The 47th Annual International Trumpet Guild Conference MINNEAPOLIS, MN
SCHEDULED EVENTS LISTED BELOW IS SUBJECT TO CHANGE AT ANY TIME WITHOUT PRIOR NOTICE
Tuesday, May 30
Wednesday, May 31
Thursday, June 1
Friday, June 2
Saturday, June 3
Tuesday, May 30
19:30
- 21:00
Opening Concert: Les Trompettes de Lyon
The 30 years show !
In soccer you don’t change a winning team. In the restaurant business, you don’t change a recipe that attracts gourmets from all over the world. In medicine, you don’t change a method that relieves and heals patients. So, in the artistic field, why would you want the latest show of the Lyon Trumpet Ensemble to renounce the (secret) formula that made all the previous ones triumph?
The 30 years show is good music, good mood, beautiful lights, for five good trumpeters who are also five great guys. So we don’t change anything. The only difference is that a good trumpet player is like a good wine, it gets better with time. François Rollin, stage director
Using Vibrato: Varying your approach when playing in different genres, ensembles, and eras of music.
Robert will discuss the use of vibrato in trumpet playing, acceptable vibrato variations, vibrato approaches that work well in a variety of idioms, and some general do’s and don’t’s that make people soundings stylistically appropriate. To be more specific, he plans to present a side-by-side comparison of how different settings tend to gravitate toward different uses of vibrato. Comparisons of vibrato usage in solo/chamber, orchestral, commercial orchestral, jazz small group, jazz big band, commercial pop/funk would be showcased. For the solo component, he would show how international artists from different countries play the same passages but with different approaches to vibrato speed, depth, etc. For orchestral playing, a comparison of older orchestral recordings (approx. 1950s-80s) vs. more modern/present-day recordings of the same pieces would be showcased. Similarities and differences would be noted. On the jazz side, various appropriate small group jazz vibrato uses from early jazz (often called trad jazz or Dixieland) to modern-day (approx. 1960s and on) would be presented. He would also discuss vibrato in the big band music of Duke Ellington, Count Basie, and more modern music (i.e. Maria Schnieder, Kim McNeely). Vibrato used by lead vs. section players (i.e. if and when it’s appropriate for inner voices to use vibrato). He would also discuss how commercial orchestral music vibrato differs from symphonic orchestral music (that of Mahler, Strauss, Shostakovich, etc). Other mentions of vibrato in Latin/Salsa music and funk/pop would be noted. The goal is to help trumpeters choose a vibrato that is informed and comfortable to who they are, while also being stylistically and era-appropriate.
08:45
- 10:00
Session: Joe Montelione
Daily Routines for the Active Community Musician
The “workday routine” for active community musicians is designed for players who have a non- musical 9-5 job, yet aspire to strengthen their chops, strive to preserve their passion for playing trumpet and desire to contribute great music in their community.
How do I maximize my results within a minimum amount of time?
What could a routine look like for someone who doesn’t have time to practice hours a day?
How do I create a routine that fits my work schedule?
In my masterclass, I hope to show music students their true potential by unlocking their ear in all 12 keys. This is a fundamental process for developing their skill set whether they are a classical musician or jazz musician. There is an easy way to do this, without complicating the brain.
Hearing Aids for Musicians: A Guide to the Process
According to the Cleveland Clinic, one in five adults suffers from some degree of hearing loss. After age 60, hearing ability typically begins to decline. On average, a third of adults between the ages of 65 and 74 suffers from age-related hearing loss. Nearly half of adults over the age of 75 struggle to hear.
Until 2019, the generation known as Baby Boomers was the largest generation in the United States. Born between 1946-1964, Baby Boomers comprise the majority of nearing-retirement or recently-retired individuals.This preponderance of Baby Boomers in the late career stage exists in all industries, including the performing arts. Now ages 57-75, many Baby Boomers are beginning to face the challenges of age-related hearing loss — a professional liability for performers.
