special supplement to the international trumpet guild journal · 2015-06-05 · special supplement...
TRANSCRIPT
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 2015 INTERNATIONAL TRUMPET GUILDCONFERENCE, COLUMBUS, OHIO
SPECIAL DAILY REPORT • COMPILED BY PETER WOOD
SATURDAY, MAY 30, 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.]
Saturday, May 30—Youth Day+It is hard to believe that the 40th annual ITG conference hascome to an end! It has been a crazy but wonderful week inColumbus, especially since another event, the MidwestHaunters Convention, has been happening simultaneously inthe facility next to ours. People dressed as zombies and otherscary Halloween-type costumes have been mingling amongstall the trumpet players for the last few days, making for quitea humorous juxtaposition!This final day of the conference, dubbed “Youth Day+,”featured many events geared specifically toward the young,while still being completely appropriate for trumpeters of allages. The day included masterclasses with the Boston Brass,Rex Richardson, Yigal Meltzer, Rob Parton, and Till Brön-ner; sessions by Eric Berlin, John Adler, and the Bluecoatsdrum and bugle corps; a panel discussion about collegepreparation; Research Room presentations; the traditionalFestival of Trumpets performance; the President’s AwardsBanquet; and concerts by the Wildcat Regiment Band andRob Parton’s All-Star Big Band with a whole host of greatsoloists. The conference closed not with a whimper, but witha definite bang!
Huge thanks are due to Andrea Rush, John Schlabach, AlanSiebert, and the entire planning team of the 2015 conference,who have worked tirelessly for over two years to make thiswonderful week happen for us. Please be sure to thank themfor their efforts. Also, check out the list of volunteer confer-ence reporters and photographers who dedicated a significantportion of their conference to bring you these reports, and dopatronize the exhibitors and sponsors whose support is crucialto the success of this event.Finally, we hope you will start planning now to join us fornext year’s 41st Annual ITG Conference, which will take placefrom May 31 to June 4, 2016, in Anaheim, California—aboutone mile from Disneyland. That is shaping up to be anothermemorable week!
Eric Berlin—Warm-Up SessionDuring Eric Berlin’s Saturday morning warm-up class, hestressed the importance for each player to find his or her ownmost effective warmup. He began with an extensive series ofstretches and alignment exercises, discussing the need to elimi-nate tension in the body before beginning to play the instru-ment. He led the group through various breathing exercises,alluding to many of Arnold Jacobs’s concepts and clarifyingsome of Arban’s writing about breathing. After discussing someof the different pedagogical approaches to mouthpiece buzzing,Berlin had everyone buzz Yankee Doodle without articulatinganything. He also led the group through a series of glissandopatterns, always beginning in the upper register to establish a
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THE 2015 INTERNATIONAL TRUMPET GUILDCONFERENCE, COLUMBUS, OHIO
SPECIAL DAILY REPORT • COMPILED BY PETER WOOD
© 2015 International Trumpet Guild ITG Journal Special Supplement 3
smaller, more efficient aperture. His final activity was havingthe group play Yankee Doodle on their instruments—the onlytime they played trumpet during the session. (NV)
John Adler—Youth Day+ Warm-Up SessionJohn Adler, assistant professor of trumpet at the Universityof Northern Colorado, led the Youth Day+ warm-up session.Students participated as Adler lead the group through a sampleof his own routine. Adler said that in his own warmups, heactually plays as little as possible. The group began with simplestretching and breathing exercises and worked its way to sim-ple “pu” attacks on soft, low notes. Next, the group did a seriesof half-step lip bends in different registers, going for a centeredtone and resonant sound. Adler referenced the book Flexus, anexcellent resource by the late Laurie Frink. One interestingexercise that Adler proposed was a scale played with fingeringsfor the scale a half step higher. Lastly, Adler led the group inexercises using just the mouthpiece and lead pipe, which hehad gleaned from the teachings of Bob Sullivan. Adler’s goalfor the warm-up session was to eliminate tension, and thegroup left feeling unfatigued and ready for the day. (EY)
Rex Richardson MasterclassRex Richardson began his masterclass by playing two rendi-tions of Thelonious Monk’s Boulevard Blues, first in a tradi-tional jazz style and then as the basis for a free improvisation.This led directly to a fruitful clinic on the virtues of improvi-sation as a tool for developing unhindered expressive freedom.The session was like a free improvisation itself, with Richard-son fielding questions from the audience and letting the flowof discussion lead in multiple directions. He recommendedthat musicians learn to improvise in all genres—classical aswell as jazz—and prescribed three steps: learning the mechan-ics of theory and harmony, transcribing solos, and practicingthe art of improvisation repeatedly. Richardson’s insightfulsession also included tips for developing creative ideas (focuson your sound, not technique), dealing with stage fright (com-municate with the audience, perform often to gain experience),and switching styles (focus on the core sound, alter the articu-lation). (EK)
