Special Supplement to the

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http://www.trumpetguild.orgPlease retain this cover sheet with printed document.

THE 2015 INTERNATIONAL TRUMPET GUILDCONFERENCE, COLUMBUS, OHIOSPECIAL DAILY REPORT • COMPILED BY PETER WOOD

WEDNESDAY, MAY 27, 2015

[Note: this article contains Enhanced Graphics—click on anyphoto with a blue border, and your web browser will take you toan online display of that photo in full size and resolution. Youmay also find additional photos of the event of interest.]

Wednesday, May 27This  first  full day of  the conference was  replete with great

concerts, clinics, and masterclasses, as well as numerous oppor-tunities  for  socializing  and  connecting with  friends new andold. The many exhibit booths were very well attended, and thisentire hotel is truly “abuzz” with trumpet activity! Everythinghas been well organized, and participants seem to have plentyof time to get from one session to another. It has been a superfirst day, and we all look forward to what is to come over thenext three!

Joe Bowman—Warm-up SessionJoe Bowman was energetic and excited to present his warm-

up routine to a full room of early risers. Throughout his dis-cussion, he emphasized the importance of resting as much asyou play in your warmup. This helps circulate blood and stim-ulates the lips. As importantly, Bowman stressed that there isno “right way” to warm up, but, rather, that it is essential tofind a routine that touches on everything you will need for theday.  The  stages  of  his  warmup  include  breathing  exercises;loosening up with low buzzing, scales and arpeggios, flexibility,and tonguing; and ending by covering anything else he might

need for the day (such as other horns, mental preparation, etc.).Bowman took the participants through his own routine by dis-cussing, demonstrating, and having everyone participate. Thepresentation was helpful  and  informative  in guiding a  struc-tured warmup that is flexible for players of all levels. (EM)

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THE 2015 INTERNATIONAL TRUMPET GUILDCONFERENCE, COLUMBUS, OHIOSPECIAL DAILY REPORT • COMPILED BY PETER WOOD

Joe Bowman and Judith Saxton

© 2015 International Trumpet Guild ITG Journal Special Supplement 3

Rich Illman—Yoga for Trumpet PlayersRich Illman, recently retired trumpet professor at Michigan

State University  and  faculty  sponsor of  the MSU Yoga Club,woke up a group of ITG attendees with a series of breathingexercises and stretches. Illman began by addressing misconcep-tions  of  yoga  and  emphasizedincreasing  breath  and  bodyawareness  and  learning  how  torelax as primary goals. The groupwas  led  through  a  three-partbreath  and  a  chest-expandingbreath  in order  to  increase  lungcapacity.  The  trumpeters  weremade aware of how to stand withcorrect alignment, working fromthe  feet  to  the head. A  series ofsix  approachable  spine  move-ments were presented  and prac-ticed. These movements  includ-ed  standing  spinal  twists  andvariations, cat/dog (also know ascat/cow), and side-to-side move-ment (lateral flexion of the spine).Participants  left  with  a  greaterknowledge  of  yoga  and  withmore  tools  to  release  tension,expand  lung  capacity,  andapproach  the  instrument  moreefficiently. (BB)

David Klein—The Use of theTrumpet, Cornet, and

Flugelhorn in TraditionalMusic and Folk Music

Inspired  by  his  research  ofKlezmer  Music,  David  Klein

gave  a  fascinating  presentationon the role of the trumpet, cor-net, and flugelhorn in tradition-al and folk music, which contin-ues  to be  shared  internationallythrough  educational  workshopsand festivals. Stemming from anaural  tradition,  folk  music  wasoften  used  for  celebrations  anddances.  The  trumpet’s  role  infolk music  evolved  into  greaterprominence  with  the  inventionof  valves,  including  the  use  ofboth  rotary  and  piston  instru-ments.  Klein  discussed  orna-mentation, rhythmic interpreta-tion,  and  time  signaturesthrough  various  styles  of musicincluding  polka,  mariachi,Klezmer,  and  bluegrass.  Kleinprovided a comprehensive expe-rience  by  playing  traditionalrecordings and by also introduc-ing  the  audience  to  new  mod-ern-day  artists.  Progressive

musicians have now infused traditional and folk elements withjazz, changing instrumentation, using specific chord and scalarprogressions, and even incorporating quarter tones. (RG)

