< Previous88 ITG Journal / June 2021 © 2021 International Trumpet Guild CONTENTS reinterpretations of some jazz and pop music and several Kop- pel originals in the soul/funk vein. The band’s playing is stellar, and Purdie is outstanding in his role as the consummate groove master. This recording is excellent on these merits, but then there is Randy Brecker. Brecker truly defies gravity, as he simply seems to keep getting better with time. This recording shows him at home in his fusion roots, where jazz language and sensibilities are meshed with soulful grooves, and he is free to surf in, out, around, and above the sonic landscape. To begin the set, the band hits a funky groove on Them Changes, a Buddy Miles classic made famous by Jimi Hendrix. Brecker plays inside-outside, bluesy, and ultimately funky. It seems that his command of the instrument, which has always been con- siderable, continues to grow, with frequent displays of upper- register ease and fluid chromatic complexity. Choosing stand- out tracks is difficult. Manteca burns; Hammond Street brings a funky Brecker Brothers intensity; Feel the Bern (a dedication to Purdie) grooves; and Con Alma and Sax is at once languid, sanguine, and bluesy. Stevie Wonder’s hit Don’t You Worry ’Bout a Thing is glorious, and The Carpenters’ Close to You is a perfect vehicle for Brecker, who is one of the most lyrically cre- ative trumpet voices in jazz today. Five stars for the band, ten stars for Randy. (Michael Hackett, assistant professor of jazz and commercial music, University of Wisconsin—Whitewa- ter) Jens Lindemann—Bach and Brahms Reimagined Jens Lindemann, trumpet and flugelhorn; Charles Hamann, oboe; James Ehnes and Andrew Wan, violins; Neil Gripp, viola; Jon Kimura Parker, piano and harpsi- chord; Brian Manker, cello; Joel Quarrington, bass Self-released; Riverdale Classics; https://tinyurl.com/itg2107z; trumpetjens@gmail.com; (318) 849-1966 Brahms: Trio in E flat major Op. 40; Bach: Brandenburg Con- certo No. 2, BWV 1047R; Bach: Brandenburg Concer- to No. 5, BWV 1050. Jens Lindemann has released an exquisite new album, Bach and Brahms Reimagined. The recording opens with Brahms’s Trio in E-flat Major, which im - mediately captures the listen- er’s attention by demonstrating incredible delicate interplay between all three performers. Lindemann’s sound is gor- geously warm, full, and reso- nant. This work provides an open forum for each member of the ensemble to display a clear sense of longing and nostalgia that is so very present in the works of Brahms. It is important to note that Lindemann performed this work on a specially commissioned hand-made flugelhorn to assist in his aural vision and conception of this piece. The work concludes with a lively, boisterous, and virtuosic fourth movement that pays tribute to the natural horn by employing a resonant lower reg- ister and crisp articulations in the middle and upper registers. As the album continues, the ensemble discovers different ways to astonish the listener through unparalleled virtuosity and attention to detail. This is apparent in Bach’s Brandenburg Concerto No. 2. In addition to the ensemble’s tour de force per- formance of the piece, the arrangement is notable in that this is the first time the original chamber format has been recorded. Particularly, in the final movement of the piece, Lindemann performs with tremendous style and energy. The final work performed on the album, Bach’s Brandenburg Concerto No. 5, is a fantastic showpiece for the ensemble cast, displaying their amazing abilities as both soloists and ensemble players. Linde- mann’s ease and dexterity is simply brilliant. Parker’s harpsi- chord solo is wonderfully paced, employing tremendous virtu- osity and excitement. Lindemann’s Bach and Brahms Reimag- ined is an outstanding album. (Demarr Woods, assistant pro- fessor of high brass, University of Arkansas at Pine Bluff) Jens Lindemann with The Canadian All-Star JazzPops Orch - estra—Then is Now: Rhapsody in Blue Jens Lindemann, trumpet and producer; Jon Kimura Parker, piano; Matt Catingub, music director, alto saxophone, piano, vocals, and producer; Joel Gray, Brian O’Kane, and Al Muirhead, trumpets; Richard Harding, Eric Friedberg, Pat Belliveau, and Gareth Bane, saxophones; Hillary Simms, Lilac Gilad, and Isabelle Lavoie, trom- bones; Robi Botos and Tommy Banks, piano; Mike Downes, bass; Steve Moretti, drums; Johanna Sillanpaa and Kate Shane, vocals Self-released; Riverdale Classics; https://tinyurl.com/itg2107z; trumpetjens@gmail.com; (318) 849-1966 All compositions arranged by Catingub: Gershwin (Gill i land/ Catingub): Rhapsody in Blue; Oliver: Well, Git It!; Strayhorn: Take the A Train; Oscar Peterson: Hymn To Freedom; Chaplin: Smile; Slim: Every Day I Have the Blues; Gillespie: A Night in Tunisia; Delugg: Orange Colored Sky; Lippmann/Ahbez/Evans: Nat King Cole Medley (Too Young, Nature Boy, Mona Lisa); Oliver: Opus One; Noble: Cherokee; Carmichael: The Near- ness of You; Miller: Moonlight Serenade; Garland: In the Mood; May: Green Hornet. Although the majority of this effort was filmed and tracked in , this ingen- ious big band arrangement of Rhapsody in Blue, featuring the virtuosity of Lindemann on piccolo trumpet and Parker on piano, was recorded a year later during the onslaught of covid-. The reimagination and execution of this timeless classic is as exciting as it is enticing. Lindemann and his impressive collaborators are easily categorized in the highest echelons of their respective fields and are to be commended for such an astounding product, despite the difficulties of record- ing in . It goes without saying that what is needed now, more than ever, is live performance, and Lindemann’s patented artistry and showmanship are on full display from start to fin- ish with a generous nod to his hero, Doc Severinsen. In addi- tion, Lindemann is gracious in sharing the limelight with Catingub, featured guests, and members of the band. Catin- gub has been a respected master of his craft for decades, and his arrangements for this American musical era are of the high- est caliber, tailored for this band. It really shows as they per- form them with unbridled joy. Pay particular attention to Botos’s piano improvisations on Take the A Train, A Night in © 2021 International Trumpet Guild June 2021 / ITG Journal 89 CONTENTS Tunisia, The Nearness of You, and Green Hornet. Speaking of A Night in Tunisia, the trumpet section plays a smoking-hot, unison trumpet soli, in addition to Brian O’Kane’s trumpet improvisation, exuding classic bop language, and impeccable groove and sound. Another wonderful surprise is Al Muir- head’s bass trumpet stylings on The Nearness of You. When live performances return to the concert halls and clubs, one hopes that Lindemann and crew take