< Previous68 ITG Journal / January 2021 © 2021 International Trumpet Guild there, and we did this concert. This year, he got in touch again and said, “We want to try to make a new album doing this stuff.” I said, “How about I get the other four remaining tracks that have never been played since ? How about I get those transcribed and we do the entire lot? We’ll do these new ones that I have as well?” So, I went over there, and we spent a week recording. I have to go back over, and it has to be mixed and edited, but it is going to be a fantastic album. What I want to try to do now is handpick the guys I know will just make it sound amazing. I’m try- ing to get some gigs in the uk doing it, and the Swedes are trying to get some in Sweden doing it. Hopefully at some point we’ll be able to do this live, because I would like other brass players to hear it. Mondello: I would love to have someone revisit May’s Sorta Dixie. Lovatt: Oh yeah, that would be great. Mondello: You really have to get the right guys on that. Lovatt: Yes, you do. Mondello: Come to the US . We would love to see you! Lovatt: Yeah, I would love to come. I was in New York in about or . I became very good friends with and played for the late Jessye Norman, the opera singer. How that came about was she got into Ellington, his Sacred Music. She came to London to do a gig and brought Grady Tate, Ron Carter, and Mark Markham, her own piano player from New York who is an amazing classical pianist. He was wrong for the gig, really, but he was always her accomplice, so he came. They came over, but the band was fixed from the uk. I was asked to do it because I tend to do a bit of Cootie Williams-type plunger work. I got asked to do The Shepherd. At the end of the concert, she was handing out roses. She took a rose out of this bouquet and handed it to her piano player. She then walked up to the back, to Ron Carter, and gave him a rose. She then walked to Grady and gave him a rose. Then she walked to me and gave me a rose. A month later, I got a phone call from her manager in New York, saying, “Miss Norman would like you to accompany her wherever she goes doing this project.” I did start to do that, and we did it in lots of different places. In or , I came to New York for a whole week as part of the festival from Carnegie Hall, but the concert took place at Saint John the Divine, which is where Ellington’s funeral was. He had per- formed it in London and New York. I got to do the Cootie thing. I was on with Bob Millikan, who was playing lead trum- pet, and Shawn Edmonds. There were some guys out of the Vanguard band. On bass trombone was Doug Purviance. That was the last time I came to America. Mondello: You know the ITG Conference is going to be in LA in 2021 ? Lovatt: Oh wow—yeah. Mondello: Man, that would be great, because when they do it in LA , you get Chuck, Wayne, all the LA guys, and some of the Vegas guys, too. You know? Lovatt: I was there at the Anaheim ITG in , because Richard took me, and we launched the trumpet there. I hung out with Jose Sibaja, Chuck, and Malcolm McNab; and I met Abhi Chakrabarti from Gard Bags. He has now furnished me with bags. This is the latest one, a roller bag. It has my logo on it. That’s the only time I have ever been to an ITG Conference. Mondello: Is your wife a musician, or do you have any other family members in the business? Lovatt: My wife is a violinist. We met in Japan on tour, play- ing with Michael Nyman’s band. He was a film composer with an ensemble. It’s minimalist music, and he did music for films, including The Piano. She was in the band, and I went as a sub. I eventually ended up marrying the only girl who was in the band on that tour. But I have two kids. One is going into dance. She is very good on the flute, but neither of them wants to play music. They both love music, so that’s fine; job done. My son is doing forensics and went off to university last year. He was quite a fine clarinet and sax play- er. He was just getting into playing jazz when he stopped. But I am hoping at some point in his life he’ll take it up again. He loves music. He comes up to me and says, “Dad, have you heard this?” He’ll play something for me. He goes to gigs and things like that. As far as I’m concerned, if they both love music, then I have done my job. You can’t push them. Mondello: Mike, this has been a joy. It is wonderful speaking with you. On behalf of the ITG and its members, Thank you! Lovatt: Lovely to meet you. Mondello: Oh, it’s my pleasure. Let’s do it again. Lovatt: Please say hello to Heidi Glow for me. About the author: Nick Mondello is a freelance commercial trumpeter, teacher, clinician, author, critic, and artist/event marketing consultant representing clients worldwide. He is the co-author of 365 Trumpet Lessons (Note-A-Day Press) and writes for All About Jazz and other publications. He attended the Berklee School of Music and Long Island University and holds ba and ms degrees in music education and an mba in marketing. “I eventually ended up mar- rying the only girl who was in the band on that tour.” “As far as I’m concerned, if they both love music, then I have