< Previous78 ITG Journal / January 2021 © 2021 International Trumpet Guild M ARCHING A RTS C ORNER A ARON W ITEK , C OLUMN E DITOR B rass playing and teaching in drum corps and march- ing bands are far more sophisticated today than in my corps days in the s, but performing on the football field and in the concert hall are still very different, and every year thousands of students must switch between the two, often within the same day. I want to talk about how to func- tion more efficiently in both idioms. First, I offer a little pedagogy that I have found helpful in both idioms. Indoors or out, loud or soft, high or low, sound pressure waves move at miles per hour. We can blow a wind stream maybe mph. So, despite appearances, we do not blow sound through the instrument. More importantly, in trying to do so, we metaphorically shoot ourselves in the foot, reducing projection (high harmonics are attenuated), limiting endurance (increasing stress on the embouchure), and distort- ing our sound (usually in the form of stridency, often misla- beled “bright” because it sticks out of the texture). Finally, this kind of playing is hard work. Consequently, clichés like “blow the sound to the press box” or “aim for the back of the hall” are misconceptions on the part of players and illusions for the audience. Realizing this can help us play more efficiently and musically, with positive implications for endurance, tone, facility, projection, and range. Trumpet players, if they consider resonance at all, usually think only of their instrument. I suggest a different approach. I think of the trumpet as an extension of my body rather than an instrument I am blowing into (or through). Like an opera singer, I use the resonance of my body. My embouchure (lips, aperture, and supporting mus- culature) take the place of the larynx and vocal cords. It is a literal interpretation of Arnold Jacobs’ famous exhortation to “sing with your lips.” I think of playing as more acousti- cal than physical. So, instead of just the trumpet resonating, I use two resonat- ing systems: my body (mouth/throat/chest) and the trum- pet—with the engine in the middle. The trumpet (System II) is fixed, but my body (System I) is variable. I want to balance these two systems for maximum vibration with minimal effort (efficiency). My tools are wind pressure, interior mouth shape, and embouchure (relative posi- tion of teeth/lips and firmness). In practice, I think of it more like this: I think of the sound occurring inside my mouth, just behind my front teeth, and the vibration passing through the roof of my mouth and out the front of my face (the vocal “mask”). I don’t even think about the trumpet except in aggressive play- ing, when I may focus on “lighting up” the first two or three inches of it (basically, the receiver). I let the trumpet do its job, which is to reinforce, amplify, and project my sound. I use B RASS P EDAGOGY FROM THE F OOTBALL F IELD TO THE C ONCERT H ALL B Y P ETER B OND Marching Arts Corner seeks to present information related to drum corps, marching band, and all aspects of the marching arts. Topic suggestions and article submissions should be directed to Aaron Witek (marchingarts@trumpetguild.org). Res. System I Engine Res. System II Result: Head & Chest Lips Trumpet Glorious Tone— Audience is thrilled & amazed “Clichés like ‘blow the sound to the press box’ or ‘aim for the back of the hall’ are misconceptions on the part of players and illusions for the audience.” Inside of MouthTrumpetTone Projecting vibration© 2021 International Trumpet Guild January 2021 / ITG Journal 79 mouth shape (primarily my tongue) and pressurization inside my mouth to control the instrument. I never think about wind, but rather about vibration and singing. To play louder, I make the atmosphere inside my mouth more pressurized and the vibration noisier (even violent), and I open my jaw slightly to release more sound. All energy comes up from the area of my solar plexus. I visualize my torso as a cylinder. When inhaling, I expand easily in all directions from the center. I keep my chest elevated and imagine a piston just below my solar plexus moving upward—gently for most play- ing (like singing) and more vigorously for loud or aggressive playing (marching band, drum corps, big band). This is a different way of thinking (more like singing than blowing)—and a different feel—but I find that this approach maintains a clear, colorful tone and allows a wide dynamic range while reducing wear and tear on the embouchure. If you keep your chest elevated as if singing (“superhero” or “opera star” posture), this happens almost automatically. Singers call this keeping the chest “open.” Experiment with this approach on long tones. For players with a “blowing” approach, long tones can be tiring and, frankly, boring. By thinking of the sound as being created and controlled inside your mouth and supporting vibration in a singing manner, long tones can be comparatively effortless, clear, and even fun. “Release” your sound as if singing in falsetto (treble clef vocal placement), rather than trying to blow it anywhere. This will help control attacks. Articulate exactly like you speak. Instead of “tonguing” notes, “speak” them. If you can say it, you can play it! Regarding embouchure, a technique that can address the added mouthpiece pressure needed when marching (or heavy playing) is to “answer it” with embou - chure energy. Purse the embouchure slightly and “grip” the mouthpiece (bring corners toward mouthpiece slightly). This adds protective muscle between the teeth and mouthpiece, creates a thicker vibrating surface for a richer tone (think of the aperture as a tunnel), and increases security and stability. All embouchure energy goes forward (avoid hardening the lips before you play, or you will have response problems). Play into the higher pitches, not up to them. The trumpet does not require