< Previous98 ITG Journal / January 2021 © 2021 International Trumpet Guild giving the listener the sense of actually being in the Jazz Gallery. Every track is com- posed by Michael Thomas with many of the tunes clock- ing in at well over ten minutes, allowing each musician to stretch and explore the tune to its fullest. Of interest to trum- pet players is collaborative trumpet artist Jason Palmer, who shines on every tune—in particular, the groovy Dr. Teeth and bop-inspired Fox and Cat. Palmer’s rich, dark sound and technique is on full display throughout the recording, as he is able to deftly navigate a vari- ety of modern jazz styles and rhythmic feels from free-jazz-like ballads, more straight-ahead bebop, and modern compositions. Despite being a recording headlined by an alto saxophonist, Event Horizon is highly recommended for all jazz trumpet enthusiasts. (Scott Hagarty, assistant professor of trumpet, Tennessee Tech University, Cookeville, TN) Briefly Noted Stan Engle—Bossa Trumpet Jazz Self-released (CD); https://thelastdropok.com Recorded in Rio de Janeiro and dedicated to the memory of Apollo astronaut James Benson “Jim” Irwin, Bossa Trumpet Jazz is a collection of bossa nova and jazz standards. Included on this disc are inspired arrangements of such standard com- positions as Fly Me to the Moon and Autumn Leaves, as well as familiar bossa nova tunes by Antonio Carlos Jobim—Desafina- do, Insensatez, and Corcovado. There are strong performances throughout, with solos by bassist Adelberto Miranda and pianist Antonio Guerra worthy of special recognition. (Jason Crafton, associate professor of trumpet, Virginia Tech, Blacks- burg, VA) The Mark Harvey Group—A Rite for All Souls AMCD 1596 (CD); Americas Music Works, 29 Newbury Street, Somerville, MA, 02114; http://americasmusicworks.com A Rite for All Souls was a live concert performed on October , , at Boston’s historic Old West Church. The featured performers are Mark Harvey on brass, Peter Bloom on wood- winds, and Craig Ellis and Michael Standish on percussion. The reel-to-reel recording was transferred to digital and has been released by Americas Musicworks. The result is an unedit- ed recording of the complete performance. The premise of the performance was entirely improvised and free in nature. Instrumental passages were spurred by brief poetic recitations, serving as prompts for the improvisation. Many instrumental sounds, both traditional and non-traditional, were employed. The essence of the project is one of free expression and pushing the limits with tradition. This album serves as a time capsule, documenting the experimental instrumental jazz movement of the mid-s. (Adam Hayes, associate professor of trumpet, Berry College, Rome, GA) C ALL FOR R ESEARCH A BSTRACTS The ITG Research Room Committee welcomes proposals for research presentations at the th International Trum- pet Guild Conference, to be held in San Antonio, Texas (usa), May 3 – June , . The ITG Research Room offers a blind, peer-reviewed, international research forum for performers, professors, and students to present experi- mental, action, qualitative, or quantitative research involving trumpet performance, repertoire, history, and/or peda- gogy. Presentations are often developed from graduate or dissertation work, published material, or other new research. Presentations should represent an original contribution to the field, grounded in empirical evidence. Successful applicants will be invited to present an academic poster at the Conference during the Research Room poster session. Several submissions will also be selected for a fifteen-minute oral presentation during a Research Room paper session . All successful proposal abstracts will be published in the Conference’s electronic program. Presenters will benefit from sharing their work with fellow ITG members to generate exposure and connections that may lead to future national or international collaboration. Presenters selected for oral presentation are encouraged to employ audio-visual aids (i.e., PowerPoint) and deliver handouts and summaries for the audience and will receive a video recording of their presentation. Abstracts and pres- entation recordings may also be archived as a members-only resource on the ITG Website. Researchers should submit a -word abstract summarizing their thesis, sources, data collection, methods, and conclusions. Abstracts should be submitted electronically through the Conference website (http://itgconference.org), and full details may be found on the submission form. The deadline for submission is December , . Submissions will be reviewed by a panel of experts, and accepted proposal authors will be notified in January . The ITG Research Room offers no financial incentives, and presenters are responsible for all Conference registration and travel expenses. Questions should be directed to the ITG Research Room chair, Fred Sienkiewicz, via email (fred.sienkiewicz@vanderbilt.edu). © 2021 International Trumpet Guild January 2021 / ITG Journal 99 M USIC R EVIEWS L UIS E NGELKE , C OLUMN E DITOR Birtel, Wolfgang (Arranger). Classical Highlights. Trumpet and Piano. Schott, 2013. Classical Highlights is a collection of transcriptions and arrangements of well-known classical pieces for B-flat trumpet and piano by German arranger, musicologist, music journalist, and music editor Wolfgang Birtel (b. ). Birtel is a prolific arranger in Germany with over string quartet arrange- ments of popular classics, as well as many arrangements for other instruments, published with Edition Dohr. In this collection, composers such as JS Bach, Charpentier, J. Clarke, Debussy, Elgar, Fauré, Handel, Kreisler, Mendelssohn, Rubinstein, Satie, Schubert, R. Schumann, Wagner, and oth- ers are represented and could be utilized by trumpeters in a variety of situations, such as recitals, church performances, weddings, graduations (See Elgar’s Pomp and Circumstance— Military March No. 1), and other occasions. Standard wed- ding literature includes Charpentier’s Prelude from Te Deum, Jeremiah Clarke’s Trumpet Aire and The Prince of Denmark’s March (Trumpet Voluntary), Mendelssohn’s “Wedding March” from A Midsummer Night’s Dream, and Wagner’s “Bridal Cho- rus” from Lohengrin. Appropriate recital literature could include Rubinstein’s Melody Op. 3/1 and Kreisler’s Liebes - freud – Liebesleid. This collection of transcriptions and arrangements done by a non-trumpeter introduces into our library well-established famous literature that might be new to trumpeters. Classical Highlights is accessible for most players, but also has some- thing to offer for even the most advanced. Birtel transcribes nothing overly technically demanding, but good endurance is required, as some selections do not have many rests. The trumpet and piano parts are in book form and are well laid- out, clearly notated, and mindful of page turns, making read- ability and performability that much better. All in all, this is a very nice addition to any trumpeter’s library. (Randy Lee, assistant professor of trumpet, University of Florida, Gainesville, FL) DiLorenzo, Anthony. Go. Brass Quintet. Art of Sound Music, 2014. Emmy Award-winning composer and trumpet player Anthony DiLorenzo has written an exciting work for brass quintet. Premiered in by the Center City Brass Quintet, Go is dedicated to DiLorenzo’s friend, Steve Wister, who had served as principal trombone in the Los Angeles Philharmonic and as a member of the Center City Brass Quintet before his sudden passing. Similar to the quick pace and energy of DiLorenzo’s Fire Dance, Go is a non-stop thriller for each member of the quintet. As the title implies, the piece starts quickly and never lets down. While the intervallic eighth-note motives stay constant from the start, there are many metric and dynamic changes throughout the opening, as well as a shifting of accents from strong to weak beats. The piece oscillates between virtuosic six- teenth notes and driving triplets, necessitating fast fingers and excellent multiple tonguing from the performers. Most parts are consistently independent, though there are many interjec- tions where the whole quintet comes together briefly. DiLorenzo juxtaposes the moving motives with lyrical melodic content, which always utilizes the full dynamic spectrum, espe- cially highlighting quick swells and sudden dynamic shifts. After the group yells, “Go!” the piece speeds up in an explosive flourish to the end. Approximately three and a half minutes long, Anthony DiLorenzo’s Go is a brilliant addition to the brass quintet liter- ature. Technically challenging for all parties involved and excit- ing for audiences, this piece is a great way to open or close any recital, especially for professionals and advanced college stu- dents. With the moving compound rhythms throughout, it is essential for trumpeters to have good timing, clear articulation, and clear knowledge of the score. DiLorenzo includes trumpet parts in B-flat and C, and it should be noted that both trum- pets stay in the staff for the majority of the piece, with the first trumpet playing up to c''' above the staff on B-flat trumpet. (Ryan Gardner, associate professor of trumpet, University of Colorado – Boulder) DiLorenzo, Anthony. Trumpets on Parade. Three Trumpets and Piano. Art of Sound Music, 2013. Another bold, melodic work from Emmy-winning compos- er and trumpeter Anthony DiLorenzo, Trumpets on Parade is Music Reviews appear regularly in each issue of the ITG Journal. ITG members are invited to participate in the column as reviewers. Please contact the Music Reviews editor and state your qualifications and area of interest (Baroque, contemporary, jazz, brass quintet, etc.). Items for review and reviewers are selected at the discretion of the Music Reviews editor. Unsolicited reviews will not be accepted. Publishers are encouraged to submit serious publications and pedagogical materials for trumpet. Because of an extremely high volume of submissions and limited journal space, only the music deemed as the most interesting to ITG’s members can be reviewed and will receive priority. In general, music disseminated through various means, including electronically, is being accepted; however, to be considered for review the music must be published and available to the ITG membership. Please send all new publications and correspondences to: Luis Engelke, Department of Music, Towson University, 8000 York Rd, Towson MD 21252, USA; fax (410) 704-2841; musicreviews@trumpetguild.org 100 ITG Journal / January 2021 © 2021 International Trumpet Guild an advanced trumpet trio with piano accompaniment that is in the tradition and style of the crowd favorite Bugler’s Holiday. A trumpeter himself, DiLorenzo knows how to write for the instrument well. There are a number of tricky scalar lines in this work, many of which are in tight harmony between the three trumpeters. Catchy descending chromatic motives in the main theme are very reminiscent of Leroy Anderson’s original work. The piano accompaniment is not overly complex, but it does add a number of important introduction and interlude elements. The main theme is punctuated with double-tongue figures, bell tones, and fast scale patterns, while the lyrical ele- ment has sweeping melodic lines. A fiery finish includes an ossia part up to written e''' (for both first and second trumpet), while the remainder of the work is very much in the middle register. The first part requires several instances of c''', while the third part only infre- quently ventures below the staff. Tight voicings allow the trumpets to be close in range for the entire work, which high- lights a crisp double tongue and legato effect. All parts are written for B-flat trumpet. Without a doubt, Trumpets on Parade is an exciting play on the Bugler’s Holiday trope with enough familiar elements to please any audience and enough novelty to satisfy those play- ing the trio parts. This would be an excellent encore or feature work for three advanced trumpet students or professionals. (Derek Ganong, assistant professor of trumpet, Boise State University, Boise, ID) Longworth, Peter. Days of Bells and Flying Creatures. Trumpet Quartet. Warwick Music Limited, 2019. London-based composer Peter Longworth maintains an active artistic career with works performed throughout Europe, North America, and Japan. As a youth musician, he was a trumpeter and