The 42nd Annual International Trumpet Guild Conference - Hershey, Pennsylvania
Special Daily Report • Compiled by Peter Wood
Photos by Michael Anderson, Norman Bergstrom, Del Lyren, and John Tamer

Thursday, June 1 - Daytime events

Thursday's clinics and concerts featured a terrific array of performances in many different styles and genres, delivered by a truly international collection of artists. Audiences were again exposed to faces old and new, providing untold inspiration to all in attendance.
 

Click here for more photos from the ITG Conference

Marco Braito Warm-Up Session
 
Marco Braito’s warm-up session was taught primarily through a call-and-response method between Braito and the audience. Featuring dynamic stretches, numerous breathing exercises, singing, mouthpiece buzzing, and performance on the trumpet, Braito placed a large emphasis on always performing in a singing style in order to play with one’s best sound. All breathing exercises involved inhaling without equipment. Exhalations were done with no equipment, through the mouthpiece, through the trumpet without a mouthpiece, and through the trumpet fully assembled. This approach allowed performers to become acclimated to the resistance of the equipment without adding tension to the rest of their bodies. Before beginning mouthpiece buzzing or long-tone exercises, Braito sang each phrase. This method reminded the audience of the singing style which led to softer volumes, beautiful sounds, and less tension overall. While a majority of the class was taught by modelling, one message stated repeatedly throughout the session was “always sing!” (SS)

 
Daniel Thrower Warm-Up Session - Warming Up for the Athletic Event of Trumpet Playing
 
Staff Sergeant Daniel Thrower of the US Air Force broke down the physical components of trumpet playing into four categories: air (aided by a relaxed glottis), embouchure, fingers (especially the weak third finger), and tongue. In a typical warm-up session lasting anywhere from five to fifteen minutes, he said that it is important to address each aspect. Using a running analogy, Thrower explained the primary functions of a warmup - to prepare the body for physical demands, to loosen muscles and increase blood flow, and to prevent injury and unnecessary fatigue. In fact, he stressed that the warmup should never reach the point of fatigue; this is what distinguishes it from a practice session. The warmup also serves a diagnostic function: things that are not going well become the focus of that day’s practice. As with running, the key to successful trumpet playing is relaxation; the only activated muscles are those involved in playing. (MM)
170601-0001Daniel Thrower
 
Brian Walker Presentation - Technology in the Trumpet Studio: New Devices for Teachers and Players Alike

Brian Walker presented an engaging clinic that highlighted new technological resources for professors, performers, and students. He opened by discussing Yamaha’s Harmony Director HD-200, which offers multiple systems of tuning, including equal temperament, just intonation, and drones. Since the speaker on this device is small, he suggested the purchase of a portable keyboard amplifier like the Roland KC-60/KC-150. Walker also discussed the need for good audio and video recorders. He considered the advantages and disadvantages of the Zoom iQ7, which plugs into an iPhone; the GoPro Hero5 Black; and the Zoom Q4n and Zoom Q8. Walker then highlighted the ease of storing and reading music on a tablet. He uses the iPad Pro but also considered products by Samsung, Google, and Asus. After showcasing different foot pedals, Walker demonstrated the potential of such apps as forScore, Tonal Energy tuner, TimeGuru metronome, Drum School, Dropbox, and Scanner Pro. The highly informative session concluded with a question-and-answer session that clearly highlighted why Walker is a leading authority in this field. (RG)
170601-0001-2Brian Walker
 
Chase Sanborn Non-Pro Clinic - How to Sustain Level on Limited Practice 
 
The Empire Ballroom was the venue for Chase Sanborn’s presentation, also called “Circuit Training for Brass Players.” While aimed at non-professional players, the concepts presented by Sanborn were applicable to trumpeters of all backgrounds and levels. By dividing a typical warm-up/practice routine into focused five- to six-minute segments, he is able to address a myriad of specific technical, musical, and time-management challenges on a daily basis. Sanborn demonstrated his warm-up routine in real time, utilizing built-in rest periods to explain a conceptual basis for each exercise. This session was well constructed for non-pro players who often struggle to find time to maintain their trumpet playing. By regularly utilizing Sanborn’s concepts, players will be able to increase significantly the efficiency of their practice time. (JC)
170601-0001-3Chase Sanborn
 
