Oklahoma State University Fall 2018 Major Trumpet

Course Title: Major Trumpet Course Code: MUSI 1390/2390/3390/4390/5490 Credit Hours: 2.0-4.0 Course hours: TBA Class Location: SCPA 116

Instructor: Dr. Ryan Gardner Office: SCPA 116 Office Hours: By Appointment Only Office Phone: 405-744-3025 Email: [email protected]

I. COURSE FORMAT This class will be taught as individual private lessons. Study will be individualized to each student’s level of ability and instrumental maturity. All students will study the basics of brass playing: tone production, technique, breathing, embouchure, reading, literature and repertoire, according to his/her ability. A certain standard will be established for freshmen, sophomores, juniors, seniors and graduate students that must be met to continue study.

II. OBJECTIVES The lessons in this studio are designed to provide individual instruction in trumpet technique, performance preparation, basic musical skills and music appreciation, as well as foster independent and self-motivated learners. Applied study is one aspect of the music curriculum that prepares students for their professional goals. Success as a music educator and performer rests largely on how advanced one’s musicianship has been developed. To develop the degree of musicianship required for a successful and satisfying career as a music educator or performer, you must have the experience of performing in quality musical ensembles and be capable of performing significant solo and chamber literature. Developing your performance skills is the only way to obtain these invaluable musical experiences.

III. REQUIRED MATERIALS - Students should plan to invest at least $50-$150 per semester for repertory music and other study materials. • Notebook that will contain materials and handouts from lessons and masterclasses. • Small spiral notebook in which your weekly assignments will be noted and your daily practice will be logged. • A small Music Dictionary to be carried in your trumpet case at all times or you may download an app • An electronic recording device (Zoom, Apple, Garage Band) to record weekly lessons, etudes and solo work • A calendar to help you with scheduling should be with you at all times. • A metronome (preferably one with an output to speakers) • Breathing Bag available at www.windsongpress.com • A flash drive to collect lesson recordings • Check OSU e-mail daily as this will be our primary form of communication • You are required to purchase materials for your lessons (methods, etudes, solos etc.). The materials in my library are for reference only. We need to make markings in these materials that pertain only to you. ABSOLUTELY NO PHOTOCOPIES OF COPYRIGHTED MATERIAL ARE TO BE USED! • It is necessary for each student to own a professional-quality instrument, mouthpiece, and maintenance accessories. In addition, students are expected to own high-quality mutes. • An electronic tuner is required (preferably one with a drone). • Membership to the ITG is strongly recommended.

Music/Equipment assigned in lessons must be purchased promptly. Students who have not procured the assigned repertoire within two weeks of the assignment will have their final grade lowered. It is not acceptable, or legal, to photocopy published music when the original is not owned. The following vendors are recommended for published music: Pender's Music Company, 314 S. Elm Street, Denton, Texas 76201 Phone: 800-772-5918 Hickey’s Music Center, 104 Adams Street, Ithaca, NY 14850 Phone: 800-HICKEYS www.hickeys.com

For equipment (horns, tuners, metronomes, mutes, etc…) Saied Music Co., www.saiedmusic.com, Tulsa, 918-742-5541, 1-800-777-5541 The Music Store, www.musicstoreinc.com, Tulsa, 918-664-7333 The Woodwind and Brasswind 800-348-5003 www.wwbw.com Dillon’s Music 732-634-3399 www.dillonmusic.com Rayburn Music 238 Huntington Ave Boston, MA 02115 617-266-4727 www.rayburnmusic.com Thompson Music www.thompsonmusic.com