done my job.” ITG ON F ACEBOOK ! The International Trumpet Guild has its own Face- book page! Join the thousands of trumpet enthusiasts who have already joined. The most current information about the trumpet world and announcements impor- tant to ITG members can be found there. Facebook is a free service. http://tinyurl.com/itgfb© 2021 International Trumpet Guild January 2021 / ITG Journal 69 C HAMBER M USIC C ONNECTION M ARC R EESE , C OLUMN E DITOR H aving been a teacher-performer for over fifty years, I have participated in a wide variety of musical scenar- ios. The range is endless: orchestras, wind bands, brass bands, brass quintets, brass ensembles, jazz ensembles, pit orchestras, jazz orchestras, jazz quintets, church music ensem- bles, and more. They represent the normal experiences to which we are usually accustomed. Any music with more than one performer can be considered chamber music, but let’s dis- cuss the process of rehearsing and performing in some tradi- tional and hybrid situations. As a rule, I have no preconceived idea of what an unfamiliar piece will sound like, unless I have access to a recording—if there is one. Even if I have heard a piece and it generates a good basic idea, the printed music tells me little that I can use to play more than correct notes, dynamics, articulations to a degree, and a bit more from the title and other words printed on the top of the piece and through- out the body. Printed music makes no sound, so it is not music at all! It is a cat- alytic way for the performers to get together and experience both the vertical and horizontal environment in which we can be a character. We must play all that is on the page and add much more—and that is only the start! The environment of music is the composition itself. Just like a play, it moves through time, creates scenes, and leads the audience and performers through the ups and downs of emotion that we experience as tension and release. Music does not have to be tonal to create these emotional experi- ences. We need to release ourselves from that small tonal room in which most of us start and explore emotion outside major and minor. I must be able to remember every part of every piece for the rehearsals to proceed to a wonderful performance. In many cases, a pre-rehearsal study of the score and/or some recording is a great place to start. It starts to lead me to the correct “dialect” for that “role” in the piece. If you always want to be totally whoever you want in a piece, you will not be asked to play in many chamber situations. There are dozens of wonder- ful performances of Haydn, Hummel, and others that differ greatly, but their dialect fits into that compositional period or style. Jazz has an even wider palette during many of its style periods, but the basic environmental elements are part of the composition and the improvisations. The great thing about learning and performing music is that everything we need to know is contained in the composition of the moment. No matter how much we love someone’s play- ing or a recording, we must remember that music is not print- ed or just a repetition of what someone else has done. Every moment we perform, our chamber music listening skills lead us to the right character, the right context, the correct vernac- ular language, and the emotional scenario that well represents the composer. There is only one Shakespeare, but many play Hamlet and do it well. In closing, let’s think back to all those “common” groups in which we perform. Except for the tuttis where most play, the rest is usually five to ten people, so we should be using and developing these skills every day we play in any group. This extraordinary time will give us the opportunity to focus on chamber music, so start a duo, trio, quartet, quintet, or whatever-sized group of people wants to learn to hear and perform music. You will proceed so fast you will hardly believe it! We are lucky every day to experience the sound of music around us playing with others or listening to the sounds of nature. Think of the names of compositions you have heard—A Sea Symphony, The Firebird, The Military Septet, The Sorcerer’s Apprentice, Caravan, Tutti for Cootie, Silent Night—all sonic experiences that we can choose to join in the play! About the author: Vince DiMartino is one of the most sought-after trumpet performers and educators. Since gradu- ating from the Eastman School of Music in , he taught at the University of Kentucky until , when he began a new appointment as distinguished artist in residence at Cen- tre College in Danville, Kentucky. There he taught trumpet, brass and jazz ensembles, and jazz history and retired in . DiMartino has twice served as president and vice president of the International Trumpet Guild, as well as a member of the ITG Board of Directors for two terms. He is the recipient of the Governor’s Lifetime Achievement Award for – for the State of Kentucky. DiMartino is a Pickett-Blackburn performing artist. Chamber Music Connection is a forum for ideas concerning the trumpet’s role in the expanding literature in all types of chamber music. Ideas and suggestions should be