Reexamining the Repertoire: French Women Composers of Solo Trumpet Music at the Paris Conservatory
Many frequently performed solo trumpet works of the past century have been written by French composers. They are played for jury performances, at recitals, and on stage with symphony orchestras to showcase the virtuosic capabilities of trumpeters worldwide. Of the most commonly performed French pieces, very few were written by women. This is not, however, because of an absence of music. A shift in European gender roles spurred by the industrial revolution and World Wars ignited a significant increase in the number of women composers and the quality of their work. Unfortunately, gendered or lack of public critical review, securing publication past an initial premiere, the use of pseudonyms, and balancing home and professional lives significantly impacted the likelihood that pieces by women would be programmed. As a devastating result, most have been forgotten for decades. The purpose of this lecture recital is to provide a practical point of reference for musicians interested in the morceaux de concours written by women for the trumpet and cornet at the Paris Conservatory during the twentieth century, while also raising questions about why and how certain works are excluded from the standard solo repertoire.
Making the undoable doable: The core of expert music practice
Great performances depend on great practice. Effective practice leads to tangible improvements in skill that are outward manifestations of refined cognitive and motor representations developed through iterative cycles of perception and action. Effective practicers notice discrepancies between the sounds they intend to produce and the sounds they actually produce, which inform required adaptations in the motor system that reduce the discrepancies between intentions and outcomes.
Hompak: The Mayan Trumpet Rediscovering the Trumpet from the Land of the Jaguar
In many cultures, past and present, music has played and still plays a significant facilitator role, in the efforts made by man to communicate with the gods and to talk about them. At the same time, the human musical capability has been and is often ascribed to mythology and supernatural origin.
Maya culture is not an exception, judging by rich treasure of pictorial sources where man is depicted undertaking his incursions to other worlds, frequently under the influence of the sound of rattles, drums, turtle carapaces, flutes, trumpets, voices, and dancing movements. Simultaneously, those sources show the same mundane musical practices reflected and multiplied throughout the different strata and spheres of the Maya cosmos.
Ensamble 7/4 take us on a musical journey around the whole American continent through its best known rhythms, starting from the exotic Venezuelan Joropos and Merengues to travel through the passion of Astor Piazzolla’s Tango from Argentina, the joyful Samba from Brazil, the Cumbia from Colombia, the spicy Mexican Mariachis, the Son and Chacha from Cuba and the Blues and Swing from the US.
The 21st Century Trumpet Recital: Enhancing Your Performance and Engaging Audiences with Multimedia
This recital will both showcase original compositions and provide practical advice for enhancing recitals with fixed media or dedicated full performances to this genre. These new compositions are released as a book titled Revelation: Ten Works for Trumpet and Fixed Media (Art of Sound), published individually
Lead Trumpet Style; How to play stylistically accurate in a big band
Playing lead trumpet in a big band setting is a position that demands a great deal from a musician. The skills that are necessary do not just include the ability to play high notes and have tremendous endurance. Both skills are required, but the job is much more than just that. The ability to set the time feel for the whole band, along with the articulations, phrasing, dynamics, and other stylistic nuances, are a requirement of the lead trumpet chair. Each of these nuances is varied by the band and the era in which the music was written, and a knowledge of how the music developed and the significant lead trumpet stylists is essential for playing the role of the lead trumpet in a big band. DONALD ALBRECHT
13:00
- 14:15
Recital: New Works
13:30
- 15:00
ITG Competition Final: Orchestral Excerpts
15:15
- 16:30
Recital: Paul Archibald – Honorary Award Recipient
17:00
- 18:15
Round Table: Diversity & Inclusion within the Trumpet Industry
17:00
- 18:15
Recital: ITG Affiliate Chapters
17:00
- 18:15
Session: Fifth Bridge
Electro-Acoustic Music for Trumpet Ensemble: People, Process, Performance
This session has a dual mission: to present live and recorded performances of recent works by composers deVon Gray, David Sampson, Christopher Stark, John Hollenbeck, and Niloufar Nourbakhsh, and to share the composers’ thoughts on writing for trumpet and on their differing compositional processes. Each piece represents a different method of composition or collaboration between composer and musician. Gray’s work is a true collaboration: electronic parts composed by Gray and trumpet parts composed by Fifth Bridge member Kelly Rossum. Compositionally, David Sampson’s Black Rock combines familiar fixed media with live performers, while Christopher Stark’s Scream features live processing of recorded audio. Finally, John Hollenbeck’s Colossale Sun showcases a larger collaboration with film editor Bucky Illingworth and NASA astrophysicist Dr. Henry Winter.
