|John Hagstrom (L) and Wayne Bergeron
On April 21, the University of Central Florida (UCF) held its bi-annual Trumpet Fest, this year featuring Wayne Bergeron, John Hagstrom, Bob Malone and the Sovereign Brass. Over three hundred people attended the event, which was organized by UCF Professor of Trumpet Studies John Almeida.
The program began with Stanley Leonard’s composition Fanfare and Allegro, featuring John Almeida on trumpet and UCF Professor of Percussion Studies Jeff Moore on timpani. This was followed by Jack Gallagher’s Capriccio for Two Trumpets, featuring John Almeida and Rollins College’s Professor of Trumpet Studies Christopher Dolske.
Yamaha trumpet designer and artist services representative Bob Malone then entered the stage to present a clinic: The Art of Trumpet Design. He began his lecture by emphasizing the importance of the mouthpiece placement in the trumpet each time one gets ready to play. He believes that otherwise the resistance changes each time you begin a practice or performance session. To find the point of reference or “sweet spot”, the player should begin with the mouthpiece number at the twelve o’clock setting, then moving slightly around the clock face of the mouthpiece until you find the sound that is the most resonant.
Bob Malone was then joined by Chicago Symphony trumpeter John Hagstrom and Los Angeles studio trumpeter Wayne Bergeron to discuss their new Bob Malone-designed trumpets, the Chicago and LA models respectively. Bob reflected that there were no preconceived ideas regarding the models in the beginning of the design process. John Hagstrom added that their goal was not to merely find a trumpet that “works” but one that actually was “preferable.” Hagstrom continued by mentioning how as the second trumpeter in the symphony, his sound must be flexible, so as to match sounds not only with the principal trumpet, but with the woodwinds and horns. Bergeron added that the different calibration of the LA model was so different that at first, it was “out of his comfort zone.” Both artists spoke at length regarding the flexibility that both trumpet models exhibit and that both instruments make playing the trumpet more efficiently. Malone added that his bell design includes a French bead and a seam that is turned to come together under the braces. These two designs free up the vibrations in the bell. John Hagstrom ended this lecture by saying that trumpet designs are often determined by business. He feels that Yamaha has given Bob Malone the freedom to design trumpets that make good musical sense and good business sense.
Next on the program was a trumpet clinic by John Hagstrom. He is a very articulate person and spoke mainly not of how we play the trumpet, but why we play the trumpet. He began by saying that in daily practice, it is essential to begin the session by remembering what made you want to be a trumpeter in the first place. He said, “Practice daily for the core that made us want to do this originally.” Hagstrom went on to quote J.P. Morgan, “A man always has two reasons to do anything; a good reason and a real reason.” He urged the audience to make the good reason the real reason that they play the trumpet. He ended by saying, “Continue to put the meaning back into the reason you play music and the trumpet.”
After the lunch break, the audience enjoyed a concert by The Sovereign Brass. Based in Florida, the musicians are: Tom Macklin and Mike Avila, trumpets; Kathy Thomas, horn; Jeff Thomas, trombone; Bob Carpenter, tuba; and Mark Goldberg, percussion. The program began with a Verne Reynolds arrangement of March from Centone X and included Tom Macklin arrangements of Mozart’s Queen of the Night Aria and Arban/Clarke/Staigers’s The Carnival of Venice. Their performance ended with a Brian Smithers arrangement of Medley from Chicago.
The prelude music for Wayne Bergeron’s clinic was an arrangement of Cahn and Styne’s It’s You or No One, performed by Orlando musicians Charlie Bertini, Chris Dolske, Tom Macklin, John Almeida and Lyman Brodie, trumpets; Bob Thorton, piano; Chuck Archard, bass; and Mark Golberg, drums. The arrangement included a harmonization of the Chet Baker solo for the trumpets.
Wayne Bergeron’s clinic was titled, “The Nuts and Bolts of Playing the Trumpet and the Music Business.” He began by giving the audience some background information on his youth as a drum corps member which began on the marching French horn, eventually leading to his switch to the trumpet. He discussed his early embouchure development through Maggio and Stamp exercises. Wayne also mentioned how much he has learned, and continues to learn, from the musicians he performs with regularly. When asked about his great stamina, George Graham told Wayne never to use more that 80%. Wayne also discussed the importance of listening to others in the trumpet section and orchestra for the correct style and balance.
Next on the program was a recital by John Hagstrom, with Dr. Yun-Ling Hsu on piano. Hagstrom began the recital with Albumblatt, a lyrical work for C trumpet by Alexander Glazunov. At one point, the soloist played a particularly long passage using his circular breathing skills. The next piece was the Ropartz Andante et Allegro, where Hagstrom showed his vocal approach to playing the trumpet. His control of extreme dynamics was impressive. His next piece was the Rachmaninoff Vocalise, performed on his B-flat trumpet. The recital ended with Grand Russian Fantasy by Jules Levy. The climax of the piece was a high E-flat that Hagstrom seemed to hold onto for at least ten seconds. He used his new Yamaha Chicago trumpets in C and B-flat.
The Trumpet Fest ended with a concert by the UCF Jazz Band under the direction of Jeff Rupert, Director of Jazz Studies, and with Wayne Bergeron as the guest artist. The concert consisted of arrangements by Tom Kubis and Bill Liston, including Friend Like Me, You Go to My Head, Waltz of the Flowers, High Clouds and a Good Chance of Wayne, and Rhythm Method. Bergeron’s playing was flawless and showed a trumpeter with complete control of his instrument. Whether playing flugelhorn on a ballad like You Go to My Head or ending on three double high Ds on Friend Like Me, Wayne Bergeron exhibited why he is one of the most in-demand studio musicians in Los Angeles. The encore was an original composition by director Jeff Rupert entitled Big Man on Campus, which was written for Maynard Ferguson when Rupert was in the band. Bergeron played Maynard’s part with ease and ended the concert on a double high C. He played the entire concert on a Yamaha instruments, especially with his Yamaha 8335 LA model trumpet. Bergeron was also promoting his latest CD, Wayne Bergeron: Plays Well With Others. Source: Richard Fanning
Dr. Richard Fanning is the instrumental music director at University Liggett School in Grosse Pointe Woods, MI, as well as adjunct instructor of jazz trumpet at Oakland University. Richard Fanning studied trumpet with Bill Adam, Charles Gorham, Ed Cord and John Rommel at the Jacobs School of Music at Indiana University where he received the B.A., M.M., and D.M. degrees.
University of Central Florida trumpet page
University of Central Florida music department