, sound. Congratulations are in order for a great rendition of an extremely technical and virtuosic work. (AN)


University of Lethbridge Trumpet EnsembleDr. Josh Davies, director

Aaron Ryan, Brandon Chernow, Max Gunther, Jordan Tomlinson, Alex Barbieri, Jeff Ouellette, Eileen Humble, Laura Ferguson

Metallic Fury Erik Morales

The University of Lethbridge gave an exciting performance of Erik Morales’s Metallic Fury. This energetic piece is well suited for thisensemble of strong undergraduate students from Lethbridge, Canada. They were at their best in the forte passages that brimmed withexuberance and passion. Congratulations to Dr. Josh Davies, their teacher, and the ensemble who represented Canada in a very dig-nified manner. (JaB)

University of Louisiana at Monroe Trumpet EnsembleDr. Aaron Witek, director

Kyle McLean, Arron Wixson, Kody Jernigan, Nate Nasworthy, Benjamin Rhodes, Jeremy Jackson

Prelude and Fugue Eric Ewazen* Celebration Aaron Witek

The Opera First Trumpets Panel Discussion was introduced by a wonderful performance by the University of Louisiana at MonroeTrumpet Ensemble, coached by Dr. Aaron Witek. They began their program with Eric Ewazen’s Prelude and Fugue, showcasing theirpowerful sound and great ability to blend. They concluded with the world premiere of Celebration, a work composed by Witek. Thistrumpet ensemble provided a rousing start to a very important panel discussion. (DM)


University of Missouri Trumpet SextetDr. Iskander Akhmadullin and Mr. Taylor Gustad, directors

Austin Walker, Tyler Kaiser, Ethan Cartee, Taylor Gustad, Adam Matejek, Brady Schach

Dürrenhorn Passage Kevin McKee

The University of Missouri Trumpet Sextet performed Kevin McKee's fast-paced and virtuosic Dürrenhorn Passage. With a nice com-mand of their instruments and big sounds from the entire group, they navigated through McKee's rhythmically tricky passages withease and showed a nice sense of ensemble unity. Congratulations to a fine group of young musicians! (AN)

University of Missouri-Kansas City Trumpet Ensemble Dr. Keith Benjamin and Mrs. Jennifer Fox Oliverio, directors

Jennifer Fox Oliverio, Abby Altman, Alex Caselman, Ryan Anderson, Meagan Conley

X1 Erik Morales

Under the direction of Keith Benjamin and Jennifer Fox Oliverio, the University of Missouri-Kansas City Trumpet Ensemble gavean energetic performance of Erik Morales's X1. Choosing an ambitious tempo for the opening, playing beautifully in the lyrical middlesection, and finishing with an exciting conclusion, the quintet delivered a very enjoyable performance. (JD)


University of Nevada – Las Vegas Trumpet EnsembleDr. Barbara Hull, director

Casey Bibiano, Juanpablo Macias, Bronson Pascual, Julio Vargas-Guerra, Michael Weber, Avery Yonehiro

Csárdás Vittorio Monti/Hull

A series of powerful sequential solo entrances and cascading echoes launched the performance of this classic melody. The ensemblethen engaged in a slower, more melancholic second segment. Piccolo trumpets highlighted the final portion of the piece, which ulti-mately transitioned into a frenetic pace and resounding finale. (NM)

University of North Dakota Trumpet EnsembleDr. Ronnie Ingle, director

Alex Tally, Christiena Taralson, Mark Van Camp, Michael Morrissey, Alaynee Van Ornum, Evan Ouderkirk, Kyle Matthees

Traffic Dance Christopher Gable

The University of North Dakota Trumpet Ensemble, under the direction of Dr. Ronnie Ingle, performed Christopher Gables’ TrafficDance. This piece, written for five trumpets and two flugelhorns, cleverly imitated some of the sounds that one might hear in traffic--dissonant honking horns being the most obvious. The piece features muted solos from all members of the ensemble, including theflugelhorn players. Much of the piece, including its exciting conclusion, was in 7/8 meter, a device that helped to move the piece for-ward with a drive that it might not otherwise have. The members of the ensemble provided the audience with a spirited and energeticperformance. (CL)


University of Oklahoma Trumpet EnsembleDr. Karl Sievers and Ms. Christi Wans, directors

Christi Wans, Ben Hay, Lindsey Jessick, Tyler Chargualaf, Talitha Cook, Christopher Black, Larry Burroughs, James Monroe

Intrada Dramatica Joe PriceLocus Iste Anton Bruckner/Hay

The invigorated University of Oklahoma Trumpet Ensemble launched into a truly dramatic and dynamic performance of IntradaDramatica. Fanfares and martial textures were followed by a more solemn second section, and all were played superbly. The morereserved and Germanic Locus Iste was expressive and quite moving. Overall, a terrific performance! (NM)

