< PreviousW hen beginning to plan a trumpet recital, what are the first pieces that come to mind? Haydn, Hum- mel, Arutunian, Hindemith, and Tomasi are a few composers whose music comprises our standard solo trum- pet repertoire. Educators and performers, however, are rethinking the music they program, perform, and teach with a new desire to create diversity and representa- tion in their programming. It is exciting to discover new works for trumpet, build our under- standing of the trumpet reper- toire, and spread this knowl- edge with our students and audiences. Sharing music with our individual communities, not only by living composers, but by gender-marginalized peo- ple and composers of underrepresented heritages, opens our eyes to the music and cultures around us. In her dissertation, Dana Reason Myers coined the term “myth of absence” to refer to the ways media and society omit the representation of women improvisers within the jazz scene, thus reinforcing the assumption that women have not been and continue to not be a part of this scene. This idea of the myth of absence extends beyond just the jazz improvisation scene and applies also to much of the classical music scene as well. Gender-marginalized composers and com- posers of color are featured much less frequently in academic writing, which creates the impression that they are not a part of the community and results in performers and educators missing out on so many incredible works of music. This myth is currently present in the trumpet community as well, with so many programs sticking to the same few pieces. The goal is not to replace the masterworks we all know and love, but, rather, to expand the repertoire we perform and teach. It is important to create an awareness of the music pres- ent in our world and provide resources to incorporate and integrate new music into our own performances and teachings. It might seem slightly uncomfortable to teach what we do not know, but this can create an opportunity to learn and grow with our students. By learning about, researching, and programming works by underrepresented composers, we break the myth of absence to showcase amazing music by composers of various backgrounds and establish relationships with these current composers, creating potential for future collaboration. I hope you enjoy these works and composers as much as I have enjoyed researching them! What Should I Program Next? Choosing repertoire is like choos- ing an outfit; everyone has their own style. Just like each of us has a fav - orite pair of jeans or shoes, we could all think of a favorite trumpet sonata or concerto. How often do we devi- ate into the unknown? What if we were to try on a different color or style of cardigan? There are so many ways to go about choosing repertoire. When trying to expand the body of works we perform, pro- gram, and teach, one way to find new music is to look at the types of music we already enjoy programming. The table below is a small sampling of solo works by diverse composers, which are great options to expand the repertoire we perform and teach. Works are categorized in general styles, as well as levels, to give a few options when thinking about our own programming and teaching. This list is not comprehensive, but just a small sampling of composers and works to investigate as we broaden our awareness of the trumpet repertoire. About the author: Ashley Killam is a multi-faceted trumpet player, educator, marching band drill designer, entrepreneur, and public speaker. She works as the general manager for Ris- ing Tide Music Press and has spent her post-graduate school years presenting her lecture series, “Fanfare for the Unheard,” to high schools and colleges across the United States. Ashley holds an mm in trumpet performance from the University of New Mexico and a bme from the University of Illinois at Urbana – Champaign. She currently resides in Radford, Vir- ginia, with her husband and corgi puppy, Biscuit. C REATING A C OLORFUL P ROGRAM , P ART I BY A SHLEY K ILLAM FA2 18 ITG Journal / March 2021 © 2021 International Trumpet Guild CONTENTS “The goal is not to replace the masterworks we all know and love, but, rather, to expand the repertoire we perform and teach.” “By