© 2020 International Trumpet Guild March 2020 / ITG Journal 73 B OOK R EVIEWS E RIC M ILLARD , C OLUMN E DITOR CONTENTS Hilleke, Manuel. Groove Trumpet. Vienna, Austria: Univer- sal Edition, 2018. Softcover, 52 pp. Manuel Hilleke is a freelance trumpet player, bandleader, arranger, and composer based in Mainz, Germany. He teaches at the Peter Cor- nelius Conservatory in Mainz and is also the artistic head of the Mar- shall Cooper Band. His book, Groove Trumpet, presents a thorough and clear approach to per- forming various styles ranging from New Or - leans jazz to mariachi. Groove Trumpet fea- tures eleven different tunes, each with a page of information that is divided into four categories on how to approach preparation and perform- ance of the work. !e first category is “!eme, Section, & Technique,” which covers how to perform the melody with proper style, both as a soloist and as a section player. !e sec- ond section is a guide to improvising over each tune, while the third section, “Exercises,” suggests different ideas on how to practice each of the elements discussed in the first two sec- tions. In the final section, “Basics,” Hilleke suggests artists to listen to as a reference for style, improvisation, and general performance advice. Hilleke also includes a page of suggested scales, riffs, and a harmonic layout of the tune. A unique fea- ture that accompanies Groove Trumpet is a play-along that has multiple different tracks for each tune. The includes separate tracks for every tune with all trumpet parts muted, only the lower trumpet parts muted, only the first trumpet muted, and no parts muted. All of these recordings are by the Marshall Cooper Band. Hilleke also includes some auxiliary materials covering topics such as articulation, ornaments and gimmicks, and jazz/pop phrasing. Groove Trumpet is a thoughtful and comprehensive app - roach to learning various musical styles. It provides valuable performance insights and the opportunity to play along with professionals, making it an exceptional resource for any trumpet player wishing to improve their understanding and ability to perform and improvise in a variety of popular styles. (William Landon, graduate student, University of Colorado – Boulder) Hultmark, Torbjörn. The Torbjörn Hultmark Trumpet Method: Exercises for Tone Control on the Trumpet. London: Composers Edition (http://www.composersedition.com), 2017. Softcover, 66 pp . Torbjörn Hultmark’s method book presents a range of tech- niques on the trumpet, from fundamentals to extended tech- niques. !e method is divided into five major sections: Breath, Flexibility, Articulation, Practice Patterns, and Twelve Etudes. Hultmark gives clear instructions throughout, ex p laining the correct ap proach to each exercise. The first three sec- tions are focused on the fundamental compo- nents of playing. These sections contain materi- als that range from well- thought-out exercises on common themes to extended techniques. Trills, breath attacks, pitch bends, and use of the first and third valve slides are all covered. The first part of the book also touches on more advanced skills, including pedal tones, circular breathing, and multiphonics. Hult- mark takes care to cover any technique that the modern trum- peter might face, even covering flutter tonguing and ti-ri tonguing. Sections four and five contain longer exercises. Section four presents practice patterns based on pre-existing materials: Her- bert L. Clarke’s Technical Studies, Stravinsky’s A Soldier’s Tale, and peals (eighth-note groupings based on patterns from tra- ditional handbell methods). All are presented in a variety of tonalities and rhythmic patterns. Section five contains twelve etudes by Hultmark. !e first eleven etudes focus on ideas and patterns introduced earlier in the book, each clearly marked Please send correspondence, review copies of books, dissertations, videos, and requests to join the review staff to: Eric Millard, ITG Book Reviews Editor, Department of Music, 9201 University City Blvd., Charlotte, NC 28223; bookreviews@trumpetguild.org ITG ON T WITTER ITG now has a Twitter feed for important updates and breaking news! Follow us at @ITGupdates74 ITG Journal / March 2020 © 2020 International Trumpet Guild CONTENTS with the applicable section for reference. !e final etude, to be played at a lively tempo, contains the advice “Good luck!” and serves as a fun culmination of the method’s exercises. Hultmark has created a method book that covers common techniques that every player will find useful, as well as many more advanced extended techniques in an easily understand- able and concise manner. Modern music has forced musicians to expand their skillset beyond what is presented in traditional trumpet methods, and Torbjörn Hultmark has successfully addressed these demands. !is method should be a welcome