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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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http://www.trumpetguild.orgPlease retain this cover sheet with printed document.
THE 2015 INTERNATIONAL TRUMPET GUILDCONFERENCE, COLUMBUS, OHIOSPECIAL DAILY REPORT • COMPILED BY PETER WOOD
THURSDAY, MAY 28, 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.]
Thursday, May 28Thursday’s lineup at the ITG conference was especially ter-
rific. One must-see event after another all day long can be verytiring; but what a satisfying experience it was! There wereexceptionally talented and well-prepared collegiate trumpetensembles playing thrilling preludes prior to many events, andthe session topics and musical styles performed covered thegamut of what we do in this exciting field. The atmosphere atthe conference is extremely positive and supportive, despitewhat one might expect from the perceived trumpet playerstereotype. The sense of camaraderie is truly infectious!
Bill Pfund —Warm-up SessionA humble and inspiring Bill Pfund led a packed room
through his morning warm-up session. “Is the trumpet still myfriend?” is a question he asks himself when he starts each day.Pfund begins in the middle register to see how he feels andadjusts his warmup accordingly. Beginning with deep breathsand moving air through the horn, Pfund continued to lead awarmup consisting of long tones, lip slurs, bending tones,chromatics, and articulations. He emphasized achieving abeautiful sound always and made sure that those in attendance
remained relaxed as the warmup progressed. He spoke fondlyof his former teacher, Roger Voisin, and shared some storiesfrom their time together. It was particularly special thatVoisin’s son, Peter, was present, sharing stories himself. Atten-dees received valuable knowledge from an exceptional teacherand performer and left properly relaxed, warmed up, and readyto take on the day. (DD)
Judith Saxton —Alexander Technique WarmupJudith Saxton integrated the body awareness principles of
the Alexander Technique in her warm-up class. While theclass consisted of many standard fundamentals practices, theAlexander Technique approach may have been new to many.The group began in a large circle, and everyone introducedthemselves to their neighbors. Even though no instrumentswere being played or mouthpieces buzzed, we had alreadybegun to warm up our lips just by talking. Judith presentedbreath exercises with movement to wake up the physical bodyand lungs. Participants were then led through a process ofmouthpiece buzzing, ascending and descending chromatics,Cichowicz flow studies, lip slurs, and arpeggios. Throughoutthe session in every method, trumpeters were reminded toplay with feet grounded on the floor and knees unlocked. Weleft not only with warmed-up chops, but also with anincreased awareness of the body and whole self as we play thetrumpet. (BB)
2 ITG Journal Special Supplement © 2015 International Trumpet Guild
THE 2015 INTERNATIONAL TRUMPET GUILDCONFERENCE, COLUMBUS, OHIOSPECIAL DAILY REPORT • COMPILED BY PETER WOOD
© 2015 International Trumpet Guild ITG Journal Special Supplement 3
Amy Dunker, Mark Ponzo, and James Sherry —The Care and Feeding of New Music
With continual advances in technology and the burgeoningpresence of the Internet in nearly every facet of our lives, thepublication, marketing, and dissemination of music has beenaltered dramatically in the last ten years. Increasingly, com-posers are self-publishing their works or utilizing smaller pub-
lishers, creating challenges for the consumer with regard tofinding and assessing newly-penned compositions. Today’sclinic, presented by composer Amy Dunker, navigated thetypes of issues that surround present-day music compositionand offered much insightful and helpful commentary. Specialmention should be made of her website (www.amydunker.com),which contains such useful resources as a listing of (with linksto) trumpet works by women composers. To complementDunker’s remarks, trumpeters James Sherry and Mark Ponzo,along with pianist Bang Lang Do, presented a program of
excerpts from newer works by Betsy Schramm, Patricia More-head, Karen Amrhein, and Amy Dunker. (JK)
Jason Dovel —Trumpet Intonation: Facts and StrategiesTrumpet players and teachers of all ages filled the Union
ballroom early this morning for Jason Dovel’s session on into-nation. Although many topics of discussion resonated withthose in attendance (as was made obvious by the noddingheads and short bursts of laughter), a few ideas stood outamong the rest. Dovel suggested that student players learn a
Amy Dunker James Sherry
Mark Ponzo
4 ITG Journal Special Supplement © 2015 International Trumpet Guild
