< Previous48 ITG Journal / January 2021 © 2021 International Trumpet Guild ITG P ROFILE J OEL T REYBIG , C OLUMN E DITOR This column is dedicated to profiling interesting people within the ITG membership who bring something special to the trum- pet world. If you have suggestions for this column, please contact: Joel Treybig; profile@trumpetguild.org A RMIDA R IVERA Armida Rivera is a full-time faculty member at the University of Science and Arts of Chiapas, Mexico, where she is the head of brass studies and conductor of the symphony orchestra. She created the first brass choir program in Mexico, a program that now is being replicated at other music schools in the country. In , Rivera became a visiting assistant professor of trumpet at Toluca Music Conservatory of Music and became the head of woodwind and brass music studies at the University of Science and Arts of Chiapas. Rivera is an active performer, educator, and composer. She earned her bachelor’s degree at the University of Baja California, studying with John McFerran Wilds, and then obtained the conacyt-finba and a Fulbright Garcia-Robles scholarship, com- pleting her master’s degree at Ithaca College, where she studied with Kim Dunnick. She earned her doctoral degree at the Uni- versity of Cincinnati College-Conservatory of Music as a student of Alan Siebert and Philip Collins. Rivera has collaborated with many symphony orchestras in Mexico, including the Jalisco Philharmonic and the Xalapa Sym- phony Orchestra, and has participated as guest artist in several music festivals in Mexico and abroad. She has served as soloist with Tijuana Camerata, Baja California Symphonic Band, Baja California Orchestra, and uabc-Symphony Orchestra. An advocate of contemporary music, Rivera has commissioned, performed, and written multiple new pieces for unaccompanied trumpet. Winner of the fonca grant ( – ) with the project “Tragedy for Trumpet,” Armida is writing six pieces for trumpet inspired by specific tragic events or moments and has been invited to present recitals and lectures at several music fes- tivals and schools. Rivera is the first trumpet player in Mexico to have earned a doctoral degree, the first Mexican trumpet player sponsored by Bach Brass and Conn-Selmer, and the first female trumpet player invited to collaborate with some of the most important orchestras in the Mexico. She loves sharing her time with her family and friends, and if she is not practicing or posting videos on her social media, she can be seen enjoying a cup of coffee or a glass of red wine.© 2021 International Trumpet Guild January 2021 / ITG Journal 49 ITG Y OUNG A RTIST A WARD A NNE M C N AMARA , C HAIR Nominations for the Young Artist Award are accepted throughout the year by the Young Artist Award committee, Anne McNa- mara, Chair, at yaaward@trumpetguild.org. For more details, please see the box on page or visit the ITG Website (http://www.trumpetguild.org/resources/yaa.htm). F IONA S HONIK This issue’s featured young artist award win- ner is Fiona Shonik, an eighteen-year-old trum- peter who recently graduated from North Shore High School in Long Island, New York, and began her undergraduate degrees in music edu- cation and trumpet performance at Northwest- ern University’s Bienen School of Music in the fall of . Fiona was principal trumpet in sev- eral groups, including the Long Island Youth Orchestra, Nassau Suffolk Performing Arts Wind Symphony, and the Metropolitan Youth Orchestra’s Nassau Principal Orchestra. Fiona was also selected to play in numerous state-wide and national groups for the past eight years. Highlights include performing as co-principal in the New York All-State Symphonic Band in , performing in the All-Eastern Music Fes- tival Concert band, and playing principal in the nafme All-National Concert Band in . She was selected to play first trumpet in the New York State Band Directors Association High School Honor Concert Band and princi- pal trumpet in the and nmea All- County Music Festival Orchestras. An active member of her high school’s music program, Fiona performed in the North Shore High School wind symphony, jazz ensemble, pep band, pit orchestra, brass ensemble, and chamber orchestra. During her senior year, she served as the president of band and vice presi- dent of the Tri-M Music Honors Society. Dur- ing the past three summers, she took part in the School of Orchestral Studies program as part of the New York State Summer Schools for the Arts, where she worked closely with members of The Philadelphia Orchestra, including trum- peter Robert Earley. Both a serious musician and student, Fiona thrived in a rigorous academic environment, taking advantage of her school’s International Baccalaureate program. Some of her favorite trumpeters include Chris Martin, Wynton Marsalis, Tine Thing Helseth, Alison Balsom, and Mary Bowden. In terms of career goals, she has many different interests within the classical music field, such as performing and arts administration. She would like to help contribute to greater diversity and equality for minorities in the classical music world. This desire is linked to her experience as one of the only women trumpeters in her ensembles and