much air, but marching does—oxygen, to be specific. The muscles involved in march- ing, running, and choreography require plenty of oxygen, so the rate of oxygen consumption (VO2) is far greater during vigorous corps and marching band activity than when sitting in a chair. Many players conflate the two. Aerobic fitness, while good for general health, is not critical for playing the trumpet; most of us know great players who are “couch potatoes.” Play- ing while marching, on the other hand, is aerobically demand- ing—sometimes very demanding. This is how you can some- times have plenty of air in your lungs, but still desperately need to take a breath; you have burned up the oxygen. The activity’s physicality and the idea that “more wind” equals better sound can lead many marching musicians to use unnecessary force when playing. They then take this muscular approach into the concert hall, resulting in the classic “bull in a china shop” syndrome. Wind is not sound, and effort is not volume. Outdoors, where subtleties are wasted, dynamics are volume levels, or decibels. Indoors, dynamics are expression markings, having more to do with tone color and context than sheer volume. Switching between the two idioms is like building a barn in the morning and making fine furniture in the evening. Both activities use wood and require skill, but that’s where the sim- ilarity ends. Outdoors, there is little or no acoustic feedback or reinforce- ment such as we get in a hall or a bandshell, so the first instinct is to lean on the horn and increase volume until we can hear ourselves. This happens not just outdoors, but in any loud environment, such as when surrounded by horns and/or drums or, in the case of pit and stage work, amplifiers. The result is degraded tone and swollen, shredded chops. Years ago, I had a discussion with my wife (a mezzo-sopra- no), who gave me an interesting insight into this issue. She was telling me about some musical problem she was having in a chorus, and I carelessly (and naively) said, “Just listen to your- self.” She replied, “Oh we never listen to ourselves.” Respond- ing to my look of confusion, she explained that if a choral artist sings loud enough to hear themselves, they: 1) destroy the balance and blend, 2) distort their sound, 3) reduce their endurance, and 4) risk vocal injury. Good singers learn in per- sonal practice and in rehearsal how to sing by feel. They know what different dynamics and tone colors feel like—the same with pitch. In performance, if it feels right, they can be confi- dent they are contributing their best sound, even though they may not literally hear it. It is the same for instrumentalists, especially in groups with similar timbres. I recommend memorizing the feel of a ringing fortissimo and a colorful mezzopiano. This takes practice and great disci- pline in performance; whether fac- ing a stadium full of screaming fans or reaching the climax of a big sym- phony, it can be very difficult not to blow as hard as you can. Your col- leagues in the percussion section can tell you that one can always roll more violently on a suspended cym- bal or hit the bass drum harder, but after a certain point it won’t be any louder or sound any better. In fact, it will be quite the opposite. A related problem is the individual overachiever giving in the big contest or heroically trying to make up for “The activity’s physicality and the idea that ‘more wind’ equals bet- ter sound can lead many march- ing musicians to use unneces- sary force when playing.” At rest Breathing Energizing to play80 ITG Journal / January 2021 © 2021 International Trumpet Guild too-few players. Those same issues of balance, blend, endurance, distortion, and injury apply, and the extra effort is for naught and often counterproductive. Even if a player’s technique is optimal and their playing con- trolled, judicious, and musical on the football field (won’t that be a special day?), their embouchure will still be desensitized by playing mostly forte and above, using extra mouthpiece pressure, and being exposed to sun and wind. What to do? Wear a hat with a brim in rehearsal. Warm up carefully so you have response with minimal effort. If your group does not warm up properly or in a way that meets your needs, get up early or show up early and play soft long tones, flexi- bilities, and scales. If you can play softly with a clear sound, you will be able to play fff with not much additional effort. If, however, you find yourself having to force your chops into responding by using wind power, you are in a bad place. Realize that for- tissimo isn’t a level of effort, but a dynamic indication. Use tone color to project. Keep in mind the percussion example; you can always hit it harder, but… Warm down briefly between sets, rehearsals, and at the end of the day to regain function and maintain suppleness and responsiveness. The abdominal and arm muscles are strong, but the muscles of the embouchure are small and comparative- ly delicate. The potential dynamic power of the trumpet leads many players to assume that great physical strength is required. This misunder- standing leads to many problems (in all idioms). There is some condition- ing involved—sure—but playing is mostly about technique and control; reread the second para- graph of this article. Whatever your technique, pace yourself in performances. If a passage is too much for you, trade off with a (reliable) col- league. This is standard operating procedure in British brass bands; those folks play a lot in a typical concert. As mentioned above, trying to be a hero can often hurt you and your group. Use a vibrant, ringing tone to proj- ect and contribute, rather than try- ing to force sound through the instrument. Avoid playing full-out, except in select high points. Fortepianos can give the illusion of power without risking stridency or injury (all accents are a type of fortepiano). For