this show on the road. (Aric Schneller, associate professor of music and director of jazz studies, Sam Houston State University, Huntsville, TX) Richard Marshall—Sonatina Richard Marshall, cornet; Black Dyke Band, Nicholas Childs, conductor DOY CD399 (CD); Doyen Recordings, 66-78 Denington Road, Denington Industrial Estate, Wellingborough, Northants, NN8 2QH; sales@worldofbrass.com; http://worldofbrass.com; +44(0) 1933 445 445 Wright: Cornet Concerto; Howarth: Sonatina; Ellerby: Cornet Concerto; Gregson: Cornet Concerto. Sonatina, Richard Marshall’s sixth solo recording, won the Brass Band World Award for Solo cd of the Year in Decem- ber . This is the third time Marshall has earned this honor. Currently principal cornet of the Black Dyke Band, an en - semble widely recognized as one of the world’s premiere brass bands, Marshall has a strong personal connection to three of the four works on this album. The Howarth and Greg- son were written for him, and he performed the uk premiere of the Ellerby. The album begins with the outlier from this group of three, the romantic and well-known Concerto by Denis Wright. Many of Marshall’s impressive abilities are high- lighted in this first piece—immaculate multiple tonguing and flexibility in the first movement; purity of sound and soft con- trol in the second movement; and a warm, even, and weighty sound throughout all registers in the third movement. The fol- lowing Howarth Sonatina stands as a clear contrast to the Wright Concerto. Marshall displays his versatility in this work; his playing in angular, fragmentary, and harmonically complex circumstances is remarkably resonant, centered, and consistent. As with the first two selections, the cheerful and approachable Ellerby Concerto is contrasted by the more tonally, stylistically, and technically complicated Gregson Concerto. Marshall again shows astounding control in the Gregson, where he sounds as much at ease on high D as he is on pedal C. Another noteworthy achievement of this recording is the superb bal- ance between the ensemble and soloist, as well as the rhythmic and technical cohesion of the Black Dyke Band. Overall, Mar- shall demonstrates dazzling but seemingly effortless technique and musicality throughout this album of virtuosic pieces for solo cornet. This cd should be a thoroughly enjoyable listen for any ITG member. (Brian Winegardner, adjunct professor of trumpet, Limestone College, Gaffney, SC) Chad McCullough—Forward Chad McCullough, trumpet and flugelhorn; Rob Clearfield, piano; Matt Ulery, bass; Jon Deitemeyer, drums; Ryan Cohan, keyboards and programming OIM 2022 (CD); Outside in Music, 244 Fifth Avenue, Suite N250, New York, NY 10001; info@outsideinmusic.com; http://outsideinmusic.com All compositions by McCullough: November Lake; Oak Park; Gentle; Grace at the Gavel or Grace at the Gallows; Focal Point; Water Tower Sunset. On Forward, Chad McCul- lough presents six of his own compositions inspired by his adopted hometown of Chicago, featuring four of that city’s finest musicians as collabora- tors. From the opening notes of November Lake’s introducto- ry series of tenderly accompa- nied lyrical cadenzas, two things are certain—this is a band that communicates, and McCullough has a stunning sound on the trumpet. The piece grows organically out of a simple motive in the bass, which serves as the germ of the pri- mary theme. During the subsequent trumpet and piano solos, the interplay between Clearfield, Ulery, and Deitemeyer demonstrates high levels of sensitivity and groove at a wide range of dynamics. This holds true throughout the album. Oak Park is the first of three tracks to include co-producer Ryan Cohan in the role of keyboard programmer/arranger and per- former. A highly regarded pianist and bandleader in his own right, Cohan’s work here might almost be confused for a string section and helps to drive the piece toward a moving climax as McCullough makes his way to the conclusion of his solo. Grace at the Gavel or Grace at the Gallows begins with a statement of a plaintive, hymn-like melody that sounds both new and time- less. Ulery’s warm bass sound is captured perfectly in all its expressive glory during the first solo before McCullough crafts a heartfelt and engaging flugelhorn improvisation that leads seamlessly back into a truncated version of the theme, enhanced again by Cohan’s arrangement. At times cinematic, at others spiritual, Forward is never boring and is highly rec- ommended for fans of contemporary jazz. (Nikola Tomić, artist-teacher of jazz trumpet and contemporary improvisation, Longy School of Music of Bard College, Cambridge, MA) University of Kentucky Baroque Trumpet Ensemble—John Hyde: A New and Complete Preceptor for Trumpet and Bugle Horn Keegan Elvidge, Madison Glafenhein, Clinton Linkmeyer, Samuel Oliveri, Andrew Reynolds, Abby Temple, and Allie Woodbury, trumpets; Jason Dovel, director SR004 (CD); University of Kentucky; jason.dovel@uky.edu; http://jasondovel.com; (859) 257-7177 All Compositions by Hyde: Marches and Quick Steps; Duetts; Popular Songs; Dinner Call; Setting the Watch; Duty in Camp; Trumpet Duty; About John Hyde. The latest addition to the growing collection of natural trumpet performance repertoire, John Hyde: A New and Com- plete Preceptor for Trumpet and Bugle Horn is at the same time a nod to the past and a breath of fresh air. Jason Dovel and the University of Kentucky Baroque Trumpet Ensemble have recorded a wonderful disc, providing a fascinating look into our shared history as trum- peters. This recording is as remarkable as it is educational, combining the efforts of a tal- ented group of young trum- peters who are able to make natural trumpet playing sound effortless. Very few student en - sembles are given the chance to produce such a refined proj- ect, let alone one as historical- ly engaging as this. The disc consists of previously unrecorded tracks from a treatise of the same name and are grouped in such categories as Marches and Quick Steps, Duetts, and Trumpet Duty. It is evident that Dovel and the ensemble have worked long and hard refining their natural trumpet skills. The rich tone, crisp articulation, and impres- sive application of dynamics on each track display a deeper understanding of the natural trumpet as a related, yet distinct, form of brass performance. Any trumpeter or historical instrument enthusiast would benefit from owning this album. It not only serves as an accurate testament to Baroque per- formance practice, but also as a pedagogical tool for anyone looking to perform music on the natural trumpet in the mod- ern era. (Elijah Denecke, graduate teaching assistant, Florida State University, Tallahassee, FL) 90 ITG Journal / June 2021 © 2021 International Trumpet Guild CONTENTS phony, and they did