as one of the only women during her thirteen years of playing competitive ice hockey and roller hockey. As she puts it, “I think it is important to encour- age people to follow their passions, even if it is considered to be outside the norm.” Fiona’s primary trumpet teacher for the past five years has been Michael Blutman, whom she credits with helping her grow tremendously as both a musician and a person. As the January Young Artist Award recipient, she will receive a one-year complimentary membership to ITG. Con- gratulations, Fiona!50 ITG Journal / January 2021 © 2021 International Trumpet Guild C LINIC F RANK G ABRIEL C AMPOS , C OLUMN E DITOR Gaspar: What compelled you to become a trumpet builder? Mazzio: It was a bit of a progression, actually. As a kid, I was the one sitting in the back of the classroom taking his pen apart and putting it back together for fun. I was playing with Lego sets all the time. I always had to have something in my hands. If I see something I like and am interested in it, I have to know how it works. Just that idea of finding out why something is, how it is—whether it be that pen, Lego set, or something bigger—cars, trains, trumpets—it is in my innate nature to figure out how it works. This has been a big thing in my life since early childhood. I really liked the trumpet in general, so I started playing it when I was seven, though I started playing music before that. Both of my parents are musicians, so it was a bit of a natural progression. As I started playing the trumpet and getting more into it, I started collecting older trumpets and vintage instruments. A lot of those vintage horns have different and unique design elements that are not seen today. I would look at them and ask, “Why is this like this? Why was this designed like this? Why does this sound like this? Is this what’s affecting that?” Over time, all of that just compounded in me through doing a lot of what I considered as fun, just Googling and researching these old trumpets. A lot of that ended up being the basis for what I do now and how my designs work for the individual person. Gaspar: How did you get started? Mazzio: It’s along the same lines. I started playing trumpet and really liked it, so I decided to go to school for it. It was the thing in my life that mattered the most to me at the time, so I spent three semesters at Oberlin. In my off time and on summer and winter breaks, I worked in a local music store repair shop in my hometown of Buffalo, New York. I learned a lot of the things you have to know to make instruments, whether that be soldering, dent repair, etc., on a lot of low-end instruments that didn’t necessarily need to be perfect. But they Clinic addresses a wide variety of teaching and playing issues. Ideas and suggestions should be directed to: Frank Gabriel Campos, Clinic Editor; clinic@trumpetguild.org A N I NTERVIEW WITH T RUMPET B UILDER C LARK M AZZIO BY P AUL G ASPAR T he author met custom trumpet builder Clark Mazzio through Jim Bohm, our mutual friend and fellow trumpeter in Buffalo, New York, several years ago. Since then, Clark has gone on to build trumpets of head-turning beauty in sound and design. What is even more stunning is that Clark is only years old. Yet, he already has the training, experience, insight, and instincts to make a trumpet play and feel fantastic for each individual player. Over the summer of , Clark designed and built a trumpet for me on his initiative after listening to how I play and sound, with some basic specifications that I prefer in a horn. His agenda is the player’s agenda, and the process feels like a conversation between friends. Clark Mazzio© 2021 International Trumpet Guild January 2021 / ITG Journal 51 were perfect for me to be able to learn to work on. From there, I had things happen in my life that made me take a step back and look at what I really wanted to do. I realized that this thing that was fun for me—collecting vintage trumpets and reading about how they work—had become more than just a hobby. It ended up being what I wanted to do with my life. So, I left school after three semesters. I owe a huge debt of gratitude to my trumpet teacher at Oberlin, Roy Poper. He is the single person who knows more about trumpets than anyone else I know. He has been everywhere and knows everything. So, he and I would talk for hours about designs, how things affect playing, and what makes things happen for the player and the instrument. After I left Oberlin, there was a lot of luck involved in my story. Chris Cromer, who owns and works at A minor Tune Up in Wilmington, Delaware, ended up needing an app - rentice. He is a trumpet player himself, and his shop is primarily trumpet-focused, so I wound up moving there to work for him. He was super helpful and a great teacher. He really taught a lot of the finer things that had to do with trumpet. More repair based, because I wanted to learn repair before I learned how to actually make them. Chris is very good at detailed work, and I think that’s a really important thing when you’re making new instruments. It’s what makes him a fantastic person to learn under. After that, I was lucky enough to talk to Andy Taylor from Taylor