big hits or climactic spots, let good ensemble timing and the percussion create the effect, rather than trying to sound like the Blue Devils or the Chicago Symphony all by yourself. Incidentally, if the ensemble isn’t tight, there will be no rhythmic or sonic punch, regardless of how loud you play. Work these things out with your director and section col- leagues so everyone is on the same “page.” For indoor concert work, it is even more critical to avoid “blowing” sound through the instrument. All you have to do is “light it up.” Think of the receiver glowing warmly, rather than burning white hot (as you might for an outdoor fortissimo or in a big band setting). The more colorful and brilliant your tone, the more efficiently it will project (at all dynamics) and the better intonation will be; the presence of high harmonics makes tuning easier. Think comparatively small. What you need is fine control—like a surgeon, as opposed to a weightlifter. Make forte an acoustic phenomenon like changing your tone of voice, rather than a strength move. Create vibra- tion and tone, not wind. Response and pitch issues can usually be resolved with practice on the mouth- piece alone—a great problem-solving technique. I am partial to using vocal models to control the instrument. Concert and recital work is like singing or speaking, using the same nuance I put into my voice. Outdoors, nuance is lost, and everything must be exaggerated, so playing is more like making a declamatory speech or singing Aida than talking on the tele- phone. Outdoor music becomes a caricature. Competitive marching bands and drum corps in pursuit of “perfection” (or, more precisely, the elimination of errors), unwittingly instill in players a certain musical stiffness, rigidity of rhythm, and a somewhat sterile, mechanical approach to their instrument. These are a (hopefully temporary) byproduct of the activity as it is often de - signed, taught, and adjudicated. Most alumni can still hear the ear-splitting doink! doink! doink! doink! of an (over) - amp lified metronome. Other important facets of musicianship crucial to concert, chamber, and solo perform- ance (such as phrase direction and identification, melodic espressivo, tapering, rubato, vibrato, subtlety of articulation, style, buoyancy and lightness versus “weight,” listening and responding to colleagues in other sections, sight reading, and even following a conductor) are generally not part of the drum corps or marching band experience. Even for the members of “Marching Music’s Major League,” there is often a steep learning curve to discov- er or recapture these musical skills after leaving the football field. About the author: Peter Bond been a professional trumpet player since , having spent seven years as a freelancer (Atlanta), five years as a regional orches- tra principal (Albuquerque), and the past years as a section player with the Metropolitan Opera Orchestra (Lincoln Center, New York City). He grew up playing in his hometown drum and bugle corps (Phantom Regiment – ). After joining the Met and finally having summers free, he returned to coach the high brass of his old corps ( – ). Bond is retired from The Met, but he is still active as a clinician, soloist, and teacher. His method book, The Singing Trumpet, will be published soon by Carl Fischer. “One can always roll more vio- lently on a suspended cymbal or hit the bass drum harder, but after a certain point it won’t be any louder or sound any better. In fact, it will be quite the opposite.” “For big hits or climactic spots, let good ensemble timing and the percussion create the effect, rather than trying to sound like the Blue Devils or the Chicago Symphony all by yourself.” “Most alumni can still hear the ear- splitting DOINK ! DOINK ! DOINK ! DOINK ! of an (over)amplified metronome.”© 2021 International Trumpet Guild January 2021 / ITG Journal 81 C ORNET IN THE B RASS B AND B RYAN A PPLEBY -W INEBERG , C OLUMN E DITOR Appleby-Wineberg: Could you tell us about your current posi- tion/professional affiliations? Gaspoz: After a great career as a professional musician in the uk, where I was a member of the Black Dyke Band for almost two years (first on solo cornet and then on rep) and the (first female) principal cornet of the Brighouse & Rastrick Band for also almost two years, a number of factors, both personal and political—I’m talking Brexit— helped me decide that spring was the time for me to move back to the continent. At the moment, I am completing my master’s degree in banking and finance at the University of St. Gallen (I have a bachelor’s degree in economics), and I have taken a bit of a break from playing. I am still performing with my town band, Echo des Glaciers de Vex, a championship section brass band from the Swiss Alps, and I have a number of professional projects planned, inc - luding the recording of a cornet/euphonium duet cd with Brass Band 13 Etoiles and my hus- band, euphoniumist Philippe Schwartz. Appleby-Wineberg: Could you tell us about your educational background, previous playing experiences, and teachers? Gaspoz: I first started learning the piano at the age of seven and carried on with the cornet one year later. My childhood and teenage years were absolutely filled with music. I started play- ing the cornet in my local brass band, Echo des Glaciers de Vex, in on the third-cornet seat and quickly moved on to the solo cornet bench. I was also one of the founding members of the Valaisia Brass Band more than ten years ago and played for this band for seven years until I moved to the uk to study the cornet. I first started on second cornet in the band and then moved on to rep and flugelhorn eventually. I was a member of the National Youth Brass Band for almost ten years, where I held the principal cornet seat for four years, and I was also the prin- cipal cornet of the European Youth Brass Band on two occa- sions: in Montreux in