University of Redlands Trumpet EnsembleDr. David Scott, director

Kenny Taber, Brandon Hansen, Jake Ferntheil, Katrina Smith, Matthew Richards

Suite for Five Trumpets Ronald Lo Presti

The University of Redlands Trumpet Ensemble, directed by Dr. David Scott, began the program by performing the Suite for FiveTrumpets by Ronald Lo Presti. This three-movement classic of the trumpet ensemble repertoire was given an admirable reading bythe Redlands ensemble. (JE)


Virginia Commonwealth University Trumpet EnsembleDr. Taylor Barnett and Mr. Stephen Moser, directors

Stephen Moser, Jonathan Forbes, Aaron Bottoms, Cameron Bessicks, Ryne Siesky

Amazing Grace Traditional/GrantPrelude in G Minor Sergei Rachmaninoff/Moser

The Virginia Commonwealth University Trumpet Ensemble, directed by Dr. Taylor Barnett and Mr. Stephen Moser, opened withan imaginative, somewhat pointillistic version of Amazing Grace, followed by Prelude in G Minor by Rachmaninoff, skillfullyarranged by ensemble member Stephen Moser. (LAH)


The 2016 ITG Conference Reporting Team

Jason Bergman (JaB) is assistant professor of trumpet at theUniversity of North Texas. He also serves as principal trumpetof the Mobile Symphony Orchestra and regularly performswith the Dallas Winds, Dallas Opera, and Dallas SymphonyOrchestra.Jon Burgess (JoB) is the Pedagogy column editor for the

International Trumpet Guild Journal. He is professor of trum-pet at Texas Christian University.Davy DeArmond (DD) is trumpet instrumentalist with the

United States Naval Academy Band and serves on faculties ofThe Catholic University of America, Washington College, andAnne Arundel Community College.Jason Dovel (JD) is assistant professor of trumpet at the

University of Kentucky. He has recently released two CDs: LostTrumpet Treasures, a solo album, and Competition Pieces forTrumpet Ensemble with the UK trumpet ensemble.John Ellis (JE) is professor of trumpet at the Crane School

of Music, State University of New York at Potsdam, and is aYamaha performing artist.Ryan Gardner (RG) is associate professor of trumpet at

Oklahoma State University. He is an avid performer andserves as the New York and Los Angeles artistic coordinator forMusic for Autism.Scott Hagarty (SH) is a member of the Victoria and Corpus

Christi Symphony Orchestras, a founding member of the Cor-pus Christi Brass Quintet, and associate professor of trumpetat Del Mar College in Corpus Christi, Texas.Adam Hayes (AH) is chair of Conference Scholarships and

editor of Youth Solo Reviews for the International TrumpetGuild. He is associate professor of trumpet at Berry College inRome, Georgia.Brittany Hendricks (BH) is assistant professor of trumpet at

Ball State University in Muncie, Indiana, where she runs thetrumpet studio and directs the Fanfare Trumpet Ensemble. Inaddition to her work on campus, she maintains an active per-formance schedule as a soloist and as principal trumpet of theMuncie Symphony Orchestra and the Da Camera Brass Quintet. Leigh Anne Hunsaker (LAH) is professor of trumpet at

Hardin Simmons University in Abilene, Texas. She performson modern and period instruments and is a founding memberof Texas Baroque Trumpets. She has published and presentedpapers in the arts medicine field and has written on theBaroque trumpet revival.Elisa Koehler (EK) is associate professor of music and direc-

tor of the Center for Dance, Music and Theatre at Goucher

College. She is the author of Fanfares and Finesse: A Performer’sGuide to Trumpet History and Literature (Indiana University Press)and has served as an ITG conference reporter since 2004.Charles Leinberger (CL) is an associate professor of music at the

University of Texas at El Paso, where he teaches various classes inmusic theory and film musicology. He is also a freelance trumpetplayer.Raven Mestas, editorial assistant, is an undergraduate trumpet

student at Loyola University of New Orleans, studying with Dr.Nick Volz.Eric Millard (EM) is currently pursuing a DM degree at Florida

State University. He previously completed his MM At Florida Stateand his BM at the University of Kentucky.Nick Mondello (NM) is a freelance trumpeter, author, educator

and clinician. He studied at the Berklee School of Music and hasworked privately with Carmine Caruso, Ray Crisara, Bobby Shew,and Laurie Frink.Derrick Montgomery (DM) received a Master of Music degree

in trumpet performance at Florida State University in 2015. Nowin demand as a freelance musician, he has played with the North-west Florida Symphony Orchestra, the Sinfonia Gulf Coast, theNew Atlanta Philharmonic, and the Hollywood Concert Orchestraon their 2015 – 2016 tour of China.Alex Noppe (AN) is assistant professor of trumpet and director

of jazz studies at Boise State University. He is a founding memberand resident composer/arranger for the Mirari Brass Quintet.Raquel Rodriquez (RR) is assistant professor of trumpet at Ten-

nessee Tech University and is the Trumpet Technology columneditor for the International Trumpet Guild Journal.Richard Tirk (RT) is associate professor of trumpet and jazz at