variety of ways to approach playing in tune and adapting tofactors that may alter intonation—like changes in timbre, per-sonnel, or temperature. He also stressed the importance ofusing the first and third valve slides on the trumpet andbecoming aware of one’s own pitch tendencies, noting that theslides were not put on the trumpet “just for decoration!” Othertopics of discussion includedcommon myths about intonation,equal temperament, and harmon-ic tuning; and he also suggestedimportant references to improvestudent learning. (BW)
John Adler —Trumpet andElectronics: A Primer forPerformance and PracticeJohn Adler gave an interesting
and educational overview of hiswork in the medium of trumpetand electronics. Adler began byintroducing an online componentof his lecture, which containedsupplemental material such aspictures and scores. Attendeeswere encouraged to access thematerial (available online athttp://johnadlermusic.com/itg)during the presentation. Some ofthe pieces that Adler presented are“set-time” pieces in which a pre-recorded backing track, oftencontaining manipulated trumpetsounds, are used to accompany
the trumpet. Other pieces are based more on improvisation,and the piece length is up to the discretion of the performer.Adler gave a thorough explanation of different microphones,audio interfaces, speakers, and computer programs that he hasused in live performance and on his recent CD, Things I Like.Adler’s playing was crystal-clear, and his presentation demon-strated extreme flexibility and exceptional technologicalunderstanding. (EY)
Carole Dawn Reinhart andWendy Matthews —
The Life and Teaching ofCarole Dawn Reinhart
This session showcased the lifeof an astonishing musician. Theevent began with what Matthewscalled the “Inside the Actors Stu-dio” approach. Reinhart spokeabout her early beginnings andhow her older brother influencedher. Matthews played an earlyrecording of the siblings per-forming a duet on the PaulWhiteman radio show in 1948.The audience in attendance wastreated to a montage of photos ofthe young Reinhart that lastedthe entire performance.Matthews played a variety ofrecorded audio/video perform-ances for the room, including alive performance of Reinhartplaying Buglers Holiday with AlHirt, Carnival of Venice with ashow band, and the Haydn Con-certo and another concerto with
Jason Dovel
John Adler
Carole Dawn Reinhart
© 2015 International Trumpet Guild ITG Journal Special Supplement 5
orchestra. Despite her success with bands and TV, Reinhartdecided to move to Europe to seek out additional performingopportunities. She premiered at least thirty works during thistime period. The session ended with Reinhart working with astudent on the Haydn Trumpet Concerto. (RR)
Philippe Schartz —Recital, The Music of Welsh ComposersAn opening flurry of multiple tonguing was just the begin-
ning of a stunning performance of music by Welsh composersby Luxembourg-born trumpeter Philippe Schartz. The princi-pal trumpet of the BBC National Orchestra of Wales demon-strated his technical virtuosity, as well as beautiful, lyrical play-ing on both trumpet and flugelhorn. Schartz dedicated hissomber and inspiring performance of Grace Williams’s Elegyfor Cynddylan to another Welsh composer, Mervyn Burtch,who recently passed away. Schartz performed three world pre-mieres, including Mountain of Abstract Thought, a compositionby Schartz’s pianist, Christopher Williams. Another of themany highlights was the masterful performance of TomDavoren’s Trials for Olwen, also a premier. Davoren, in atten-dance, spoke of his inspiration for this work, which he derivedfrom a Welsh folk tale. This performance showcased not onlythe stellar playing and musicality of Philippe Schartz, but alsothe magnificent, diverse repertoire of Welsh composers. (DD)
Warren Vaché Masterclass Warren Vaché held a question-and-answer session in which
he provided numerous personal accounts of legendary jazzmusicians from earlier generations. He told the audience abouthis experience performing with Benny Goodman, UrbieGreen, Zoot Sims, and Slam Stewart, in addition to a regularengagement playing with Roy Eldridge. He discussed his expe-rience with numerous trumpet players, including Pee WeeErwin, Harry “Sweets” Edison, Buddy Hackett, and a host of
others. In addition to providing some humorous anecdotes,Vaché mentioned the importance of playing the melody in aclear and authoritative way when performing in a three-horntexture, as well as not getting in the way when playing behinda singer. The masterclass provided a rare look into an era ofperformers that has very few firsthand accounts. (NV)
New Works Recital #1Double Entendre by Kent Holliday is a dramatic piece for