and Oslo in . K ATHLEEN G ASPOZ : B REAKING D OWN W ALLS B Y B RYAN A PPLEBY -W INEBERG Cornet in the Brass Band seeks to present information on issues related to cornet playing in brass bands. Ideas and suggestions for articles and topics should be directed to Bryan Appleby-Wineberg (brassband@trumpetguild.org). B ecoming the first woman in the world to do any- thing is simply not easy. Being the first means stand- ing up to stunning ridicule, history, angst, anger, confusion, doubt, and— yes—being supported by some strong and helpful people. Actually stepping out on the stage as “the first” requires a strong spine and a confidence that few of us possess. It should also be men- tioned that when you are “the first,” your margin for error is basically zero. It is with great respect and admiration that we present Kathleen Gaspoz, a virtuoso cornet player with all the tools required of a world-class brass player and musician and the amazing con- stitution to stand and lead on the most sig- nificant stages in the world and in the most storied competi- tions as “the first” and not flinch. “Becoming the first woman in the world to do any- thing is simply not easy.”82 ITG Journal / January 2021 © 2021 International Trumpet Guild In terms of my musical education, I had the chance to have only incredible players teaching me how to play my instru- ment. My first teacher was my uncle, who is a former principal cornet of Brass Band Berner Oberland, and then I studied with Pierre-Alain Bidaud, François Roh, and Jean-François Michel. All three were professional players and very big names on the Swiss music scene. In particular, Jean-François Michel is the main trumpet teacher at the Haute Ecole de Musique de Lau- sanne – Fribourg, one of the main music universities in Switzerland. In addition to playing in all these ensembles, I completed my diploma in classical piano at the age of seventeen. I com- pleted a degree in economics after graduating from high school. I then graduated with my Master of Music Performance degree with distinc- tion at the Royal Northern College of Music in Manchester and followed that year by completing, with distinction again, of a postgraduate diploma in ad - vanced studies in music performance. Appleby-Wineberg: Please tell us about your equipment. Gaspoz: I am absolutely in love with my equipment and feel like it is an extension of my body and personality. I play a Besson Sovereign (without the trigger) and use the Dennis Wick mouthpiece. I am not the biggest fan of mutes, but I would pick a Dennis Wick wooden straight mute. It is, in my opinion, the best compromise between projection and softness of tone. I also play a very old Antoine Courtois flugelhorn with a Dennis Wick fl mouthpiece. Appleby-Wineberg: Have you done any teaching? Gaspoz: I have taught literally the entire age range of players. I was a cornet and tenor horn teacher for many years, and I have really loved teaching young players, as I felt they were very receptive to new learning techniques. I have also given multiple masterclasses everywhere in Europe, where I have worked with children, teenagers, and adults. At the moment, I am not teaching on a weekly basis, as I am focusing on com- pleting my master’s degree in finance, but I am regularly giving masterclasses. Appleby-Wineberg: How did you start playing cornet? Gaspoz: Brass band is a family affair! My great-grandfather founded the local brass band in my village in . My grand- father is turning eighty at the end of the year, but he still plays the E-flat tuba in the local brass band, surrounded by his three children and eight grandchildren. I am the oldest of the grand- children, and both my parents played the cornet. Playing the cornet was a natural progression of life. Appleby-Wineberg: Who were or are your cornet influences? Gaspoz: My uncle, Frédéric Pitteloud, was my first teacher. He is, I believe, one of the greatest cornet players there is on the brass band scene. He doesn’t play professionally anymore and is a lawyer now, but his experience in the uk and as the principal cornet of Brass Band Berner Oberland have provided him with an unfailing source of talent. I have otherwise always admired Roger Webster, David Daws, and Philip McCann on the British scene. Another big inspiration of mine is cornetist Véronique Pitteloud. She also was a young and successful cor- netist in the uk, but thirty years before me. During her time, she studied the cornet with Philip McCann at the University of Huddersfield and was the principal cornet of Sellers. Appleby-Wineberg: Can you point out three to five of your most important experiences (good or bad) in brass banding? Gaspoz: 1) My first solo contest at the age of ten. I played Andante & Allegro Spiritoso by Philippe Catelinet, and it was also the first time I won a solo competition. 2) My first time playing at the beautiful kkl in Luzern, one of the greatest con- cert halls in Europe. I played the ninth cornet part in Johan de Meij’s Extreme Make-Over with my local brass band at the Swiss Town Bands Championship. 3) The Japan Tour with Black Dyke and Black Dyke Team Girls in particular. Katrina Marzella, the baritone of Black Dyke at the time, organized for the girls of Black Dyke to fly over to Japan, where we per- formed with the Mikeneko Brass Band, an all-girl Japanese brass band, and played a couple of con- certs as a group. 