In May of 2005, I hosted a trumpet conference that featured the former principal trumpet of the Chicago Symphony, the great, Adolph Herseth.  It was a three-day event that not only showcased him in recital with none-other than Doc Severinsen, but featured him in a number of educational settings.  What follows is an article written by a former student, Jerod Sommerfeldt, and myself that appeared in the September 2005 ITG Journal. Adolph...

In May of 2005, I hosted a trumpet conference that featured the former principal trumpet of the Chicago Symphony, the great, Adolph Herseth.  It was a three-day event that not only showcased him in recital with none-other than Doc Severinsen, but featured him in a number of educational settings.  What follows is an article written by a former student, Jerod Sommerfeldt, and myself that appeared in the September 2005 ITG Journal. Adolph...

Title Concerto for Trumpet and Orchestra For Bb or C trumpet and piano (1996) By John Williams Biographical Info “Given a background of playing trombone and trumpet as a teen, and after writing so much brass music for films and for ceremonial pieces, you can imagine my pleasure when the Cleveland Orchestra asked me to write a concerto for their newly appointed principal trumpeter, Michael Sachs.  Not only did this commission offer me an...

In May of 2005, I hosted a trumpet conference that featured the former principal trumpet of the Chicago Symphony, the great, Adolph Herseth.  It was a three-day event that not only showcased him in recital with none-other than Doc Severinsen, but featured him in a number of educational settings.  What follows is an article written by a former student, Jerod Sommerfeldt, and myself that appeared in the September 2005 ITG Journal. Adolph...

Title Unaccompanied Suites originally for Cello Johann Sebastian Bach Edited and Arranged by David Cooper Biographical Info Bach composed the cello suites while he was employed at the court of Cöthen (1717-1723) as capellmeister and director of chamber music.  At this time, he devoted his efforts to instrumental music in which he set up perfect models and guides to professional musicians, advanced students, and music lovers. The six...

Most universities require that their music majors perform a half recital (20-30 min) their junior year and a full recital (45+ min) their senior year.  Here are some thoughts and strategies I have on programming. Programming Strategy Your first recital can be a nervous endeavor.  Like many of us, when nerves come in to play, our endurance suffers.  I encourage my students doing junior half recitals to pair up and share this program with...

This is my mantra with my private and university students.  (Actually, one of my many mantras.)  Another favorite is: Scales are Useless!  -until they’re memorized. My problem with typical scale work is that everybody practices them the same way.  (Click the scale images to enlarge them.  Then, your “back” button to come back.) Here is an analogy.  Say you were to have to come to my house, out in the middle of nowhere,...

I’m going to break from the norm of this site for a moment and offer up a musical selection.  I know this may not be following the educational and informational direction of this blog but I came across this mp3 the other day and just thought I would share it. The Setup A few years ago saxophonist Tom Gullion, called some musicians together to play on a recording project of his.  The night before the recording session I happen to have a...

Here’s the bottom line with mutes; for the most part – You Get What You Pay For. Q.           What makes one mute worth more than another? A.            Consistent intonation in all registers.  Often lesser mutes will make you sharp in the lower register and flat in the upper register. A.            Intonation to the instrument; meaning, how far do you have to pull your slide when you put the mute in? ...

Here is an email-article that I read written by Jens Lindemann.  For those of you new to the trumpet world, Jens is one of the greats.  Actually, I would put him in the top 10 living all-round players.  He is one of the few trumpet players making a living as an international soloist. This was originally written a few years ago and I see on his website that he is now endorsing GR mouthpieces.  I’ve met Gary Radtke of GR technologies...

One of the things I find myself discussing often with students is how to make a trill, or general ornamentation guidelines.  It’s actually pretty involved, aside from the part about making a finger go up and down… First a little historical (hysterical) context: The Quantz View Noted musicologist Johann Joachim Quantz (1697-1773), on ornamentation, particularly trills. It must be noted that his reference to the “shake” should be...