Trumpets in England. He and I ended up negotiating a six-month apprenticeship deal by which I would go over there, work for him, and learn how to make the parts from him. He is a wonderful teacher and a fantastic bell maker, and he welcomed me into that country with open arms. I owe him a lot as well. While I was in England, I also met Matt Martin, who, a bit unexpectedly, ended up being a heavy influence in my design process with what I do with my trumpets. Along with Andy, Matt taught me most of what my actual trumpet- making skills are today. After those six months were over, I decided it was time to go out on my own and start my own business. I am very much still learning, as everyone is in this business. We learn new things every day—even the people I’ve talked to who have been doing this for forty or fifty years, which is one of the things I really like. I have been here in Portland since June , getting started and getting my name out there. “I think the most important thing is just to listen, whether that be to the person who’s playing the horn or just the sound of what they’re playing in general.” One of Clark Mazzio’s trumpets ITG J OURNAL A RCHIVES N OW O NLINE We are proud to offer all ITG members a new benefit: free online access to the full archives of all past issues of the ITG Journal, ITG Newsletter, itg journal jr., Recent Programs, and music and text supplements. This resource can be accessed at any time under the “Journal” menu on the ITG Website (https://trumpetguild.org). We hope you enjoy this valuable offering!Gaspar: What hurdles do you personally face, and how do you overcome them? Mazzio: I don’t feel like I’ve had a whole lot of what anyone would call “hurdles.” I have been very fortunate with the teachers and opportunities I’ve had. Everyone I have met has been really nice and very helpful and have made it so fantastically easy to learn how to do what I want to do. Gaspar: This past summer, you contacted me about building a horn with me and posted photos on your Facebook page as it was being assembled. It has many specs in common with the two horns I own and love, but then you added things that I have since wished were part of my other two horns. What inspired you to build this particular trumpet? Mazzio: This one was a bit of a new one for me, actually. I am a trained classical trumpet player, so I haven’t had a whole lot of experience with horns that aren’t necessarily just classically minded. I think the most important thing is just to listen, whether that be to the person who’s playing the horn— they tell you what they’re doing—or just the sound of what they’re playing in general. The first questions I ask somebody if they’re interested in me building a horn: What do you want your horn to be like? What would be your ideal trumpet? What do you dislike about your current one? How can I make it as easy for you as possible to play what you want to play? I listen carefully to you, your feelings toward the instrument you already have, and the sounds and music you play. I use the knowledge I have gained over the last few years to do what I think would best suit the player. Gaspar: Every horn of yours that I have tried has felt very open from the bottom to the top. The notes really slot, and there’s all this character in the instrument. What do you think contributes to that, besides just brilliant engineering? Mazzio: One of the main issues I either hear or sense people dealing with a lot on more main stream-model horns is a high register and low register that are not neces sarily as easy as they should be. Many horns close off around G at the top of the staff and above. I do my best to alleviate that through more diff er entiation in tuning-slide styles and leadpipe designs. If you go to my website (http://MazzioTrumpets.com), the first thing you read is that the goal of my company is to create an inst rument that makes playing music a pure form of self- expression. My job is to make it as easy as possible for the player to put their feelings into the music they’re making, because at the end of the day, that’s what we’re trying to do as musicians: evoke some kind of feeling from the audience and ourselves as players. If I can make that easier as the trumpet builder, then I have done my job. Gaspar: Let’s say someone contacts you to build a trumpet. Play out how the two of you would talk. Mazzio: The first questions I ask are: What don’t you like about your horn? Why are you coming to me for a new trumpet? Because at the end of the day, I’m trying to make your life as easy as possible. And so, the more you tell me about what you like, what could be different, what you do or don’t want in an instrument, then that makes my life a little bit easier. And it makes yours easier, too, when you get the horn that is perfectly matched for you. So, it starts with that. As I get a feeling for what the player wants, what kind of music they like, and what they want to be able to do with it, I’ll be able to start making sug - gestions as to what I think would best fit their type of playing. One of the nice things is that I do have quite a few options on my horns. I don’t have any specific models. I’m trying to keep it