performed in the National Youth Orchestra of Scotland. Longworth began composing Days of Bells and Flying Creatures during a summer residency in Chianti, Italy. The seven-movement quartet depicts musical snapshots from his surroundings: different types of birdsongs, flying bugs, var- ious bells, and Sunday Mass. By recording and transcribing these sounds, Longworth created a uniquely colorful trumpet ensemble work. Each of the seven movements programmati- cally represents two overarching ideas: flying creatures (I, III, V, VI) and bells (II, IV, VII). Specifically, the first movement (Bird, Cicadas, Fly) playfully presents motives depicting these flying creatures. In addition, the use of mutes, flutter tongue, and rhythmic interplay assists in creating a Chianti field-like soundscape. The final movement (Evening Bells) begins with a bell-like chorale effect within a musically peaceful texture and concludes with the return of flying-creature rhythmic and melodic material. With the recent growth in popularity of trumpet ensembles, Longworth’s Days of Bells and Flying Creatures is a unique, cre- ative, and welcome addition to the repertoire. While the piece is a type of experience-transcription of sounds from Chianti, the music should be considered original in composition and C ALL FOR N EW W ORKS The International Trumpet Guild announces a call for submissions of new compositions for trumpet to be per- formed at the New Works Recital at the International Trumpet Guild Conference in San Antonio, Texas (usa). Works must feature trumpet in a prominent role as soloist or co-soloist and be appropriate for a recital setting. In order to allow for a wide range of possibilities, this call does not specify instrumentation. However, please note that compositions of unusual duration or instrumentation may face extra-musical hurdles when being considered by the New Works Committee. Submissions must have been composed within five years of the submission deadline date of August , , and should be un-premiered or have received only limited exposure. Score and separate trumpet part should be provided in pdf format, and a recording of a performance or electronic simulation should be provided in mp format. File names should clearly identify the work as follows: composer-title.pdf composer-title.mp3 Works should be submitted electronically via email (newworks@trumpetguild.org) as email attachments, with a maximum total size limit of mb. In your email, please state your name and if you are the composer or performer. If you are submitting multiple works, please submit each work in a separate email. Compositions may be submitted by a composer individually or by a trumpeter in partnership with a composer. If submitted by a composer alone, a chosen work will be performed at the conference by a trumpeter nominated by the ITG New Works Committee. Inclusion of a work on the New Works Recital does not imply any financial obligation of the ITG, beyond providing a collab- orative pianist to perform. Works calling for instruments other than or in addition to piano will require that the com- poser supply those performers. Composers and/or trumpeters will be responsible for all costs including conference registration. Works will be reviewed by the New Works Committee, and notification of inclusion on the recital will be made by October , . Materials will not be returned. If you have any questions, please contact Jason Dovel, New Works Committee Chair, by email (newworks@trumpetguild.org). © 2021 International Trumpet Guild January 2021 / ITG Journal 101 organization, and as such, provides artistic challenges for the performers. The quartet is scored for two B-flat trumpets, one bass trumpet (an alternate B-flat trumpet part for the first six movements is included), first trumpet doubling on B-flat pic- colo and B-flat trumpet, and mutes on all instruments. Given the instrument diversity and artistic nuance needed to capture the character of each movement, Days of Bells and Flying Crea- tures is appropriate for a college-level or professional ensemble and can work well on trumpet ensemble or contemporary music recitals. (John Kilgore, instructor of trumpet, Kansas State University, Manhattan, KS) Molineux, Allen. Something Unsettled for Trumpet and Piano. Hickman Musical Editions. 2019. No stranger to trumpet performance or composition, Allen Molineux has presented a wonderfully interesting composition that pits the trumpet and piano against one another in a blur of motivic fluctuation. Molineux’s Something Unsettled for trumpet and piano won the McMurry New Music Project Competition in Category I in . Many of his other works have won numerous awards, such as his Trifles for orchestra that won the Tampa Bay Symphony’s Composition Contest, Zappy for brass quintet and three percussionists that won the Percussive Arts Society Composition Contest, and numerous others. Something Unsettled, as described by the composer, is a work that strives to “create a general sense of uneasiness with only a few moments of regularity to counterbalance the areas of dis- parity.” Molineux creates a sense of chaos through the constant interchanging of each motivic and thematic element in the work, helping to enhance the feeling of instability. Despite this, the audience experiences an exhilarating ride to the finish through the perceived chaos of the music. The piece does require a bit of stamina from the trumpeter, as there are few moments for the performer to remove the horn from their lips. Emphasis should also be placed on the per- former’s ability to present crisp double-tonguing figures, as well as play in a range from a to b-flat'' for a total duration of around ten minutes. Overall, the piece is an enjoyable ride for both the trumpeter and pianist. It would make a fun opener to either half of a collegiate-level recital, as it showcases the performer’s energetic side through articulation with rhythmic interplay, as well as their ability to shift from one thematic event to another in seamless fashion. (J. Peyden Shelton, assistant professor of trumpet, University of Utah, Salt Lake City, UT) Pethel, Stanley. Chorale and Hallelujah. Trumpet Quartet. Triplo Press, 