The 3 fundamental pillars of the study of the trumpet DAVID PASTOR
08:45
- 10:00
Session: John Cord
College Studio Recruiting 101: How To Effectively Recruit the Modern High School Trumpeter
This presentation will offer the modern trumpet studio teacher proven strategies, considerations, and creative approaches to being more effective at reaching high school trumpeters with the intent to recruit them to your institution. Through an extensive 16 year journey of trial and error (lots of error), as a studio teacher, I’ll share with you what I have found works and what doesn’t, how to optimize your time and use your resources to make you the most visible and effective recruiter you can be.
Trumpet Around the Sun: An exploration of music as a global connector.
Trumpet Around the Sun: An exploration of music as a global connector and an in-depth look at Merrie Klazek’s 2022 acclaimed recording project Dance Around the Sun, which highlights the trumpet in settings of world music with over 24 different musicians.
Bridging Borders: New Latin American Music for Trumpet and Piano
This lecture-recital will explore different types and styles of Latin American music by introducing listeners to new pieces for trumpet and piano by South American composers from Colombia, Ecuador, Peru, Argentina, and Brazil. We will discuss how its roots and history are common to the music of almost all countries south of the U.S. border, as well as show the connection and influence of this music in the United States. As the drive toward inclusion and diversity in this country continues, there is much to learn about Latin American music that has not yet been explored.
Karen believes that professional marketing materials, that are cohesive and recognizable, across a variety of media platforms is mandatory to thrive in our industry. Therefore, we will talk and share a wide range of marketing toolsand resources, to highlight everything you have to offer, to market your style and showcase your talents. We will discuss the psychology behind social media and how to authentically share and strategically position you in a space to control the narrative of your career. KAREN CUBIDES
13:30
- 15:00
ITG Competition Final: Solo Performance
15:15
- 16:30
Recital: Adán Delgado Illada
Travel Through Spanish Modern Repertoire
17:00
- 18:15
Session: Michael Sachs – Honorary Award Recipient
Preparation and Performance of Standard Orchestral Repertoire
In the quest to improve our playing, we explore many paths. We change mouthpieces and instruments, we experiment with gadgets, we try this method and those exercises, and we ask the pros for tips, techniques, and lessons. While all these approaches have their place, we rarely learn what exactly makes practice work. In other words, what are the organizing principles of effective practice that one must consider to get the most out of practice time? DAVE WONDRA
In soccer you don’t change a winning team. In the restaurant business, you don’t change a recipe that attracts gourmets from all over the world. In medicine, you don’t change a method that relieves and heals patients. So, in the artistic field, why would you want the latest show of the Lyon Trumpet Ensemble to renounce the (secret) formula that made all the previous ones triumph?
The 30 years show is good music, good mood, beautiful lights, for five good trumpeters who are also five great guys. So we don’t change anything. The only difference is that a good trumpet player is like a good wine, it gets better with time. François Rollin, stage director
Using Vibrato: Varying your approach when playing in different genres, ensembles, and eras of music.
Robert will discuss the use of vibrato in trumpet playing, acceptable vibrato variations, vibrato approaches that work well in a variety of idioms, and some general do’s and don’t’s that make people soundings stylistically appropriate. To be more specific, he plans to present a side-by-side comparison of how different settings tend to gravitate toward different uses of vibrato. Comparisons of vibrato usage in solo/chamber, orchestral, commercial orchestral, jazz small group, jazz big band, commercial pop/funk would be showcased. For the solo component, he would show how international artists from different countries play the same passages but with different approaches to vibrato speed, depth, etc. For orchestral playing, a comparison of older orchestral recordings (approx. 1950s-80s) vs. more modern/present-day recordings of the same pieces would be showcased. Similarities and differences would be noted. On the jazz side, various appropriate small group jazz vibrato uses from early jazz (often called trad jazz or Dixieland) to modern-day (approx. 1960s and on) would be presented. He would also discuss vibrato in the big band music of Duke Ellington, Count Basie, and more modern music (i.e. Maria Schnieder, Kim McNeely). Vibrato used by lead vs. section players (i.e. if and when it’s appropriate for inner voices to use vibrato). He would also discuss how commercial orchestral music vibrato differs from symphonic orchestral music (that of Mahler, Strauss, Shostakovich, etc). Other mentions of vibrato in Latin/Salsa music and funk/pop would be noted. The goal is to help trumpeters choose a vibrato that is informed and comfortable to who they are, while also being stylistically and era-appropriate.
