ITG 2005

Kari Brooks, reporter

John Bourque, fourth chair in the Malaysia Philharmonic Orchestra, welcomed the audience to the master class with a slightly puzzled look on his face. He kindly explained to the crowd that if he could only find the other three trumpet players, they could get started! But as the last word exited his mouth, a fantastic fanfare bellowed from behind the side door, and it was pretty obvious where the rest of the trumpet section were to be found! After their attention grabbing fanfare, the rest of the section entered the room led by Larry Knopp (principal), Isaac Pulford (second), and William Theiss (third).

The main objective of this master class was to educate other trumpeters on what it takes to perform in an orchestral trumpet section. It was stated early on that blend, balance, and the ability to listen were crucial, and being able to sound like one trumpet instead of four individuals is what makes a trumpet section fantastic. To demonstrate this, they proceeded in flawlessly playing an excerpt from Copland’s Third Symphony, otherwise known to us as Fanfare for the Common Man.

Larry Knopp then spoke about the importance of building a section by comparing the process to that of building a marriage because communication and respect are the keys to success. It is important that a section can communicate both verbally and non verbally and that they can respect each other’s abilities, roles, and personalities. He warns of falling into the “I’m better than you” crack, and instead advises that a wise person finds the strengths in others, and then copies them!

Knopp explained that being a principal player goes beyond excerpts and solos, it’s the stuff that you do behind the scenes. Studying the scores to know exactly where your part fits, and then being prepared and consistent are all crucial responsibilities to this position. All chairs are equally important in a good section. The second chair trumpet must be a good section player and know when to blend and match with the principal in order to give him support, but also know when a soloistic approach is required. The third chair player, William Theiss stressed the importance of intonation in the section, and the fourth chair player, John Bourque emphasized his importance in laying down a solid dominant and tonic to form the foundation for intonation within the section.

The master class concluded with a lively and energetic performance of an excerpt from Festive Overture that will remain in the audience’s ears for some time to come!