K.O. Skinsnes, Rod Noftsger,and Jim Manley—Trumpetplaying, hearing loss, and

frickin’ science: Using acousticscience to make playing easier

and extend your career!K.O.  Skinsnes,  president  of

Stomvi USA, provided a fascinat-ing presentation on noise expo-sure  and  hearing  protection.Skinsnes introduced Rod Nofts-ger,  a  board  certified  hearinginstrument  specialist.  Noftsgerdescribed  how  the  ear  works,how  sound  is  measured,  andhow we, as trumpet players, areexposed  to  and  affected  by  dif-ferent  decibel  levels.  Skinsnesthen  provided  staggering  dataregarding  the  decibel  levels  towhich  we  are  exposed.  Forexample, a test revealed that onecan be exposed to approximately3200% of  daily  safe  exposureover a six-hour time period in anITG  conference  exhibit  room.Tips for protecting one’s hearingwere provided, including the useof professional  ear plugs, givingthe hearing a chance to rest, and,surprisingly,  becoming  a  moreefficient player, enabling one to

The yoga session

David Klein

4 ITG Journal Special Supplement © 2015 International Trumpet Guild

hear better  from behind  the horn.  Jim Manley  then  stressedrelaxation and the importance of finding the right equipment.Audience  members  truly  appreciated  the  need  to  protect  amusician’s greatest asset—the ears. (DD)

Gordon Mathie—Comeback Player Masterclass“Music is my life” was the basis of Gordon Mathie’s master-class. Mathie spoke to the well-attended session about his earlyyears in teaching and performing. Stacy Simpson was the firststudent  about  whom  Mathie  spoke  in  the  session.  Hedescribed her injury after a car accident and how, with her firm

determination,  she  was  able  toovercome  serious  debilitatinginjuries.  Simpson  was  in  atten-dance  and  gave  a  testimonialabout  her  journey  to  recoveryfrom  her  lip  issues  and  howMathie assisted her through thisdifficult  time.  She  mentionedthat  his  book,  Drudgeries, wasparticularly  helpful.  Anothersubject  was  a  student  namedTammy. She had been involvedin  a  car  accident  that  left  herwith  a  serious  shoulder  injury.She was  also  present  and  spokeabout how Mathie was  “a  greattroubleshooter.” The masterclassincluded further words of admi-ration  from  Peter  Voisin,  Mal-com McNab,  and Cathy  Leach.The  session  ended with Mathieworking with a few students andwas  filled  with  Mathie’s  signa-ture humor and wit. (RR)

Judith Saxton—Alexander Technique

An estimated 200 people gath-ered in the Delaware room for Judith Saxton’s presentation onthe Alexander Technique. She began by polling the group todetermine the level of experience everyone had with the prac-tice.  A  large  number  were  new  to  the  subject,  so  Saxton

K.O. Skinsnes (L) and Jim Manley

Gordon Mathie instructing Paul Kurtz Judith Saxton

© 2015 International Trumpet Guild ITG Journal Special Supplement 5

defined and provided the history ofthe Alexander Technique. She thenproceeded  to  guide  the  massivegroup  through  different  exercisesthat  incorporate  body  and  mindobservation, inhibition, and aware-ness.  Participants  learned  to  gainawareness  of  themselves  and  tomake observations in others as well.Saxton  spoke  about  how  to  com-bine the practice of body awarenessinto playing the trumpet and otherdaily activities. Through awarenessand  acknowledgement  of  eachindividual’s  habitual  patterns,  theattendees left with a greater knowl-edge of efficiency and the  integra-tion of the whole self. (BB)