that way, because I want each one to be exactly what that 52 ITG Journal / January 2021 © 2021 International Trumpet Guild “My job is to make it as easy as possible for the player to put their feelings into the music they’re making.” Paul Gaspar tests Mazzio’s trumpets. C ALL : U NIQUE AND RELEVANT MATERIALS FOR ITG A RCHIVES The ITG Archives, housed at Columbus State Univer- sity in Columbus, Georgia, extends an invitation to all ITG members to donate any unique and relevant mate- rials relating to ITG and/or the world of trumpet per- formance and pedagogy. Music, literature, recordings, etc. are all welcome for consideration. All accepted materials will be permanently stored and, where appro- priate, digitally displayed. If you have materials to submit, please contact Rob Murray (archives@trumpetguild.org).© 2021 International Trumpet Guild January 2021 / ITG Journal 53 player wants. So, if you like the leadpipe on one horn, but like the bell on another one, I can do that for you. I’m not going to make it an issue—if that’s what you want, that’s what you’re going to get. So, it’s a conversation. You and I dealt with this when I was making your horn. I asked you a bunch of questions that might seem a little vague or a little silly, but the more answers a player can give, the better I can help them get a horn that’s perfectly matched for them. Gaspar: The three things that really surprised me were the main tuning slide, your design of the leadpipe, and especially something you did with the bell taper. They are all very different from what I work with. What gave you those ideas for the horn you built with me in mind? Mazzio: I took the ideas I learned, especially in my later teenage years doing all the research for fun on vintage horns and instruments. Trumpet design is, I think, a bit unique in the world of musical instruments. It hasn’t really changed a whole lot in the last years. Many things have been incorporated in the past that aren’t necessarily in modern horns today. That could be good, but it’s a progression. My designs aren’t necessarily brand new to everything, but I think taking those things I learned and how they affect the playability of a horn and incorporating them into my own designs makes a huge difference in what I’m doing. Gaspar: Where can one try one of your trumpets? Mazzio: If someone in the Western New York area is interested, they can contact Paul Gaspar directly at paulvgaspar@gmail.com or online at his website (http://www.PaulGaspar.com). Otherwise, you can contact me here in Portland, Oregon, either by email at mazziocompany@gmail.com or through my website (http://www.MazzioTrumpets.com). I also have Facebook and Instagram pages that you can search for under “Mazzio Custom Trumpet Co.” I’ll do my best to either get you to a person who has one or get one to you myself. Gaspar: Is there anything else you’d like to add? Mazzio: I’d like to make a point to say that there are a lot of beliefs in the trumpet world and a lot of very strong opinions. In my experience, the best way to handle yourself is always to start friendly. I think that is something— especially as trumpet players—we often forget that whether in a group, in a section, as trumpet makers, we’re all on the same team. We all have the same goal: to make good instruments for the people who buy them, to make good music for the people who listen, and to make good instruments for ourselves who love to play them. I think that’s a really important thing that I try to keep in mind as much as possible. I have been very lucky to have had very helpful people in my life over the past couple of years, who have kept that sentiment in mind specifically. Gaspar: Clark, your wisdom is beyond your years. There is an agelessness about you that comes through in your work and in your conversations. Thank you for your time with me today, and I know we’ll be having more conversations in the very near future. Mazzio: Absolutely, Paul! I really appreciate you spending your time with me today. About the author: Paul Gaspar has been principal trumpet of the West Side Story International Tour since . He has extensive international experience as a lead trumpet, jazz soloist, conductor, composer, arranger, and pianist. He is a former guest principal trumpet with the Teatro San Carlo Opera Orchestra in Napoli and the Tel Aviv Opera Orchestra, and he has given brass clinics and improvisation masterclasses nationally and internationally. Additional information may be found on his website ( http://www.PaulGaspar.com). ITG S OCIAL M EDIA ! “Like” us on Facebook: http://tinyurl.com/itgfb Follow us on Twitter: @ITGupdates Join our LinkedIn Group: http://tinyurl.com/itglinked “There are a lot of beliefs in the trumpet world and a lot of very strong opinions. In my exper i - ence, the best way to handle yourself is always to start friendly.”54 ITG Journal / January 2021 © 2021 International Trumpet Guild P EDAGOGICAL T OPICS J ON B URGESS , C OLUMN E DITOR T he teaching of young trumpet students can be a chall enging experience. Students come to lessons with a variety of issues to address. Following are some practical ideas that teachers can use to make lessons with younger