addition to any trumpet player’s library across all ability levels. Beginners to seasoned professionals alike will find materials to expand their technical and musical prowess. (Elijah Pugh, instrumental music director, Shelton State Community Col- lege, Tuscaloosa, AL) Lyman, Zachary. Practical Daily Warm-ups for Trumpet, Second Edition. McMinnville: Keveli Music, 2019. Softcover, 92 pp. Practical Daily Warm- Ups for Trumpet, Second Edition by Zachary Ly - man (associate profes- sor of music at Pacific Lu th eran University) of f ers a detailed and com prehensive warm- up rou tine for interme- diate to advanced trum pet players. The book is divided into several sections: mouth - piece buz zing, first ex - ercises, scales, arpeggios, lip-slurs, single and double tonguing, triple tonguing, long patterns, and ped al tones. It also in cludes a well-written and informative introduction that establishes and identifies the common elements of a good warm-up routine. Lyman suggests that “each warm up should be as unique as the player,” thereby encouraging each player to find the routine that suits them best. In the last paragraph of the introduction, Lyman gives several critical pieces of advice: “No dynamics or tempi have been assigned to the exercises in this book. Begin slowly and at a relaxed, medium dynamic level. Progress faster and louder only when you can play each exercise from a very relaxed stance. Vary the speed and dynamics of your warmup as another way of mixing up your routine.” He then concludes the introduction by reminding students to “challenge yourself, stay relaxed, and have fun.” Each of the sections that follow are preceded by short writ- ten explanations of the exercise and offers physical and mental concepts that will help make the exercises more beneficial. !ese concepts are very useful and will help the player maxi- mize the warm-up exercises found in this book. Scales (major, minor, chromatic, whole-tone) and arpeggios dominate the first half of the book. For each scale and arpeggio, Lyman offers several different permutations and exercises to develop maxi- mum fluidity. Zachary Lyman’s Practical Daily Warm-Ups for Trumpet, Sec- ond Edition is a well-constructed document that will challenge and motivate intermediate and advanced trumpet players by offering them a detailed set of exercise and concepts. High school, college, and professional players should seek out this book and incorporate these exercises into their warm-up rou- tines. (Jacob Walburn, assistant professor of trumpet, Stephen F. Austin State University, Nacogdoches, TX.) Proksch, Bryan, ed. A Sousa Reader: Essays, Interviews, and Clippings. Chicago: GIA Publications, 2017. Soft- cover, 185 pp. One cannot speak of American musical cul- ture without acknowl- edging the legacy of John Philip Sousa. In his day, Sousa was not just a composer; he was a national icon whose words and opinions held sway on multitudes. Sousa freely shared both knowledgeable and wit - ty opinions on topics ranging from the role of government in the arts and prohibition to the newly invented Edison phonograph. Many Sousa enthusi- asts are well aware of Sousa’s autobiography, Marching Along; yet, to some musicol- ogists, including Bryan Proksch (the editor of this book), Sousa’s end-of-career retrospective is not as insightful as his reflections written in the moment. A Sousa Reader includes selected extracts from the Sousa press books residing in the University of Illinois’s Sousa Archives and Center for American Music. According to Proksch, these rarely viewed press books contain more than %&,&&& items “gathered by Sousa’s press agents” throughout Sousa’s professional life. A Sousa Reader is organized into six periods of Sousa’s career, the earliest excerpts taken from the late %'&&s to the most contemporary from the %()&s. Between these bookends, the reader learns of Sousa’s opinions on such disparate subjects as how to choose an American anthem, why the trio of a march should be in the subdominant key, the importance of the women’s suffrage movement, the role of jazz in society, and the joys of trap shooting. !roughout A Sousa Reader, Proksch prefaces some of the lesser-known subjects of Sousa’s writing with much needed background information. !ese italicized vignettes bring important historical perspective to the read- ings and allow for a more thorough understanding of the topic at hand. A Sousa Reader is a delightful look into Sousa’s life, the coun- try he so dearly loved, and the musical industry in which he actively participated for over sixty years. With the success of this project, one would hope for additional volumes to come, as there appears to be a vast treasury of material waiting to be re - discovered. (David Reynolds, director, School of Performing Arts, South Dakota State University, Brookings, SD)Next >