4) My first contest on the principal cornet seat of Brighouse & Rastrick at the European Championships in Ostende in . This was a life-long dream coming true, but also probably one of the most stressful moments of my life. 5) The National Championship of Great Britain in , which we won with Brighouse & Rastrick, but where I also won the Best Soloist prize on the test piece Gallery by Howard Snell. This still feels like a dream, and I will cherish this performance in Royal Albert Hall forever. Appleby-Wineberg: What does your daily practice routine look like? Does this change when you are preparing for a recital or a contest? Gaspoz: I always start with progressive scales on the study No. 1 of Roger Webster’s ppp. This consists of playing scales without valves and while buzzing in the mouthpiece. It helps me be consistent in my playing. “I am absolutely in love with my equipment and feel like it is an extension of my body and personality.” (L – R): Philippe Schwartz and Kathleen Gaspoz© 2021 International Trumpet Guild January 2021 / ITG Journal 83 I always play the warmups (b) of James Stamp. These exer- cises are incredible, as they allow me to practice a million things at the same time—air flow, tone quality, embouchure stability, low register, high register, and flexibility. Depending on what I need to perform, I practice some Clarke exercises to practice my stamina. I try to play one etude a day, and I particularly enjoy Charlier’s 36 Transcendental Etudes or Arban’s etudes. Most of the time, I practice some duets with my husband. We like playing Vizzutti’s duets (concert duets), the Voxman duets, or the Kopprasch duets. If I have a recital, I make sure to split my practice into different ses- sions around the day. The most im - portant part about preparing for a recital is to make sure your stamina is good enough for the length of the recital. Therefore, practic- ing in many different sessions will allow you to play longer, which will build up your stamina. If I have a contest, I make sure not to play too much during the week leading up to the contest. It is a common mistake to want to play that little solo bit one last time, but given the extreme amount of rehearsal leading up to a contest, it is important to know when to take it easy. Therefore, whenever I have a contest, I will only play through the first two steps of my routine, and occasionally, I will run through a solo passage. The main part of the work happens before that time anyway, through regular and clever practice. Appleby-Wineberg: What do you think ITG readers need to know about cornet playing and what it takes to be a cornet player on your level? Gaspoz: I believe that in order to play the cornet well, you need to dis- tance yourself from it and almost forget that you play it. By that I mean that the constraint of playing a brass instrument should never go into the musical message that you want to transmit. You do not play the cornet, but a musical instrument. You are not a brass ban- der, but a classical musician. When I play the cornet, I like to see myself as a pianist, where the only thing that matters is the musical phrase—the same way as when you play Chopin on the piano. The only way to make it beautiful is to think about the phrase. Second, when I play, I never think about the notes, but always about the air. I see music not as a compilation of musi- cal notes, but as a map of air. I believe that in order to really master a brass instrument, you need to focus of your ener- gy on the control of the air. Controlling the air means control- ling your tone, flexibility, stamina, musical phrase, and unique message eventually. Finally, I think the most important part of playing the cornet is the focus on your sound. It is important to try to find the sound that you want to reach and to work toward it. In my case, I associate my sound with a sound that is deep and warm, but that also projects. In order to do that, I always focus on keeping my embouchure open and static across the entire register and constantly think about the speed of the air coming through the mouthpiece and the instrument. Appleby-Wineberg: Do you have advice for young students? What can you tell them about motivation, consistency, and setting goals? Again, try to find “your sound.” Listen to cornet players and find what it is you like. Once you find it, do everything in your power to reach it. Gaspoz: Find a player you like and lis- ten to him or her. It doesn’t need to be a cornet player or a brass player even—just a musician who makes you feel some deep stuff. In my case, I love listening to Alison Balsom and Wynton Marsalis in particu- lar. My favorite cd is Baroque Duet, a col- laboration between Wynton Marsalis and Kathleen Battle. I also love listening to Nicola Benedetti, who can make some truly beautiful sounds from her violin. Appleby-Wineberg: Being a principal player/leader, do you have any advice for section players in a brass band? Consistency is the key for any professional musician, and in my opinion, it can only be attained if you play every day and have a clear practice plan. Routine is good, but knowing how to adapt it to the situation and the concerts that you will be playing is better. Gaspoz: Listen to each other, trust your leader, and trust your conductor. Think about the kind of tone you would like to have as a brass band. In my opinion, the ideal sound of a brass band is the one produced by ybs and David King. This means never blowing too harshly, always thinking about the quali- ty of your individual sound, but mainly listening to the players around you. Also, listen to the experienced players in your brass band. I believe that my biggest professional improvement in terms of my playing came from playing in a brass band with Sheona White. Just listening to her taught me how to phrase, how to sound, how to use air, and how to blend. Appleby-Wineberg: Please talk about the recordings of which you have been a part that we need to know about. Gaspoz: I have recorded many cds with Black Dyke, but the most significant recordings I have taken part in were with Brig- house & Rastrick, under our wonderful resident conductor at that time, David Thornton. We first recorded the cd Bolero with him, where I had the chance to record my first cornet solo, Oblivion. We then recorded the cd The Music of Bliss and Howells, which included the recording of brass band masterpieces such as Kenilworth (Bliss), Three Figures (Howells), The Bel- mont Variations (Bliss), and Pageantry (Howells). These pieces are part of the most significant and core repertoire for brass band, and since they were written mainly at the beginning of the twentieth century, they featured widely the principal cornet. “I believe that in order to play the cornet well, you need to distance yourself from it and almost forget that you play it.” “When I play the cornet, I like to see myself as a pianist, where the only thing that matters is the musi- cal phrase—the same way as when you play Chopin on the piano. The only way to make it beautiful is to think about the phrase.” “I see music not as a com- pilation of musical notes, but as a map of air.”84 ITG Journal / January 2021 © 2021 International Trumpet Guild This was challenging, but it was also the occasion for me to showcase my real qualities as a principal cornet player. This cd also won the cd of the Year Award from the website 4barsrest.com. Appleby-Wineberg: As the first woman to sit on the corner chair at Brighouse & Rastrick and having played with several of the best bands in the world, please use this final question to fully guide us on what your journey has been like so far. Gaspoz: My journey has been eventful, constructive, and eye-opening. I started as a little girl who loved playing the cor- net in her local brass band. I went on to play for some of the greatest brass bands in Switzerland, such as Valaisia Brass Band and the National Youth Brass Band of Switzerland. My love for the cornet pushed me to apply for a Master of Music Perform- ance degree at the rncm in Manchester, where I ended up spending the next four years. I had the incredible opportunity to be a member of the Black Dyke Band and performed with them pretty much everywhere in the uk, as well as in Europe, in Japan, and in New York. My life-long dream came true when I became the first woman to hold the principal cornet seat of the Brighouse & Rastrick Brass Band. I became a com- pletely different player on that seat, thanks to the precious guidance of my friend Sheona White and the invaluable tuition from Professor David King. I also met my husband, Philippe Schwartz, in Brighouse & Rastrick, and we play music together almost every day. An accumulation of personal but also political circumstances convinced me about two years ago to move back to the continent. I am currently taking a bit of a break from playing, but still managed to premiere Thierry Deleruyelle’s incredible Concerto for Cornet, Crossing Word (a piece written for me), in January at the rncm Brass Band Fes- tival. I am focusing on my studies in finance but will be grad- uating at the end of the year and embarking yet on another journey. Life with me is never boring, and I never have a clear plan about the direction I want it to take. Let’s talk again in five years; God only knows where I will be living and what I will be doing! About the author: Dr. Bryan Appleby-Wineberg is in his twentieth year as professor of trumpet and head of brass at Rowan University in Southern New Jersey. He holds degrees from the Oberlin Conservatory of Music, the Cleveland Insti- tute of Music, and the Mason Gross School of Music at Rutgers University. He is the principal cornet and assistant conductor of the three-time national champion Atlantic Brass Band (ensem- ble in residence at Rowan University), a founding member of the professional trumpet ensemble Tromba Mundi, and princi- pal trumpet of the Bay-Atlantic Symphony. “Let’s talk again in five years; God only knows where I will be liv- ing and what I will be doing!” C OMING IN THE M ARCH 2021 ITG J OURNAL •Breaking the Mystique of “Wind & Song:” A New Approach for Trumpet Players by Phil Snedecor •Creating a Colorful Program by Ashley Killam •Dennis Dotson: The Strength of My Ear by Thomas Erdmann •Yoga as a Tool for Successful Musicianship by Brianne Borden •The Case for Natural Trumpet: A Sabbatical with Jean-François Madeuf by Randall Tinnin •Plus reviews, columns, news, and much more!© 2021 International Trumpet Guild January 2021 / ITG Journal 85 I NSIDE THE O RCHESTRA S ECTION D AVID B ILGER , C OLUMN E DITOR M aking music has always led people to new places, and many young musicians travel the globe attending music festivals, touring with ensembles, studying abroad, or participating in solo com- petitions. It is quite common for young musicians to look for work in a different country—in orchestras, teaching at a con- servatory or university, or freelancing. Although not as com- mon today, a number of the great trumpet players in the usa of a certain generation were from other countries, including Georges Mager and René and Roger Voisin of the Boston Sym- phony and Harry Glantz and Max Schlossberg of the New York Philharmonic. After I finished my master’s degree with Armando Ghitalla at Rice University, it was time to look for a job, and numerous Inside the Orchestra Section seeks topics of interest to the orchestral musician. Ideas and suggestions should be directed to: David Bilger, c/o Philadelphia Orchestra, One South Broad St, 14th Floor, Philadelphia PA 19107; orchestra@trumpetguild.org A N A MERICAN IN T OLUCA : P ERFORMING AS AN E XPATRIATE B Y J OHN U RNESS86 ITG Journal / January 2021 © 2021 International Trumpet Guild experiences led me to look abroad. One of my teachers in high school had played in Mexico for a time, and I found his stories fascinating. Later, I met other musicians who had played in orchestras in different countries. While in college, I spent two summers playing in Austria at the aims Festival and one sum- mer at the Two Worlds Festival in Spoleto, Italy, and I really enjoyed the chance to travel and experience new cultures. I started to think that a job abroad might be just right for me. Several friends of mine from graduate school were playing in the Orquesta Sinfónica del Estado de México (osem) in