students more productive and enjoyable. Listening Developing a great concept of sound is, of course, a top pri- ority for any aspiring musician. Today’s students seem to have access to virtually any recording at the tips of their fingers. It is important to realize that this wealth of information can also make focused lis- tening a challenge. Previous genera- tions grew up with tangible items such as cds and lps, and therefore repetitive listening was a much easier process. The idea of listening to a single recording dozens, if not hundreds, of times was very normal. With so much access now available, students need very specific examples of great artistry, and they need to understand that it is better to listen to a single example fifty times than it is to listen to fifty examples a single time. This development of our trumpet dialect needs to be a daily occurrence. Language and semantics In teaching less-experienced students, I find that using descriptive language such as “resonant” or “vibrant” when describing sound or “healthy” and “free” when describing the breath produces much better results. The reason is that adjectives like “vibrant” and “healthy” automatically tap into a musical thought, whereas “bigger” or “smaller” often result in physical thoughts, because they tend to become quantitative and distract the mind away from the musical idea that we are striving to achieve. Common issues with young students One common issue I experience with young students is teaching them how the mouthpiece is placed on the embouchure. Often, students will place the mouthpiece on the embouchure and tighten the muscles around the face in order to form a preconceived idea of what an embouchure should look like. This usually leads to a tight, inefficient breath and a stiff tone that lacks vibrancy. An even more common issue, in my experience, occurs when students take a breath as they are placing the mouthpiece on the lips. This causes problems with tension and hesitation, as well as a compression of the sound that diminishes its resonance. This is also how young students often develop embouchure issues, because during this process they often place the mouthpiece on the inner part of the lip and learn to “play on the red” part of the lips. To counter these issues, I ask students to place the mouthpiece on the face with both lips inside the cup. I tell them to leave it there while I proceed to talk to them about a subject unrelated to the trumpet. Then, when they appear to be in a more relaxed state, I ask them to play a second-line G. More often than not, this works, because they have taken the preconceived tension out of the equation, and the breath has become more conversa- tional, natural, and more efficient. Developing a balanced approach to fundamentals Many young students are unaware of or unsure about how to deal with the practice of trumpet fundamentals. Often, they do exercises that are too advanced, or they skip steps in this process, which can lead to the development of bad habits that can become deeply ingrained if not addressed. In my own fun- damentals practice session, I address tone production, flexibil- ity, articulation, range, and finger dexterity. I use this process with young students as well, but I also try to make sure each aspect is taught in a gradual and carefully conceived manner. Long tones and moving long tones When approaching long-tone exercises with students, I try to focus on three items. The first, of course, is creating a resonant tone. I address this through demonstration and modeling. The second area is ease of the breath. I often have students visualize a violinist, and I correlate the breath to the use of the bow. I have them hold the trumpet in the left hand as normal and ask them to hold a pencil in the right hand. I mimic the actions of a violinist and the way they use the bow. I do this while playing a second-line G or third- space C. The upbow represents the inhalation, and the return T HOUGHTS ON T EACHING Y OUNG S TUDENTS BY M ARK D ULIN Ideas and suggestions for Pedagogical Topics should be directed to: Jon Burgess, Pedagogical Topics Editor, School of Music, Texas Christian University, Fort Worth TX 76129 USA; pedagogy@trumpetguild.org “It is better to listen to a single example fifty times than it is to listen to fifty examples a single time.” “Adjectives like ‘vibrant’ and ‘healthy’ automatically tap into a musical thought, where- as ‘bigger’ or ‘smaller’ often result in physical thoughts.”