ITG 2001 Conference - Tiger Okoshi Master Class

Arthur A. Molitierno, Reporter
Well known to trumpeters around the world, Allen Vizzutti has played in thirty countries and all states in the union. He has appeared with numerous and varied groups, from orchestras and big bands, including Doc Severinson, Chick Corea, the Airmen of Note, Woody Herman, the Saint Paul Chamber Orchestra—the list could go on to fill pages devoted to classical and jazz performances.

In introducing Vizzutti, Vincent DiMartino referred to this exceptional musician as a longtime friend whom he studied with as a student while at Eastman. DiMartino recalled hearing an incredible sound coming from somewhere in the building and discovered that it was being produced by this “little skinny guy.” DiMartino considers Vizzutti not only a friend but also someone whom he continually learns from, someone who plays what was formerly thought impossible to play. It is indeed the highest praise to hear DiMartino, a player of such enviable talent and skill, refer to his friend as a musical role model and “great musician, a wonderful and subtle musician.”

As an entrance to his master class, Vizzutti began by playing an excerpt from his own Carnival of Venice variations which in their sheer speed and range may make even the most advanced player wish he played the drums instead of the trumpet. Yet even though Vizzutti is known for such brilliant playing, he is not one to emphasize technique, indeed his main focus in the master class was on tone production.

Vizzutti had one volunteer for the master class, Jesse Irving, who will be a senior at the University of Northern Colorado. Ms. Irving is preparing the Handel Suite in D Major for her next recital. Vizzutti began his comments on her playing by indicating that he applauded the student for her courage in coming before an audience of trumpet players. In commenting on the piccolo playing, Vizzutti noted that he observes David Hickman’s suggestion that the piccolo should be played delicately, as lightly as a woodwind. He then had the student again play passages from the solo, this time with a much-improved delicacy. Another aspect of playing that Vizzutti quickly helped the student improve was in the playing of trills. The master performer noted how the trill should be played on the slow side. Too often, in rushing to trill the passage as quickly as possible, there is a muddy expression rather than a musical expression. He had the student begin with a slow trill to demonstrate how to master the trill. Everyone in the audience, especially the student, immediately noticed the improved results.

While Vizzutti did have one volunteer for the master class, his master class was really directed to all the players in the audience. In beginning his session he indicated what a pleasure it was for him to be talking to so many who desire to play and to improve their playing.

If a good sense of humor is any indication of a keen mind, Allen Vizzutti is more than blessed. His physical routine in imitating the trumpet player who goes through as many nervous and frantic movements as Ed Norton of The Honeymooners brought as much laughter as applause. He also indicated that he is from Montana and has “a gun rack in the rear window of his Mercedes in which he keeps a trombone.”

In presenting his master class and lecture, Vizzutti also showed that he is more than just a musician with the most incredible facility on the trumpet. He is a great teacher who shares all his knowledge in a positive manner to students of all levels of development. Continually through his lecture he showed in how some players fail to grasp fundamental concepts. Yet, Vizzutti’s humor is always generous and caring. He is willing to share and communicate his vast knowledge of all aspects of trumpet performance. He especially pointed to the problems that trumpeters in church continually face—fifteen minutes of waiting to perform, without a note to precede the beginning of the piece—and the kind of tension that such nerve-wracking anticipation creates.

Tension for Vizzutti is something that should be eliminated as much as possible. He emphasizes relaxation in breathing and playing, two important aspects of playing in tune and in developing range and endurance. Tension should also be eliminated in tone production, the most important aspect of playing. As the master indicated, tone production is the essential reason for playing. Thus, the basics of tone production should be the starting place for all players in producing a beautiful sound.

In producing beautiful tones, Vizzutti indicated that the proper way to breathe is to relax and let the air almost fall into the lungs. Anything that relaxes the process is beneficial. Breathing should not be noisy, as in some Yoga exercises, but done with a quiet, relaxed, and open throat. Nevertheless, even though there is relaxation in taking air and attempting to push it through the horn, trumpet playing itself must be seen as an aggressive endeavor. Vizzutti recommends practicing as many notes in one breath as possible and then increasing the length by a note at a time. He also suggested the employment of “stealth breathing,” taking in quick breaths.

The ultimate aim of playing trumpet is to communicate with the audience. The sheer difficulty of a musical composition is no assurance that the artist will communicate with and touch an audience. For Vizzutti, the beauty of playing is that everyone has a unique sound and contribution to make: “You can only be you.” On the journey into the realm of musical communication, the player must learn to forgive mistakes. Playing with a positive attitude will eventually result in the most productive musical results. Maybe that’s where Vizzutti’s high notes really come from: a generous spirit and a very positive attitude toward students and audiences.