08:45
- 10:00
Session: Joe Montelione
Daily Routines for the Active Community Musician
The “workday routine” for active community musicians is designed for players who have a non- musical 9-5 job, yet aspire to strengthen their chops, strive to preserve their passion for playing trumpet and desire to contribute great music in their community.
How do I maximize my results within a minimum amount of time?
What could a routine look like for someone who doesn’t have time to practice hours a day?
How do I create a routine that fits my work schedule?
In my masterclass, I hope to show music students their true potential by unlocking their ear in all 12 keys. This is a fundamental process for developing their skill set whether they are a classical musician or jazz musician. There is an easy way to do this, without complicating the brain.
Hearing Aids for Musicians: A Guide to the Process
According to the Cleveland Clinic, one in five adults suffers from some degree of hearing loss. After age 60, hearing ability typically begins to decline. On average, a third of adults between the ages of 65 and 74 suffers from age-related hearing loss. Nearly half of adults over the age of 75 struggle to hear.
Until 2019, the generation known as Baby Boomers was the largest generation in the United States. Born between 1946-1964, Baby Boomers comprise the majority of nearing-retirement or recently-retired individuals.This preponderance of Baby Boomers in the late career stage exists in all industries, including the performing arts. Now ages 57-75, many Baby Boomers are beginning to face the challenges of age-related hearing loss — a professional liability for performers.
Reexamining the Repertoire: French Women Composers of Solo Trumpet Music at the Paris Conservatory
Many frequently performed solo trumpet works of the past century have been written by French composers. They are played for jury performances, at recitals, and on stage with symphony orchestras to showcase the virtuosic capabilities of trumpeters worldwide. Of the most commonly performed French pieces, very few were written by women. This is not, however, because of an absence of music. A shift in European gender roles spurred by the industrial revolution and World Wars ignited a significant increase in the number of women composers and the quality of their work. Unfortunately, gendered or lack of public critical review, securing publication past an initial premiere, the use of pseudonyms, and balancing home and professional lives significantly impacted the likelihood that pieces by women would be programmed. As a devastating result, most have been forgotten for decades. The purpose of this lecture recital is to provide a practical point of reference for musicians interested in the morceaux de concours written by women for the trumpet and cornet at the Paris Conservatory during the twentieth century, while also raising questions about why and how certain works are excluded from the standard solo repertoire.
Making the undoable doable: The core of expert music practice
Great performances depend on great practice. Effective practice leads to tangible improvements in skill that are outward manifestations of refined cognitive and motor representations developed through iterative cycles of perception and action. Effective practicers notice discrepancies between the sounds they intend to produce and the sounds they actually produce, which inform required adaptations in the motor system that reduce the discrepancies between intentions and outcomes.
Hompak: The Mayan Trumpet Rediscovering the Trumpet from the Land of the Jaguar
In many cultures, past and present, music has played and still plays a significant facilitator role, in the efforts made by man to communicate with the gods and to talk about them. At the same time, the human musical capability has been and is often ascribed to mythology and supernatural origin.
Maya culture is not an exception, judging by rich treasure of pictorial sources where man is depicted undertaking his incursions to other worlds, frequently under the influence of the sound of rattles, drums, turtle carapaces, flutes, trumpets, voices, and dancing movements. Simultaneously, those sources show the same mundane musical practices reflected and multiplied throughout the different strata and spheres of the Maya cosmos.
Ensamble 7/4 take us on a musical journey around the whole American continent through its best known rhythms, starting from the exotic Venezuelan Joropos and Merengues to travel through the passion of Astor Piazzolla’s Tango from Argentina, the joyful Samba from Brazil, the Cumbia from Colombia, the spicy Mexican Mariachis, the Son and Chacha from Cuba and the Blues and Swing from the US.