© 2021 International Trumpet Guild January 2021 / ITG Journal 55 of the bow to the string represents the exhalation. During this process, I have them notice that there is no pause between the upbow and downbow (inhalation and exhalation). I have them imagine the vibration of the strings and the release of the bow off the string. This latter point is especially important. When students are unable to taper the end of a note, they are usually pressing down on the sound, making it tense and flat. A smooth taper at the end of the note is only possible if the sound is resonant and the airstream smooth and healthy. Once the student is playing with a resonant sound on simple long tones, I then take them into a moving long- tone exercise (see Example 1). They start with an exercise utilizing only half steps and proceed to exercises that gradually expand to major thirds. Once this becomes easy, I then move them onto more standard exercises such as Cichowicz, Plog, Stamp, and Clarke. Scales For young students, I usually follow long tones with major scales. It is important to teach students chromatic scales as soon as possible. The tendency I see with many students is that they know their C, F, and G major scales (concert B-flat, E-flat, and F). I try to have them learn a chromatic scale, followed by C, B-flat, D-flat, and B scales first. There are two reasons for this. The first is that this eliminates phobias about unfamiliar notes, fingerings, and enharmonic spellings. The second is that these scales do not cross the resistance break in the middle of the staff between C and D and between B and C-sharp. Once a student is comfortable in these keys and can perform them evenly, it becomes much easier to take them across the break and begin to approach the upper register. By learning to listen for evenness in several keys before crossing the middle of the staff break, the often-preconceived idea of tension is eliminat- ed or at least greatly diminished. I also do not let students use scale sheets. I have them learn the order of sharps and flats and how many apply to each key by writing this information out by hand. Students play more confidently and learn the scales much more quickly. Flexibility Flexibility can be especially challenging for young students. Often, when I see a young player for the first time, I ask them to demonstrate their flexibility skills. Generally, they use a great deal of tension, physical force, and extraneous movement. My approach to teaching flexibility is first to travel to the next partial with the use of valves before reaching the next note in the overtone series (see Example ). In this exercise, instead of playing directly from G to C, I have the student play the A in the middle of these two notes. The A is in the same partial as the C, but this change to the next partial (G to A) is barely perceptible to the student. After this interval is negotiated evenly, moving to the C becomes simple. The student has learned this flexibility with- out force and learned where the C should be placed to create a beautiful, resonant sound. As the student’s ears and flexibility improve, the intermediary note can be removed. I believe this is a good approach whenever introducing another note in the overtone series. P EDAGOGICAL R ESOURCES A VAILABLE The Pedagogy page on the ITG Website (http://trumpetguild.org/resources/pedagogy-ii) is a treasure trove of materials designed to help devel- oping trumpet players of all ages. The page con- tains masterclass articles, solo reviews, routines and exercises, full arch ives of past “itg journal, jr.” articles, jazz solo transcriptions, information on summer camps, and much more. Check it out! Example 1. Moving Long Tones exercises 1 – 4. Play each of these lines seven times, transposing it a half step lower on each repetition. “A smooth taper at the end of the note is only possible if the sound is resonant and the airstream smooth and healthy.”Harmonic bridges Earlier, I referenced the harmonic break or “harmonic bridge” in the middle of the staff between C and D and between B and C-sharp. Herbert L. Clarke discusses this in his Technical Stud- ies in the introduction to the fourth study. I first learned of this concept from Stephen Burns while I was a student at Indiana University. The Harmonic Bridge exercise in Example gradually takes young students over the break from C to D. It is important that the player allow the D-flat and D to float up to their most resonant point and not allow the pitch to sag and go flat. This makes the transfer to the upper register much easier. There are, of course, more of these little “harmonic bridges” as we continue to ascend, but overcoming the ones mentioned here can help the student progress quickly over a common stumbling block. Articulation Articulation, when taught in terms of language, is a skill that can be improved quickly by most students. The problem I see most often is that students are given so much information on this subject that they are easily confused and “tied in knots.” Pronouncing the syllable “tu” gives the player a sense of where the tongue should strike in the mouth. There will be slight dif- ferences from player to player, of course, but the student needs this instruction only as a general concept. In addition to the sound “tu,” a student needs clear examples of articulation to model. Musical intent, not technical thought, must be the pre- dominant focus of attention. With that said, there are a few ideas that can help the process of developing articulation. Vincent Cichowicz’s concept of “wind patterns” is a good tool with which to start. This is simply using an energetic air flow, cou- pled with the “tu” pronunciation. Try this on top of whatever rhythm is involved in an articulated passage. This will help free up the articulation without the added layer of anxiety that the trumpet can often bring into the equation. Another