Boston Brass—Youth Day+ MasterclassAfter a brief introduction by Jeff Conner, Sam Pilafianaddressed the topic of air and the role it plays in brass playing.The group broke down their preparation process by showingthe audience how they prepared one of the pieces they per-formed from the night before, Jose Sibaja’s arrangement ofMilonga Del Angel, by Astor Piazzolla. Such topics as rehearsaltechniques, playing by ear, motivation, and switching styleswere addressed throughout the masterclass. They invitedDownriver Brass Quintet, the group that had played the prel-ude concert, back to the stage for coaching. Pilafian playedwith the quintet to demonstrate the drive that is required bythe tuba, the “rhythm section” of the quintet. Sibaja thenstepped up to coach them on getting past the student barrierand finding the true character of a piece. The masterclass con-cluded by Boston Brass inviting the student group to standnext them while they played Blues for Ben. (WK)
ITG Open Members MeetingThe open meeting was attended by a small but enthusiasticgroup of attendees, along with most of the ITG Board ofDirectors. They made a few announcements about the 2016conference in Anaheim and explained that a conference loca-tion for 2017 was still being decided. It was announced thatthe number of ITG memberships has been trending down-ward since 2010, although the organization is in good shapefinancially. A review of the minutes from the board meetingearlier in the week was presented, and that information willRex Richardson
Boston Brass’s Sam Pilafian instructing a student
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soon be available in detail on the ITG Website. The minutescovered a variety of topics, such as finances, advertising, web-site functions, ITG awards, the Journal, and various commit-tees. The board sought feedback and held discussions aboutmarketing, the possibility of a new journal cover, and retainingand increasing membership, especially among students. (SH)
Rob Parton—Youth Day+ Jazz Improvisation SessionRob Parton, director of the Columbus-area eighteen-pieceRob Parton’s All-Star Big Band, presented a Youth Day+ ses-sion. He spoke about the importance of “having something tosay” on your instrument, regardless of the style of music youare playing. He recommended Jim Snidero’s three-volumeJazz Conception series of books for students wanting to learnjazz style. Parton noted that tone is the most important aspectof playing with a great style. He listed the five most important
elements of playing with good jazz style—tone, time, phrasing,articulation, and general musicality. He said that the four mostimportant elements of improvisation are rhythm, melody, har-mony, and timing. He encouraged students to use the syllable“dit” for short, tongue-stopped notes in jazz. Parton empha-sized the importance of listening to jazz and said that oneshould listen to improvised solos of the great masters until onecan sing them perfectly. (JD)
Wildcat Regiment Band ConcertBased in Pennsylvania, the Wildcat Regimental Band, underthe direction of Bruno J. Pino, Jr., performed a program ofquicksteps, gallops, and classical favorites. Functioning as anhistoric reenactment band, they perform period music on peri-od instruments while wearing period uniforms. Much of themusic originated in part books found at the Library of Con-
The ITG Open Members meeting
Wildcat Regiment Band
© 2015 International Trumpet Guild ITG Journal Special Supplement 5
gress and other historic societies. When performed on periodinstruments, one can get a true feel for how bands in the mid-nineteenth century may have sounded. Dr. Kevin Eisensmithwas the featured soloist, performing the Sachse Concertino forE-flat Cornet. On both this work and on the fiendishly diffi-cult quickstep encore, his sound on the period E-flat cornetwas light, elegant and virtuosic. (MH)
Bluecoats Drum and Bugle Corps—Youth Day+ SessionThe trumpet section of the Bluecoats Drum and BugleCorps presented an informative clinic on brass pedagogy andrehearsal techniques in the drum corps activity. Derek Gipson,brass caption head, led the group for the entirety of the clinic.Gipson stressed how he utilizes standard brass pedagogy in hisprogram to make his players better musicians and trumpeters.The ensemble lined up in an arc and demonstrated how theystart their warmups with singing, buzzing, and airflow exercis-es. The group marked time (marching in place) on some of theair and articulation studies. They played an exercise from theGoldman book and practiced different styles of articulation.They also demonstrated how theywork on double tonguing from theArban book and how those exercisestransfer to the double-tonguing sec-tions in their music. The sessionended with the group playing chordsequences and excerpts from their2015 show. (RR)