Those of you that know me know that I have a passion for playing many musical styles as deeply and sincerely as I can.  In fact, I think the main thrust of this AllThingsTrumpet blog is geared for the versatile cross-over player.  All that being said; I would like to convey some thoughts on a musical situation that recently got me thinking. A more subtle cross-over playing situation My contracted position with the Madison Symphony is for...

Title Sonata no.1 “The Tempest” For C trumpet and piano By David Gillingham Biographical Info The first sonata of David Gillingham bears the nickname, “The Tempest” because of the stormy and turbulent nature of the first movement, the somber aftermath of the second movement and the whirlwind drive of the third. Suggested Equipment C trumpet is preferred because of the extreme endurance demands.  There are also technical...

As we get older and (hopefully!) develop musically it seems that the demands on our time and playing increase exponentially.  There never seems to be enough time in the day for everything that I want/need to work on.  Coming up with a method of organizing my practice time has helped me tremendously.  When I observe this “pie chart” practice methodology I feel a sense of accomplishment at the end of a practice session, rather than...

Part IV Musicality This subject is too often overlooked or brushed-over by students.  It seems that once a player learns all the right notes and rhythms the objective is complete.  In my opinion, this is now the beginning!  In our world of fast food and computers people expect results too quickly; at least I believe this to be true in the music world.  Turning a phrase in a natural, improvisatory manner takes time and living with the...

Part III Technique Part three of my routine comprises quite a large area of information but it is all related to developing right hand technique and coordinating the right hand with articulation.  In keeping with the idea of focusing on a minimum number of variables, limit the range of these exercises at first.  Play scales from root to fifth, slurred, as quickly as possible, while maintaining control and accuracy. Audio clip: Adobe...

Things are wrapping up here at the Shell Lake Jazz Combo Camp.  It’s been a fantastic week.  The faculty were all top notch players from Minneapolis, Chicago, Indiana and Madison.  There was one faculty per instrument and we gave three concerts as a group throughout the week.  (The piano faculty was Luke Gillespie from Indiana U and is absolutely brilliant!)  The faculty combo was joined by jazz violinist, Randy Sabien on our...

The article that follows was something that was published in an International Trumpet Guild Journal a number of years ago. Part II Strength-Flexibility The body consists of muscles that work in primarily two contexts.  Slow-twitch muscles are used for activities that require a great deal of strength, and the Fast-twitch muscles are used for quick, repetitive or graceful maneuvers.  Two sets of visual examples would be comparing an...

Why Do I Need to Practice Scales? The Value of Tonal Literacy This article was written from a music educators point of view.  It was written by Thomas West and appears on his website here.  He has graciously allowed me to reprint it here on AllThingsTrumpet.com for you.  Enjoy! Posted by Thomas J. West on March 14, 2010 at 9:18 PM Scale Study as a Technique Builder The most obvious value of studying major scales and tonic...

The article that follows was something that was published in an International Trumpet Guild Journal a number of years ago. Creating music on the trumpet can be a daunting proposition to the young and not-so-young student of music.  There are countless aspects to be considered and mastered when one thinks of the ‘simple’ act of turning a phrase.  To help us begin cutting through this fog, we can use principles in creative problem...

I am leaving tomorrow morning to teach at the Shell Lake Jazz Camp.  I will be there from July 4-9 teaching brass master class, improvisation a combo and jazz arranging.  The faculty will also be performing evening concerts.  I’m looking forward to meeting and playing with the other faculty up there. I’m not sure what kind of internet connection I’ll have but I hope to continue regular posting here at...

Title Concerto for Trumpet and Orchestra (1997) By Lauren Bernofsky Piano reduction by the composer (2001) Biographical Info Although Lauren Bernofsky was trained as a violinist, she has contributed a substantial amount to the brass repertory.  Among these pieces is her Trumpet Concerto (1997), a full-length work cast in the traditional formal plan of the classical concerto, but in a more modern tonal language. The piano reduction premier...