learning about, researching, and programming works by under- represented composers, we break the myth of absence to showcase amazing music by composers of various backgrounds.” ITG Y OUNG A RTIST A WARD to provide recognition for developing young trumpeters Music teachers and private ins tructors are invited to nominate high school students (age 18 or younger at the date of nomination). Letters of recommendation must include mailing addresses, phone/fax numbers, and email addresses of the teacher and nominee. Winners will receive a free one-year membership to ITG and will be featured in the ITG Journal. Please submit nominations to: Anne McNamara, Chair ITG Young Artist Award Committee yaaward@trumpetguild.org© 2021 International Trumpet Guild March 2021 / ITG Journal 19 CONTENTS S TYLE /G ENRE B ASED “Standard” Trumpet Works French style Andante et Allegro—Guy Ropartz Concertino—André Jolivet Légende—George Enesco Petite Piece Concertante—Guillaume Balay Solo de Concours—Théo Charlier Tryptique—Henri Tomasi Works by Diverse Composers Concertino—Ida Gotkovsky (https://tinyurl.com/itg2103xa) Episode Troisieme—Betsy Jolas (https://tinyurl.com/itg2103xb) Gaillarde—Germaine Tailleferre (https://tinyurl.com/itg2103xc) Mobiles (https://tinyurl.com/itg2103xd) or Sonatine (https://tinyurl.com/itg2103xe)—Jeanine Rueff The Flamboyant Frenchman—Jonathan Bailey Holland (https://tinyurl.com/itg2103xf) Russian style Concerto—Alexander Arutunian Concerto—Oskar B ö hme Concerto—Vladimir Peskin Concerto—Alexandra Pakhmutova (https://tinyurl.com/itg2103xg) Sonata—Aida Isakova (https://tinyurl.com/itg2103xh) Lyrical & melodic Prayer of St. Gregory—Alan Hovhannes Rose Variations—Robert Russell Bennett Sonata—Eric Ewazen Sonata—Paul Hindemith Andante e Bolero—Santana Gomes (https://tinyurl.com/itg2103xi) Cissiparidade—Nestor de Hollanda Cavalcanti (https://tinyurl.com/itg2103xj) Incantations—Whitney George (https://tinyurl.com/itg2103xk) Lied ohne Worte—Sofia Gubaidulina (https://tinyurl.com/itg2103xL) Silent Ocean—Karen Tanaka (https://tinyurl.com/itg2103xm) Trumpet Songs—Jennifer Higdon (https://tinyurl.com/itg2103xn) Tromba—Ulysses Kay (https://tinyurl.com/itg2103xo) Bright & flashy Any Arban/Clarke cornet solo Concert Piece No. 1 or No. 2—Vassily Brandt Concert Etude—Alexander Goedicke American Concerto—Ellen Zwilich (https://tinyurl.com/itg2103xp) Concerto—Lauren Bernofsky (https://tinyurl.com/itg2103xq) Sonata for Trumpet and Piano—Adolphus Hailstork (https://tinyurl.com/itg2103xr) Trumpet Concerto—Vivian Fung (https://tinyurl.com/itg2103xs) Trumpet Concerto—Nicole Piunno (https://tinyurl.com/itg2103xt) Jazz influenced Concerto No. 2—André Jolivet Rhapsody in Blue—George Gershwin, (arr. Dokshizer) Three Preludes—George Gershwin (arr. Dokshizer) Four Reasons—Judy Bailey (https://tinyurl.com/itg2103xu) Jazz-Infected Etudes—Pamela J. Marshall (https://tinyurl.com/itg2103xv) Jazz Professor Glasses—Anne Guzzo (https://tinyurl.com/itg2103xw) Latin Jazz Suite—Alice Gomez (https://tinyurl.com/itg2103xx) Myriads of Stars—Yukiko Nishimura (https://tinyurl.com/itg2103xy) Rhapsody for Trumpet and Piano—Vivian Fung (https://tinyurl.com/itg2103xz) Sonata—Aida Isakova (https://tinyurl.com/itg2103ya) Sonata for Trumpet and Piano—Adolphus Hailstork (https://tinyurl.com/itg2013yb) 20 ITG Journal / March 2021 © 2021 International Trumpet Guild CONTENTS With electronics Between Islands—Charlie Griffin Breakaway for two trumpets—David Sampson Cantus—Eric Nathan Close Fight—Jacob TV Icarus Wept—James Mobberly …to experience life—Brittany Green (https://tinyurl.com/itg2013yc) Chatter—Nina Young (https://tinyurl.com/itg2013yd) My Father Was a Ventriloquist—Jessica Rudman (https://tinyurl.com/itg2013ye) Night Sun Journey—Meg Bowles (https://tinyurl.com/itg2103yf) Skin—Gemma Peacocke (https://tinyurl.com/itg2103yg) Sunstar—TJ Anderson (https://tinyurl.com/itg2103yh) Way of Light—Anne LeBaron (https://tinyurl.com/itg2103yi) Zero G—Megan DeJarnett (https://tinyurl.com/itg2103yj) Unaccompanied The Adventures of…—Kevin McKee Cascades—Allen Vizzutti Fantasy for Solo Trumpet—Malcolm Arnold Intrada—Otto Ketting Parable XIV—Vincent Persichetti Postcards—Anthony Plog Solus—Stanley Friedman Elegy—Jessica Rudman (https://tinyurl.com/itg2103yk) Estudo