Yigal Meltzer MasterclassThroughout Yigal Meltzer’s mas-terclass, he encouraged the audienceto discover new ways to approach thetrumpet. He began by asking whytrumpet players need to breathe andthen proceeded to play a very long,difficult passage without taking abreath. He worked with studentsfrom Queensland Conservatory on avariety of orchestral excerpts andrecital pieces, and he was able to con-vey some of his own concepts abouttrumpet playing while repeatedly pro-viding an excellent model of soundand execution. For one student play-ing Beethoven’s Leonore Overture
No. 3, Meltzer stressed that if a performer can find the idealsound and overtones, the intonation will take care of itself. Healso discussed the importance of separating the concept of tonequality from dynamics; he told the students to “give yourself aseparate volume knob.” In addition, Meltzer shared two areasof fundamentals that he includes in his own daily practice—whisper tones and long tones with varying articulations. (NV)
Till Brönner—Jazz Improvisation MasterclassJazz artist Till Brönner opened the session, accompanied bypianist Sean Parsons, with an up-tempo version of Body andSoul. Brönner then provided the audience with a bit of hisearly musical background in Germany and told of his discov-ery of jazz via a Charlie Parker recording. He stated that jazzimprovisation is a “Frankenstein” system of piecing togetherplaying and listening to the greats, as recommended to him byBobby Shew. Brönner discussed the importance of having agood sound and explained the role that singing has in improv-isation. He invited four audience members to join him and AlHood in a series of play-along “lessons.” The group worked
with Brönner, copying him.A question-and-answer ses-sion followed, and the eventconcluded with the students,Hood, and Brönner playingThere Will Never Be AnotherYou. (NiMo)
College PanelJohn Adler, Peyden Shel-ton, Grant Peters, and Rich -ard Bir k e meier formed apan el of college teachers,representing years of experi-ence and diverse back-grounds. They opened thesession with a discussion ofthe audition process andhow it can vary from schoolto school. The conversationcontinued to topics of schol-arships, communicatingwith college faculty, andpreparing for the auditionprocess. Many of the ques-tions from parents and stu-
Bluecoats trumpet line
Yigal Meltzer
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dents were focused on tuition issues, music fees, merit and aca-demic scholarships, and overall costs. One point the panelstressed was that students and parents must do their home-work. They encouraged visiting each school, talking to theprofessors, doing online research, and more. It was help-ful for the students and parents to hear so many differentperspectives on various aspects of the college music expe-rience. (EM)
Research Room PresentationsThree diverse topics were presented in this year’s ITGResearch Room session, coordinated by Kelly Parkes.Matthias Heyne discussed how brass players with differ-ent native languages seem to use a variety of tongue posi-tions while playing the same notes. A bass trombonistand linguist, Heyne worked with Donald Derrick to per-form ultrasound scans of trombonists from Japan, NewZealand, and Tonga, performing high and low notes tocompare the results. Christopher Hahn’s paper con-cerned a web-based rating and annotation system fortrumpet solo literature for middle and high school stu-dents. He compiled a representative sample of repertoirelists from 24 states and created a searchable database atwww.trumpetindex.org, which he plans to expand in thefuture. Geoffrey Tiller presented his research on connectionsbetween emotion and vocal emulation in trumpet performanceand pedagogy. He emphasized that a vocal approach highlights
expression rather than technique anddiscussed connections to acting,guided imagery, and literature. (EK)
Collage RecitalUnfortunately, Robert Sullivanwas unable to attend and perform atthe ITG conference, so severalprominent trumpet players steppedup at the last minute to piece togeth-er a recital in Sullivan’s absence. Fol-lowing the prelude performance bythe UT-Pan American TrumpetEnsemble, Mark Clodfelter opened
the recital. Despite playing on a borrowed instrument withlimited rehearsal time, he performed some nice renditions ofShchedrin, Sandoval, and de Falla with his wife, pianist Rebec-ca Wilt. Frank Campos displayed his trademark musicality
and tasteful single-line arrangements of Bach, Guaraldi, andCorea. J.C. Dobrzelewski and Christopher Moore performedErik Morales’s Concerto for Two Trumpets, and Rex Richard-
son closed the recital with a fireworks display of piccolotrumpet improvisation on his own Hijaz, based on aTurkish scale. (SH)