directed to: Marc Reese, Assistant Dean and Brass Department Head, Lynn University Conservatory of Music, 3601 North Military Trail, Boca Raton FL 33066 USA; chamber@trumpetguild.org E NVIRONMENTAL T RUMPET -C HAMBER M USIC BY V INCE D I M ARTINO “Printed music makes no sound, so it is not music at all!”W hile Aaron Harris’s Advanced Studies for Trumpet may not be as well known as Walter Smith’s Top Tones for the Trumpeter or Théo Charlier’s 36 Études Transcendantes, those searching for challenging etudes may wish to consider Harris’s book. This anthology of unattributed pieces presents unique challenges in terms of both difficulty and practicality. The challenge is partly idiomatic, as all are copied from the violin repertoire with- out regard for the trumpeter’s needs. The greater frustration, however, is in the textual accuracy of Harris’s transcriptions and his use of the original material. My encounters with this book have led me to believe that after applying some much- needed editing and locating the original sources for compari- son, this book deserves a more prominent place in trumpet pedagogy. I am currently in the process of creating a new edi- tion of Harris’s Advanced Studies for Trumpet and offer guid- ance to those owning older editions, based on what I have learned. Born in , Aaron Harris was a professional violist in The Metropolitan Opera Orchestra and a euphonium soloist in the bands of John Philip Sousa, Patrick Conway, and Arthur Pryor.1 Harris was regarded as a beloved, but disciplined, teacher by his students, who included Robert King (publisher of brass music and renowned for playing the double-belled euphonium), trombonist Allen Ostrander, and jazz trumpeter and publisher Charles Colin. While touring with Sousa, Harris began transcribing material from collections of violin studies and transposing it to bass clef. Harris’s euphonium students were the intended beneficiaries of this compilation; however, Harris became so excited by the progress Charles Colin was making on trumpet that he made Colin proofread the bass clef manuscript parts and transpose them back to treble clef and in different keys.2 Colin was studying with Harris in when this book was published, and it is entertaining to imagine Colin showing this book one year later to his new teacher, Walter Smith, and thus giving birth to the idea of Top Tones for the Trumpeter. Beginning with eleven pages of warm-up material, Advanced Studies for Trumpet is then structured in alternating major and relative-minor-key sections, following circle-of-fifths patterns (i.e., C major, A minor, F major, D minor, etc.). Harris’s book The Repertoire Corner examines historic, analytic, and performance issues in the trumpet literature. Ideas, suggestions, and submissions should be directed to Bryan Proksch, Lamar University, PO Box 10044, Beaumont TX, 77710; or via email to repertoire@trumpetguild.org A ARON H ARRIS ’ S A DVANCED S TUDIES FOR T RUMPET BY D AVID B ERTIE 70 ITG Journal / January 2021 © 2021 International Trumpet Guild R EPERTOIRE C ORNER B RYAN P ROKSCH , C OLUMN E DITOR Publicity photo of Aaron Harris from a 1929 concert program. Photo credit: The Barry Owen Furrer Collection “This book deserves a more promi- nent place in trumpet pedagogy.”© 2021 International Trumpet Guild January 2021 / ITG Journal 71 Harris etude number – page number; key Composer: etude number – original key No. – page ; C major Rode: No. – B-flat major No. – pages – ; C major Gaviniès: No. – B-flat major No. – pages – ; A minor Rode: No. – G minor No. – pages – ; A minor Bach: Sonata No. ; Presto – G minor No. – page ; F major Bach: Partita No. ; Gigue – E major No. – pages – ; F major Rode: No. – E-flat major No. – pages – ; D minor Rode: No. – C minor No. – page ; D minor Fiorillo: No. – C minor No. – pages – ; B-flat major Rode: No. – A-flat major No. – page ; B-flat major Kreutzer: No. – A-flat major No. – pages – ; G minor Rode: No. – F minor No. – pages – ; G minor Gaviniès: No. – F minor No. – pages – ; E-flat major Rode: No. – D-flat major No. – page ; E-flat major Fiorillo: No. – D major No. – page ; C minor Bach: Partita No. ; Courante – B minor No. – pages – ; C minor Gaviniès: No. – B-flat minor No. – pages – ; A-flat major Rode: No. – G major No. – pages – ; A-flat major Rode: No. – G-flat major No. – pages – ; F minor Rode: No. – E-flat minor No. – page ; F minor Bach: Partita No. ; Gigue – D minor No. – pages – ; D-flat major Rode: No. – B major No. – page ; B-flat minor Rode: No. – G-sharp minor No. – pages – ; G-flat major Rode: No. – E major No. – page ; G-flat major Dont: No. – E major No. – page ; E-flat minor Rode: No. – C-sharp minor No. – page ; E-flat minor Bach: Partita No. ; Courante – D minor No. – pages – ; B major Rode: No. – A major No. – page ; B major Gaviniès: No. – A major No. – pages – ; G-sharp minor Rode: No. – F-sharp minor No. – page ; G-sharp minor Dont: No. – F-sharp minor No. – pages – ; E major Rode: No. – D major No. – page ; E major Dont: No. – D major No. – pages – ; C-sharp minor Bach: Partita No. ; Double of Courante – B minor No. – page ; C-sharp minor Rode: No. – B minor