for Trumpet in C—Camargo Guarnieri Fanfare for the Women—Libby Larsen (https://tinyurl.com/itg2103yL) Fanfare Sul America—Claudio Santoro (https://tinyurl.com/itg2103ym) Feather—Susanna Payne-Passmore (https://tinyurl.com/itg2103yn) March of the Toy Soldier—Kenneth Amis (https://tinyurl.com/itg2103yo) Miles Per Hour—Regina Harris Baiocchi (https://tinyurl.com/itg2103yp) Música invisible- Libro IV—Cecelia Arditto (https://tinyurl.com/itg2103yq) Noodling Along, op. 44—Alexandra Fol (https://tinyurl.com/itg2103yr) Restless Airs—Betsy Schramm (https://tinyurl.com/itg2103ys) The Flamboyant Frenchman—Jonathan Bailey Holland (https://tinyurl.com/itg2103yt) Flugelhorn Nightsongs—Richard Peaslee Paradigms—Anthony Plog Two Portraits—Joseph Turrin Chanted Rituals for Trumpet/Flugelhorn and Percussion— Vivian Fung (https://tinyurl.com/itg2103yu) Eclipse—Marisa Youngs (http://www.jasondovel.com) Midnight Songs—Katy Abbott (https://tinyurl.com/itg2103yv) Moving Through Blue—Beth Mehocic (https://tinyurl.com/itg2103yw) Mount Cathedral—Mary Watkins (https://tinyurl.com/itg2103yx) Suite for Flugelhorn—Betsy Schramm (https://tinyurl.com/itg2103yy) Sound-Piece for Trumpet, Flugelhorn, Piccolo Trumpet, and piano—Persis Vehar (https://tinyurl.com/itg2103yz) © 2021 International Trumpet Guild March 2021 / ITG Journal 21 CONTENTS “Standard” Trumpet Works Early High School Conversation for Cornet—Clare Grundman Petite Piece Concertante—Guillaume Balay Solo de Concours—Théo Charlier Works by Diverse Composers Armenian Sketch —Geghuni Chitchyan (https://tinyurl.com/itg2103za) Humoresque—Geghuni Chitchyan (https://tinyurl.com/itg2103zb) Celebration—Mary Jane Lang (https://tinyurl.com/itg2103zc) Early Bird; Evening Song; Happy New Year; Pretty Cocky; Roundabout, Slow Boat to Manly—Dulcie Holland (https://tinyurl.com/itg2103zd) On Three Notes—Colette Mourey (https://tinyurl.com/itg2103ze) Three for Four—Vera Horven (https://tinyurl.com/itg2103zf) Advanced High School/Early Undergrad Andante et Allegro—Guy Ropartz Andante et Scherzo—Joseph E. Barat Aria con Variazioni—George Frideric Handel Aria et Scherzo—Alexander Arutunian Concert Etude—Alexander Goedicke Introduction et Scherzo—Alphonse Goeyens Sonata—Eric Ewazen Andante e Bolero —Santana Gomes (https://tinyurl.com/itg2103zg) Concertino—Caroline Charriere (https://tinyurl.com/itg2103zh) Divagando—Domingos Raymundo (https://tinyurl.com/itg2103zi) Grand March for Trumpet and Piano—H. Leslie Adams (https://tinyurl.com/itg2103zj) Jazzisity—Mary Jane Lang (https://tinyurl.com/itg2103zk) Lied ohne Worte—Sofia Gubaidulina (https://tinyurl.com/itg2103zL) Pequena Suite—Osvaldo Lacerda (https://tinyurl.com/itg2103zm) Sonata No. 1—Lynn Petersen (https://tinyurl.com/itg2103zn) Undergraduate Caprice—Eugène Bozza Caprice—Joseph Turrin Concerto—Alexander Arutunian Concerto—Johann Baptist Georg Neruda Concerto—Johann Nepomuk Hummel Concerto—Joseph Haydn Légende—George Enescu Rose Variations—Robert Russell Bennett Sonata—George Antheil Sonata—Halsey Stevens Sonata—Kent Kennan Sonata—Paul Hindemith Variations in D-flat—Henri Büsser Andante e Bolero—Santana Gomes (https://tinyurl.com/itg2103zo) Cissiparidade—Nestor de Hollanda Cavalcanti (https://tinyurl.com/itg2103zp) Concerto—Nicole Piunno (https://tinyurl.com/itg2103zq) Frenetic Dream—HyeKyung Lee (https://tinyurl.com/itg2103zr) Gaillarde—Germaine Tailleferre (https://tinyurl.com/itg2103zs) Incantations—Whitney George (https://tinyurl.com/itg2103zt) Loss—Rachel Kincaid (https://tinyurl.com/itg2103zu) Rondino—Osvaldo Lacerda (https://tinyurl.com/itg2103zv) Saltarello—Lauren Bernofsky (https://tinyurl.com/itg2103zw) Skin—Gemma Peacocke (https://tinyurl.com/itg2103zx) Sonata—Aida Isakova (https://tinyurl.com/itg2103zy) Sonata No. 2—Lynn Petersen (https://tinyurl.com/itg2103zz) Tromba—Ulysses Kay (https://tinyurl.com/itg2103z1) Trumpet Songs—Jennifer Higdon (https://tinyurl.com/itg2103z2) Zero G—Megan DeJarnett (https://tinyurl.com/itg2103z3) L EVEL B ASED22 ITG Journal / March 2021 © 2021 International Trumpet Guild CONTENTS Graduate/Professional Concertino—Ernst Sachse Concerto—Alexander Goedicke Concerto—Charles Chaynes Concerto—Edward Gregon Concerto—Henri Tomasi Concerto—Oskar B ö hme Concertpiece No. 