not go well. I started to worry that I couldn’t play consistently anymore. I was experimenting with my playing through that time. When I was runner-up in Indianapolis and then won in Utah, I had figured out consis- tency a bit better by that point. When you are new to audi- tions, I think there is no need to hide that they are kind of scary. I also don’t think you need to put too much extra pres- sure on yourself. Some people say that your life does not change too much if you don’t win. Your goal should be to play to the best of your ability. Sometimes you are not good enough or are not the right fit, and that’s okay. It is tough when that happens, that you are not the right fit. It is disap- pointing, but it is out of your control. There is not much you can do about it. Hopefully you can get comments and feedback. It is impor- tant to take feedback and honestly consider it. It is especially helpful if you can get feedback from the audition committee. I have gotten comments in the past that were really helpful, and then some that were not so helpful. Sometimes auditions for bigger orchestras see millions of trumpet players, and it is overwhelming for committees. I was on an audition commit- tee during my second season in Grand Rapids and took detailed notes. I was really happy to give comments to people. I actually still have the book and am a little bitter that nobody ever asked me for comments. Giving and seeking comments is just really helpful. Playing for others is also really helpful. It is even more enlightening to play for people who do not play music at all. My parents don’t play music, but their ears are not that bad. I remember that when I was living in Texas and preparing to audition for a festival, I would play for them and get their feedback. They were really supportive in general. Some people advocate for playing mock auditions as much as you can or even every day. I think that frequently playing a mock audi- tion for someone during your preparation period is a good idea. I guess a common theme is to not overdo anything in your preparation. The last thing I would say is that playing an orchestral trum- pet job is exactly as much fun as you think it is. About the author: Jason Bergman is currently the vice presi- dent/president-elect of the International Trumpet Guild. He also serves as associate professor of trumpet at Brigham Young University in Provo, Utah. “Your goal should be to play to the best of your ability. Sometimes you are not good enough or are not the right fit, and that’s okay.” “Playing an orchestral trumpet job is exactly as much fun as you think it is.” Orchestra Section Profilecontinued from page 83 S CHOLARSHIPS H ELP S TUDENTS A TTEND A NNUAL ITG C ONFERENCES The ITG Industry and Sponsored Scholarship pro- gram helps qualified students attend the annual conferences. With generous donations from industry-related companies and individual spon- sors, many young trumpeters are better able to afford conference registration and travel expenses. Scholarships may be named for the donor compa- nies, for individuals, or in honor of someone. To earn a scholarship, a student must submit a recording of required pieces, whereupon a panel of judges will select the most deserving students for the scholarships. See the ITG Website and contact the ITG treas- urer (treasurer@trumpetguild.org) for further information on how to donate and apply for scholarship funds. http://www.trumpetguild.org© 2021 International Trumpet Guild June 2021 / ITG Journal 91 M USIC R EVIEWS L UIS E NGELKE , C OLUMN E DITOR CONTENTS Dovel, Jason. Quarantine. Unaccompanied Trumpet. Prestissi- mo Press, 2020. Composer Jason Dovel is associate professor of trumpet at the University of Kentucky (uk). Written for the cd New Unaccompanied Music for Trumpet and Flugelhorn during the pandemic, this work is a reaction to the various moods and feelings caused by covid-. Program notes are provided, which thoroughly describe the composer’s thoughts behind specific passages. This short piece ('") for unaccompanied B-flat trumpet presents a series of contrasting sections that allow the player to showcase myriad trumpet techniques, including multiphonics. The opening presents a cadenza that begins with a two-octave glissando from f' to f''' and stays in a high range throughout a lyrical phrase described by the composer as “indicative of the unexpected shock covid- was to the world.” This high- range section is presented with an optional lower octave. The cadenza is followed by a vivace (quarter note = +) section with a series of constant sixteenth notes that provide the opportunity for flashy double tonguing coming to a halt on a fermata. From the program notes, this passage “signifies the frantic scrambling to adjust to life in a socially distanced, quar- antined world.” The next section presents six measures of half- note multiphonics in fifths, occasionally moving to fourths, where the musician plays the bottom note and sings the top. Dovel explains that the multiphonics “represent the efforts at connecting with others who are so far away.” The next two sec- tions are similar to previous material, alternating between vivace and multiphonics passages. The piece ends in a final vivace section, culminating once more with a phrase in the upper register and an optional lower octave. This colorful work could serve well as the opening selection of a recital. It expresses a relevant topic of our current times in which both player and audience can immediately relate to the portrayed sentiments. The detailed program notes provided are helpful and aid in the performance by sharing the compos- er’s insight throughout the work. This piece is recommended for various levels of trumpet players as the most challenging high passages may be taken down an octave per the composer’s suggestion. The f''' at the beginning can be intimidating, but it feels rather accessible since it is approached from an f' glis- sando. This work is a great choice for a player first exploring extended techniques, as the multiphonics are well written, idiomatic to the trumpet, and feel intuitive to sing and play. (Arthur Zanin, lecturer of trumpet, University of Tennessee, Knoxville, TN) Dovel, Jason. Et Planetarum. Solo Trumpet/Piccolo Trumpet/ Flugelhorn. Prestissimo Press, 2020. Et Planetarum (“The Planets”) was written as part of a proj- ect spearheaded by Jason Dovel, associate professor of trumpet at the University of Kentucky, to commission and write eight new pieces for unaccompanied trumpet. These new works are free and available on his website (http://jasondovel.com). Et Planetarum is a nine-movement, seventeen-minute work written for piccolo trumpet in A, B-flat trumpet, and flugel- horn. Dovel explains in the program notes that he “always had a