2018. Chorale and Hallelujah is a beautiful two-movement compo- sition written for four trumpets in B-flat by Stanley Pethel, award winning composer and professor emeritus of music at Berry College. Pethel is a widely published composer with over , works for choir, piano, solo instruments, and a myriad of ensembles. The first movement, “Chorale,” is a slow, homophonic, thir- ty-measure piece written in common time. It is broken down into short sections that feature half- and quarter-note lines pri- marily moving in scalewise motion, unison duets, and imita- tion. In his opening notes, Pethel remarks, “Keep this chorale moving, but not too fast. Enjoy the harmony of the four parts. Each voice of the chorale is important to the performance.” The second movement, “Hallelujah,” is a faster, -measure selection notated “With Motion.” Pethel writes, “Hallelujah is the generally accepted English version of Greek Alleluia. Both are derived from the Hebrew term which translates Praise Ye Yah. Yah being a shortened term for Yahweh. So, Hallelujah means Praise the Lord.” This movement features an accented, driving, syncopated eighth-note melody beginning in the first trumpet, which is complemented by staccato, syncopated hits in the lower voices. This leads into a countermelody before closing with a transformed incarnation of the melody. The piece begins in a 4/4 meter and briefly transitions to 6/8 before returning to common time. Chorale and Hallelujah is a well written, moderately easy, three-and-a-half-minute composition that presents a nice challenge for a high school or lower-level collegiate ensemble looking for a work to showcase their ability to perform within the vocal realm. With beautiful open harmonies including perfect fourths and fifths, dramatic dynamic changes, straightforward syncopation, and an accessible range from written a-flat to c''', Chorale and Hallelujah can serve as a recital selection, concert number, mid-level high school con- test piece, or church service or sacred venue feature. (Christo- pher Braun, adjunct trumpet instructor, Sinclair Community College, Dayton, OH) Snedecor, Phil. The Lyrical Orchestral Trumpet. Trumpet. PAS Music, 2020. Many of Phil Snedecor’s etudes have become standard study material for brass instruments, including his Lyrical Etudes for Trumpet (Volumes I & II), Etudes in the Operatic Style, and Low Etudes. Similar to Vassily Brandt’s 34 Orches- tral Etudes for Trumpet or Sigmund Hering’s 23 Orchestral Etudes for the Advanced Trumpeter, Snedecor’s new book is based on the symphonic repertoire; however, these are gener- ally more lyrical in nature. Compared to Brandt and Hering, Snedecor’s collection falls somewhere between these two with regard to the amount of new materials, with Brandt using only a small excerpt, motive, or idea (often concealing mate- rial) in his etudes and Hering including more continuous musical references. Departing from these two common resources, Snedecor does include different transpositions and the recommendation of rotary trumpet and cornet on a few. The focus of these etudes is on Romantic and early twentieth-century works: Brahms’s It’s Academic; Strauss’s A Hero’s Etude, Don Juanito, Transfiguration, Of Knights and Squires, and Bonuskavalier; Stravinsky’s Singing Nightingale, Waltz for a Puppet, and Pas- toral; Mahler’s Mail Call; Copland’s An Outdoor Etude; Schu- mann 2; Lyric Shostakovich and Lyric Shosty II; Wagner’s Par- sifar, Far and Away; and Respighi’s Trees in Italy. Most, if not all, of these titles will make the associated excerpts very obvi- ous. Moreover, the technical difficulty is reasonable—from very advanced high school or undergraduate and beyond— but all players, including professionals, will appreciate the musical opportunities provided. Basically, anyone with the technical ability to play these excerpts will find the etudes accessible and useful. Many trumpet players study these excerpts their entire lives, not only to prepare for auditions, but also to challenge them- selves musically and technically. Any fresh approach is useful, and Snedecor has indeed provided such a resource. A demo is available on YouTube. Overall, this is a superb compendium of excellent, accessible studies based on the orchestral repertoire. (Luis C. Engelke, Music Reviews editor, professor of trumpet, Towson University, Towson, MD) Stanford, Charles Villiers. Flourish of Trumpets. Trumpet Ensemble with Percussion. Triplo Press, 2019. Flourish of Trumpets is a piece ideal for pomp and pageantry. The work is comprised primarily of two trumpet choirs and percussion. This includes twelve B-flat trumpets, side drums, crash cymbals, and bass drum. An opening rhythmic motif is rippled throughout both choirs and enhanced with the use of various dynamics. The motif is then developed into a rousingly rhythmic melody that begins antiphonally for the initial phrase and is then transformed into four independent rhyth- mic figures that are performed simultaneously. The complex rhythmic ideas create a sense of excitement and boisterous energy. This feeling is halted and then suddenly contained with a fermata. After the brief pause, choir one enters at fortissimo, performing a melody that requires assertiveness and team spirit. Choir two enters and maintains the energy first presented by choir one. This intensity continues as all twelve trumpets begin to perform the same rhythmic idea at various pitch levels. The liveliness of the trumpets is continued as the timpani enters alone, performing a driving rhythmic motif that creates a won- derful segue into the second theme. This section requires crisp, confident, and virtuosic playing by both choirs. The piece continues its feeling of drive and power by diversifying its rhythmic variety. This is apparent in the interesting contrast of triplets in the trumpet choirs in conjunction with the accented half notes in the percus- sion section. The piece continues with attention focused on the complex and musically satisfying timpani line that seems to add tremendous depth and color. This line is then interwoven with moving, staccato sixteenth notes that constantly challenge the rhythmic integrity of the performers. The