Toluca, Mexico, high in the mountains forty miles west of Mexico City. A few months after finishing my master’s degree, I traveled to Mexico to perform Bach’s Brandenburg Concerto No. 2, and shortly after that, I heard they were looking for a first trumpet in Toluca. I put together a tape (we still used cassettes back then!) of my best work, sent it in, and they invited me to play for a few weeks. I will never forget my first days on the job. I arrived only a few days before starting and had never played at high altitude; Toluca is almost , feet above sea level, one of the highest cities in the world. Between the altitude, not understanding everything being said in rehearsal, and more than a little cul- ture shock, I am surprised I made it through that first week! My first note in an osem concert was the high B at the beginning of Ginastera’s Overture to the Creole “Faust.” After my first week, the maestro called me over and invited me to stay for six months. Twenty-three years and thousands of concerts later, I am still on the job and loving every minute of it! The osem is truly a cosmopolitan workplace with at least six- teen nationalities represented. Many different languages can be heard during rehearsal break, and I have several colleagues who are fluent in five or more languages. This cultural melting pot truly makes for interesting experiences, and over time, musi- cian colleagues become like extended family. Sometimes, a col- league will offer insights into music from their own country. Once an older Russian cellist came up to me after a rehearsal of Tchaikovsky’s 1812 Overture and explained how this type of Russian music had to be played much louder and bolder in the true Russian style. Believe me, I will never play that piece the same way again! Another Russian cellist played for thirty years in the Moscow Radio Symphony and after mandatory retire- ment was not yet ready to stop performing, so he moved to Mexico and worked for nearly thirty more years! Although I had studied Spanish in high school, I still had a lot to learn, starting with musical terms. My first few months, I was constantly asking my colleagues for help in understanding what was going on in rehearsals. Everyday Spanish in central Mexico is full of idioms and casual expressions, and it can take a lifetime to really learn what everything means and truly how to express oneself. At first, I felt like I was successful if I could say some- thing even close to what I wanted to say. Socializing in Spanish and watching the morning news on tv really helped me under- stand spoken Spanish better and broaden my vocabulary. Teaching something in a foreign language truly tests your ability to explain concepts. Within a few weeks of starting my job in Toluca, I was asked to teach some trumpet students every other Saturday in a city four hours away. As my Spanish was still quite limited, I am sure I had very little to actually say to my students in those first few lessons! Over time, as my lan- guage skills improved, I gained more confidence as a teacher and have since held a number of teaching jobs, including near- ly ten years in the Azteca Orchestra program, modeled after “El Sistema” from Venezuela. Currently I teach at both the Panamerican University in Mexico City and the uaem State University in Toluca. Tours have been an important part of our work in the osem and are a great chance for an orchestra to come together musi- cally. We have played concerts in all parts of Mexico, often times flying on a charter plane for a concert and then returning home the same day. We frequently play at the Cervantino Fes- tival in Guanajuato, a large arts festival held each year in Octo- ber. In Mexico City we regularly play concerts in the Bellas Artes Palace downtown and in the modern Sala Nezahualcoy- otl on the university campus in the southern part of the city. International tours have taken us to various parts of the world, including two tours to China and several tours to Europe, which included concerts in Spain, France, Germany, and Poland. A few years ago, we played two concerts on consecutive nights in Bogotá, Colombia, but somehow only spent one night in a hotel! Our return charter flight left just a few hours after our second concert. We did have time for some sightseeing, and the gold museum there is fascinating, as is the coffee! In and the osem did long tours of the usa for Columbia Artists, each time performing nearly fifty concerts over two months with a wide variety of repertoire. That is a long time to be on the road! Each tour started in the Southeast, moved up to New York and New England, over to the Mid- west, and finally the last couple of weeks in California, Las Vegas, and the Southwest. We played many amazing concerts on those trips, and I got to see parts of the usa that I otherwise would never have seen. Many of my colleagues feel that some of the best concerts we have ever played were on those tours. I was also fortunate to go on two tours as guest principal with the osug Orchestra from Guanajuato. My favorite was a tour in to Egypt, with concerts in Cairo and Alexandria. Of course, we took time to visit the pyramids, the famous Archeology Museum, and the Cairo market. Being surrounded by such history and performing there was a truly humbling and unforgettable experience. On long international trips, there will inevitably be travel snafus along the way, which later become favorite stories to tell among colleagues. We have had so many that I could write a book about them! Once, on our way to Seville, Spain, our con- necting flight in Madrid was delayed several hours. By the time we took off, it was late in the evening, and the pilot announced that the airport in Seville was already closed, so we would have to land in Málaga, about two hours away! By the time we land- ed, it was nearly midnight, and we were all exhausted and dazed after the twelve-hour flight from Mexico City and an eight-hour layover. How would we get to Seville? Where would we sleep? After a couple of hours hanging around the airport parking lot, much to our surprise and relief, some buses arrived to take us to Seville, and upon arriving at our hotel, the staff had saved some food for us, so we had cheese and cold cuts at : a.m. After that we had a long nap! “Twenty-three years and thousands of concerts later, I am still on the job and loving every minute of it!”