1 & 2—Vassily Brant Escapade—Joseph Turrin Parable XIV—Vincent Persichetti Quatre Variations…Scarlatti—Marcel Bitsch Rustiques - Eugène Bozza American Concerto—Ellen Zwilich (https://tinyurl.com/itg2103z4) A Sixth Circle—Hannah Kulenty (https://tinyurl.com/itg2103z5) Concertino—Ida Gotkovsky (https://tinyurl.com/itg2103z6) Concerto—Lauren Bernofsky (https://tinyurl.com/itg2103z7) March of the Toy Soldier—Kenneth Amis (https://tinyurl.com/itg2103z8) Noodling Along, op. 44—Alexandra Fung (https://tinyurl.com/itg2103z9) Refractions—Nicole Piunno (https://tinyurl.com/itg2103aa) Rhapsody for Trumpet—Vivian Fung (https://tinyurl.com/itg2103ab) Ridge-Runner—Libby Larsen (https://tinyurl.com/itg2103ac) Sonata—Adolphus Hailstork (https://tinyurl.com/itg2103ad) Sunstar—TJ Anderson (https://tinyurl.com/itg2103ae) The Flamboyant Frenchman—Jonathan Bailey Holland (https://tinyurl.com/itg2103ae) Totem Voices—Catherine McMichael (https://tinyurl.com/itg2103ag) ITG H ONORARY A WARD AND ITG A WARD OF M ERIT The ITG Honorary Award is given to individuals who have made extraordinary contributions to the art of trumpet playing through performance, teaching, publishing, research, and/or composition. The tradition has been to present this award to persons toward the end of their careers. Honorary Award recipients include Herb Alpert, Maurice André, Ryan Anthony, Louis Armstrong, Mel Broiles, Clifford Brown, Vincent Cichowicz, Miles Davis, Roger Delmotte, Timofei Dokshizer, Maynard Ferguson, Armando Ghitalla, Dizzy Gillespie, Harry Glantz, Adolph Herseth, David Hickman, Gilbert Johnson, Philip Jones, Robert King, Clifford Lillya, Wynton Marsalis, Rafael Méndez, Fred Mills, Maurice Murphy, Robert Nagel, Uan Rasey, Ronald Romm, Renold Schilke, Charles Schlueter, Doc Severinsen, Bobby Shew, Susan Slaughter, Philip Smith, Marie Speziale, Edward Tarr, Clark Terry, William Vacchiano, Allen Vizzutti, and Roger Voisin. The ITG Award of Merit is given to those individuals who have made substantial contributions to the art of trumpet playing through performance, teaching, publishing, research, composition, and/or support of the goals of the International Trumpet Guild. Award of Merit recipients include William Adam, David Baldwin, Donald Bullock, Richard Burkart, Frank Gabriel Campos, Leonard Candelaria, Stephen Chenette, Charles Colin, Raymond Crisara, Joyce Davis, Vincent DiMartino, Kim Dunnick, Kevin Eisensmith, Bengt Eklund, Stephen Glover, Bryan Goff, Charles Gorham, Anne Hardin, John Haynie, David Hickman, Keith Johnson, Stephen Jones, Frank Kaderabek, Veniamin Margolin, Gordon Mathie, Rob Roy McGregor, Gilbert Mitchell, Gary Mortenson, James Olcott, William Pfund, Jeffrey Piper, Leon Rapier, Carole Dawn Reinhart, Dennis Schneider, Anatoly Selianin, Alan Siebert, Michael Tunnell, and Gordon Webb. To nominate someone who has made a significant contribution to the trumpet world, send the nominee’s biography and a rationale for his/her nomination to ITG Secretary Elisa Koehler, Music Department, Winthrop University, 129 Conservatory of Music, Rock Hill, SC 29733 (USA) ( secretary@trumpetguild.org ).© 2021 International Trumpet Guild March 2021 / ITG Journal 23 CONTENTS The first time I heard of Keith Johnson was when I came upon his book The Art of Trumpet Playing as an undergraduate student in Perth, Australia. Little did I know then of the great influence that this man on the other side of the world would have on my life and music. Upon having a les- son with him years later, I knew right away that he was the person I had to study with. He had a way of communicating that was simple, yet very effective, and in that one lesson, he was able to identify and start to correct years of bad habits. “Ah-too” and wind patterns were commonly mentioned in his lessons for all his students, though in my case, the Queen of England would also often come up as a topic due to my being from a Commonwealth country and his love of the Episcopalian church. Mr. Johnson had a way of bringing out the best in his students, and many would comment how they played better for him at his lessons than at most other times—myself included. He was demanding, yet knew when a student needed a “coffee” lesson with him. In the four years I studied