No. – page ; A major Fiorillo: No. – G major No. – page ; A major Dont: No. – G major No. – pages – ; F-sharp minor Rode: No. – E minor No. – page ; F-sharp minor Gaviniès: No. – E minor No. – pages – ; D major Rode: No. – C major No. – page ; D major Bach: Sonata No. ; Allegro assai – C major No. – pages – ; B minor Rode: No. – A minor No. – pages – ; B minor Bach: Sonata No. ; Allegro – A minor No. – page ; G major Gaviniès: No. – G major No. – pages – ; G major Mazas: No. – F major No. – pages – ; E minor Rode: No. – D minor T ABLE 1. C ONCORDANCE OF ORIGINAL SOURCES FOR EACH H ARRIS VIRTUOSO ETUDE72 ITG Journal / January 2021 © 2021 International Trumpet Guild extends to keys of six flats and five sharps, omitting the keys of C-sharp, C-flat, and F-sharp major, as well as their relative- minor keys of A-sharp, A-flat, and D-sharp minor. A series of six rhythmic scales is followed by a chord-sequence exercise for the major keys, although this latter ele- ment is absent in the minor-key sec- tions. These rudiments are followed by two technical studies (often one in a simple meter and the other in a compound meter) with anywhere from five to nine articulated models. These studies are usually followed by two further pieces that I will refer to as “virtuoso etudes.” With the help of trumpeter David Baldwin and violinist Kathy Judd, I discovered the original sources for all virtuoso etudes (see Table 1). Harris edited music by the following seven composers: 1.Pierre Rode ( – ): 24 Caprices for Violin ( etudes edited) 2.Johann Sebastian Bach ( – ): Sonatas and Parti- tas for Solo Violin, BWV 1001 – 1006 () 3.Pierre Gaviniès ( – ): 24 Matinées () 4.Jakob Dont ( – ): 24 Etudes and Caprices, Op. 35 () 5.Federigo Fiorillo ( – ): 36 Caprices, Op. 3 () 6.Rodolphe Kreutzer ( – ): 42 Etudes for Violin (1) 7.Jacques Féréol Mazas ( – ) 75 Melodious and Progressive Studies Op. 36 (1) As a trained violinist and professional violist, Harris certain- ly would have known all of this literature. He later arranged shortened versions of etudes , (used twice), , , , , , and from Advanced Studies for Trumpet for his Interme- diate Studies for Trumpet published by Charles Colin Publica- tions—again with no accreditation to the original composers. As no original manuscript copies of Harris’s transcriptions survive, none of the pieces in Advanced Studies for Trumpet are provably written by him. It is possible that he composed the technical studies, but the lack of breath marks or rests do suggest that this material was also derived from violin repertoire. His warm- up routine, printed in the book, involves pianissimo long tones last- ing a minute or longer, from low f-sharp to high c'', could suggest that he anticipated these technical studies to be played in one breath. With source material dating from the late-eighteenth to the mid-nineteenth century and providing less detail to the per- former than might be considered ideal, the skills of an editor become even more important. However, aside from compiling the material, Harris’s chief contribution appears to be trans- posing and editing the original material and displacing octaves. Etude No. in the F minor section, derived from Bach’s Gigue from Partita No. in D minor (bwv ), presents a patchwork of of Bach’s original measures with copious switches of octave forced on Harris by his choice of key. Etude No. in F-sharp minor, taken from Gaviniès’s Matinée No. , omits the first of the original’s measures. Harris’s reasoning may have been that the final measures formed a convenient etude. However, if Harris’s resulting piece was designed to support the study of F-sharp minor, his chosen snippet starts in A major and modulates to F-sharp minor in measure thirteen, leaving just ten measures for its intended purpose. Harris’s editing technique presents trumpeters with an inor- dinate amount of unplayable (or, at best, unrealistic) chal- lenges. In etude No. in G minor (see Example 1), drawn from Rode’s Caprice No. in F minor, the violin is able to Example 1. Beginning of etude no. 23 from Aaron Harris’s Advanced Studies for Trumpet. Reproduced by permission of Charles Colin Publications “Harris reduces this etude to 99 measures without any rests, thus necessitating either circular breath- ing for it to be achieved as written or pauses for extra breaths.”© 2021 International Trumpet Guild January 2021 / ITG Journal 73 perform all original measures without the need of breath for sound production. Harris reduces this etude to measures without any rests, thus necessitating either circular breathing for it to be achieved as written or pauses for extra breaths. Harris’s choice of bars is suspect, because measure thirteen returns to the introduction without the second measure being included. Etude No. in E-flat minor (see Example ), from Rode’s Caprice No. in C-sharp minor, provides a good case study of the myriad problems faced by trumpeters tackling any of these virtu- oso etudes. The first issue is basic proofreading. Measure should start with D-flat. Measure should start with E-flat. The fourth sixteenth note in measure should be an A-natural. The fifth sixteenth