complexity of the piece reaches its zenith in the short coda that re-introduces brief segments of material heard earlier in the piece. (Demarr Woods, assis- tant professor of high brass, University of Arkansas at Pine Bluff) 102 ITG Journal / January 2021 © 2021 International Trumpet Guild show my ability, or ego. This balance can be difficult, but I think this is part of the beauty of being an orchestral player. Matzen: What do you think makes a great orchestral section? Kikumoto: First, respect each other. Next, respect each other (laughing). With trumpet, egos can be very strong, but even so, the section members have to respect each other. That’s all. Matzen: What have you practiced that made the most impact on your playing? Kikumoto: When I practice, I play whatever I am working on as if it is a live performance. I try to treat my practice ses- sions as similar as possible to what it will be like on stage. For example, when I am working on a solo piece, I practice stand- ing up, with the music stand to my left. However, I practice all orchestral works while sitting, with the music stand directly in front of me. Matzen: What advice would you have for a young person who would like to have a career as a professional trumpeter? Kikumoto: I think it is very important for young players to have a dream and the confidence, or courage, to pursue it. Although, when I was growing up, I wanted to be a comedian (laughing). Matzen: What kind of music do you listen to in your free time? Kikumoto: I actually try to avoid listening to classical music, as I consider that to be a part of my job. During my free time, I tend to listen to jazz and J-pop. As far as jazz, I am a fan of Wynton Marsalis, Roy Hargrove, and Till Brönner. About the author: Dr. Max Matzen is associate professor of trumpet at Utah State University in Logan, Utah. He is a member of the Emerald Brass Quintet and is a Bach Perform- ing Artist and clinician. “With trumpet, egos can be very strong, but even so, the section members have to res - pect each other. That’s all.” Orchestra Section Profilecontinued from page 90 F REE M USIC S UPPLEMENT F OR J ANUARY 2021 We hope you enjoy this year’s free Music Supplement, one movement (“The Caregiver”) for trumpet and piano of Pendulum by the dynamic Brazilian-Amer- ican composer Clarice Assad. This work was the result of ITG’s commission and was premiered at the ITG Conference in Miami by José Sibaja. This pdf file is available now for download from the Resources: Special Offer- ings section of the ITG Website.© 2021 International Trumpet Guild January 2021 / ITG Journal 103 B OOK R EVIEWS E RIC M ILLARD , C OLUMN E DITOR Reyman, Randall. The Fundamental Trumpet: Fundamen- tal Exercises and Etudes for the Developing Trum- peter. Independently Published, 2019. Softcover, 105 pp. Randall Reyman’s The Fundamental Trumpet is a wonderful addition to any trumpet teacher’s ar senal of method books and exercises. Originally devised for his students, Reyman’s book reflects a compilation of his favorite exercises and etudes that he created to address the many chal- lenges his students have faced over his thirty years of teaching at Mil- likin University. The layout of the book provides teachers and students with an adaptable strategy to tackle numerous fundamental techniques for intermediate and advanced per- formers. The book is effectively structured around the most fundamental elements, from concepts such as the breath to rhythm exercises and jazz improvisation. This methodical approach not only helps students to develop a focused practice routine, but also allows for the utilization of individual exercis- es as needed in a player’s development. Reyman also provides studies to refine often-forgotten components of student devel- opment, such as vibrato. Throughout the entire book, each exercise maintains pedagogical influences from many of his master teachers, including Arnold Jacobs, Keith Johnson, Vin- cent Cichowicz, Bobby Shew, and numerous others. These ele- ments and its pedagogical design make Randall Reyman’s The Fundamental Trumpet a “must have” for any developing stu- dent and trumpet teacher. (J. Peyden Shelton, assistant profes- sor of trumpet, University of Utah, Salt Lake City, UT) Samayoa, Raquel. Dueling Fundamentals: Advanced Fun- damental Exercises for Two Trumpets. Flagstaff, AZ: Mountain Peak Music, 2020. Softcover, 64 pp. Dueling Fundamentals: Advanced Fundamental Exercises for Two Trumpets provides an engaging and refreshing take on a trumpeter’s conventional fundamentals routine. The light- hearted title is reflective of the attitude carried throughout each exercise. Ranging from “Morning Flow” to “Scalepalooza” and “Arban Freaks Out,” the duets in this book are equally as valuable as they are entertaining. An active performer, clinician, and assistant professor of trumpet at the Uni- versity of North Texas, Raquel Samayoa pro- vides a variety of collab- orative exercises that create a comprehensive fundamentals session. Dueling Fundamentals is organized into five main sections (Long Tones, Flexibility, Scales and Arpeggios, Mixed Techniques, and Range Extenders) that create a framework for a bal- anced and logically sequenced fundamentals routine. Samayoa incorporates multi- ple concepts into each exercise. The long-tone exercises modu- late through numerous keys, alternating which player sustains drones and which plays the moving line, creating beneficial intonation training. The flexibility exercises introduce chal- lenging leaps and rhythms while demanding accountability in pulse by both players. While proficiency with scales and arpeg- gios is important for all trumpet players, the section dedicated to them is particularly valuable to students aiming to increase familiarity playing in all keys in a fun and exciting way (two words not always associated with practicing scales). The section on mixed techniques explores articulation, dexterity, and dyn - amic range and creates challenges with blending and matching styles. Lastly, the Range Extenders section delves into the extremes of the trumpet registers, taking care to address every aspect of playing required for proficiency by the end of the fundamentals