two trumpets and piano, which builds in intensity from startto finish. The angular lines, contrasted with long sustainedmotives, were well played by Jason Crafton and Paul Neebe,who both displayed good balance, intonation and rich tonequality. (SH)Joseph Hallman’s Sonata for Trumpet (and Flugelhorn) was
played with impeccable precision of tone and technique by the
Philippe Schartz
Warren Vaché
Mary Bowden
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performers, Mary Bowden and Milana Strezeva. The three-movement work included diverse moods and styles. The firstmovement, while technical in nature, contained many won-derful melodic moments. The second movement had a tran-quil mood that was enhanced by the flugelhorn. The thirdmovement included much technical work that Bowden han-dled effortlessly. The piece showcased the multitude of talentsof this young rising star in the trumpet world. (RR)
Songs of Memory and Earth, composed by Sarah Horick,contained three very different movements for trumpet, sopra-no, and piano. Set to poems by Shannon Berry, the first move-ment called for the trumpet in a more complementary role,providing support and response to the prominent vocal line.The second movement entered a new, complex, chromaticsound world before closing with an almost jazzy, pop-stylethird movement. The vocalist, Katherine Rohrer, was superb,and trumpeter Richard Madden navigated the changing styleswith ease. (SH)
Call and Response by Daniel Breedon emphasized the powerand majesty of the trumpet. Neil Mueller had a confidentapproach to this piece that highlighted his excellent tone andtechnique. The piano and trumpet had a harmonious relation-ship, and it was truly a collaborative effort. (RR)Christopher Cook’s Prowler for trumpet and tape contained
a virtual cornucopia of animalistic sounds and percussivegrooves. Recorded and manipulated samples of KellyRossum’s trumpet playing echoed the onstage half-valve glisses,hissing, and muted “wah-wah” passages, which all evokedimages of elephants, big cats, and a host of other animals. (SH)Daniel Kallman’s Sonata for Trumpet is a three-movement
work that displayed well Garrett Klein’s facility on the trum-pet. Klein maneuvered through each movement with greatgrace and interpretive expression on this modern piece. (RR)
Ray Vega —Jazz RecitalJazz artist, distinguished educator/clinician, and all-round
brilliant performer, trumpeter Ray Vega joined forces with aphenomenal rhythm section to cover seven well-known jazzselections. In his opening remarks, Vega dedicated the per-formance to recently passed jazz trumpet great Marcus Bel-grave. The session kicked offwith Vega’s take on Softly as aMorning Sunrise. Vega’simprovisation there (and there-after) sparkled with neat, briefphrases, most of which spun offother exciting ideas. There WillNever Be Another You featured asuperb solo by pianist JoeySkoch, who was brilliantthroughout the recital. JuanTizol’s exotic Caravan provideda speedy platform for Vega’sand the band’s fine solos. Gille-spie’s A Night in Tunisia fol-lowed and included a duetbetween bassist Lou Fischer andstandout drummer Reggie Jack-son, who were both stellar. Thegroup then bebopped throughMiles Davis’s The Theme, and a
cooking blues ended the highly enjoyable and intensely swing-ing session. (NiMo)
United States Army Historical Trumpets RecitalThe US Army Historical Trumpets treated the audience to
a varied program with insightful commentary from trumpeterJay Martin, who led off the program by playing Thomsen’sEingang from off stage. Timpanist Matthew Bell and the fourtrumpeters (playing Baroque trumpets with vent holes) thenlaunched into a rendition of the Toccata from Monteverdi’sL’Orfeo, followed by Martin’s resourceful arrangement ofAltenburg’s Concerto (originally for seven trumpets and tim-
Ray Vega
US Army Historical Trumpets Recital
© 2015 International Trumpet Guild ITG Journal Special Supplement 7
pani). The heart of the program con-sisted of three suites compiled fromshort pieces for trumpets, timpani,fifes, and one-keyed historical flutes.The first, Tribute to Valor, honoredthree army trumpeters from the pastwith sonatas by Biber and Weichlein.The second suite highlighted Frenchworks; and the third, Colonial Suite,featured music that would have beenheard in Colonial America. Followingworks by Philidor and Mouret, trum-peters Barry Bauguess and Rick Mur-rell joined the group for a rousing ren-dition of music of Fantini, performedwith compelling grandeur on naturaltrumpets. (EK)
Joel Treybig and Adam Hayes —Lux et Lapis: Music for Two
Trumpets and OrganAdam Hayes and Joel Treybig, with