note in measure and the sixth sixteenth note in measure should be a C-flat. While the first mea- sures are playable in one breath, the -measure phrase that follows is again too long to play without circular breathing or pausing. Breath marks added at the end of measure and the start of measure make useful points of repose within that section. Harris’s inconsistent approach to dynamics and articulation is also shown here. Example begins forte and changes to piano for measures – . Except for a few dynamic accent points, there are no other dynamic markings. Similarly, accent and slur/phrase markings are either inconsistently applied or are, in fact, faithfully replicated bowing indications. The last measure of Example demonstrates Harris’s trust in the origi- nal scores where the mathematical inaccuracy created by the sixteenth-note pickup at the start of this piece remains uncor- rected. The few metronome markings Harris does include in his book often create further difficulties. The opening of etude in D major, taken from Rode’s Caprice No. 1 in C major, receives a tempo of quarter note equals , yet Rode called for a tempo of eighth note equals . Harris’s solution to the trills in the Moderato section of this same etude (see Example ) provides a problematic solution of four nd notes, yet had he just ignored the grace note at the beginning of those trills, the triplet effect created becomes an etude of great potential for trumpeters. For this author’s edition of Harris’s etude, see the special downloadable music supplement that can be found on the Special Offerings page of the ITG Website (http://trumpetguild.org). Despite these many concerns, glimpses of undeniable bril- liance shine through this book, and its true potential is there to be realized. Even in its present form, Harris’s Advanced Stud- ies for Trumpet offers much for the trumpeter. Etude No. in G-sharp minor is a charming Danse Macabre, simply needing the removal of measure and the addition of an F-double- sharp at the end of measure . Etude No. in B-flat major has an up-beat moto perpetuo feel. The character of etudes (B major) and (E major) perfectly suit the trumpet’s capa- bility for multiple tonguing. In addition to these gems, the “Despite these many concerns, glimpses of undeniable bril- liance shine through this book.” Example 2. Beginning of etude no. 53 from Aaron Harris’s Advanced Studies for Trumpet. Reproduced by permission of Charles Colin Publicationstechnical studies deserve special mention. Despite the lack of breath marks, I believe the two studies that follow the rudi- mentary exercises greatly assist the transition from playing rudiments to reading in each key. The models for these studies are as valid and worthwhile as those found in Saint-Jacome, and the calisthenic benefits are perfect for developing the core range. With this collection of technical studies, Harris has provided the brass repertoire with a kindred spirit to Bach’s Well-Tempered Clavier. This author is currently editing this book, assisted by the practical experience of David Baldwin and the support and guidance of Allan and Liz Colin. The new edition features technical studies and vir- tuoso etudes for all thirty major and minor keys. Some virtuoso etudes will be rebuilt by arranging material from the original violin etudes; some will be edited so they work better as trumpet etudes; and a few, like number , will be retired. All technical studies will contain both simple and compound meter studies, offering greater practice of mul- tiple tonguing. Breath marks will be added, phrase lengths adjusted, and the number of models standardized. A supple- mentary section will be included, featuring eighteen studies not selected for the thirty virtuoso etudes, but too good to miss, including the eight pieces, in full, which Harris chose by JS Bach. This new edition will credit all composers wherever possible, and more of their music will be sourced to complete the task. In total, pieces will be presented in this new edi- tion with thirty sets of rudiments. The use of violin music to inspire the creation of new trum- pet studies has been common practice since Arban, and despite the imperfect and borrowed nature of its contents, Harris’s anthology remains a collection that offers much to trumpet pedagogy. During the author’s research into Harris’s musical sources, four studies by Franz Wohlfahrt, which clearly inspired Nos. , , , and of Walter Smith’s Top Tones for the Trumpeter, were uncovered. Smith’s approach to that music created something new, and Harris’s compilation has now found the attention it so richly deserves. About the author: David Bertie was born in Ontario, Cana- da, in and was raised in England. He began trumpet lessons at age eleven and enlisted in the British Army at sixteen as a bandsman in The Royal Green Jackets. Bertie completed years of military service, reaching the rank of Warrant Offi- cer Class 1 (Bandmaster). Since leaving the Army, he has been a professional brass teacher for Somerset Music and King’s School, Bruton. He is a freelance orchestral trumpeter and proprietor of “Have Trumpet, Will