fascination with space and for a long time has wanted to write a trumpet piece about our solar system.” Starting closest to the sun, with the smallest planet and the smallest trumpet, the opening movement is “Mercury.” Writ- ten for piccolo trumpet in A, this movement starts off with a speedy, running-sixteenth-note pattern. This theme continues throughout the movement as a haunting, but intense, opening to the set. The second movement, “Venus,” for B-flat trumpet, is played freely and employs a recurring trill motif, which is followed by dramatic lyrical sections. “Earth” is played on flugelhorn. This movement uses soaring melodies, melodic patterns evocative of bird songs, and a chorale-like conclusion. “Mars” is a fun, quick movement that conjures up a cartoon- like image of little green aliens and utilizes mysterious timbral effects by means of a Harmon mute and second valve slide removed. The speedy tempo of quarter note equals and the 7/8 time signature creates a slightly unstable and interest- ing Martian effect. “Jupiter,” marked with the slowest tempi of the series, mimics the slow orbit and the large size of the planet. This movement implements optional pedal notes to emphasize Music Reviews appear regularly in each issue of the ITG Journal. ITG members are invited to participate in the column as reviewers. Please contact the Music Reviews editor and state your qualifications and area of interest (Baroque, contemporary, jazz, brass quintet, etc.). Items for review and reviewers are selected at the discretion of the Music Reviews editor. Unsolicited reviews will not be accepted. Publishers are encouraged to submit high-quality editions intended for performance on trumpet. This includes solo and ensemble works, as well as collections of music meant for performing. Because of the extremely high volume of submissions and limited Journal space, only the music deemed as the most interesting to ITG members will receive priority and be reviewed. In general, music disseminated through various means, including electronic, is being accepted. However, to be considered for review, the music must be published and available to the ITG membership. Please send all new publications and correspondences to: Dr. Luis Engelke, Department of Music, Towson University, 8000 York Rd, Towson MD 21252, USA; fax (410) 704-2841; musicreviews@trumpetguild.org92 ITG Journal / June 2021 © 2021 International Trumpet Guild CONTENTS the planet’s size. Another movement for flugelhorn, “Saturn,” is to be played “like a gas giant” and starts and ends with a lilt- ing 3/4 theme. “Uranus” is written for B-flat trumpet and opens with a fast multiple-tonguing section. The articulate opening returns after other brief melodic material. “Neptune,” for B-flat trumpet, opens with a semi-chromatic passage, employing hairpin dynamics to mimic waves. Each section recreates sea-like elements, evocative of Neptune, god of the sea. The final and optional movement, “Pluto,” is written for piccolo trumpet in A. In addition to melodic material, a new texture is introduced, in which the performer blows air through the instrument to depict the vastness of outer space. This multi-movement work is a programmatic solo that uses a variety of trumpets and would be an excellent addition to an undergraduate, graduate, semi-professional, or profes- sional trumpet recital. The range of the full work is B-flat to g'''. Individual movements could also be performed by high school and advanced middle school trumpet players. Any technical passages are very idiomatic for the trumpet and would make an excellent introduction to some extended tech- niques and new works for performers of all ages and abilities. (Carrie Blosser, trumpet instrumentalist, Navy Band Great Lakes, Chicago, IL) Friedman, Stanley (Arranger). Hommage à Théo Charlier. Trum pet and Piano. Asher Music, 2020. Théo Charlier’s Thirty-Six Transcendental Studies, now in the public domain after more than years in print, are among the most engaging and appealing etudes for trumpet. There have been a few other prior adaptations for trumpet and piano; in this edition, well-known trumpeter and composer Stanley Friedman has included arrangements of four of his favorites, in the following order: Nos. and , both titled “Du Style;” No. , “Fantasie;” and No. , “Étude Moderne.” The purpose of this edition in this order, Friedman expressed, was “to create viable recital repertoire and for the movements to be played and enjoyed singly or collectively as a suite, with the weight and presence, if not the formal structure, of a sonata.” These arrangements possess several notable features that will appeal to those interested in programming Charlier’s etudes. Most notably, rest is provided for the trumpet soloist with new sections for piano alone, and this additional material serves, as Friedman states, “to fill out the compositional forms through repetition of themes and extensions of phrases.” He adds that “most deviations from the Charlier original are minor, involv- ing clarified and modernized markings, dynamics and articula- tion.” The tempo of Charlier’s iconic second etude was changed to a slower marking with a “darker character” in mind, as recorded on Friedman’s The Lyric Trumpet in . Interest- ingly, this particular arrangement was composed some time ago, and the other three were added more recently. Two versions of the piano part are provided—one with the solo part being played on B-flat trumpet and the other on C trumpet (as written). Overall, the goal of providing a piano part equal to the trumpet’s was achieved, and these are excel- lent additions to the repertoire, as well as alternatives to the previous Charlier arrangements. Now, more than ever, through Friedman’s well-conceived arrangements, Charlier’s etudes are accessible to audiences. (Luis C. Engelke, Music Reviews editor, professor of trumpet, Towson University, Towson, MD) Hedwig, Douglas. Brooklyn Fanfare. Four Trumpets. Hickman Music Editions, 2020. Douglas Hedwig is a respected music historian, trumpet soloist, and composer. After serving years with the Metro- politan Opera Orchestra in New York City, he began teaching at The Juilliard School. He has obtained residencies at many of the top conservatories worldwide while also managing an active composing and conducting career. Douglas Hedwig’s Brooklyn Fanfare for four B-flat trumpets was inspired by the brilliant trumpet calls of the famous Italian horserace, Palio de Sienna. This thrilling composition vividly animates ancient architecture, where royal trumpets call the rac- ers’ entrance from the chapel balcony. Surrounded by ceremoni- al banners, the ensemble stands at attention in their regal attire. Hedwig depicts the excitement of the event in an initial herald- ing theme. The