effective diagnostic tool is the use of the mouth- piece. I often notice it is the end of the note that is the bigger issue. If a student can buzz several articulations and keep the back end of the articulation from having a noticeable decay, 56 ITG Journal / January 2021 © 2021 International Trumpet Guild “Musical intent, not technical thought, must be the pre- dominant focus of attention.” Example 2. Flexibility exercise. Play this line seven times, transposing it a half step lower on each repetition. Example 3. Harmonic Bridge exercise Continued on Page 58 © 2021 International Trumpet Guild January 2021 / ITG Journal 57 T HE S TUDENT C ORNER R EBECCA W ALENZ , C OLUMN E DITOR “When you improve a little each day, eventually big things occur. Don’t look for the big, quick improvement. Seek small improvement one day at a time. That’s the only way it happens—and when it happens, it lasts.” (John Wooden) W ithout a doubt, the coronavirus has shifted our sources of inspiration and how we maintain productivity as musicians. Before covid-, many relied on interactive music making to fuel their motivation and focus their practice. With live performances on hold indefinitely and extra time to spare during the day, individual playing has become the new “norm.” Instead of dwelling on the boredom that isolation and social distancing often bring, consider for a moment that right now is a perfect opportunity to learn new fundamental skills, change up old practice routines, and branch out from your comfort zone. Fundamental practice for trum pet - ers typically includes the fol lowing areas: tone production, flex ibility, tech nique, articulation, range, endurance, trans position, and musicality. It is easy for fundamental practice to become monotonous, especially when our days lack the familiarity of structure from school and extracurricular activities. If you find your mind wandering and boredom setting in, despite your best efforts, consider adding a new approach to a familiar exercise to liven things up a bit. Of course, an exercise must be learned as written before adding a new “spin.” How can we recognize a variation if the theme is not familiar? In order to bolster efficiency and add interest, it can be especially useful not only to take a new approach to a familiar exercise, but also to reinvent it to address multiple skills simultaneously. With a little creativity and willingness to learn, the opportunities for a fresh approach to daily fundamental practice are limitless! Discussed below are sug - gestions to “level up” on common fundamental exercises as a path to continued growth and development during the coronavirus pandemic. Try playing common-tone exer - cises, like Cichowicz Flow Studies or Stamp exercises—for producing a beautiful, resonant sound—on your C trumpet instead of B-flat. Playing these with a drone can help address errors in pitch centering . Level up: The smaller the trumpet, the more challenging it is to play in tune! Try the same exercises on E-flat or piccolo trumpet next. Are you always practicing the same scale exercises? Try stealing scale exercises from other instruments. Consider JB Albert’s 24 Varied Scales and Exercises, originally written for clarinet. This will challenge your range and dexterity in a fresh, new way. Level up: For a twist in your everyday scale practice, which will also improve your music theory knowledge, play modal scales instead of just major/minor. Bored of the same old lip slurs? Explore different flexibility exercises like Scott Belck’s Modern Flexibilities for Brass, Charles Colin’s Advanced Lip Flexibilities, Bai Lin’s Lip Flexibilities for All Instruments, or even the flexibility exercises in the Arban book. Or use those as inspiration and write your own! Keep in mind that one of the main purposes of flexibility exercises is to develop control, so keep that metronome K EEPING THE “F UN ” IN F UNDAMENTAL P RACTICE D URING A P ANDEMIC B Y M EGAN B AILEY ITG is committed to all levels of trumpet playing. The Student Corner is a column designed to help students of all ages, comeback players, and music educators. ITG wants members to share this column with anyone who may benefit from its subject matter; it may be freely copied and distributed to all. Topic ideas or requests to write an article should be directed to Rebecca Walenz via email (studentcorner@trumpetguild.org). “Instead of dwelling on the boredom that isolation and social distancing often bring, consider for a moment that right now is a perfect opportunity to learn new fundamental skills, change up old practice routines, and branch out from your comfort zone.” J OURNAL S TATUS ON T WITTER You can follow the progress of each issue of the ITG Journal on the popular (and free!) Twitter service. You can start by going here: http://www.twitter.com/itgjstatus You can choose to Follow this Twitter account (and automatically receive updates as they are posted), or you can simply check into the above address at your conven- ience to monitor progress. Updates are not frequent, but as we hit milestones, you can see where we are in the process, and you’ll learn when each issue is mailed so you will know it is on its way.Next >