Travel…” specialising in music for weddings. Bertie collaborated with the late Christo- pher Tambling on the cd Trumpet Variations and the book Festival Album, published by Dr. J. Butz. Bertie has arranged music for the BBC programme Songs of Praise and has works published by Bandleader Publications, Studio Music, and War wick Music. A graduate of the Open University, Bertie earned a fel- lowship from Trinity College – Lon- don in trumpet performance and has won a Silver Medal from the Worshipful Company of Musicians. He remains a keen student of the trumpet, having online lessons with Claude Gordon authority, Jeff Purtle. Endnotes 1Biographical information in this paragraph is derived from Advanced Studies for Trumpet; Douglas Yeo, “A Trib- ute to Robert King ( – ),” Historic Brass Society Newsletter (Sum- mer ): – ; Ronald G. Smith, “The Life and Work of the Orchestral Bass Trombonist, Allen Ostrander, and the Development of His Bass Trom- bone Methods and Solos” (DMA diss., Louisiana State University, ). 2Lucas A. Spiros, “Aaron Harris—Portrait of The Euphoni- umist as a Teacher,” Euphonia (September ): – ; further, see Charles Colin, Reflections Revisited (Colin, ). 74 ITG Journal / January 2021 © 2021 International Trumpet Guild “With this collection of 48 technical studies, Harris has provided the brass repertoire with a kindred spirit to Bach’s Well-Tempered Clavier.” “The use of violin music to in - spire the creation of new trum pet studies has been com- mon practice since Arban.” Example 3. Harris’s transposed solution in etude no. 81 to Rode’s trills in Caprice No. 1. Reproduced by permission of Charles Colin Publications. ITG ON T WITTER ITG now has a Twitter feed for important updates and breaking news! Follow us at @ITGupdates© 2021 International Trumpet Guild January 2021 / ITG Journal 75 T RUMPET IN THE W IND B AND M ARC R EED , C OLUMN E DITOR S taff Sgt. Kevin Paul grew up in Los Angeles, California, and is currently a member of The United States Army Band “Pershing’s Own” in Washington, dc. He is also co-founder/creator of the United States Army Trumpet Ensemble and the militarytrumpetjobs.com website. He graciously consented to an online interview in June . Reed: Did you come from a musical family? What led you to play the trum- pet? Paul: I came from a family that appreciated music, but they were not musical themselves. I grew up in Los Angeles and am fortunate to have supportive parents who took me to see the Los Angeles Philharmonic at the Hollywood Bowl several times every summer. This is where I found my passion for music and the trum- pet. Reed: Can you talk about your trumpet education and teachers? Paul: I was lucky to study with la Phil and Opera trumpeters David Washburn and Rob Roy McGregor while I was in high school. I then attended the Manhattan School of Music, where I studied with Vince Penzarella, Tom Smith, and Mark Gould. I attended the Aspen Music Festival in the summers, where I stud- ied with Ray Mase, Kevin Cobb, and other visiting faculty. Reed: What attracted you to military bands, rather than another type of pro- fessional performing or teaching? Paul: Making music with a band or orchestra is an incredible experience. My first real job after graduating from school was as acting principal trum- pet in the China National Symphony, and I really enjoyed being a part of that group. Something about military A N I NTERVIEW WITH K EVIN P AUL BY M ARC R EED Trumpet in the Wind Band examines literature and performance issues associated with the trumpet’s role in wind band music throughout music history. Ideas, suggestions, and submissions should be directed to Marc Reed; windband@trumpetguild.org76 ITG Journal / January 2021 © 2021 International Trumpet Guild Paul: The most meaningful aspect of the job is making con- nections with other people through music. I really enjoy being a part of wreath-laying ceremonies at the Tomb of the Unknown Soldier in Arlington National Ceremony. I also love performing with The US Army Herald Trumpets. Reed: How have you changed as a musician since joining the military? Paul: The trumpet is the most exposed instrument in mili- tary music. You need to be able to step up and play confidently, whether you are playing fanfares on the balcony of the White House, Taps at Arlington while the guests reflect with a moment of silence, or at wreath-laying ceremonies attended by the President while surrounded by television cameras. These experiences have helped me learn to embrace the pressures of public performance. Reed: What have you learned most from your trumpet col- leagues in both bands? Paul: Playing with military bands has provided me with many unique opportunities to perform in all different genres of music. For example, I played with the pop rock group at the All-American Bowl in San Antonio. I also had an opportunity to learn from colleagues about jazz and com- mercial styles that I had seldom played during my orchestral upbringing. Reed: What advice would you give to someone who might be interested in becoming a member of a premier military band? Paul: Military bands are now moving toward a prescreening digital