trumpets then alternate between unison and divisi phrases with the addition of triplet melodic interludes. As the second half of the fanfare unfolds, Hedwig imple- ments intertwined half steps between lead voices in a major- seventh-chord voicing, which creates powerful tension and release. Staggered, articulated entrances generate a cascade of powerful sound throughout this piece. These voicings lend themselves well to both hefty- or lesser-sized ensembles. This voicing texture creates an opportunity for a lead voice in a trumpet quartet to have a shining moment or an entire section in a larger trumpet ensemble to ring prominently. Following these multi-layered chordal stacks, Hedwig continues his exploration of bouncing triplet figures in the melody. While these triplet figures appear in unison in the first half, they are later supported by new harmony in the lower voices, which build the piece in its dynamic reverence. Hedwig closes the movement just how any great fanfare is expected to do, with a written-out ritardando. The duration of the piece is a compact one minute and twenty seconds. Concise and mighty, Hed- wig’s arrangement proves itself a timeless work in the trumpet ensemble repertoire. (Maryna Pohlman, graduate teaching assistant, University of Utah, Salt Lake City, UT) Linham, Ryan. Three Brass Dogs. Brass Ensemble. Warwick Music Limited, 2019. Ryan Linham’s Three Brass Dogs is an energetic and fun three-movement work that showcases the range of ability and versatility in a brass ensemble. The piece requires four trum- ITG M EMORIAL S CHOLARSHIP F UND The Memorial Scholarship Fund was created to give ITG members an opportunity to contribute to annual ITG Con ference Scholarships. To donate to the fund, send a check (write “Memorial Scholarship Fund” on the memo line) to: Dixie Burress, ITG Treasurer P.O. Box 2688 Davenport, IA 52809-2688 USA© 2021 International Trumpet Guild June 2021 / ITG Journal 93 CONTENTS pets, one horn, four trombones, and one tuba. The first and fourth trumpets call for doubling on piccolo trumpet and flugelhorn, respectively. Movement one, “Alfie,” is composed in a gospel-funk feel. The movement begins with the low brass vamping on a catchy and musically satisfying motive in 4/4 time. This feel is met with a contrasting melody heard in the first and second trum- pet parts. During this melodic interplay, the horn enters on a repeated motor-like motive. “Alfie” is highlighted by tastefully placed, brief solos and recurring riffs. The second movement, “Hamish,” is a relaxed contrast to the up-tempo first movement. “Hamish” is reminiscent of a slow pop ballad. The movement opens with a beautiful flugelhorn solo in the fourth trumpet part. This melody con- tinues to develop both rhythmically and harmonically as the remaining members of the ensemble contribute repetitive sustained motives. Later the horn plays a beautiful, sentimen- tal countermelody. As the movement continues, the solo is passed off to the first trombone, and then the entire focus of the piece is shifted to the low brass. This transition is brief and contains a key change from concert D to concert E-flat. The second movement concludes with a coda-like theme in the flugelhorns. The final movement, “Amber,” is very fast with a driving, minimalistic feel. The work is filled with repeated eighth-note motives that are passed around the ensemble. These motives are met with complementary, short, sparse, unison rhythmic ideas in the low brass. As the movement concludes, a brief melody is shared between piccolo trumpet, B-flat trumpet, and horn. Overall, Three Brass Dogs is a very interesting and fun piece for all levels of brass ensembles, from developing players to professionals. (Demarr Woods, assistant professor of high brass and music theory, University of Arkansas at Pine Bluff) Massenet, Jules. Fanfare Des Kozacks: pour “L’Hetmann” de Paul Déroulède. Edited by Jean-Louis Couturier. Two Piccolo Flutes, Four Trumpets, Two Trombones, and Timpani. Azur Music Publications, 2020. Smetana, Bedrich. Fanfare: pour le drame “Richard III” de Shakespeare. Edited by Jean-Louis Couturier. Four Horns, Two Trumpets, Three Trombones, and Timpani. Azur Music Publications, 2020. In these two fanfares, editor Jean-Louis Couturier is success- ful in creating stylistically clear editions and notably reintro- duces two historically unique nineteenth-century composi- tions to modern audiences. At '" and '" respectively, these brief fanfares can be approached by intermediate- to pro- fessional-level ensembles. Jules Massenet was a French composer active in the late nineteenth and early twentieth centuries and is well known as an opera composer. Written in , Fanfare Des Kozacks: pour “L’Hetmann” de Paul Déroulède was a music score included in The Hetman, a five-act tragedy by Paul Déroulède. The fanfare is meant to accompany or introduce the Cossacks, a Russian military group. Given this is a theater work, the original scor- ing was quite reduced. Therefore, Massenet selected instru- mentation that would best assist in evoking the tragic color and harmonic texture required by the scene. The fanfare is fas- C ALL FOR N EW W ORKS The International Trumpet Guild announces a call for submissions of new compositions for trumpet to be per- formed at the New Works Recital at the International Trumpet Guild Conference in San Antonio, Texas (usa). Works must feature trumpet in a prominent role as soloist or co-soloist and be appropriate for a recital setting. In order to allow for a wide range of possibilities, this call does not specify instrumentation. However, please note that compositions of unusual duration or instrumentation may face extra-musical hurdles when being considered by the New Works Committee. Submissions must have been composed within five years of the submission deadline date of August , , and should be un-premiered or have received only limited exposure. Score and separate trumpet part should be provided in pdf format, and a recording of a performance or electronic simulation should be provided in mp format. File names should clearly identify the work as follows: composer-title.pdf composer-title.mp3 Works should be submitted electronically via email (newworks@trumpetguild.org) as email attachments, with a maximum total size limit of mb. In your email, please state your name and if you are the composer or performer. If you are submitting multiple works, please submit each work in a separate email. Compositions may be submitted by a composer individually or by a trumpeter in partnership with a composer. If submitted by a composer alone, a chosen work will be performed at the conference by a trumpeter nominated by the ITG New Works Committee. Inclusion of a work on the New Works Recital does not imply any financial