Jack Sutte MasterclassAttendees of Jack Sutte’s masterclass were challenged to find

balance within music and the trumpet. Varying his daily prac-tice  routine  is  important  to  Sutte  and  leads  to  the  balancedapproach  to  which  he  strives.  He  recounted  learning  thisprocess  from his  teachers,  Frank Kaderabek, Ray Mase,  andChris Gekker, by working on fundamentals, etudes, solo andchamber  music,  and  orchestral  excerpts.  He  found  that,  bypracticing just enough of each type of music every day, he wasdeveloping a solid foundation in all aspects. Other tips fromthe Cleveland Orchestra veteran included relying on strengthswhile addressing weaknesses, starting every day on a differentnote,  singing  through  the  trumpet,  “resting while  you  play,”and  being  creative  with  the  usual  things.  Throughout  hiscareer, Sutte has learned to extend this balance to his personallife, juggling family, teaching, solo work, and chamber oppor-tunities, along with his orchestral work. His perspective on thisbalanced life approach resonated well with the captivated audi-ence. (DD)

Duo Brass Recital—David Brubeck, trombone, withCraig Morris, Marc Reese, Peter Wood,

and Jason Carder, trumpetsInspired by the tradition of great duo music, bass trombon-

ist and composer David Brubeck, with his trumpeter colleagueBrian Neal,  arranged  several  famous works  for  trumpet  andtrombone.  Brubeck  played  bass  trombone  throughout  therecital,  alongside  an  all-star  cast  of  trumpeters  that  includedMarc  Reese,  Craig  Morris,  Peter  Wood,  and  Jason  Carder.The recital featured a wide variety of music, including worksby Bach, Beethoven, Dowland, and Gliere, as well as a com-mission by Ney Rosauro for Brubeck and Morris. Brubeck alsoarranged jazz charts by Chick Corea and Horace Silver, whichfurther  highlighted  the  power  of  this  duo  combination.Brubeck writes opportunities for each player to be the soloist,to accompany, to weave in and out of the melodic texture, andto play as an equal duo member, thus making his music excit-ing  to  listen  to  and  play.  The  recital  was  a  true  exhibit  ofartistry and style by the whole cast of players. (RG)

Nadje Noordhuis Jazz RecitalAustralian trumpeter Nadje Noordhuis and her quartet pre-

sented a program of original compositions. Written in a vari-ety of styles, ranging from contemporary jazz (Water Crossing)

Jack Sutte

Peter Wood (L) and David Brubeck at the Duo Brass Recital

Nadje Noordhuis

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to tango (Le Hameau Omi) and blues (Blues for Bix),it  is  clear  that Noordhuis’s musical  talents  extendfar  beyond her  great  skill  as  a  trumpeter. Able  tonavigate the challenges of these different styles withease, the ever-present lyricism of her improvisations,regardless of the technical challenges, made for anengaging  performance.  Noordhuis  is  a  truly  out-standing trumpet player and musician whose pop-ularity  will  no  doubt  continue  to  grow  over  thecoming years. (JaCr)

Recital—Jack Sutte with Jesse McCormick, horn, and Rick Stout,

tromboneSutte grabbed the audience’s attention from the

beginning with an exciting piece entitled Fanfare byIIana Rainero-de Haan. Adding a  variety of  acro-batics and effects to the program was Jacked!, whichwas written for Sutte in 2013 by Paul Rudy. Clos-ing  the  first  half  were  two  original  compositionsthat were written for his children as Christmas pres-ents—The Creative Juggler and Happy Song. Hor-nist  Jesse McCormick  and  trombonist Rick Stoutjoined  Sutte  for  the  second  half  of  the  program.Founded in 2012, this Factory Seconds Brass Triodemonstrated a wide variety of  colors, blend,  andmusical  sensitivity. The trio opened with a multi-movement work entitled Trasimeno, by David Loeb.The  program  continued with Robert  Pound’s  thestillness of killing, inspired by Robert Dickey’s poem“Approaching  Prayer.” Wrapping  up  the  programwas an original composition of Sutte’s,entitled The Opener. (WK)