audition. With all the technology that is available and accessible, the best thing you can do is learn to record yourself and create a good audition tape. Reed: What advice would you give to your eighteen-year-old self? Paul: One of the biggest pieces of advice that I could have used as an eighteen-year-old was to get into good physical shape. This has changed my life in a positive way. I would also tell my eighteen-year-old self to have patience, because things don’t happen overnight. You need to be disciplined and keep plugging away in order to get where you want to go. Reed: What are some of your most memorable performance experiences from both ensembles? Paul: My first day on the job with “Persh- ing’s Own,” I had the opportunity to perform at the White House for President Donald Trump and French President Emmanuel Macron. I also performed at the wreath-laying ceremony for Robert Fitzgerald Kennedy and met members of the Kennedy family, as well as former Presidents Barack Obama and Bill Clinton. Playing John Williams’s With Malice Toward None as a soloist while on tour across the United States with the Army Field Band was also special. Reed: Talk about your website (http://militarytrumpetjobs.com ). How did that come to be? Paul: It all started when my former teacher, Tom Smith, contacted me about a current student of his who was consid- ering auditioning for a military band. I soon realized that my music spoke to me. It is a really moving experience to connect with veterans or Gold Star Mothers when I play Taps at the Tomb of the Unknown Soldier in Arlington National Ceme- tery. It is also an honor to perform for the President of the United States and dignitaries at the White House. My job has afforded me an opportunity to both perform and serve my country at the same time. Reed: You possess the rare distinction of winning auditions for two premier trumpet jobs. Aside from simply being a very good trumpet player, what is your secret? Paul: There are no secrets. I learned the hard way that there are no shortcuts. I practiced compulsively, and I lived and breathed the audition repertoire both on and away from the trumpet. I listened to a playlist of excerpts that became the soundtrack of my daily life. I engaged in slow practice with a metronome and con- stantly recorded myself. Recording myself and playing for other people helped immensely. It is also important to keep showing up for auditions and to stay positive, no matter what the outcome. Reed: Why were you interested in leaving The US Army Field Band for The US Army Band “Pershing’s Own?” Paul: I am very fortunate to have been a part of both great organiza- tions. The first military band I ever saw was the Herald Trumpets per- forming with John Williams and LA Philharmonic at the Hollywood Bowl. I was inspired by this, and as a result, there is a special place in my heart for “Pershing’s Own.” Reed: How many auditions did you take prior to winning your job with The US Army Field Band? Paul: I took about sixteen auditions before I won the job at The US Army Field Band. It has been quite a journey. Reed: What similarities were there between the auditions for The US Army Field Band and The US Army Band “Pershing’s Own?” Paul: The audition process was very similar in that they had the same excerpts. Both also required screened first and second rounds, followed by an interview. Then there was a third round with no screen and section playing. The biggest difference was that tusafb selected people to audition based on tapes that were submit- ted by the applicants. The tusab “Pershing’s Own” was more like an open cattle-call-style audition. Reed: Can you describe how easy/ difficult your transition into mili- tary life was? Paul: My transition to military life was not exactly what I expected. Basic training was an interesting experience that took me out of my comfort zone. In retrospect, it was very use- ful in terms of keeping me focused and physically fit. It set me up with many good habits that I will take with me for the rest of my life. Reed: What is your favorite part about your current position with The US Army Band “Pershing’s Own?” “It is also important to keep showing up for auditions and to stay positive, no matter what the outcome.” “The trumpet is the most ex - posed instrument in military music. You need to be able to step up and play confidently.” “With all the technology that is available and accessible, the best thing you can do is learn to record yourself and create a good audition tape.”