obligation of the ITG, beyond providing a collab- orative pianist to perform. Works calling for instruments other than or in addition to piano will require that the com- poser supply those performers. Composers and/or trumpeters will be responsible for all costs including conference registration. Works will be reviewed by the New Works Committee, and notification of inclusion on the recital will be made by October , . Materials will not be returned. If you have any questions, please contact Jason Dovel, New Works Committee Chair, by email (newworks@trumpetguild.org). cinating because of its purpose: a brief musical section in a sig- nificantly sized theater work. In contemporary non-theater use, it can be performed in several situations, perhaps as part of a lecture or chamber recital on historic French theater music. The editor notes instrumentation options and substitutions as the use of piccolo trumpets, C trumpets, and horns. Czech composer Bedřich Smetana is regarded as a promi- nent figure in the development of Czech musical nationalism and opera. Other genres in which he composed include orchestral, chamber, vocal, and piano music. He composed Fanfare: pour le drame “Richard III” de Shakespeare as part of an ceremony dedicated to William Shakespeare. This work is important because of how Smetana wrote for the brass—brilliant and triumphant—which had a notable influ- ence on other Czech composers, including Dvorak. The fan- fare is both sonically bright, bold, and energetic in character and can function well in chamber music performances or as a musical introduction to a large social event or gathering. (John Kilgore, instructor of trumpet, Kansas State University, Manhattan, KS) Mozart, W.A. Presto from Symphony #1, K. 16 (1764). Tran- scribed by Daniel Gianola-Norris. Five Trumpets. Trip- lo Press, 2018. Active orchestral trumpeter, soloist and educator Daniel Gianola-Norris has compiled a spirited new transcription of Wolfgang Amadeus Mozart’s Presto from Symphony #1, K. 16, for five B-flat trumpets. Composed in London in when the Austrian prodigy was only eight years old, Symphony No. 1 was written in the key of E-flat major in three move- ments (Molto allegro, Andante, and Presto) and scored for two oboes, two horns, harpsichord, and strings. The Presto 3/8 movement in E-flat major (marked dotted quarter note = ) is a well-crafted transcription that can serve as a great tool for teaching Classical-period performance tech- niques and includes a full score, performance notes, additional notations, and an optional transposed first trumpet part in E-flat. Presto is a moderately difficult piece, rated as a five out of nine by Triplo Press with a very manageable written range from g to c''' that provides opportunities for all five players to display their stylistic skills through its use of voice interplay, unison lines, staccato and legato playing, and dramatic dynam- ic changes. With a performance time of '", Presto is suitable for a strong undergraduate- or professional-level ensemble to perform with limited preparation as a stand-alone feature for a recital or a special event like a wedding or reception. (Christo- pher Braun, adjunct trumpet instructor, Sinclair Community College, Dayton, OH) Runyan, William. “Great Is Thy Faithfulness.” Arranged by James Olcott from a setting by Joel Mott. Eight Trum- pets. Triplo Press, 2019. Renowned trumpeter, educator, and founder of Triplo Press, James Olcott has adapted this setting of William Runyan’s hymn “Great Is Thy Faithfulness” in a powerful arrangement for eight B-flat trumpets. Originally arranged for the University of Central Oklahoma Trumpet Ensemble by former trumpet professor, arranger, producer, orchestrator, and church music director Joel Mott, this beautiful '" arrangement is a fresh, challenging version of this classic hymn, published in . Set in 4/4 time in the key of F major and marked Rubato (quarter note = ), this is a beautifully packaged, well-notated, moderately difficult arrangement (grade five on the Triplo Press website) that features dramatic dynamics, precisely placed accents, and sensitive vocal-like melodies with a written range extending from g in the lower parts to d''' for the first trumpet. Suitable for a strong undergraduate-level ensemble, this lovely arrangement can be performed for various occasions, such as special events, church services, or recitals. (Christopher Braun, adjunct trumpet instructor, Sinclair Community Col- lege, Dayton, OH) Strauss (Sohn), Johann. “Sehnsucht” Romanze für Kornett (Trom p ete) und Orchester (Klavier). Edited and Arranged by Thomas Ainger and Norbert Ruley. Trumpet and Piano. Diletto Musicale. 2019. Originally composed in for a charity concert for the Pavlovsk Strauss orchestra, the simplistic beauty and song-like harmonic accompaniment of Johann Strauss Sohn’s “Sehnsucht” provide a wonderful Romantic-era addition to the solo trum- pet repertoire. This piece, which was inspired by the immense popularity of solos for cornets á pistons that were presented dur- ing the interludes in many of the Pavlovsk Strauss concerts, holds strong resemblance to the art song genre that swept Europe and Russia during this time. This was originally pre- miered on flugelhorn by a performer named Tittel, with Johann Strauss II conducting. Despite having the weighted notoriety of being composed by a “Strauss,” this work has largely remained unplayed since its premiere. The work presents the trumpet in a true folksong-like set- ting. Transcribed from its original full orchestral score to piano, Thomas Aigner has presented the original piano accompani- ment in a simply scored manner that aids the trumpeter’s acoustic space, allowing the trumpeter to explore various col- ors and portray the melody freely without having to push to be heard. The arrangement places the trumpet in a very accessible range (a' to b''), with most of the melodic content hovering slightly above or below e'' with its rhythms consisting of little more than quarter notes and eighth notes. This piece, besides being from the pen of a late-nineteenth- century musical giant, allows the trumpet to take on the role of a vocalist as they present this beautiful Romanze. This set- ting would make a wonderful addition to any collegiate-level recital that is paired with another song-set from this era or even allow a change of pace for the audience after a more substantial composition. (J. Peyden Shelton, assistant professor of trum- pet, The University of Utah, Salt Lake City, UT) 94 ITG Journal / June 2021 © 2021 International Trumpet Guild CONTENTS S PECIAL M USIC S UPPLEMENT Two Transcendental Etudes by Brandon Ridenour In addition to the ITG commission that we are releas- ing as a Music Supplement this year, we are also offering two great etudes by Brandon Ridenour, who will soon be releasing the complete set of ten studies himself. These very attractive advanced etudes each exercise a different musical style and/or trumpet-related concept. This pdf file is avail able now for download from the Resources: Special Offerings section of the ITG Website.