Craig Morris MasterclassCraig  Morris  began  his  masterclass

by playing  the Sarabande  from Bach’sflute Partita. He began the session witha  solo  piece  to  focus  on  the  topic  ofmusic  making  and  discussed  differentstrategies  to  enhance  a  musical  per-formance.  He  also  suggested  listeningto many types of music, with a score ifat all possible, to assist with interpreta-tion and experimentation. Morris stat-ed  that  trumpeters  tend  to  focus  toomuch  on  technical  matters  when  itcomes  to  music  making.  He  usedBach’s  music  as  an  example  to  showthat,  despite  not  having  “instructions,”one must interpret what the composerwanted.  He  spoke  about  finding  andcommunicating  the  character  of  themusic  and  listening  to  a  composer’sother music, as well as that of his con-temporaries,  to  facilitate  the  process.Morris ended the masterclass by work-ing with a  student on  Joseph Turrin’sCaprice.  The  masterclass  showcasedMorris’s skills as a superlative musicianand master teacher. (RR)

Jack Sutte in recital

Craig Morris instructs a student

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Ensamble 7/4—RecitalComprised  of  four  trumpeters  and  three  rhythm  section

players  (bass,  drums,  and  guitar),  the  members  of  Ensam-ble 7/4  are  all  products  of  the Venezuelan music  educationprogram  El Sistema, from  which  Gustavo  Dudamel,  famedmusical  director  of  the  Los  Angeles  Philharmonic,  emergedonto the international stage. Today’s concert featured originalarrangements  of Latin American  folk  songs,  dances,  popularmusic,  and  jazz,  all  of which were  per-formed impeccably from memory. Fromhauntingly beautiful melodies played onflugelhorn to fiery trumpet passages andbrilliant  piccolo  trumpet  playing,  themusical talents of these young musicianswere highly evident and showed a musi-cal maturity  and virtuosity well beyondtheir years. Ensamble 7/4 was thorough-ly enjoyed by all! (JK)

ITG Orchestral Excerpts CompetitionFinals

The final round of the ITG OrchestralExcerpts Competition featured competi-tors Tom Darlington, Ryan Brewer andGrant Smiley. The finalists were asked toperform a list of excerpts from a varietyof orchestral repertoire. The competitionbegan with Ohio native Tom Darlington.His performance was highlighted by hiscrystal  clear  tone  and  easy  approach  tothe  instrument. This was  especially  evi-

dent  during  his  performance  of  the  famous  solo  fromDonizetti’s Don Pasquale. The next competitor to perform wasRyan Brewer. A native of Ft. Worth, Texas, Brewer’s playingwas solid from top to bottom. His performance was accurateand  confident,  highlighted  by  his  fine  performance  of  theexcerpt from the fourth movement of Brahms’s Symphony No.2.  The  final  competitor  was  Kansas  native  Grant  Smiley.Throughout  his  performance,  Smiley  demonstrated  a  fluid

Ensamble 7/4

Orchestral Excerpts Competition finalists and judges. L – R: David Dash, Matthew Ernst,Ryan Brewer, Tom Darlington, Grant Smiley, Jeff Korak

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and musically engaging approach  to  the orchestral  repertoire.The highlight of his audition was his nearly flawless perform-ance of the infamous first trumpet part from the fifth move-ment  of  Bartok’s  Concerto  for  Orchestra.  Winners  of  thiscompetition will be announced at the President’s Awards Ban-quet on Saturday night. (JaCr)

Yigal Meltzer RecitalYigal Meltzer,  principal  trumpet  of  the

Israel Philharmonic  since 2001, began hisrecital (along with fantastic pianist MiriamHickman) with Vincenzo Bellini’s Concer-to in E-flat for Oboe, performed with light-ness and ease on the piccolo trumpet. Nextwas Pavel Ben Haim’s Three Songs WithoutWords, the  first  of  two  works  by  Israelicomposers. Meltzer played with a beautifuland expressive tone that evoked the plain-tive  and  improvisatory  character  of  thispiece. Robert Henderson’s Variation Move-ments for trumpet alone, consisting of fivetightly  constructed  and  technically  chal-lenging movements, was given an effortlessand  effective  performance.  Next,  Hin-demith’s Sonata was played powerfully, yetwithout being overbearing. The final work,a  sonata  by  Israeli  Theodore  Holdheim,was sprightly in the opening, lyrical in themiddle, and fleet-footed and good-naturedin the finale. Altogether, this program hadthe potential for a lot of obvious “trumpetwork.” Meltzer dispatched everything withease  and  efficiency  in  the  service  of  com-mitted and beautiful music making.(NeMu)