organist Andrew Risinger, performed arecital of music for two trumpets andorgan from the choir loft in the sanc-tuary of Saint Patrick Church. Most ofthe works performed were from theirCD, Lux et Lapis (“Light and Stone”),that was released in 2014. The trio performed Fantasy Suite byJohn Hingeston, Lux et Lapis by Kevin McKee, Sonata daChiesa by Samuel Ducommun, Jubilate by Terry Halco,Altenberger Adagio by Bernard Krol, and Gustav Mahler’s Wodie schonen Trompeten blasen, which was arranged by WayneLinehan in such a way that the trumpets mirror the originalvocal line. Organist Andrew Risinger was featured on JohannSebastian Bach’s Prelude in C Major. Treybig performed thepremiere of his own composition, The Prince of Denmark’sMarch Fantasy, which featured virtuosic manipulations of the
Jeremiah Clarke melody that is so familiar to trumpet playerseverywhere. (MH)
ITG Solo Competition FinalsThe performers in the final round of the ITG Solo Compe-
tition demonstrated some very impressive playing. RebeccaWilt’s collaborative piano playing was reliable, sensitive, andimpressive as always. All three finalists performed the requiredpiece, Ernest Bloch’s Proclamation, in addition to anotherwork of the performer’s choosing. The first performer, CoryJohnson, is a student of Michael Anderson at Oklahoma City
University. Johnson’s chosen piecewas Charles Chaynes’s Concertofor Trumpet, which was playedwith musical sensitivity and greattechnical dexterity. The secondperformer, Jingye Gong, is a stu-dent of Yi Liu at the Zhejiang Con-servatory of Music in China.Gong’s piece of choice was Alexan-der Arutunian’s Concerto forTrumpet, which benefited from acarefully calculated and lively musi-cal interpretation. The third andfinal performer was Marcus Flores,a student of Charles Saenz at Bowl-ing Green State University. Flores’schosen piece, executed with mean-ingful musical phrases and animpressive display of power, wasOskar Böhme’s Trumpet Concertoin F minor. (EY)
L – R: Joel Treybig and Adam Hayes
Solo Competition finalists and judges. L – R: Jason Dovel, Judith Saxton, Marcus Flores,Cory Johnson, Rex Richardson, Jingye Gong, Jens Lindemann
8 ITG Journal Special Supplement © 2015 International Trumpet Guild
Malcolm McNab —Performance PresentationIn a presentation entitled “A
Life Behind Film,” MalcolmMcNab discussed his “stealth”(out of the limelight) career thathas spanned 45 years so far.McNab has been a part of overtwo thousand soundtracks andhas worked with the most promi-nent composers in Hollywood,including John Williams, JerryGoldsmith, Bruce Broughton,and Hans Zimmer. During hispresentation, McNab showednumerous movie clips that fea-tured his trumpet solos, and heshared personal anecdotes abouteach experience. McNab dis-cussed his childhood, his early involvement in the recordingindustry, his equipment, and his thoughts on how studiorecording has changed with modern technology. What wasextraordinarily clear is how dynamic and versatile a careerMcNab has had and what an incredible artist he is. The pres-entation ended with a question-and-answer session and a stand-ing ovation from the enthusiastic audience. (RG)
United States Marine Band Brass Ensemblewith Rex Richardson Concert
From the opening bars of Ryan Nowlin’s fantastic arrange-ment of Let Freedom Ring, the audience knew they were in fora treat. The men and women of this ensemble performed at
the very highest technical and artistic level, achieving a widerange of emotions in this well-chosen program. BruceBroughton’s Fanfares, Marches, Hymns and Finale was simpleand lovely, and Rautavaara’s A Requiem in our Time impres-sively and thoughtfully ended the first half. The second halfopened with a great rendition of Michael Tilson Thomas’sStreet Song. An amusing moment occurred when the church’s6:00 p.m. bells sounded during the piece’s softest moment. RexRichardson joined the ensemble for a concerto by BrendanCollins and Andy Scott’s Paquito. In what we have come toexpect from Rex, he just about blew the roof off of the church!His amazing playing possessed brilliant technique, soulful lyri-cism, fascinating improvisation, and more than a few scream-ing high notes. (MR)
Burning River Brass ConcertEstablished in 1996, Burning River Brass originates from
Cleveland, Ohio. The name “Burning River” comes from thefact that in the 1960s the Cuyahoga River was so polluted thatsparks thrown from passing trains would occasionally start afire on the surface of the water! BRB has released six compactdiscs to date, including Of Knights and Castles (1999), two hol-iday recordings—Christmas Around the World (2005) and’Twas the Night Before Christmas (2008)—and, most recently,Classical Impressions (2013), which includes works by Debussy,Prokofiev, Brahms, Bach, and Rachmaninoff. Burning RiverBrass has been heard on NpR’s Performance Today and SundayBaroque, as well as on radio stations throughout the UnitedStates and abroad.Burning River Brass began their performance with Ray-