© 2021 International Trumpet Guild June 2021 / ITG Journal 95 B OOK R EVIEWS E RIC M ILLARD , C OLUMN E DITOR CONTENTS O st, Nathan. The Complete Ost Etudes for Trumpet . Nathan Ost Music, 2020. Digital, 67 pp. Trumpeter and com- poser Nathan Ost has created four delightful sets of etudes. The en - tire collection is written in a modern classical style and features a vari- ety of engaging material. Written with profes- sionals and relative beginners in mind, near ly everyone can enjoy the compositions within. As a significant bonus, Jack Sutte of the Cleveland Orch estra has recorded all etudes, and his stunning play- ing provides a fantastic example for study. Opening the collection is 21 Etudes for the Early Trumpeter. This group of studies features a simplified, but still attractive, version of what can be found in the coming sections. The upper range is reduced to fourth-space E-flat, though the writ- ing regularly descends deep into the lower register, often approached by large leaps. Additionally, the relatively compli- cated rhythms found in some etudes may be challenging for young musicians. Thankfully, these apparent weaknesses for beginners are perfectly suited for adult students or comeback players. Those with more experienced ears or who have taken time away from the trumpet will find the challenges rewarding, rather than dull or trite, which is too common in beginning studies. The second set, 21 Characteristic Studies for Trumpet, is the highlight of the collection. Reminiscent of Arban and Brandt, these compositions are both approachable and challenging. Ost’s writing is refreshing, regularly featuring a cinematic style. As the popularity of music by composers like Erik Morales and Kevin McKee grows, there also grows a need for matching study materials. These etudes are an important step in that direction. The third section, 21 Lyrical Studies for Trumpet, is the ideal companion to the preceding etudes. Unlike previous sections of the collection, these etudes feature a wider variety of key sig- natures. Further, the range is expanded when compared to other books designed to improve the art of phrasing. This reviewer agrees with Ost’s assertion in the foreword that learn- ing to perform with ease throughout the entire range of the instrument is what “separates the good players from the great players.” Spending time with this music will certainly aid in that pursuit. The final group is 21 Miniature Etudes for Trumpet. These etudes are similar to the longer characteristic studies, but these smaller vignettes focus on a single rhythmic or melodic figure throughout. Unsurprisingly, Ost’s epic writing is strongly pre- sented. Given the large volume of method books and etudes avail- able today, it would be easy for a new collection to be lost. Thankfully, these seem destined for success. The quality writing and sensitivity to modern stylings create an enjoyable experience for a diverse population. When combined with the masterful recordings provided by Jack Sutte, this collection is a must for any performer, teacher, or student. (Dustin Williams, freelance performer/educator, Kansas City, MO) Raymond, John. The Jazz Trumpet Routine. Bloomington, IN, 2020. Softcover, 123 pp. The Jazz Trumpet Rou tine by Indiana Uni- versity trumpet profes- sor John Raymond is a self-published book that provides a fresh take on practicing fundamentals from the perspective of a jazz trumpet player. Containing more than exercises, this book is firmly in the tradition of the staple trumpet methods by such peda- gogues as Clarke, Arban, Schlossberg, and Adam. However, the real con- tribution that this text makes to trumpet pedagogy is how these time-tested exercises are adapted and expanded upon to mirror the improvisation process. The book is fairly comprehensive, including sections on sound (leadpipe buzzing and long tones), flow (numerous vari- ations on Clarke’s Technical Study No. 1), flexibility, scales and arpeggios, and lyricism. The only fundamental area that is not directly addressed in the book is articulation. One of the high- lights of this book is the “Pronunciation” chapter, which focus- es on scales and chords. The exercises in this section focus pri- marily on scales and chords that are usually ignored in tradi- tional trumpet methods—modes, melodic minor, whole tone, and diminished. Additionally, some of the exercises include Please send requests to join the review staff and review copies of books, dissertations, method/etude books, and duet books meant for pedagogical purposes to: Dr. Eric Millard, ITG Book Reviews Editor, Department of Music, 9201 University City Blvd., Charlotte, NC 28223; bookreviews@trumpetguild.org96 ITG Journal / June 2021 © 2021 International Trumpet Guild triplet patterns grouped in fours and eighth-note patterns grouped in fives and sevens, which are important polyrhythms for modern improvisers to master. An important aspect of this book is the collection of demon- stration recordings played by the author, which are available for download or streaming from Raymond’s website. Unlike many books with recorded models, these tracks include every single exercise in the book, and they leave space for call and response, so the player can practice along without starting and stopping the recording. Sprinkled throughout the book are quotations, both instruc- tional and inspirational, by the author, as well as renowned trumpet, brass, and jazz artists such as Arnold Jacobs, Bud Herseth, and Kenny Werner. Raymond encourages the reader to consider these “mantras” as they play the exercises. While the name implies that this book is for those interested in devel- oping their jazz playing, it does not delve into jazz style or inflection. For instance, on the demonstration recordings Ray- mond plays the eighth notes even, rather than swung. Overall, The Jazz Trumpet Routine strikes a good balance between tradition and innovation and will be very helpful for students and teachers, regardless of their stylistic comfort zone. (Taylor Barnett, assistant professor, coordinator of musicianship studies, Virginia Commonwealth University, Richmond, VA) Utterström, Oscar. Musician Builder II, B-flat Version. Bloomington, IN, 2019. Digital, 66 pp. Oscar Utterström is a Swedish trombonist, com poser, arranger, and educator based in Nash - ville, Tennessee, and Os lo, Norway. His lat- est publication, Musi- cian Builder II is a meth od book to en - hance improvised solos. Transposed