session. Samayoa’s duets are both challenging and accessible to a wide range of ability levels, from advanced high school stu- dents to professionals. Not only are the basic fundamentals of trumpet addressed, but playing them in a collaborative setting allows for further improvement of blend and intonation. Duel- ing Fundamentals also provides opportunities to spark discus- sion between players regarding ideas and approaches to exercis- es. Especially in the context of a college studio or ensemble sec- tion, these duets provide an opportunity for players to share ideas and improve their collective sound. It can be easy to fall into the habit of playing the exact same exercises each day, sometimes leading to boredom and lack of motivation. Dueling Fundamentals is a “must have” for any trumpeter looking to freshen up their fundamentals routine with a more collaborative approach. (Julia Bell, doctoral trum- pet student, Florida State University, Tallahassee, FL) Please send correspondence, review copies of books, dissertations, videos, and requests to join the review staff to: Eric Millard, ITG Book Reviews Editor, Department of Music, 9201 University City Blvd., Charlotte, NC 28223; bookreviews@trumpetguild.org A PPOINTMENTS AND A WARDS Brianne Borden to SUNY – Potsdam Brianne Borden was appointed visiting assistant professor of trumpet at the State University of New York at Potsdam, where she began duties in August . She succeeds long-time trumpet faculty Dr. John Ellis and Dr. James Madeja. She attended SUNY Potsdam, earning a Bachelor of Music degree in performance under John Ellis in . Borden was awarded a trumpet assistantship at the University of Colorado – Boul- der in under the mentorship of Terry Sawchuck and Justin Bartels and completed her Master of Music degree in performance there in . She later completed her dma at Arizona State University as a student of David Hickman. She is a founding member of the Phoenix Brass Collective and is a certified yoga instructor. She presented her “Yoga for Musi- cians” clinics at the and ITG Conferences and at the International Women’s Brass Conference, and she has been a guest clinician at Bemidji State University, Arizona State University, Ithaca College, suny Potsdam, University of North Dakota, Northern Arizona University, and the Colburn Conservatory. Her virtual classes have been presented at the University of North Carolina – Greensboro, Avon Central School District in Indiana, and the Hawaii Youth Orchestra. Borden’s dissertation project, “Yoga for Musicians: A Practi- cal Guide to Using Common Yoga Techniques for Performing Musicians,” will soon be published as a method book. Recently, she has taught at Kirk’s Studio for Performing Arts az, the Harmony Project Phoenix, Crane Youth Music at suny Pots- dam, and the Phoenix Conservatory of Music, and she has maintained a private studio of trumpet students of all ages. (Source: David R. Hickman) Philip Cobb to BBC Symphony Orchestra After ten years, trumpeter Philip Cobb is leaving the Lon- don Symphony Orchestra to join the BBC Symphony Orches- tra as their new principal trumpet. Philip is a fourth-genera- tion Salvationist and comes from a family intrinsically linked ITG members are encouraged to send correspondence, inquiries, and trumpet-related news to Jason Dovel, News Editor (news@trumpetguild.org). ITG strives to present news items of an objective nature only, and all items will be edited for clarity and brevity. For more detailed information on many of the news items included in this column or for additional stories omitted due to space restrictions, visit the ITG Website (http://www.trumpetguild.org/news). 104 ITG Journal / January 2021 © 2021 International Trumpet Guild N EWS FROM THE T RUMPET W ORLD J ASON D OVEL , C OLUMN E DITOR Brianne Borden Philip Cobb© 2021 International Trumpet Guild January 2021 / ITG Journal 105 with Salvation Army music making at its highest level. In , he gained a place in the National Youth Brass Band of Great Britain, where he became principal cornet on a number of courses and won the prestigious Harry Mortimer award on four occasions. As a student at the Guildhall School of Music and Drama in London, Cobb studied with Paul Beniston and Alison Balsom. In , he took part in the prestigious Mau- rice André International Trumpet Competition and was awarded one of its major prizes as the Most Promising Per- former. While studying, Cobb played in the Salvation Army’s International Staff Band and released his debut solo cd, Life Abundant, in , accompanied by the Cory Band and organist Ben Horden. The following year, he was awarded the Candide Award at the London Symphony Orchestra’s Brass Academy and played with the European Youth Orchestra as principal trumpet. Cobb is also actively involved with the recently formed Superbrass, Eminence Brass, and Barbican Brass ensembles. One of his other passions is film music, and recent soundtracks on which he can be heard include Harry Potter, Twilight, New Moon, The Pirates, Shrek, A Better Life, Rise of the Guardians, and Monuments Men. He was also featured in the recent open- ing and closing ceremonies of the London Olympic and Para- lympic Games. (Source: 4barsrest.com) Summer Camargo Awarded Laurie Frink Career Grant The winner of the Laurie Frink Career Grant is Sum- mer Camargo, an eighteen-year-old trumpet player who recently completed her freshman year at The Juilliard School, majoring in jazz studies. Camargo has been a member of the Grammy Band (), the Next Generation Women in Jazz Combo (), and the Next Generation Jazz Orchestra () and was named a National YoungArts Foundation Merit winner () and Honorable Mention in Jazz Trumpet (), as well as Merit winner in Jazz Composition (). She was DownBeat Magazine’s Outstanding Student Jazz Per- formance Award recipient (). At the , , and Essentially Ellington Festivals, she received Outstanding Trumpet Soloist Awards; in , she won the Ella Fitzgerald Outstanding Soloist Award and the Dr. J. Douglas White Stu- dent Composition Contest. She was honored to have the Jazz at Lincoln Center Orchestra record her original big band chart Leap Froggin’. Camargo participated in the Vail Jazz