Southwestern Oklahoma State University. He is an active trum-peter in the Oklahoma City area and has performed in recital onfive continents. Tirk previously served on the faculties of BethelCollege (Kansas), and Luther College.Brian Walker (BW) is assistant professor of trumpet at Tarleton

State University. He serves ITG as chair of the Recordings ProjectsCommittee and co-chair of the Video Projects Committee.Spencer Wallin (SW) has performed with the Detroit Symphony

Orchestra and the Utah Symphony Orchestra. He recently graduat-ed from the University of Michigan (MM) and is currently pursuinghis DMA in trumpet performance at the University of North Texas.Joseph Walters (JW) is in his sixteenth year as the layout profes-

sional for the ITG Journal and performs as principal trumpet in theAlbuquerque Philharmonic Orchestra.Aaron Witek (AW) is the Emy-Lou Biedenharn Endowed Chair

in Music and instructor of trumpet at the University of Louisianaat Monroe, where he is a member of the Black Bayou Brass. Hemaintains an active performance schedule as principal trumpet in

SUPPLEMENTARY INFORMATION






the Monroe Symphony Orchestra and second trumpet in Sin-fonia Gulf Coast.Jodi Graham Wood, proofreader, is lecturer of horn at the

University of South Alabama in Mobile and is Assistant Edi-tor/Principal Proofreader of the ITG Journal.Peter Wood (PW), completing his third year as ITG Publi-

cations Editor, is professor of trumpet at the University ofSouth Alabama and plays in the Mobile Symphony Orchestra.

2016 ITG Conference PhotographersMichael Anderson is the ITG Website director and head

photographer for the conference. He serves as professor oftrumpet at Oklahoma City University and is a member of theOklahoma City Philharmonic.Norman Bergstrom has been a member of the Blawenburg

(New Jersey) Band trumpet section since 1962. He is also thephotographer for the Nova Orchestra in West Windsor, NewJersey.Eric Berlin is principal trumpet of the Albany Symphony

and Boston Philharmonic Orchestras, associate principaltrumpet of the Colorado Music Festival Orchestra, and amember of the Boston Modern Orchestra Project. He is pro-fessor of trumpet at the University of Massachusetts Amherst.Del Lyren is professor of trumpet and jazz at Bemidji State

University. He has been active in many aspects of ITG, includ-ing co-hosting the 2011 conference in Minneapolis.Denny Schreffler has been a professional trumpet player for

fifty years and a curious photographer nearly that long. “It’smore fun practicing on a Nikon than on a Benge.”

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Griego MouthpiecesThe Horn GuysHub van Laar Trumpets & FlugelhornsHusonicsInternational Trumpet Guild 2017 ConferenceInternational Trumpet Guild Jaeger Brass and Recreational MusicianJames R. NewJupiter Band InstrumentsKanstul Musical InstrumentsKen Larson’s BrassWerksKrinner Instrumentenbau—Rotary Trumpets & FlugelhornsMaller Baroque Brass InstrumentsMarcinkiewicz Co. Inc.Michael Thomas Music / Burbank Trumpet—Bush

MouthpiecesP. Mauriat TrumpetsPickett BrassPremiere PressProtecPurtle.comQuintessential Brass RepertoireRaw Brass TrumpetsRobinson’s RemediesScherzer and B&SSchilke Music ProductsS.E. ShiresSmith Watkins TrumpetsSoulo MuteStomvi USATheodore Front MusicThompson Music Co.Tom Crown Mute CompanyTorpedo BagsTrumcor, Inc.Trumpet DynamicsUltra-Pure OilsUS Army Band RecruitingWarburton Music ProductsWeimann German Trumpets & FlugelhornsWoodwind & BrasswindYamaha Corporation of America

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SIlVER SpOnSORBill Pfund Trumpets

Conference Program Book AdvertisersA “minor” Tune Up Custom Trumpet ShopAdams BrassBill Pfund TrumpetsBlackburn TrumpetsBrass HeraldCalifornia State University / Bob Cole Conservatory of MusicCannonball Musical InstrumentsCarolBrass


Chuck Levin’s Washington Music CenterCloudEasy4Curry MouthpiecesFacet MutesFrost Custom BrassHickman Music EditionsHub van Laar Trumpets & FlugelhornsiClassical AcademyInternational Trumpet Guild Conference 2017Jeff PurtleKanstul Musical InstrumentsMark Reese / Reese PiecePickett BrassSchilke Music ProductsS.E. ShiresSmith Watkins TrumpetsSoulo MuteTriplo PressTrumpetbook.comTrumpetology.comUniversity of Hartford / Hartt SchoolWarburton Music ProductsWeimann German Trumpets & FlugelhornsYamaha Corporation of America

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