College Student Meet and GreetA large crowd of college students

flocked  to  the  food  court  to  takeadvantage  of  an  opportunity  tomeet  and  mingle  with  each  otherwhile  enjoying  a  free  meal  (everycollege  student’s  dream!).  Theatmosphere was  light hearted,  andmany of the students were comfort-able introducing themselves to newacquaintances.  After  everyone  wasfed,  a  raffle  took  place.  Studentsenthusiastically  won  prizes  thatincluded the ITG commemorativebeer  stein,  food,  CDs,  and  solos.Several members of the ITG Boardtook  time  to  go  around  to  thetables and introduce themselves toensure  that  everyone was  enjoyingtheir  experience  at  the  conference.The  gathering  was  a  great  way  torelax  and  enjoy  the  company  ofother young aspiring trumpet play-ers. (EM)

Non-Pro/Comeback Player ReceptionThe  annual  informal  non-pro/comeback  player  reception

was held during the evening break. It was a wonderful oppor-tunity for those of us who fall  into this category to meet andgreet each other and to mingle with the members of the Non-Pro Committee and several ITG board members who were gra-cious enough to attend as well. I believe that all who attended

Miriam Hickman accompanies Yigal Meltzer.

ITG President Alan Siebert joins in the College Student Meet and Greet.

© 2015 International Trumpet Guild ITG Journal Special Supplement 9

had a good time learning that there were others who share thesame love for the trumpet as all attendees and who still work atperfecting  their  talent  while  pursuing  other  “life  options.”Hopefully,  this  event will  continue  to  be  an  annual  event  at

future ITG conferences and be evenbetter  attended  by  this  large  seg-ment  of  the  ITG  membership.Many  stories  were  shared,  oldfriendships were renewed, and newfriendships were made. This sort ofevent is a very significant part of theITG conference experience for all ofus,  but  especially  for  those  of  uswho are neither professional playersnor educators. (DR)

Monarch Brass ConcertFounded  in  1996 by  Susan

Slaughter,  the Monarch Brass  is  anationally recognized brass ensem-ble  whose  members  include  thepreeminent  women  brass  playersfrom North America’s top sympho-ny  orchestras,  military  bands  anduniversities. A total of thirty trum-peters, hornists, trombonists, euph -on iumists, tubists, and percussion-ists,  led  by  Mallory  Thompson,director  of  bands  at Northwestern

University,  performed  for  a  packed  house  at  St.  PatrickChurch, which proved to be the perfect venue for this concert.The concert began with Dmitri Shostakovich’s Festive Over-

ture, arranged by Michael Martin. The ensemble’s exceptional

The Non-Pro/Comeback Player Reception in progress

Monarch Brass performs before a standing-room-only crowd in St. Patrick Church.

10 ITG Journal Special Supplement © 2015 International Trumpet Guild

sound, energy and enthusiasm were  immediately  in evidence.Notable were Cathy Leach’s flugelhorn solo and Stacy Simp-son’s excellent work on the piccolo trumpet. Also included inthe  first  half  were  Henri  Tomasi’s  Fanfares Liturgiques andlesser-known works that included Libby Larsen’s Fanfare for aLearned Man and Elegy by Kevin Puts. The  first  half  endedwith Brian Buerkle’s arrangement of four pieces from DmitriShostakovich’s Preludes (for piano), Op. 34, which resulted inthe first of numerous standing ovations.The second half of the concert began with works by Giovan-

