| TRUMP(et) THIS! at Rowan University a Success! | September 27, 2003 | |||||||||
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In February, Rowan University in Glassboro, New Jersey, was the site for a gathering of more than 70 amateur and professional trumpet players and industry experts for an all-day trumpet festival entitled TRUMP(et) THIS! The event featured performances and clinics by some of the most outstanding professional trumpet players on the East Coast and was organized and hosted by Rowan University Assistant Professor of Trumpet and Head of Rowan's Brass Division, Dr. Bryan Appleby-Wineberg. The day began with a rousing performance of Concert Fanfare by Eric Ewazen, performed by the new Rowan University Trumpet Ensemble directed by the host. After an introduction by Department of Music Chairman, Professor Dean Witten, Appleby-Wineberg presented the first clinic of the day entitled "Techniques of Intonation and Vibrato", starting it with a discussion of what good intonation actually is and how musicians can learn to play in-tune. He stressed that the art of playing "in-tune" is really the art of eliminating "the beats", and demonstrated the beats by playing the trumpet against a tone generator and slowly bending the note above and below the pitch. The demonstration was very effective as the beat pattern was clearly audible as it increased in frequency as he moved further away from the pitch and then slowed down the closer he was to the pitch center. Following the demonstration, he pointed out that the visual dial we see on tuners does not help our aural perception at all: it is merely a visual stimulus. He stressed that good intonation was best achieved by listening and not by watching. After showing the audience how to figure out the tendencies of each note on the horn, by playing in unison with a tone generator across the whole range of the trumpet, he demonstrated how notes must be adjusted when they are played as intervals or chords. For this part of the demonstration Rowan University students Timothy White (Sophomore Music Ed.), and Jonathan Barnes (Freshman Jazz Trumpet Performance) assisted him. The trio demonstrated how each note of a chord must be adjusted to the root in order to be in-tune. Finally Appleby-Wineberg presented a brief discussion about Vibrato. In this part of his presentation he outlined the three ways of producing trumpet vibrato (Hand, Chin/Lip, and Air) and the six parameters of vibrato (on, off, fast, slow, wide, narrow), then while playing the opening of Charlier's Etude No. 2, he demonstrated the different types of vibrato heard in different regions of the world: Russia, Germany, England, Latin (Spain/Mexico), France, and the U.S., showing how each would result in a different rendition of the piece. Bob Malone, product development manager for brass at Yamaha Corporation, presented the second clinic of the day. His presentation was entitled "Zeno and The Art of Trumpet Making" and centered on helping the audience understand the amazing variation in the timbre and feel of a trumpet one could achieve by changing what seemed like minuscule details of the trumpet's construction. For instance while Dr. Appleby-Wineberg demonstrated the new Xeno Bb trumpet, Mr. Malone changed the stop screw on the third valve slide from solid to one that was hollowed out. When Appleby-Wineberg played again there was a striking difference in tone and a change, reported by the player, in how the trumpet felt. In addition Bob Malone discussed the process that brought him to Michigan and Yamaha from his workshop in California. He talked about Yamaha's dedication to consistency and how his new designs for the trumpet were being received by some of the biggest names in the business. It was a fascinating clinic and after his presentation Mr. Malone was available for lengthy discussions with many of the participants who were trying out instruments at the Yamaha booth. Next up on the program was an informative presentation by Associate Professor of Theory and the soon-to-be Chairman of the Music Department at Rowan University, Dr. Robert Rawlins. (Since the time of the festival Rawlins has succeeded Prof. Witten as Chairman.) His lecture titled "A Jazz Classic Revisited-Clifford Brown's Solos on Joy Spring" was well attended and received. Several festival participants commented that they were amazed at the level of sophistication and intellectual clarity of Dr. Rawlins' lecture/presentation.