Workshop (), Carnegie Hall’s nyo Jazz (, ), and the Mon- terey Jazz Festival Gala (), and she played as a guest artist at the Jazz at Lincoln Center Gala () and the Midwest Clinic (). This past year, she was honored to be a panelist for Jazz at Lincoln Center’s Jazz Congress and joined the Ulysses Owens Jr. Big Band. According to the foundation’s website, the purpose of the Laurie Fink Career Grant is “to honor her and prepare the way for her legacy to continue—to inspire and promote artistic integrity, beauty, grace, and humor.” The foundation continues to accept donations, which are tax deductible. To contribute, please visit the foundation website ( http://lauriefrink.com). (Source: Lois Martin) F ESTIVALS AND COVID -19 O NLINE P ROGRAMMING Lucienne Renaudin Vary performs Le concert de Paris French trumpeter Lucienne Renaudin Vary performed Le Concert de Paris on July , , in front of the Eiffel Tower. While covid- has halted most live trumpet performances around the world, Lucienne Renaudin Vary recently per- formed as a featured soloist on the celebrated concert series. She performed trumpet arrangements from Leonard Bern- stein’s West Side Story. Vary is a -year-old French trumpeter who has recently earned international praise for her expression and command of the instrument. She studied at the Conserva- toire National Supérieur de Musique et de Danse de Paris and records on the Warner Classics label. The full performance is available at the Le Concert de Paris Facebook page. (Source: Lucienne Renaudin Vary) Seraph Brass Seminar The Seraph Brass Seminar was held July – , . All classes and sessions were presented online through the Zoom platform. The seminar included three sessions each day, including a morning warmup separated into four classes (trumpet, horn, trombone, and tuba), a masterclass dealing with pedagogy and different topics (by instrument), and an afternoon interactive session with all participants, featuring select topics and guest artists Don Greene and Toby Oft. More than forty participants from all over the world took part in the five-day brass seminar, which was moderated and hosted by Seraph Brass members Mary Elizabeth Bowden, Jean Laurenz, Raquel Samayoa, Rachel Velvikis, Elisabeth Shafer, and Gretchen Renshaw James. The first day’s morning warm-up session included air exercises and a guided centering routine. After the warmup, the second day included a session with Mary Elizabeth Bowden on achieving mastery of the picco- lo trumpet. The afternoon interactive session was led by Don Greene and focused on achieving peak per- formance. The third day featured a session led by Raquel Samayoa on developing trumpet technique. Summer Camargo106 ITG Journal / January 2021 © 2021 International Trumpet Guild The afternoon interactive session was led by Toby Oft and included valuable information on audition strategies and a masterclass on brass pedagogy. The fourth day featured “Singing though the Trumpet,” led by Jean Laurenz. This ses- sion explored vocal techniques through concepts of phrasing, text painting, support, stage presence, and the physiology of sound resonance. The afternoon interactive session was led by Raquel Samayoa and Elisabeth Shafer and dealt with chamber music. The fifth and final day included a session dealing with solo and orchestral performance in the trumpet class. Select participants had the opportunity to perform a solo or orches- tral excerpt and receive feedback. The afternoon interactive ses- sion featured a career panel that was led by Gretchen Renshaw James and Jean Laurenz. The panel explored the different paths each of the Seraph Brass members had taken in their careers with interesting stories and insights geared toward giving par- ticipants a glimpse of a life in music. Participants asked many questions, and the meaningful discussions helped participants reflect on their own path and gain a more informed idea on how to pursue a life and career in music. Participants also had the opportunity to take part in a virtual recording that was released on YouTube in late July. The piece, Fugue in C-sharp minor by J.S. Bach, was arranged by Rachel Velvikis for the seminar brass ensemble. (Source: Seraph Brass) University of Kentucky Online Summer Trumpet Institute The fourth annual University of Kentucky Summer Trumpet Institute (uksti) was held June – , , hosted by Jason Dovel, associate professor in the uk School of Music. Due to covid--related social distancing, this year’s event was held online. More than participants from Europe, Australia, Central America, and the United States participated in the four-day event. Two concurrent events were hosted—the main camp, geared toward high school, college, and adult trum- peters, and the junior trumpet institute, a program for middle- school students. Throughout the week, four simultaneous “rooms” of instruction were held, moderated and hosted by Jason Dovel, Allie Woodbury, Samuel Oliveri, and Javier Sali- nas. Monday’s highlights included a warm-up session by Kyle Millsap; a masterclass by Vince DiMartino; and breakout ses- sions on Baroque trumpet, orchestral excerpts, jazz improvisa- tion, and solo performance. ITG President Grant Peters hosted “A Conversation with ITG President Grant Peters,” and the day concluded with a concert/presentation by Vince DiMartino and John Foster, “Sound the Trumpets,” in which they per- formed and explained the history of the trumpet, from animal shells to early valve prototypes and modern instruments. Tuesday’s events included sessions by Caleb Hudson and Anne McNamara; a vast array of breakout sessions, including Samuel Oliveri’s “Grit and Resilience” topical class, which was well-attended; and a panel discussion, “Finding Your Place in the Music World: Auditions, Marketing, Social Media, and Entrepreneurship for the st Century Trumpeter.” Wednesday included sessions by John Foster and Gabriel DiMartino, followed by another afternoon of breakout ses- sions and a variety of options taught by Josh Reed, Stephen Campbell, Anne McNamara, and Gabriel DiMartino. The day concluded with a masterclass, “Popcorn Pedagogy,” led by Jason Dovel. The final day featured a masterclass by Ryan Gardner