The 21st Century Trumpet Recital: Enhancing Your Performance and Engaging Audiences with Multimedia
This recital will both showcase original compositions and provide practical advice for enhancing recitals with fixed media or dedicated full performances to this genre. These new compositions are released as a book titled Revelation: Ten Works for Trumpet and Fixed Media (Art of Sound), published individually
Lead Trumpet Style; How to play stylistically accurate in a big band
Playing lead trumpet in a big band setting is a position that demands a great deal from a musician. The skills that are necessary do not just include the ability to play high notes and have tremendous endurance. Both skills are required, but the job is much more than just that. The ability to set the time feel for the whole band, along with the articulations, phrasing, dynamics, and other stylistic nuances, are a requirement of the lead trumpet chair. Each of these nuances is varied by the band and the era in which the music was written, and a knowledge of how the music developed and the significant lead trumpet stylists is essential for playing the role of the lead trumpet in a big band. DONALD ALBRECHT
13:00
- 14:15
Recital: New Works
13:30
- 15:00
ITG Competition Final: Orchestral Excerpts
15:15
- 16:30
Recital: Paul Archibald – Honorary Award Recipient
17:00
- 18:15
Round Table: Diversity & Inclusion within the Trumpet Industry
17:00
- 18:15
Recital: ITG Affiliate Chapters
17:00
- 18:15
Session: Fifth Bridge
Electro-Acoustic Music for Trumpet Ensemble: People, Process, Performance
This session has a dual mission: to present live and recorded performances of recent works by composers deVon Gray, David Sampson, Christopher Stark, John Hollenbeck, and Niloufar Nourbakhsh, and to share the composers’ thoughts on writing for trumpet and on their differing compositional processes. Each piece represents a different method of composition or collaboration between composer and musician. Gray’s work is a true collaboration: electronic parts composed by Gray and trumpet parts composed by Fifth Bridge member Kelly Rossum. Compositionally, David Sampson’s Black Rock combines familiar fixed media with live performers, while Christopher Stark’s Scream features live processing of recorded audio. Finally, John Hollenbeck’s Colossale Sun showcases a larger collaboration with film editor Bucky Illingworth and NASA astrophysicist Dr. Henry Winter.
The 3 fundamental pillars of the study of the trumpet DAVID PASTOR
08:45
- 10:00
Session: John Cord
College Studio Recruiting 101: How To Effectively Recruit the Modern High School Trumpeter
This presentation will offer the modern trumpet studio teacher proven strategies, considerations, and creative approaches to being more effective at reaching high school trumpeters with the intent to recruit them to your institution. Through an extensive 16 year journey of trial and error (lots of error), as a studio teacher, I’ll share with you what I have found works and what doesn’t, how to optimize your time and use your resources to make you the most visible and effective recruiter you can be.
Trumpet Around the Sun: An exploration of music as a global connector.
Trumpet Around the Sun: An exploration of music as a global connector and an in-depth look at Merrie Klazek’s 2022 acclaimed recording project Dance Around the Sun, which highlights the trumpet in settings of world music with over 24 different musicians.
Bridging Borders: New Latin American Music for Trumpet and Piano
This lecture-recital will explore different types and styles of Latin American music by introducing listeners to new pieces for trumpet and piano by South American composers from Colombia, Ecuador, Peru, Argentina, and Brazil. We will discuss how its roots and history are common to the music of almost all countries south of the U.S. border, as well as show the connection and influence of this music in the United States. As the drive toward inclusion and diversity in this country continues, there is much to learn about Latin American music that has not yet been explored.
Karen believes that professional marketing materials, that are cohesive and recognizable, across a variety of media platforms is mandatory to thrive in our industry. Therefore, we will talk and share a wide range of marketing toolsand resources, to highlight everything you have to offer, to market your style and showcase your talents. We will discuss the psychology behind social media and how to authentically share and strategically position you in a space to control the narrative of your career. KAREN CUBIDES
13:30
- 15:00
ITG Competition Final: Solo Performance
15:15
- 16:30
Recital: Adán Delgado Illada
Travel Through Spanish Modern Repertoire
17:00
- 18:15
Session: Michael Sachs – Honorary Award Recipient
Preparation and Performance of Standard Orchestral Repertoire
In the quest to improve our playing, we explore many paths. We change mouthpieces and instruments, we experiment with gadgets, we try this method and those exercises, and we ask the pros for tips, techniques, and lessons. While all these approaches have their place, we rarely learn what exactly makes practice work. In other words, what are the organizing principles of effective practice that one must consider to get the most out of practice time? DAVE WONDRA