After lunch Jeffery Curnow, Associate Principal Trumpet of the Philadelphia Orchestra, and Robert Earley, Professor of Trumpet at Rowan University and Second Trumpet of the Philadelphia Orchestra presented a clinic on "The Art of Orchestral Playing". They were joined by Bryan Appleby-Wineberg for their demonstration, and performed excerpts from the repertory including BrahmsAcademic Festival Overture, Debussy Fetes, Shostakovich Symphony No. 5, Bartok Concerto for Orchestra, Bach B-minor Mass, and Strauss's Ein Heldenleben. Earley and Curnow both talked at length about the need to have the basics of rhythm, intonation, and articulation firmly under control in order to sit in an orchestra section. Mr. Earley discussed the role of the second player, and ways of supporting the first player in dynamics, articulation, and pitch. Mr. Curnow commented that he thought the second trumpet chair was the hardest chair to play because it required the flexibility to play both very high and very low, and to match the technical and musical style of both the Principal player and Associate Principal player each concert. Curnow and Earley played the opening of Tchaikovsky's Symphony No. 4 twice to demonstrate the issues Mr. Earley was discussing. The first time through, Mr. Earley played a dynamic that was equal to that of Mr. Curnow. The second time he played slightly louder and fuller on the low octave, which allowed Curnow to relax and "ride on top of" the lower sound. The technical and musical mastery demonstrated by these two gifted players was wonderful to hear, and their collegiality showed through in their easygoing style and manner. The second afternoon clinic was presented by Professor of Trumpet in the Maynard Ferguson Institute for Jazz Studies at Rowan University, Prof. George Rabbai. His clinic was entitled "Classical Technique to Jazz Improve." He stated that the technique required for Jazz and Classical playing comes from the same fundamental trumpet principles. To demonstrate this he discussed the merits of books by Clarke, Schlossburg, and Thompson, and how they can be expanded and applied to the jazz idiom. He also dispelled the myth that jazz is loose technically and rhythmically. In addition, he performed several tunes with the Rowan University Faculty Combo, which included Douglass Mapp, Assistant Professor of Jazz and Classical Bass at Rowan, Jim Millar, Drums, and George Genna, Piano. Also helping with the demonstration was Professor Denis DiBlasio, Baritone Sax and Director of the Maynard Ferguson Institute. The clinic atmosphere was informative and enjoyable with the impeccable style and lyricism of Rabbai in evidence on every tune.
Jazz artist, composer, and inventor Matt Schulman presented the next clinic and also performed with the Rowan Faculty Combo. Schulman's clinic was on his posture/technique system called "The Schulman System" and extended techniques of the trumpet. He performed with two electronic processor pedals. The sound was picked up by a microphone mounted on his bell. Some of the sounds he used in his improvisation included multiphonics and amazingly rapid arpeggiation. When asked about his conceptual method, Mr. Schulman said he was constantly looking for ways to increase the harmonic capabilities of the trumpet and often thought of guitar chords when he played. In addition he discussed the intellectual/spiritual aspect of communicating something to the listener beyond the limitations of the instrument, setting, or piece, to elevate the listening and performing experience. Later in the afternoon New York Freelancer and Recording Artist Tony Kadleck presented a clinic called "Freelance Trumpet Playing Today". Continuing a theme heard throughout the day, he discussed the need for diligent attention to detail and technique on the instrument to get past the notes and into the music. He also cautioned the audience to be prepared for every contingency when arriving for a job, from mutes, to water, to pencils, to bad traffic. He also said that beyond striving to play their part right every time trumpet players should use their ears to make sure they are fitting in with the rest of the ensemble, and stressed the importance of getting along with everyone on the job and not making any extra work for the contractor. EVER! While demonstrating some truly amazing abilities on the instrument both technically and musically, Mr. Kadleck was very humble. He has had an illustrious career as a player in New York City and is the "first call" of many of the top NYC contractors. He is equally at home playing classical or jazz and played some screaming lead on Randy Brecker's concert.
Randy Brecker, Jazz Legend and Grammy Winner, gave the final clinic of the day. It was truly remarkable to hear him perform and talk about his career, jazz, keeping his chops in shape with Clarke, Schlossburg et al, and the music business. His appearance was made possible in part by the Yamaha Corporation. He performed with the Rowan Faculty Combo and his friend Denis DiBlasio on baritone sax. Brecker stressed the importance of practicing and trying new things, adding that each player should strive to find his/her own unique voice. Brecker's clinic was inspiring for the whole audience but especially for Rowan Freshman Jazz Trumpet Performance Major Jonathan Barnes (a student of Appleby-Wineberg and Rabbai) who was able to perform with Randy Brecker during the clinic. After a short dinner break everyone gathered in Rowan University's Pfleeger Concert Hall for a concert featuring Randy Brecker, Denis DiBlasio, and the Faculty Jazz Combo. The concert started with an amazing rendition of Malcolm Arnold's A Hoffnung Fanfare for 36 trumpets in 6 choirs performed by more than 60 of the festival's participants who were positioned around the auditorium. This was conducted by Professor Salvatore Scarpa, Director of the University Orchestra, and Assistant Conductor of the Pennsylvania Ballet. After the fanfare, Randy Brecker presented a fabulous concert showing amazing musicianship and technique. The final piece on Brecker's program was commissioned by the Rowan University Department of Music especially for TRUMP(et) THIS! from Michael Davis, trombonist with the Rolling Stones and the driving force behind the CD Brass Nation. The piece Permit Required featured Randy Brecker and the other six presenters from the festival. It brought to a close a truly inspiring day of trumpet at Rowan University. For more information about the Brass Program at Rowan University
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