and several specialized topical classes. Marc Reed presented “Tips for Pursuing and Winning a Position in College Teaching,” and human biomechanics specialist David Wolfe presented “Anatomy and Physiology of Trumpet Playing.” The event con- cluded with a lively panel discussion by all faculty. The Junior Camp returned for its second year, hosting sixth through eighth graders. Through the online platform, they were exposed to a variety of topics such as jazz, warm-up tech- niques, fundamentals, sight reading, and more. The online platform allowed junior campers to have an interactive experi- ence with the faculty members and keep a positive learning C ALL F OR V OLUNTEERS ITG Global Chapters Initiative is a drive to form ITG Affiliate Chapters in virtually every country, region, or state worldwide to broaden the international footprint of ITG. Volunteers are needed to develop contacts and coordinate regions worldwide. Contact ITG Affiliate Chap- ters Committee Coordinator Cynthia Carrell (chapters@trumpetguild.org). ITG Sister Chapters Program is intended to create international and intercultural relationships between ITG Affiliate Chapters worldwide. “Sis- ter” chapters will share information and encourage each other. Select chapters may also be called upon provide assistance in the formation of chapters in lower socio-economic settings. ITG member vol- unteers are needed to coordinate the forming of these relationships. Contact ITG Affiliate Chap- ters Committee Coordinator Cynthia Carrell (chapters@trumpetguild.org). Grant Peters presents “A Conversation with ITG President Grant Peters” at the University of Kentucky Summer Trumpet Institute.© 2021 International Trumpet Guild January 2021 / ITG Journal 107 environment with one another. When not learning from the guest artists, they worked with uk teaching assistant Allie Woodbury. (Source: University of Kentucky teaching assistants Allie Woodbury, Samuel Oliveri, Javier Salinas) Dash Duo Trumpet Intensive Mary Elizabeth Bowden and David Dash presented the Dash Duo Trumpet Intensive July – , , through Shenandoah Conservatory in Winchester, Virginia. Guest artists included Tine Thing Helseth, Billy Hunter, Rex Richardson, and Don Greene. Twenty-five trumpeters partici- pated from across the United States, including high school, college, and professional players (including six from the Marine Corps Reserve Band in New Orleans). The seminar presented daily warm-up/routine classes, two daily master- classes, and private lessons with Dash and Bowden. All master- classes were interactive, and the students learned a great deal, despite the limitations of online instruction. (Source: David Dash) Vince DiMartino Virtual Residency at Ithaca From April to May , , Vince DiMartino was a guest artist at Ithaca College for a virtual residency while the college was closed due to the covid- pandemic. As part of the event, DiMartino was featured as a soloist on Autumn Leaves for the IC Jazz Ensembles quarantine recording project and also led a masterclass, a presentation on his historic trumpet collection, a live q&a session, and a warm-up class—all through the Zoom platform. The residency opened with a Facebook Live q&a session held by Aaron Witek, Chris Coletti, and Vincent DiMartino. Stu- dents learned about DiMartino’s journey on the trumpet, from his beginnings on the instrument to where he is now. Follow- ing that was a masterclass with several Ithaca student perform- ers. DiMartino covered such topics as standing out in audi- tions, creating tone flow in our playing, and, as DiMartino puts it, “Understanding where you’re headed, not what you’re playing.” DiMartino also presented his historic trumpet collection from his house. This featured various instruments, including a natural trumpet, echo trumpet, Charlier trumpet, and more. The students were able to see DiMartino’s massive collection and learn more about historic trumpets, why they were made, and how they have changed over time. (Source: Angela King) I N M EMORIAM Keith Johnson (1942 – 2020) Keith Johnson was emeritus professor of trumpet in the Col- lege of Music at the University of North Texas (unt) in Den- ton, Texas. In , unt awarded him the title of Regents Pro- fessor, and in the fall of , he was named a University Dis- tinguished Professor of Teaching. Prior to his position at unt, he was professor of trumpet at the University of Northern Iowa in Cedar Falls. He performed with the Dallas Opera, Fort Worth Symphony, New Hampshire Music Festival, and Sun- dance Brass Quintet. He played Baroque trumpet with the Dallas Bach Society, Fort Worth Early Music, Orchestra of New Spain, Texas Baroque Trumpet Ensemble, San Francisco Bach Choir and Orchestra, Texas Camerata, and New York Baroque Orchestra. He performed with the symphony orches- tras of Dallas, Shreveport, Kansas City, Cape Town, and Mex- ico City (Philharmonic and Symphony), as well as the Solistas de Mexico and the Orchestra of the Mineria Festival (Mexico City). He presented clinics and recitals at more than uni- versities and conservatories throughout the United States, Canada, Mexico, Romania, Italy, England, the Nether- lands, Australia, Brazil, and South Africa. Johnson was the author of two highly acclaimed books, The Art of Trumpet Playing (Iowa State Universi- ty Press/Gore Publications) and Brass Performance and Pedagogy (Prentice- Hall); and he published more than forty articles on brass playing, as well as a method book entitled Developing the Upper Register. His students have held playing and teaching positions in orchestras, bands, and universities in Australia, New Zealand, Canada, the United States, Mexico, Brazil, Indonesia, Sweden, South Africa, Italy, England, France, Spain, Ger- many, and Romania. In the summer of , he was presented a Distin- Vince DiMartino performs “virtually” for students at Ithaca College. ITG M EMORIAL S CHOLARSHIP F UND The Memorial Scholarship Fund was created to give ITG members an opportunity to contribute to annual ITG Con ference Scholarships. To donate to the fund, send a check (write “Memorial Scholarship Fund” on the memo line) to: Dixie Burress, ITG Treasurer P.O. Box 2688 Davenport, IA 52809-2688 USANext >