Alexis Morales Barrientos Recital - Costa Rican Music for Trumpet and Piano
 
Professor of trumpet at the University of Costa Rica, Alexis Morales Barrientos is also  co-founder of the Yamaha Brass Academy for Latin America. His recital opened with Vinicio Meza’s Portrait. After a cadenza reminiscent of a traditional bullfight fanfare, ethereal-sounding piano chords set the tone for the lyrical melodies that followed. Parlor-like melodies and harmonies were featured in the second movement; floating and tearful melodies over lush harmonies in the ballad third; and bluesy, mysterious, and playful tunes in the finale. Allen Torres’s fast-paced Costa Rican Potpourri followed. Marvin Camacho is among the most prominent Costa Rican composers, and his 2012 Sonata for Trumpet and Piano is a notable contribution to the repertoire. Quartal harmonies alternate with sections featuring more South American flair. The well-crafted collaborative piano parts were beautifully rendered by Miriam Hickman throughout. Daniel Garrigues’s Reminiscencias featured the duo with magnificent ensemble and accord. Jorge Alvarado Bravos’s arrangement of Three Costa Rican Pieces for Trumpet and Piano include traditional melodies from the north, as well as virtuoso articulation, a waltz, and a calypso-inspired movement. Barrientos’ lyricism was particularly engaging here. This was an outstanding performance showcasing the rich, yet little-known, solo trumpet repertoire from Costa Rica. (LE)
170601-0001-5Alexis Morales Barrientos
 
Benjamin Fairfield Presentation - From the Practice Room to the Concert Hall: The Importance of Deliberate Practice in Trumpet Performance 
 
Today’s clinic by Dr. Benjamin Fairfield provided both an engaging and entertaining approach to gaining the most out of each practice session. Fairfield provided specific goals in both structure and organization that a performer should evaluate during each practice session. Key elements in this approach focused on pinpointing an achievable goal for each practice session, practicing elements that take the performer outside of their “comfort zone,” and always finding ways to identify experts in our field so we may assess our progress through their guidance or performance standards. Fairfield provided extensive references in current scholarship, particularly those by Dr. Peak Ericsson on how the human body can cultivate learned skills through deliberate practice. (JS)  170601-0001-4Benjamin Fairfield
  
Phil Snedecor Recital - Trumpet with Organ: Innovative Programming with Endless Possibilities 
 
Phil Snedecor opened his recital by sharing his brilliant piccolo trumpet playing on selections from Corelli’s Concerto Grosso (Christmas Concerto), Op. 6. Snedecor stated that his goal was to “take the familiar in a new direction,” so he continued with “The Swan” from Camille Saint-Saëns’ Carnival of the Animals. Snedecor was joined by cellist Erin Snedecor for a refreshing trio setting of “A Simple Song” from Bernstein’s Mass. Showcasing the various color possibilities that the duo had to offer, Snedecor and organist Paul Skevington continued with Variations on a Hymn. Insisting that performance must be “more than just the notes,” he continued with Blumine by Gustav Mahler. Written for his daughter, Air for Erin made for a very peaceful addition to the program. The program concluded with Dan Locklair’s Phoenix. This uplifting work uses E-flat trumpet throughout and created an appropriately majestic ending for the recital. (WK)
170601-0001-6Phil Snedecor
 
John Marchiando Clinic - Why We Still Practice Orchestral Excerpts 

Dr. John Marchiando and five of his students from the University of New Mexico took the stage to talk about (and demonstrate) the benefits of practicing orchestral excerpts. While Marchiando acknowledged that not every trumpet player ultimately wants to play in an orchestra, he presented a strong argument for the pedagogical benefits of practicing orchestral excerpts for all trumpet players, no matter where their goals lie. Marchiando emphasized that a trumpet player, through the study of orchestral excerpts, can learn basic overall sound and sustain, singing style, volume control, articulation, musical style, and national differences. The audience enjoyed numerous performances of well-known orchestral passages, which Marchiando used to exemplify these major benefits. He emphasized that practicing excerpts is not just about playing correctly, but about knowing how the particular passages are supposed to be expressed and the context in which one plays. (BB)
170601-0001-9John Marchiando
 
Bijon Watson Clinic - Taking the Lead: In Big Band and Beyond
 
Bijon Watson’s clinic focused on the skills necessary to perform successfully as a lead trumpeter. After a brief discussion of his background, Watson began a fascinating and informative talk on lead playing. His first topic related to defining the role of a lead player within a section. By encouraging all section players to “think like a lead player” and all lead players to develop consistency, Watson was effectively able to establish priorities for successful ensemble playing. Additional conversations regarding the importance of phrasing and style over simple high range were of great value. Watson spoke about a few topics related to trumpet playing in general before spending the rest of the session answering questions from the audience. His insight into trumpet playing and performance was highly informative to all in attendance. (JC)
170601-0001-10Bijon Watson
 
Reveille Trumpet Collective Lecture Recital - Performer as Curator: Presenting to Audiences in the 21st Century
 
The Reveille Trumpet Collective, consisting of Joel Brennan, Aaron Hodgson, and Timothy Quinlan, presented a lecture-recital that began with a performance of Harry Sdraulig’s Fanfare for 8 Trumpets, conducted by Quinlan. Brennan and Hodgson were joined by their teachers (Allan Dean and Roy Poper) and colleagues (Mary Bowden, Michael Brest, Guilian Favrin, and Alan Klaus) for the performance. The group then suggested “Five Rules for Presenting New Music,” illustrated with video examples and live performances - 1) Everybody loves a good story; 2) Know your audience; 3) Bridge the gap; 4) Play well with others; and 5) Leave room for opinions. Aaron Hodgson’s compelling performances of Aiden Hartery’s The First Recitation: The Old Hag and Patrick McGraw’s A Force of Nature for trumpet, electronics, and video were notable highlights. The works are available on Quinlan’s digital sheet music site (http://qpress.ca). (EK)  170601-0001-12Reveille Trumpet Collective  
ITG Affiliate Chapters Showcase Recital
 
