John Irish, Reporter
Mr. Vincent DiMartino spoke of the excitement he felt for the ITG Conference and its importance as a time of renewal. 
It is certainly an important event for trumpeters to use as a source for information, inspiration, networking, and repertoire. To experience all this live with some of the greatest players in the world is a real treat. We can’t begin to experience all that conferences have to offer in our own local areas; he urged all to gain as much exposure to all that ITG has to offer and to make the most of their conference experiences.
After concluding his introductory remarks DiMartino asked for students to volunteer to play. In the master class setting. Anya played the first half Arutunian Concerto on trumpet. DiMartino urged the practicing of longer passages to help increase endurance. This was followed by some stylistic observations. The musician must have an idea, a “role to play,” in their interpretation. Along these lines, one most develop a way of playing that is convincing. DiMartino played the rhapsodic opening and asked Anya to compare his interpretation with hers which revealed to her the need to think through her performance style. Differences in articulation and phrasing, in particular point to this aspect of his comments. He also spoke at length on the need to shape lines to add interest. DiMartino addressed the faster Allegro section next. 
In it, the sixteenth notes shouldn’t be played too short, dynamics are relative but very important, and one must listen to the accompaniment for lines and dialogue with the accompaniment. Tough passages should be worked out patiently stressing musicality. Let the ear act as your guide in this process.
The Halsey Stevens Sonata, first movement, was played by Caspar. Counting in this piece is difficult so we should know the flow of events. DiMartino demonstrated the piece on a C trumpet demonstrating that the 3rd slide can to be extended out to play all the low Ds with the 2nd and 3rd valves. 
He suggested that many players overcompensate on the low notes. He advised students to practice the low register with breath attacks, the third valve extended, and to keep the tongue higher. This allows for a smaller oral cavity—avoiding the “big cave”—when the jaw is dropped too much with insufficient air. The two then practiced slurring from g (top of the staff) down two octaves keeping the same basic point of reference—maintaining the ability to come back to the same spot. The jaw becomes the operative feature but the air has to remain
constant. Tensile strength in the bottom register must be kept in check. In our playing, one must have the ability to play what the ear tells us and not think of the mechanics of playing the trumpet; DiMartino then demonstrated this by playing a series of jazz licks all over the horn. Articulations and note lengths were then reviewed in light of the composer’s markings.
Joanne came up next and performed the Gabaye Boutade. Focusing on sound and air production was the first matter at hand. Striving for a more open tone and changing the attack slightly to a softer “dah” tongue brought positive results. Places to breathe were few and far between and had to be intelligently placed to survive the piece. DiMartino provided his own interpretation of the piece revealing the many dynamic shapes and contours possible.
The final performance on the master class was the first movement of the Kennan Sonata performed by Amon. The style of the piece requires the player to perform with strength and vigor. Even in the softer sections there is no let up in intensity and a vigorous interpretation. DiMartino pointed out that the intervals of the fifth and fourth are very important in this movement. A smoother, more connected approach was also advised.
We are certainly fortunate to have an artist of this caliber as president of ITG. DiMartino’s enthusiasm and energy for his craft is an inspiration for all trumpeters! 