© 2021 International Trumpet Guild January 2021 / ITG Journal 87 One rewarding aspect of being a musician in Mexico has been getting to know the Mexican repertoire. Each country has its own traditions of classical music and popular music that has found its way into the symphonic canon. In college I had heard only a few Mexican pieces, inc - luding Sensemaya by Silvestre Rev uel - tas and the Sinfonia India by Carlos Chávez. These are both Mexican clas- sics with brilliant writing for the brass, and I have since performed them many times, including on international tours. Not long after I joined the osem, I was introduced to two other important Mexican pieces, Huapango by José Pablo Moncayo, which is almost a second national anthem to Mexicans, and the Danzón No. 2 by Arturo Már - quez, which was a new piece then and has now become well known around the world. Both of these pieces feature impor- tant trumpet solos, and I have played them hundreds of times. Over the years, I have performed all the great pieces by Revueltas and Chávez and have recorded the complete works of Moncayo. A few years ago, we recorded a cd of the eight Danzónes of Arturo Márquez (now there is another one, No. ), who was present at the sessions and said very little, but whose presence added a sense of occasion to the recordings. In general, Mexican orchestral music features brilliant trumpet writing with many solos in a bold style. Playing trumpet in another country has its unique chal- lenges. Be aware that the expectations and traditions might be quite different from home. In some countries the B-flat trum- pet is standard, while others use the C trumpet. Rotary-valve instruments might be used on more or less repertoire than you are used to, and some orchestras will expect you to own your own, while others might have a matched set. Style can also vary quite a lot in terms of volume, vibrato, and general expressive- ness. If possible, look for recordings and/or YouTube videos to learn what you can about the local traditions before you get there. And, in any country, a positive attitude and general humility go a long way in smoothing over cultural differences. After a few months on the job, the maestro announced that in the upcoming season, several orchestra members could play a concerto, so I volunteered. He suggested that I play the Tomasi Concerto, since he had recently conducted it with another orchestra, so in December I made my solo debut in Mex- ico with the Tomasi. Since then I have played concertos by Albi- noni, Tartini, Vivaldi, Haydn, Hummel, Jolivet, Krol, Arutiun- ian, Shostakovich, Gershwin, and Gregson—some of those more than once. I have traveled to Guatemala and Ecuador to play as a soloist with the National Symphony of those countries and have soloed with various orchestras around Mexico. Living in a foreign country is not for everyone. I have met many fine musicians who went abroad to play for a time and then decided that they would rather live in their own country, with their native language and familiar culture. To each his own! Living abroad has given me a unique view of my own country, my personal idiosyncrasies and motivations, and my place in society. I would say that it takes about five years of liv- ing in another country before one can really understand anoth- er culture, and that is only if a genuine attempt is made to learn the language and follow the local news, culture, and politics. Like music, the more you learn about something, the more you realize there is to know. I learn something new every day about Spanish or about Mexican history or politics. Liv- ing abroad is a fascinating way to have a musical career! About the author: John Robert Urness has been principal trumpet of the Orquesta Sinfónica del Estado de México since for Music Directors Enrique Bátiz and Rodrigo Macías, performing nearly a hundred concerts each year. Urness teach- es trumpet and brass chamber music at the uaem in Toluca and at the Universidad Panamericana in Mexico City. He holds degrees from the University of Wisconsin – Madison and Rice University, and his teachers include Armando Ghitalla, John Aley, Dennis Najoom, and Jeff Schieble. “In general, Mexican orchestral music features brilliant trumpet writing with many solos in a bold style.” “In any country, a positive attitude and general humility go a long way in smoothing over cultural differences.” S CHOLARSHIPS H ELP S TUDENTS A TTEND A NNUAL ITG C ONFERENCES The ITG Industry and Sponsored Scholarship pro- gram helps qualified students attend the annual conferences. With generous donations from indus- try-related companies and individual sponsors, many young trumpeters are better able to afford conference registration and travel expenses. Schol- arships may be named for the donor companies, for individuals, or in honor of someone. To earn a scholarship, a student must submit a recording of required pieces, whereupon a panel of judges will select the most deserving students for the scholarships. Industry members who contribute to the schol- arship fund also benefit from a reduced exhibit fee at the conference. Scholarships are awarded to recipients in mid- spring and are recognized at the awards ceremony at the annual conference. See the ITG Website and contact the ITG treas- urer (treasurer@trumpetguild.org) for further information on how to donate and apply for schol- arship funds. http://www.trumpetguild.orgNext >