special supplement to the international trumpet guild...

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

International Trumpet Guild® Journal

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THE 2016 INTERNATIONAL TRUMPET GUILDCONFERENCE, ANAHEIM, CALIFORNIA

SPECIAL DAILY REPORT • COMPILED BY PETER WOOD

WEDNESDAY, JUNE 1, 2016

http://www.trumpetguild.org

Wednesday, June 1Today was the first full day of the conference and was trulyfantastic! 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 StateUniversity 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

2 ITG Journal Special Supplement © 2016 International Trumpet Guild

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

THE 2016 INTERNATIONAL TRUMPET GUILDCONFERENCE, ANAHEIM, CALIFORNIA

SPECIAL DAILY REPORT • COMPILED BY PETER WOOD

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

© 2016 International Trumpet Guild ITG Journal Special Supplement 3

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 ofbeginning 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 ofletting 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 NorthDakota 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 LosAngeles, 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 makingduring 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 HermonMehari 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 gatheredfor 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 informalevent 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 grandballroom 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

41ST ANNUAL CONFERENCE OF THE INTERNATIONAL TRUMPET GUILD

MAY 31 – JUNE 4, 2016 • ANAHEIM, CALIFORNIA




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 21David Wooden 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


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 theUnited 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 theUniversity 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 Schoolof Music, State University of New York at Potsdam, and is aYamaha performing artist.Ryan Gardner (RG) is associate professor of trumpet atOklahoma 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 CorpusChristi 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 andeditor 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 atBall 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 atHardin 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 GoucherCollege. She is the author of Fanfares and Finesse: A Performer’s

Guide 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 theUniversity of Texas at El Paso, where he teaches various classes inmusic theory and film musicology. He is also a freelance trumpetplayer.Eric Millard (EM) is currently pursuing a DM degree at FloridaState University. He previously completed his MM At Florida Stateand his BM at the University of Kentucky.Nick Mondello (NM) is a freelance trumpeter, author, educatorand 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 degreein 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 directorof 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 atSouthwestern 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 TarletonState 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 SymphonyOrchestra 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 Chairin 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 inthe Monroe Symphony Orchestra and second trumpet in SinfoniaGulf Coast.Peter Wood (PW), completing his third year as ITG Publica-tions Editor, is professor of trumpet at the University of South Ala-bama and plays in the Mobile Symphony Orchestra.

SUPPLEMENTARY INFORMATION






2016 ITG Conference PhotographersMichael Anderson is the ITG Website director and headphotographer 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 Symphonyand 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 StateUniversity. 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 forfifty years and a curious photographer nearly that long. “It’smore fun practicing on a Nikon than on a Benge.”

2016 ITG Conference ExhibitorsA “minor” Tune Up Custom Trumpet ShipAdams Musical InstrumentsAR ResonanceArturo SandovalAustin Custom BrassBalquhidder Music / Glen Lyon BooksBERP & Co.Best Brass CorporationBlackburn TrumpetsBob Reeves BrassBill Pfund TrumpetsBrass HeraldBrasstactic!Brazilatafro-Gabriel Rosati MusicCannonball Musical InstrumentsCarolBrassChuck Levin’s Washington Music CenterConn-SelmerDel Quadro Custom TrumpetsEastman Music Co.Editions Robert MartinEdwards Instrument CompanyEric Bolvin Music StudiosFacet MutesFrate Precision MouthpiecesGard BagsGaribaldi Musical InstrumentsGetzen Company Inc.Griego MouthpiecesThe Horn GuysHub van Laar Trumpets & FlugelhornsHusonicsInternational Trumpet Guild 2017 ConferenceInternational Trumpet Guild Jaeger Brass and Recreational MusicianJames R. NewJupiter Band Instruments

Kanstul Musical InstrumentsKen Larson’s BrassWerksKrinner Instrumentenbau—Rotary Trumpets & FlugelhornsMaller Baroque Brass InstrumentsMarcinkiewicz Co. Inc.Michael Thomas Music / Burbank Trumpet—BushMouthpiecesP. 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

Conference SponsorsPlAtinUM SponsorsWarburtonYamaha Corporation of America

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 InstrumentsCarolBrassChuck Levin’s Washington Music CenterCloudEasy4Curry MouthpiecesFacet MutesFrost Custom BrassHickman Music EditionsHub van Laar Trumpets & FlugelhornsiClassical AcademyInternational Trumpet Guild Conference 2017


Jeff 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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