with him, he was always a gentleman, and he led by example with his pro- fessionalism and respect for others. He showed what it was to be genuinely humble. He will be greatly missed by all those who knew him. Kathryn James Aducci International soloist I arrived in Denton in to start my dma and serve as a Graduate Teaching Fellow for Keith. He presented me imme- diately with something I still have and rely on from time to time—his trust and confidence. It is a gift that he shared with all of his Teaching Fellows, as well as many others. While this was partly his nature, I am sure he was also quite aware of how essential this was for people around him to be successful and find happiness in both their professional and personal lives. Jason Crafton recently shared one of his favorite Keith John- son quotes that Jason keeps at his desk, “Never assume the worst of anyone.” Keith knew that once you start assuming the worst about people, casting doubt on others, and taking away opportunities for responsibility, negativity can manifest itself in thoughts and actions, quickly erod- ing whatever level of trust or confi- dence there is in a relationship. This is equally true in one’s thoughts about themselves. If Keith ever had a concern with me or one of my students, he would always find a way to address it with a deep breath of genuine positivi- ty, encouragement, and confidence that “things will work themselves out.” Thank you, Keith—I know that you have found the very best in Eternal Peace. I always knew you would! Master Sergeant Nicholas Althouse US Army Field Band Though he was never my teacher, Keith Johnson’s impact on me was profound. I never took a lesson from him, attended a masterclass, or even heard him in recital. Still, his impact on me was real and tangible. He was a mentor, and he became a dear friend. When I moved to Denton in to teach at unt, Keith arranged for me to play a summer season with him at his beloved New Hampshire Music Festival. During that time, he shared the history of the unt trumpet studio. He talked about mentoring doctoral students. He told me about his days in Iowa, how he came to write his books, and how he approached teaching. He and his dear Cecile took me and my family into their family. They helped me connect with and understand the history of the unt trumpet studio. They helped me become close with the Haynie family. They are, simply, givers—very generous givers. Keith was always generous with his time, knowledge, advice, and friendship. He held many decades of experience beyond A T RIBUTE TO K EITH J OHNSON (1942 – 2020) COMPILED BY J ASON D OVEL FA3 J ohn Keith Johnson was Emeritus Professor of Music in the College of Music at the University of North Texas (unt) in Denton, Texas, where he taught from . to . Prior to this, he taught at the University of Northern Iowa. He was the author of two highly acclaimed books, The Art of Trumpet Playing (Iowa State Uni- versity 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, Mex- ico, Brazil, Indonesia, Sweden, South Africa, Italy, England, France, Spain, Germany, and Romania. In the summer of , Johnson was presented a Distinguished Service Award by the New Hampshire Music Festival for fifty years of serv- ice as co-principal trumpet of the Festival Orchestra. Johnson was a prominent member and leader of the Inter- national Trumpet Guild and was a featured clinician at ITG Conferences on numerous occasions. He served as a member of the ITG board of directors and for eight years was Music Reviews editor for the ITG Journal. He co-hosted the ITG Conference at the University of North Texas and was selected by the International Trumpet Guild in to receive the Award of Merit for service to the trumpet profes- sion. He passed away on July , , after contracting covid-. Following page, Photo credit: University of North Texas College of Music “He had a way of communicating that was simple, yet very effec- tive, and in that one lesson, he was able to identify and start to correct years of bad habits.” “Never assume the worst of anyone.”