ni Gabrieli, as arranged by Tim Higgins, including Hic est Fil-ius Dei, O Magnum Mysterium, and Canzon per sonare quartitoni.  These  works  were  performed  antiphonally,  with  theensemble forming three choirs across the front of the church.Morton  Lauridsen’s  well-known  O Magnum Mysterium,arranged for brass ensemble by Robert Ward, featured a beau-tiful solo by Amy McCabe. Tim Higgins was the arranger ofPercy  Grainger’s  Lincolnshire Posy, which  featured  AmyMcCabe and Susan Rider, both of the “President’s Own” USMarine Band,  and Ginger Turner  from  the US Army  FieldBand. The concert ended with Higgins’s rousing arrangementof  Leonard  Bernstein’s  Suite  from On the Town, whichbrought the audience to their feet once again. The full ensem-ble  then  provided  the  audience  with  one  more  treat:  anarrangement  of  Shostakovich’s  Galop, which  featured  theentire trumpet section.It  should  not  matter  that Monarch  Brass  is  an  ensemble

made up entirely of women. The technical and musical excel-lence displayed during this concert is not gender-specific. Yet,it does matter that this ensemble is made up entirely of women!It is important for each generation of musicians to realize that“boys’ and girls’ instruments” do not exist! More than anything,tonight’s concert was a celebration of musical collaboration bysome of the finest brass instrumentalists and percussionists inthe United States. (KE)

Warren Vaché Jazz ConcertOne  of  the  world’s  most

renowned  mainstream  jazzartists,  cornetist  WarrenVaché  led  a  superb  rhythmsection (pianist Sean Parsons,bassist  Andy  Woodson,  anddrummer  Jim  Rupp)  in  aprogram  comprised  of  jazzstandards.  Opening  the  per-formance  with  an  uptempocover  of  My Shining Hour,Vaché launched into the firstof  a  series  of  superior  solos.Vaché’s  butter-warm  tonewas  displayed  on  DukeEllington’s  rarely  performedWarm Valley.  Vaché’s  voiceand funky delivery covered adown-home  Arms AroundHer blues. His solo style wasfluid  and  swinging  andcreased the horn’s upper reg-ister. The rhythm section wasfeatured  alone  on  Stella byStarlight. A tasty Vaché swing

version  of  I’ve Never Been in Love Before and Charlier No.  2introduced Body and Soul. A speedy Cherokee ended the superbperformance  in  which  Vaché  validated  his  legendary  status.(NiMo)

Mallory Thompson conducts the Monarch Brass.

Warren Vaché

© 2015 International Trumpet Guild ITG Journal Special Supplement 11

ADDITIONAL PHOTOS

39TH ANNUAL CONFERENCE OF THE INTERNATIONAL TRUMPET GUILD

MAY 20 – 24, 2014 • KING OF PRUSSIA, PENNSYLVANIA

39TH ANNUAL CONFERENCE OF THE INTERNATIONAL TRUMPET GUILD

MAY 20 – 24, 2014 • KING OF PRUSSIA, PENNSYLVANIA

The Regency Ballroom, primary concert venue at ITG 2015.

12 ITG Journal Special Supplement © 2015 International Trumpet Guild

Above: Bill and Sue Pfund in their Exhibitor room. Below: A few of the many trumpets available to play at ITG 2015

© 2015 International Trumpet Guild ITG Journal Special Supplement 13

Above: ITG board member Tina Erickson at the Blackburn exhibit. Below: Schagerl staff playing natural trumpets

14 ITG Journal Special Supplement © 2015 International Trumpet Guild

Above: Wayne Tanabe at the Yamaha exhibit. Below: Stained glass window at St. Patrick Church

© 2015 International Trumpet Guild ITG Journal Special Supplement 15

The 2015 ITG Conference Reporting Team

Brianne Borden (BB) recently graduated with her Master ofMusic degree from the University of Colorado-Boulder, whereshe  served  as  trumpet  teaching  assistant  and Yoga  for Musi-cians instructor. She will begin pursuing her Doctor of Musi-cal Arts degree at Arizona State University in the fall.Jason Crafton (JC) is assistant professor of trumpet at Vir-

ginia Tech. Davy DeArmond (DD) is trumpet instrumentalist with the

United States Naval Academy Band and serves on the facultiesof Washington College and Anne Arundel Community College.Jason Dovel (JD)  is  assistant  professor  of  trumpet  at  the