Festival of Trumpets ConcertThe Festival of Trumpets is an opportunity for adulttrumpet players from all walks of life to perform trum-pet ensemble literature. The program opened withBernard Fitzgerald’s Trumpet Guild Fanfare, conduct-ed by Charles Conrad. This short piece featuredidiomatic fanfare motives that cascade through theensemble, punctuated by a first-trumpet foray into theextreme upper register. Marty Robinson’s A Race to theStart has a powerful, articulate opening that transitionsinto a more lyrical central section; and the piece endswith a quick, aggressive section. This reviewer couldn’thelp but notice the striking motivic similaritiesbetween this piece and Curnow’s Concertpiece. Thepremiere of Joyce Johnson-Hamilton’s Living on Airwas conducted by Betty Scott. This piece weavesResearch Room presentation by Matthias Heyne
At the Collage Recital. L – R: J.C. Dobrzelewski and Christopher Moore
The college panel. L – R: John Adler, Peyden Shelton, Grant Peters, Richard Birkemeier
© 2015 International Trumpet Guild ITG Journal Special Supplement 7
urgent flourishes within a seemingly nebulous framework inan almost mystic atmosphere. The rapid technical sections,combined with frequent use of the extreme upper register,prompts this reviewer to recommend this challenging piecefor advanced trumpet ensembles. The fourth and fifth pieceson the program were conducted by David Brown and per-formed by the “Non-Pro Players” ensemble. Their first selec-tion was Within Sacred Walls by Erik Morales, a piece thatwas recently a Music Supplement in the ITG Journal and isavailable for download from the ITG Website. Its pensive,cantabile lines recall the music created within the sacred wallsof the Notre Dame Cathedral in Paris, France. The secondpiece performed by the “Non-Pro” ensemble, a world pre-miere, was Wesley Nance’s A Brief Adventure. This work fea-tures tuneful minor-key melodies that float atop a persistenteighth-note ostinato in the lower voices. The piece transitionsinto pleasant lyricism before returning again to the eighth-note ostinato at the end. Justin Writer’s Fanfare, a trumpetquartet, was performed with no conduc-tor. The group executed the work’spunchy rhythmic gestures with an aggres-sive declamation. (JD)The seventh piece on the program, Ariafrom Hector Villa-Lobo’s BachianasBrasileiras No. 5, utilizes intimate scoringof a beautiful melody played in octaves byB-flat trumpet and flugelhorn and accom-panied by floating harmonies on piano.Tim Gelhaus’s Dominion is a lively fan-fare that showcases well the trumpet’sbrilliant sound with great rhythmic ener-gy. Glider, by Amy Dunker, containsmixed long lyrical lines with an activeunderlying motor. Flourishes are passedbetween players to give the work greatenergy and forward motion. This per-formance of Josh Hobbs’s Soar was dedi-cated to the spirit and memory of MichaelTunnell. The ascending sequential pas-
sages give the piece a flying sensation, and the work’s highlyanimated beginning and ending sandwiched a gorgeous lyricalmiddle section. Chick Corea’s Spain did not disappoint indelivering as a fun jazz standard. From the tricky opening tothe soaring lead notes, Valter Valerio’s arrangement wasupbeat and exciting. The final piece, Dies Irae, Tuba mirum,and Libera me from Verdi’s Requiem captured the fullness ofthe massive orchestration. The performance was dedicated toItalian trumpeter Marco Tamburini, who, sadly, passed awayyesterday. With a stage full of trumpet players, this grand workbrought the concert to an exciting conclusion. (EM)
President’s Awards BanquetAfter a mix-up with bus transportation, attendees exercisedsome creativity with carpools and taxi cabs, and the President’sAward Banquet began about thirty minutes late at the 94thAero Squadron Restaurant. Once everyone present had madetheir way through line for the sumptuous buffet dinner, ITG
The Festival of Trumpets mass ensemble
One of the tables at the President’s Awards Banquet. L – R: Cyrus Nabipoor, Karl Robinson, Nick Volz, and Paul Lindsay
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President Alan Siebert began by thanking and recognizing for-mer conference hosts and ITG presidents that were in atten-dance. Several other dignitaries were recognized before all ofthe scholarship and competition award winners wereannounced and had their pictures taken. After thankingAndrea Rush for serving as conference coordinator and JohnSchlabach for serving as chair of the artist committee, the cer-emonial “passing of the bugle” took place. Richard Birkemeierplayed a humorous bugle fanfare, signaling the next confer-ence for 2016 in Anaheim, California, and ending a relativelyquick banquet. (SH)
Finale Concert—Rob Parton’s All-Star Big Band with Soloists
Known as one of Chicago’s busiest trumpet players, RobParton led the conference Finale Concert with his All-Star BigBand from Columbus, Ohio. Featured soloists included TillBrönner, Andrea Tofanelli, and Rex Richardson. Kicking offthe first half was a driving swing chart arranged by John Fed-chock, It Don’t Mean a Thing. This chart showcased the band’stight ensemble playing, featured multiple soloists from withinthe band, and served as an energetic opener. Jim Powell(flugelhorn) and Sean Parsons (piano) were featured onDonny’s Tempo, a chart written for and recorded by the band.Parton introduced Augie Haas (lead trumpet) and Jay Miglia(baritone saxophone) to join Parton for Serenade to a Bus Seatto give tribute to the late jazz legend, Clark Terry. Written oncommission by Frank Santucci for the 2015 ITG conferencewas a composition consisting of several jazz styles, appropriate-ly named 5th Mahler Street. The commission featured AndreaTofanelli, who was quickly joined by Eric Berlin for a comical