© 2021 International Trumpet Guild March 2021 / ITG Journal 25 CONTENTS what I had, yet he treated me with such respect and fairness. He never tried to impose his influence on me at unt. Rather, he offered support and encouragement. His example, gentle- manly demeanor, and care helped me to grow into a more impactful mentor, teacher, and man. I will always be grateful for my unique place in Keith’s journey. It came toward the end of his life, after all of his success had been achieved and his accomplishments garnered. No one can replace a legend like Keith Johnson, but as the person who came immediately after him, he made sure I was able to succeed. He ensured that I had the freedom to do it my way. I hope to emulate his kindness and charity with my students and within the broader trumpet community. All who knew and loved Keith are tasked with that responsibility; we can share Keith’s light with countless others. Cecile gave me Keith’s music library before his passing. My students and I see his name on his music that we perform each day. I treasure that collection. His legacy is carried on with his numerous students, colleagues, and friends. I am so thankful to be one of those for- tunate ones. Jason Bergman Associate Professor of Trumpet Brigham Young University Since Keith Johnson’s passing, I have been reflecting quite a bit on the word “mentor.” It carries a good bit more weight than its synonyms “teacher” or “advisor,” and I have come to realize how incredibly lucky I am to use phrases that begin, “My mentor…” There are many people in the world who haven’t had that privilege. The one-on-one teacher/student relationship is central to musical study, but mentorship takes that a step further, providing not only critical musical instruc- tion, but an ineffable form of guidance that shapes lives, letting the mentee fully become who they are meant to be. Professor Johnson was not only my mentor, but a mentor to legions of students over his long, successful career. It is partly this vast “network” of Johnson-studio alumni that made my years with Professor Johnson at the University of North Texas so special, and in this time of grieving I know that there are so many others who understand this loss—this loss of a mentor. I derive some comfort from this network, which includes not only those whose studies were contemporary with my own, but also many more who were not. Part of the magic of my time at North Texas was becoming part of this network, and Professor Johnson was its nexus. He told us frequently that “You build a good studio by picking good students.” While ostensibly this statement referred to playing ability, I think he also was looking for the qualities that he knew would build and sustain this network, because he knew how important these relationships are. Meeting other Johnson alumni out in the world in the years since my graduation has always felt like meeting old friends, whether I had known them before or not. I would like to think that was always part of Professor John- son’s plan for his students; but even if it wasn’t, he is still undoubtedly the reason behind it. Even though we cannot, at present, gather in person to mourn and honor our mentor, our network still gathers in spirit, remembering our lessons with Professor Johnson, his Keith Johnson with former students from the US Army Field Band (L – R): Nick Althouse, James Wood, Keith Johnson, Ward Yager, and Phillip Johnson26 ITG Journal / March 2021 © 2021 International Trumpet Guild CONTENTS kindness and humor, and his many and frequent sayings that helped us grow as both players and as people, sayings that we now pepper (sometimes liberally!) into our own teaching. In response to a brief video clip of me teaching a masterclass a few years ago, another Johnson alumnus said to me, “You are so Keith in this video!” I felt then, as I do even more so now, that it was the highest praise my teaching could ever receive. When one has had a mentor like Keith Johnson, it is an honor and privilege to teach as one has been taught. Jennifer Dearden Associate Professor of Trumpet Allegheny College I first met Keith during the summer of . We both were asked to a play a trumpet concert with Rick Giangiulio, principal trumpet of the Dallas Symphony Orchestra, featur- ing several fine trumpet players in the Dallas/Fort Worth area. I had just moved back follow- ing four years in Italy, and he had just