© 2021 International Trumpet Guild January 2021 / ITG Journal 77 teacher and his student had been grossly misinformed about the process of joining a military band. That gave me the idea to start www.militarytrumpetjobs.com. The website was built with the help of my best friend and colleague, Staff Sgt. Ryan Brewer, from The US Army Field Band. We created a resource for performers and educators that describes the history, unit missions, audition process, excerpts, and current vacancies for trumpet jobs within the US military. Our goal is to inform all musicians about the opportunities that military bands offer and show them that these jobs are viable career options. Reed: What is the Army Trumpet Ensemble, and how was it formed? Paul: The Army Trumpet Ensemble (ate) is a group of enlist- ed soldier-musicians serving in The US Army Band “Pershing’s Own,” The US Army Field Band, The US Army Old Guard Fife and Drum Corps, the West Point Band, and the 10th Mountain Division Band. This group was formed as a physical extension of www.militarytrumpetjobs.com. This is the first ensemble of its kind to represent each of the premier and regional bands within the Army. ate has a dual mission which consists of telling the Army story by performing for the Amer- ican public and educating the next generation about the oppor- tunities to serve as a musician in the US Army. Masterclasses for university students cover a range of topics, including audition preparation, audition packet composition, and discussions on the role of each player in a section. By sharing diverse back- grounds and experiences, ate strives to entertain, educate, and inspire the sons and daughters of the United States. To date, ate has performed as a guest ensemble for the National Trumpet Competition and presented recitals and masterclasses at fifteen universities and colleges across the country. In February , ate performed at several universities in Florida and was featured in a USF Wind Ensemble concert. They will be giving a mas- terclass at the ITG Conference. Reed: Is there anything else you would like to share with the members of ITG? Paul: Militarytrumpetjobs.com is a free educational resource about military band vacancies, auditions, excerpts, and enlist- ment. Follow us on social media! About the author: Marc Reed is the director of the schools of music and dance, theatre, and arts administration at the Uni- versity of Akron. This is the most challenging aspect of the curriculum, and dis- cussions are ongoing about how it could be approached. Sug- gestions include making it more of an ensemble course, using listening examples and discussion to examine ensemble tech- niques in lieu of actual rehearsal. Another option is to produce collab-style videos where each student records their part indi- vidually; this requires some expertise in video editing to put individual clips together to create a group performance. One of my ideas is for each ensemble to present a virtual clinic in a high school, where music teachers will be grappling with the same issues and might welcome the opportunity for their stu- dents to engage virtually with university students. At present, these are my plans as best I can predict. Inevitably, I will discover issues that I did not anticipate and need to find solutions. Students are unavoidably thrust into the role of guinea pig, and for some, that is an argument for delaying admission. A “gap year” between high school and col- lege or university can be a valuable time to develop maturity and expand skills; however, not every student at that age is equipped to maintain forward momentum without a struc- tured learning environment. For students who have already started post-secondary education, taking a year off can inter- rupt current progress and the relationships formed with peers. Another consideration is that many of the options that would normally be available during a year off (travel, work, gigs) are curtailed by the pandemic. The restrictions on life are universal, and it may be the best path to soldier on, accepting alternative methods and workarounds while you try to best position yourself for post-pandemic recovery, which I remain confident will be the long-term outcome. One could look at this as a year to focus on personal development, with more time to practice and compose. Sharing some of these thoughts on YouTube sparked com- ments from those who feel that attending college or university is not the best way to learn to play jazz (I phrased that more diplomatically than some of the commenters), or that studying music is a waste of time and money given the limited oppor- tunities for musicians to make a living—all the more so right now. Those are broader topics for another column. In the meantime, stay safe and don’t let a pandemic stop you from learning! About the author: Chase Sanborn is a Yamaha Artist and associate professor of jazz performance at the University of Toronto. He has just published his seventh textbook, The Brass Tactics 6/60 Routine, described as “Circuit Training for Brass Players.” Other books by Sanborn include Jazz Tactics, Brass Tactics, Tuning Tactics, and Music Business Tactics. More information can be found online on his website (http://www.chasesanborn.com). “One could look at this as a year to focus on personal development, with more time to practice and compose.” “Stay safe and don’t let a pan- demic stop you from learning!” Jazz Cornercontinued from page 61 ITG ON F ACEBOOK ! The International Trumpet Guild has its own Face- book page! Join the thousands of trumpet enthusiasts who have already joined. The most current information about the trumpet world and announcements impor- tant to ITG members can be found there. 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