University  of  Kentucky.  His  debut  solo  CD,  Lost TrumpetTreasures, was released in 2014.Kevin Eisensmith (KE) is professor of trumpet and assistant

chair  of  the  department  of  music  at  Indiana  University  ofPennsylvania. He served as ITG president from 2009 to 2011.Ryan Gardner (RG)  is  assistant  professor  of  trumpet  at

Oklahoma  State  University.  He  is  an  avid  performer  andserves as the New York and Los Angeles Artistic Coordinatorfor Music for Autism.Scott Hagarty (SH) is associate professor of trumpet at Del

Mar College in Corpus Christi, Texas. He is a member of theCorpus  Christi  and  Victoria  (Texas)  Symphony  Orchestrasand a founding member of the Corpus Christi Brass Quintet.Mike Huff (MH) is associate professor of trumpet at Troy

University in Troy, Alabama and performs as a member of theMobile, Pensacola,  and Meridian Symphony Orchestras. Heholds degrees from the University of Massachusetts, EastmanSchool of Music, and Catholic University and is a Bach trum-pet artist.Elisa Koehler (EK)  is  associate  professor  and  chair  of  the

Music Department  at Goucher College  in Baltimore, Mary-land  and  the  author  of  Fanfares and Finesse: A Performer'sGuide to Trumpet History and Literature (Indiana UniversityPress) and A Dictionary for the Modern Trumpet Player (Row-man & Littlefield).Will Koehler (WK) is currently pursuing his DM degree at

the Indiana University Jacobs School of Music. Currently onstaff  with  Bloomington  High  School  North,  Koehler  alsoholds an assistant manager position with the Indiana Univer-sity orchestras.John Korak (JK) is professor of trumpet at Southern Illinois

University Edwardsville  and  serves  as  the Book Reviews col-umn editor for the ITG Journal.

Eric Millard (EM) is currently a doctoral student at Florida StateUniversity, where he studies with Dr. Christopher Moore. Millardalso received his master’s degree from Florida State and earned hisbachelor’s degree at the University of Kentucky, where he studiedwith Mark Clodfelter, Vince DiMartino, and Robert Sullivan.Nick Mondello (NiMo) is a freelance trumpeter, author, music

critic,  educator/clinician  and  consultant  and  is  the  editor  of  theStudio/Commercial Scene column for the ITG Journal. Author of365 Trumpet Lessons, Nick writes for many jazz publications andwebsites. He holds the BA and MS degrees in music education, aswell as an MBA in Marketing and a Professional Diploma in Edu-cational Administration.Neil Mueller (NeMu) is assistant professor of trumpet at Central

Michigan University's School of Music.Internationally  acclaimed  trumpeter Marc Reese (MR)  is  best

known for his nearly two-decade tenure in the Empire Brass. Hehas performed in the trumpet sections of the New York Philhar-monic, Cleveland and Boston Symphony Orchestras and currentlyserves as head of the brass department for Lynn University’s Con-servatory of Music. Raquel Rodriquez (RR)  is  editor  of  the Trumpet Technology

column  for  the  ITG Journal and  serves  as  associate  professor  oftrumpet at Northern Kentucky University.Donald K. Roeder (DR) is a retired thoracic and vascular sur-

geon from Carlisle, Pennsylvania. He ceased playing following hisgraduation  from  Franklin  and  Marshall  College  in  1957  andbecame a “comeback player” in 1974. He currently serves as cornetsoloist for the Carlisle Town Band, sounds Taps on a regular basisfor  military  funerals  and  commemorative  ceremonies  with  theCumberland  County  Honor  Guard,  and  performs  in  variouschurches as a soloist and with brass ensembles.Nick Volz (NV) is associate professor of classical and jazz trumpet

at Loyola University New Orleans. He regularly performs in a vari-ety of settings, including the Louisiana Philharmonic Orchestra andthe New Orleans Uptown Jazz Orchestra.Becki Walenz (BW) is the editor for the journal  jr. column in

the  ITG Journal and  is  currently working  toward her Doctor  ofMusic degree at Florida State University.Joseph Walters (JW) is in his fifteenth year as the layout profes-

sional for the ITG Journal and performs as principal trumpet in theAlbuquerque Philharmonic Orchestra.Peter Wood (PW)  is  publications  editor  for  the  International

Trumpet Guild. He serves as professor of trumpet at the Universityof  South  Alabama  and  is  a  member  of  the  Mobile  SymphonyOrchestra.Erin Yanacek (EY) is a member of the River City Brass Band in

Pittsburgh, Pennsylvania, and also serves as Lecturer of Music atBethany College and Mercyhurst University.