The Affiliate Chapters Showcase Recital was held at the First United Methodist Church and featured a wide variety of chapters from the United States and beyond. Chapters featured on the recital included the Alabama, Australia, Brazil, Cincinnati, Louisville, Smokey Mountain, and Texas A&M University-Kingsville trumpet guilds. Tina Erickson shared at the beginning of the event that this was the first time that there has been an affiliate chapter recital at the ITG conference. What made the event particularly unique was the cool blend of student players and seasoned professionals performing together, as well as the vast array of musical styles represented. Featured on the program were compositions by Robert Bradshaw, Tobin Stokes, José Uriciscino Duda da Silva, Frederick Speck, and Bobby Collins, as well as arrangements by Scott Belck and Martin Hebel. The recital was a wonderfully casual and friendly atmosphere and was enjoyed by all in attendance. (RW)
170601-0001-15Smokey Mountain ITG Affiliate Chapter
 
Olivier Anthony Theurillat Recital - Swiss Music for Trumpet and Piano

Olivier Anthony Theurillat presented an outstanding recital with Rebecca Wilt (piano) Thursday afternoon, a program comprised exclusively of music by Swiss composers. Opening with Ernest Bloch’s Proclamation, Theurillat demonstrated his ability to play with clarity of sound, color, and technique, which continued throughout the recital. Highlights were Cyril James Squire’s 1985 Aubade, a small piece written for trumpet and bells, but performed with piano, and Arthur Honegger’s 3 Poems, written originally for piano and voice. Theurillat demonstrated a remarkable ability to play lightly and expressively, perfectly imitating the voice. These works contrasted well with Daniel Schnyder’s Concerto, in which Theurillat’s versatility as an artist was heard in the execution of long, difficult passages that were heavily influenced by jazz. Theurillat highlighted his firm command of all registers of the trumpet and the ability to adapt his tone to fit the character of each piece. The recital closed with a short, beautiful, jazz waltz by Thierry Lang, in which Theurillat once again showed his ability to perform in all styles with beautiful tone and musicianship. (SW)
170601-0001-14Olivier Anthony Theurillat
 
ITG Solo Competition Finals
 
The finals of this year’s ITG Solo Competition saw a very high level of performance. The three finalists, accompanied by Miriam Hickman, performed Brendan Collins’s Concert Gallop, along with a multi-movement work of their choice. Daniel Haddock, from Florida State University, brought a characteristically dark Russian sound to Peskin’s Trumpet Concerto. He demonstrated both technical agility and lyrical sensitivity in the cup-muted section. Miguel Pais, from Portugal’s Universidade de Aveiro, followed with a musically mature performance of Neruda’s Trumpet Concerto. Pais delivered clean articulations and huge dynamic contrast, from true pianos to full, tasteful fortes in the cadenza. Bryan Powell, from Bowling Green State University, closed the competition with a challenging contemporary piece, Fisher Tull’s Sonata for Trumpet and Piano, which was commissioned by the ITG and premiered at the London conference in 1986. Powell played with precision and a huge sound and showed off his high range. The talent in today’s competition was on full display. (MM)
170601-0001-21ITG Solo Competition finalists and judges   
Marco Pierobon and Marco Braito Recital
 
Undoubtedly, a large number of those in attendance for the Marco Pierobon and Marco Braito recital had heard Gomalan Brass the evening before. If Gomalan were considered the Italian version of Canadian Brass, then Pierobon’s fiery and flashy approach to the trumpet would be the equivalent of Ronald Romm’s, while Braito’s compact, focused sound and delicate articulation would be comparable to that of Fred Mills. Just as Romm and Mills complemented each other so well, so too did Pierobon and Braito. Beautiful tone quality, impeccable intonation and lovely musical phrasing were hallmarks of this recital. The program of works by mostly Italian composers, accompanied by pianist Rebecca Wilt, began and ended with duets. In between, both Pierobon and Braito performed solo works. While many of the pieces were operatic in nature, compositions in more contemporary styles were also featured. Highlights included Pierobon’s performance of Giancarlo Aquilanti’s Sonata for Trumpet and Piano. This work, originally for solo trumpet and wind band, was in the jazz idiom, with amazingly acrobatic solo lines that sounded improvised, but, in fact, were all notated! Braito performed Corrado Maria Saglietti’s Concertino for Trumpet and Piano, reminiscent of a “kinder, gentler” cousin of the Halsey Stevens Sonata. Let’s hope that these musicians continue to be featured at future conferences! (KE)
170601-0001-18L-R: Rebecca Wilt, Marco Braito, Marco Pierobon

Click here for more photos from the ITG Conference