introduction to this new take on Mahler’s Symphony No. 5.Tofanelli continued to solo with the band on a Latin chartcalled Who’s Your Daddy and was joined by band memberMatt James on alto saxophone. Written by Allen Carter andrecorded on Parton’s first CD was Laura, featuring tenor saxo-phonist Pete Mills and drummer Reggie Jackson. Ending thefirst half of the program was Knee Deep in Rio, a tune from theMaynard Ferguson library, featuring Scott Belck (trumpet),Michael Cox (tenor saxophone), Andy Woodson (bass), andReggie Jackson (drums).A burning swing chart called Blues for Mr. P gave a greatstart to the second half of the concert and featured MarkDonovan on tenor saxophone, Jim Masters on trombone, andScott Garlock on trombone. Rex Richardson joined the bandfor a beautiful flugelhorn solo, Spring Can Really Hang You UpThe Most. On a rock tune aptly named T-Rex, Richardson wasjoined by trumpeter Scott Belck. Jim Powell (flugelhorn) andMichael Cox (tenor sax) were featured on Mean What You Say,from the Thad Jones library. Following that, Till Brönner, oneof the conference favorites, was featured on an arrangement ofthe standard What Is This Thing Called Love. Brönner andMichael Cox (tenor saxophone) performed a beautiful, warmrendition of Air on a G String by Johann Sebastian Bach. Clos-ing this finale concert was a bebop tune that brought all threefeatured soloists and the whole trumpet section together, DonMenza’s Dizzy Land. It is difficult to imagine a better way toend such a wonderful conference than to have several of thefinest trumpet players alive today and an incredible big bandshare their gifts of music. Bravi! (WK)
The Finale Concert. L – R: Till Brönner, Andrea Tofanelli, Rex Richardson, Rob Parton, and Ben Huntoon
© 2015 International Trumpet Guild ITG Journal Special Supplement 9
ADDITIONAL PHOTOS
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
Eric Berlin (L) and Charles Schlueter
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Above: The head table at the banquet. L – R: Jim Olcott, Vera Olcott, Judith Saxton, Eric Berlin, Cathy Leach, Kim Dunnick (partially hidden by Leach), Dixie Burress, Cathy SiebertBelow: Ensamble 7/4 performs the prelude to the Finale Concert.
© 2015 International Trumpet Guild ITG Journal Special Supplement 11
Above: Boston Brass masterclassBelow: Kevin Eisensmith soloing with the Wildcat Regiment Band
12 ITG Journal Special Supplement © 2015 International Trumpet Guild
Above: The passing of the bugle. L – R: ITG President Alan Siebert, 2015 Conference Artist Committee chair John Schlabach, 2016 Conference Artist Committee chair Richard Birkemeier. Below: Andrea Tofanelli at the Finale Concert
© 2015 International Trumpet Guild ITG Journal Special Supplement 13
Above: A zombie convention was being held in the same hotel, and ITG attendees would occasionally see the walking dead milling about the lobbies and food court. Below: ITG Publications Editor Peter Wood (blue shirt)
really was a zombie after a week of managing these reports and fit right in with this crowd.
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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 theUnited 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 theUniversity of Kentucky. His debut solo CD, Lost TrumpetTreasures, was released in 2014.Kevin Eisensmith (KE) is professor of trumpet and assistantchair 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 atOklahoma 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 DelMar 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 TroyUniversity 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 theMusic 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 atthe 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 IllinoisUniversity 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, musiccritic, 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 CentralMichigan University's School of Music.Internationally acclaimed trumpeter Marc Reese (MR) is bestknown 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 Technologycolumn 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 trumpetat 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 inthe 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 InternationalTrumpet 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 inPittsburgh, 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
© 2015 International Trumpet Guild ITG Journal Special Supplement 15
2015 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.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.”
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16 ITG Journal Special Supplement © 2015 International Trumpet Guild
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