SUPPLEMENTARY INFORMATION

40TH ANNUAL CONFERENCE OF THE INTERNATIONAL TRUMPET GUILD

MAY 26 – 30, 2015 • COLUMBUS, OHIO

40TH ANNUAL CONFERENCE OF THE INTERNATIONAL TRUMPET GUILD

MAY 26 – 30, 2015 • COLUMBUS, OHIO

16 ITG Journal Special Supplement © 2015 International Trumpet Guild

2015 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.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.”

2015 ITG Conference ExhibitorsA “minor” Tune Up Custom Trumpet ShipAdams Musical InstrumentsAlliance PublicationsAndreas EastmanAustin Custom BrassBalquhidder MusicBaroque Trumpet ShopBERP & Co.Best BrassBlackburn TrumpetsBob ReevesBP TrumpetsBrass HeraldBrass tacticsBrixton PublicationsBuckeye Brass & WindsBuffet Group USABuzzzMaster by David O’NeillCallet TrumpetsCannonball Musical InstrumentsConn-SelmerDel Quadro Custom TrumpetsDenis WickDF Music EnterpriseDr. Flegg’s Structured Practice MethodEdwards Instrument CompanyEighth Note PublicationsGard BagsGerry Lopez MusicGetzen Company Inc.Giddings and WebsterHickey’s MusicHub van Laar Trumpets & FlugelhornsHusonicsInternational Trumpet Guild 2016 ConferenceInternational Trumpet Guild MembershipInternational Women’s Brass ConferenceJ.Landress Brass, Inc.Jaeger BrassJupiter Band InstrumentsKanstul Musical InstrumentsKrinner Instrumentenbau-Germany

Maller Brass InstrumentsMarcinkiewicz Co. Inc.Messina CoversMonster OilNational Trumpet CompetitionPatrick MouthpiecesPickett BrassPollard Water KeyProfessional Suite by Royalton Music CenterQuintessential Brass RepertoireRaw Brass TrumpetsRobinson’s RemediesSchilke Music ProductsSchmidt MusicS.E. ShiresSmith WatkinsSonaré Pro BrassStanton’s Sheet MusicStephenson MusicStomvi USATaylor TrumpetsThompson Music Co.Torpedo BagsTriplo PressTromba—Zhengzhou Aucs Co. Ltd.Ultra-Pure OilsUS Army Music ProgramWarburton Music ProductsWashington Music CenterWaveSong PressWeimann German Trumpets & FlugelhornsYamaha

Conference SponsorsPlAtinUM SponSorSBob ReevesInternational Women’s Brass ConferenceXO BrassYamaha Corporation of America

Silver SponSorBill Pfund TrumpetsWarburton

LAnyArD SponSorRoyalton Music Center

Conference Program Book Advertisers89 Fish & GrillA “minor” Tune Up Custom Trumpet ShopAdams Musical InstrumentsBP TrumpetsBrass HeraldCannonball Musical InstrumentsCarl FischerCarolBrassChuck Levin’s Washington Music CenterCurry MouthpiecesDF Music Enterprise

© 2015 International Trumpet Guild ITG Journal Special Supplement 17

FlushmuteFrost Custom BrassHickman Music EditionsHorn StashHub van Laar Trumpets & FlugelhornsIndiana University PressInternational Trumpet Guild Conference 2016International Trumpet Guild PhotographyInternational Women’s Brass ConferenceJP Musical InstrumentsNew York Summer Music FestivalOberlin CollegePickett BrassPollard Water KeySchagerlSchilke Music ProductsSchmidt MusicScodwell TrumpetsS.E. ShiresSmith Watkins BrassWarburton Music ProductsYamaha