for many keys and instruments, the book and accompa- nying play-along tracks are available for treble clef, bass clef, E-flat, and B-flat instruments in a digital-download format. This book is a stand-alone method for jazz improvisation, despite the indication that it is the second volume. Utterström recommends starting the process by playing some improvised lines using the notes of a major scale. The book contains a written D major (concert C) etude as an example of some pat- terns appropriate to the methodology. The included play-along track allows you to practice this and your versions of impro- vised melodies. Once comfortable with major-scale patterns, Utterström explains the four steps of his method to create a more struc- tured solo. In step one, the performer is instructed to write out guide tones (third and seventh scale degrees of each chord) in each measure. A brief description of basic music theory helps the user to find pitches for the guide tones and describes basic voice leading. In step two, the performer is instructed to embellish the guide tones rhythmically. Step three involves melodic embellishment, and the fourth step involves adding chromaticism. Utterström explains through written examples the pedagogical points of the book. Ten songs based on jazz standards are featured using this four-step method, such as Sunny Side Up (On the Sunny Side of the Street), Fall Foliage (Autumn Leaves), Subway Etude (Take the A-Train), and more. The book’s digital download comes with backing tracks of moderate and fast tempi for each song, ranging from to bpm. Utterström’s examples have a wide range of rhythmic variety, such that the player would need the ability to read and under- stand these patterns. The accompanying tracks do not have a melody playing example; they are strictly backgrounds to aid in practice. The player needs some fluency in jazz style and interpretation before using this book. The range extends up to b''. Given these considerations, this method is for a player with a good foundation of jazz articulation and style who is looking for a structured way to approach improvisation. (Carrie Blosser, freelance studio teacher and trumpet instrumentalist, Navy Fleet Band Great Lakes, Chicago, IL) CONTENTS C OMING IN THE O CTOBER 2021 ITG J OURNAL •The 2021 International Trumpet Guild Virtual Conference compiled by Peter Wood •Rotary and Piston Trumpets: New Perspectives by Colin Bloch •Mark Gould: The Pedagogue by Ross Venneberg •Ian Carey: Contrast Can Be Just as Effective as Synchronicity by Thomas Erdmann •A Decade of Change: Miles Davis’s Blues Solos 1954 – 1964 by Peter Bellino •Plus reviews, columns, news, and much more!© 2021 International Trumpet Guild June 2021 / ITG Journal 97 N EWS FROM THE T RUMPET W ORLD J ASON D OVEL , C OLUMN E DITOR CONTENTS A PPOINTMENTS Sycil Mathai to California State University, Fullerton Sycil Mathai has been appointed assistant professor of trum- pet at California State University, Fullerton. Mathai’s career encompasses all genres, and The New York Times called him a “terrific trumpeter.” From classical to experimental genres, his work spans ensembles like The Knights orchestra, Saint Paul Chamber Orchestra, Broadway shows like South Pacific and Mary Poppins, American Composers Orchestra, American Symphony Orchestra, Extension Ensemble, Ne(x)tworks, artists Carter Burwell, Butch Morris, the dance companies of Merce Cunningham, Mark Morris Dance Group, Nai-Ni Chen, and movie directors Andy Kaufman, and The Coen Brothers. Mathai has recorded for rca, pbs, cbs, ea Sports, Warner Classics, and Sirius Satellite Radio. He has shared the stage with artists ranging from Yo-Yo Ma to Stevie Wonder. Recently, Mathai saw the release of a recording he made with The Knights orchestra featuring Yo-Yo Ma and a recording of violin concertos featuring Gil Shaham. Mathai formerly taught at the State University of New York at Fredonia. His brass teaching philosophies include his close work with the sports psychologist Dr. Don Greene and work with trumpet teachers who personally studied with James Stamp. Mathai is a graduate of Juilliard (ad) as a student of Mark Gould, Texas Christian University (bm) as a student of Steve Weger, and suny Fredonia (mm). (Source: Sycil Mathai) E VENTS AND A WARDS Herb Alpert named Philanthropist of the Year Herb Alpert has been named Philanthropist of the Year by the Los Angeles Business Journal. The -year-old trumpeter has donated millions of dollars to worthy charities. Charities and institutions that Alpert has supported include a million donation to ucla in to establish the Herb Alpert School of Music. He also donated , to New York’s Harlem School of the Arts. Alpert (b. ) is an American trumpet player who is also the founder of A&M Records and director of the popular s-era Herb Alpert & the Tijuana Brass. His extremely suc- cessful career landed him the honor as being the only musician to hit Number 1 on the us Billboard Hot 100 pop chart as both a vocalist and instrumentalist. (Source: Brian Evans, LA Business Journal) Seraph Brass Digital Residencies In , Seraph Brass pandemic-proofed their teaching ini- tiatives by offering virtual concerts, classes, and residencies around the world. These remote offerings covered a variety of sessions, including Career Versatility, Entrepreneurship, and Chamber Music: Starting Your Own Group, as well as general instrumental masterclasses and pedagogy classes. The ensemble also provided virtual concerts and lectures for international fes- tivals including the Italian Brass Week and Sopra Metais in Brazil. Seraph also joined the University of Iowa community as artists in virtual residence. Along with offering individual pri- vate lessons to Iowa students, they gave four group masterclass- es and an additional three masterclasses for each instrument group. They also offered similar classes to such institutions as Arkansas State University, Indiana University, the University of Pennsylvania, Plum High School, and more. Seraph Brass members include Mary Elizabeth Bowden (assistant professor of trumpet, Shenandoah Conservatory), Raquel Samayoa (assistant professor of trumpet, University of North Texas), Jean Laurenz (assistant professor of trumpet, University of Wisconsin – Madison), Rachel Velvikis (adjunct professor of ITG members are encouraged to send correspondence, inquiries, and trumpet-related news to Jason Dovel, News Editor (news@trumpetguild.org). ITG strives to present news items of an objective nature only, and all items will be edited for clarity and brevity. For more detailed information on many of the news items included in this column or for additional stories omitted due to space restrictions, visit the ITG Website (http://www.trumpetguild.org/news). Sycil MathaiNext >