arrived at unt after twenty years at Northern Iowa. We hit it off really well. We both enjoyed very old and stodgy Mercedes Benz diesel cars— the ones that went from zero to sixty miles per hour in a day and a half! His was a manual transmission, and mine was an automatic, so maybe his was more authentic? We also both enjoyed wine and spent several dinners trying out new wines in the dfw metroplex. When I won the principal trumpet position in the Dallas Opera in , I began having Keith play with us as third trumpet. During that first year, Glen Bell was the second trumpet player, and Rick Bogard auditioned and won the sec- ond trumpet position soon after Glen retired. Keith played with us for years as third trumpet. One funny story from those early days: We used to rehearse at the Sammons Center off Harry Hines in Dallas. The parking lot was really small, and if you left to go to lunch after the first rehearsal, there was a good chance your parking spot would be gone when you came back, and you would have to park very far away. Keith used to carry one of those orange traffic cones in his Mercedes and would leave it in his parking spot when he would go to lunch. One day I came back early and took the cone from “his” parking spot and placed it on his chair. I never told him it was me. I taught for Keith once in during his sabbatical from unt. I really enjoyed it and looked forward to the next one. Keith had planned to take another sabbatical in , and I Keith Johnson in 1956 (age 14) with the Roughrider High School Band (Center, Texas). Photo credit: Cecile Johnson Keith Johnson (right) with his teacher and UNT predecessor, John Haynie. Photo credit: Cecile Johnson “When one has had a mentor like Keith Johnson, it is an honor and privilege to teach as one has been taught.”© 2021 International Trumpet Guild March 2021 / ITG Journal 27 CONTENTS was going to teach for him that semester. However, Leonard Candelaria suddenly retired to go with his wife to Alabama to teach. I was then hired to teach the whole year. During that time, the trumpet position at unt was opened up for a nation- al search, and I decided to apply for that position that Leonard had vacated. The one thing I remember to this day was that Keith came to my office one day and told me, “I know you have applied for the trumpet position at unt. I want you to know that I cannot help you in any way. You are on your own.” I have thought about that for years. At the time, I was very pleased, because I had such a deep res p - ect for him, and if I won the position at unt, I wanted to win it because of my ability—not because we were friends. Later in my career, I understood it was because of his ethical beliefs and that he always wanted to do the right thing, whether for a student or a colleague. I will never forget that. Another aspect I wanted to talk about was Keith’s love for teaching. After I became his boss at unt, as chair of the divi- sion of instrumental studies, I remember telling him on more than one occasion, “Keith, you cannot teach dma students every year!” he would always sigh and say, “But I have to; they came to study with me.” Keith was a great teacher, colleague, performer, and person. I am honored that he considered me a friend. John Holt Professor of Trumpet University of North Texas I begin my trumpet pedagogy class at Hardin Simmons Uni- versity by asking the question, “What is a good teacher?” Recently, I got two responses, almost in unison—”Somebody who can help you improve” and “Someone who cares.” My eyes were immediately drawn to a picture of Keith Johnson on my office wall. I usually get variations of the first response; the second was an unexpected, but perceptive, remark from a serious student. My experience of studying with Keith Johnson was precisely those two things. I had the extremely good fortune to join the studio of one of the world’s renowned brass pedagogues who was also a wonderful role model, mentor, and treasured friend. “He used to have a large lapel button pinned to the inside of his briefcase, which said, ‘We Give a Damn!’” University of Northern Iowa Faculty Brass Quintet (L – R): Jon Hansen, Keith Johnson, Don Little, Bruce Chidester, Dave Kennedy. Photo credit: Cecile JohnsonNext >