mond Premru’s Of Knights and Castles from Divertimento forBrass. The short piece, one of nine movements in the Diverti-mento, was performed from memory at the front of the stageand with no conductor. The ensemble immediately distin-guished themselves with their impeccable intonation and pre-cise ensemble. The concert was fast paced and featured greatvariety, from works by Renaissance composers to compositionswritten within the past few years. The tone colors created bythe twelve-member ensemble, including four trumpets (utiliz-ing piccolo trumpet and flugelhorn, along with C and B-flattrumpet), two horns, three trombones, euphonium, tuba, and,at times, percussion, were unique and distinctive. The ensem-
Malcolm McNab
L – R: Susan Rider, Amy McCabe, Rex Richardson, Brian Turnmire, and Andrew Schuller
© 2015 International Trumpet Guild ITG Journal Special Supplement 9
ble performed with great finesse and refinement.Justin Emerich was featured soloist on the “Queen of the
Night” aria from Mozart’s The Magic Flute, arranged byMichael Allen. Emerich was recently named associate profes-sor of trumpet at Michigan State University. He had a clear,brilliant piccolo trumpet sound that projected easily through-out Regency Ballroom.Percussionist Feza Zweifel served as conductor for his
arrangement of Johannes Brahms’s Hungarian Dance No. 6.Noteworthy was the beautiful flugelhorn playing by HeatherZweifel. Feza Zweifel also arranged andconducted other works on this pro-gram, including Ottorino Resphigi’sAdoration of the Magi and selectedworks by Debussy and Prokofiev. Espe-cially satisfying was his arrangement ofMorton Lauriden’s O Magnum Mys-terium. Not merely a transcription, thearrangement still retained the gloriousnature of the original. Witold Lutoslawski wrote Variations
on a Theme of Paganini for two pianos.Roger Harvey’s impressive arrangementof this piece, written for the LondonBrass, was a considerable contrast to theearlier works and again highlighted theclear, focused sound, exceptional into-nation, and impressive ensemble ofBurning River Brass. The concert con-cluded with Anthony DiLorenzo’s“Guinevere’s Rescue and the Battle withthe Red Dragon” from Of Kingdomsand Glory. As with all of DiLorenzo’sworks, this one possessed great dramaand cinematic effect. A standing ova-tion from the audience elicited onemore work from BRB, a fun arrange-ment of Chico Navarro’s La Pareja thathad more than a few people dancing inthe aisles!Congratulations to Burning River
Brass for their outstanding perform-
ance! Many people, including me, rushed to buy their CDs fol-lowing the concert. I will be listening to this ensemble duringmy ride home. (KE)
Till Brönner Jazz ConcertGerman jazz sensation Till Brönner presented a concert on
Thursday evening. At the beginning of the concert, one ofBrönner’s teachers, Bobby Shew, was presented with the ITGHonorary Award. Later, Brönner described Shew as his firstand most important teacher. The concert consisted of a jazz
Burning River Brass
Bobby Shew (L) receives the ITG Honorary Award from President Alan Siebert.
10 ITG Journal Special Supplement © 2015 International Trumpet Guild
quartet with trumpet, piano, bass, and drums. Brönner playedfamiliar tunes—such as Kenny Dorham’s Nobody Else But Meand J.S. Bach’s Air on a G String—as well as some lesser-known works. Upon playing the Air, Brönner joked that thegreatest jazz musician ever to have lived was actually Ger-man—Johann Sebastian Bach. Throughout the night, Brön-ner’s solos were always carefully constructed with all the right
ingredients: a wonderful sound, dramatic storytelling, soaringhigh notes, and limitless technique. While Brönner noted thequartet had only a brief rehearsal prior to the evening’s per-formance, every member of the group played with incredibleprecision, demonstrating always a keen awareness of eachother’s sound, style, dynamics, and musical ideas. (JD)
Till Brönner
© 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
Doc Severinsen at the S.E. Shires booth
12 ITG Journal Special Supplement © 2015 International Trumpet Guild
Jason Carder trying out a natural trumpet at an exhibitor’s booth
Typical stage setup at the ITG conference
© 2015 International Trumpet Guild ITG Journal Special Supplement 13
St. Patrick Church, venue for many ITG 2015 events, exterior and interior
14 ITG Journal Special Supplement © 2015 International Trumpet Guild
After-hours nightlife at ITG 2015
© 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
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