IV. COURSE REQUIREMENTS a. Article SummatBook Reports • In the springfall, a book report pertaining to trumpet, style, performance psychology or any other musical subject is required. Each report must be typed, double-spaced, and no longer than two pagesbook. Articles from The Instrumentalist, ITG Journal, Symphony, and Chamber Music America are good examples. These are due April December 46, 2018. b. Studio Class • In addition to your weekly private lesson trumpet majors are required to participate in studio class. We will select the time and day to accommodate our schedules1:45:15. Attendance is mandatory. A schedule will be provided but topics will include: Performance class (i.e. Mock Solo Competition, performances, critiques) Guest artists (master classes) Class presentations Trumpet Ensemble Audition Preparation (i.e. Mock Auditions) Research Project Presentations Sectionals Orchestral reading c. Practice expectations • The development of performance skills is a gradual and demanding process and it is expected that music performance and education majors will practice a minimum of 2 ½ - 3 hours daily, 7 days a week (17 ½ - 21 hours a week) on their assignments and repertoire to maintain a B in trumpet. These are regular daily individual practice sessions not including rehearsals in band, orchestra, band, etc. • Studio warm-ups are a valuable collaborative effort that focuses on fundamentals and tone-production. It is required to attend studio warm-up on your designated day. • Lesson assignments may represent the below areas of study (technique, etudes, repertoire, etc.) The student will be expected to have the work prepared from each of these categories as assigned for each lesson. Please note everything assigned for a lesson is due at the next lesson, even it was not worked on in the previous lesson. You must come prepared to perform any part of your lesson. You must also bring ALL of your lesson materials to each class. • Students are expected to report to their lesson warmed-up. Failure to do so inhibits your abilities to perform at your optimum level and could result in dismissal from the lesson and that class graded as a failure. • Any student who is clearly unprepared for their lesson will be excused and that lesson will be graded as failing. d. A Sample Outline of Daily Practice i. Warm-up Studies (30 minutes) • Buzzing • Long Tones, Lip Flexibility, Articulation • Flow Exercises/Stamp Routine ii. Technical Study (30 minutes, more for underclassmen) • Scales – In normal pattern and in thirds a. Major scales and arpeggios b. Natural minor scales and arpeggios c. Harmonic minor scales and arpeggios d. Melodic minor scales and arpeggios e. Chromatic scales f. Whole-tone scales • Clarke • Schlossberg • Arban • Transposition iii. Etudes (30-60 minutes) iv. Repertoire (30-60 minutes) • Includes the study of concertos, sonatas, orchestral excerpts and chamber music. v. Ensemble Music (20-30 minutes as needed) vi. Sight Reading (10 minutes) • Etudes • Excerpts • Duets • Transposition e. Assignments • Students will be required to submit etudes, technical passages, solos and/or excerpts weekly into the OSU Trumpet Studio Facebook page • Students will listen weekly to their recorded lessons. A written summary of all topics and solutions discussed will be due three days after you lesson by email. Late summaries will not be accepted. • Students will record themselves daily and submit one recording of their weekly assignments (etude, solo or orchestral excerpt) at their next lesson for a grade. Late recordings will not be accepted. • Build listening time into your daily schedule. Listening is an essential skill and even when not given an assignment, it is understood that that the student is listening to a large variety of classical music to gain perspective and understanding, as well as appreciation. • Students will be required to keep a practice journal of all playing and practicing throughout the semester to their weekly lessons. • Students should spend time familiarizing themselves with common musical terms • f. Scales, Arpeggios and Transposition • Scales and arpeggios are essential to musical rhetoric as is the ability to transpose. Scale, arpeggio and transposition exams will be given during midterm week and please note that scale requirements are cumulative. Those that do not pass their scale, arpeggio and transposition midterm with an average of B or higher will need to re-take the exam at some point at the end of the semester (during one of their lessons). Failure to pass a second time will result in a failed grade and that student will not be allowed to take their end of the semester jury. g. Midterm Exams – to be held the week of October 8-12, 20185 • Scales • Arpeggios • Sight-Reading (in transposition) h. (if applicable)Performances (Juries, Recitals, Recital Hour, etc…) • A performance in studio, recital hour or a jury situation is an accumulation of material, ideas, concepts and hard work from the entire semester. A jury is a performance. Therefore, please treat it as such. Wear appropriate clothing and present your materials to the jurors in a respectful manner. Be EARLY and PREPARED. • A semester coursework is cumulative so please check the guidelines listed to ensure all materials are prepared. • There are two types of recitals: degree and non-degree. Students are expected to devote the same amount of detailed attention and artistic commitment to both types of recitals. Students will be required to submit the necessary recital forms for both degree and non-degree recitals. Forms are available from the Music Office. Performance and education degree recitals are expected to show a performer's musical maturity and versatility. A degree program must be approved by the student's applied instructor. A recital hearing must be approved two weeks in advance of the performer’s recital. • Students are responsible for getting their music to their assigned accompanist 6 weeks before any performance including all juries, recitals, recital hour performances, etc. • It is the student’s responsibility to coordinate with the staff accompanist for rehearsal times. The studio professor must hear the student and the staff accompanist perform prior to the designated jury date in the provided lesson time • It is recommended that students play their jury performance piece from memory. If done successfully, the student will earn an extra half letter grade for their final course grade.

V. PRIVATE LESSON ATTENDANCE • Attendance is expected at all lessons. If a student is ill, it is the student’s responsibility to notify the professor through email or phone of the absence in advance of the lesson (no less than 24 hours). A make-up lesson will be assigned accordingly and at the discretion of the professor. Attendance is an intricate part of the lesson grade. Excessive absences will result in the letter grade of an F for the semester. • Lessons missed without prior notification risk being graded as failing and these lessons will NOT be made-up. In the event a make-up lesson is scheduled and the student does not show, that lesson will be marked as a failed grade. If the professor misses a lesson or needs to reschedule due to outside engagements, illness, family reasons, etc., then these lessons will be made-up or with the TA. • Tardiness of more than 10 minutes will be treated as a no-show and will not be made up. VI. RECITAL ATTENDANCE • Music majors are required to attend a specified number of recitals and concerts each semester. Performance majors and graduate students must perform one solo work a semester at recital hour (starting 3rd semester). Education majors are required to perform one solo work every academic year at recital hour (starting 3rd semester). • Arrangements for recital hour performances must be made with the studio professor in advance. No student is allowed to perform at recital hour without the permission of the studio professor. • You are required to be at ALL trumpet-related events and encouraged to attend all brass-related events to include: Master classes, recitals, etc. unless you have permission from your instructor (class conflict, medical or family emergency only). Failure to do so will result in a lowering of your grade. Attendance will be taken at these events. • Please be friendly and supportive of all of your colleagues.

VII. GRADING Grades will be assigned in the following manner: 7060% Lessons (Weekly lessons100 , 150Book Reports100 • Facebook Studio Posts (100 points each)55assignments, article summations, midterms, performances) • 0 if • applicable. If you are not in a trumpet ensemble, 80% of your grade will be based on your lessons300% Final jury/Recital evaluations

Letter grades indicate the following: • A – exceptional advancement – all grading criteria consistently met and achieves a proper performance standard for their level • B – above average advancement – most grading criteria consistently met and achieves an appropriate performance standard for their level • C – average advancement – some grading criteria met, not consistently • D – below average advancement – very little grading criteria met • F – failure to exhibit advancement – grading criteria consistently not met

Individual lesson evaluations will also be determined by the studio professor assigning a grade for every lesson based on the weekly assignments, lesson portfolio, and student effort. The following criteria are used in assigning grades: • Attendance • Brings required materials to class • Positive and enthusiastic attitude during lesson • Adequate preparation • Demonstrates continued musical growth and shows consistent skill appropriate for their level with regard to literature and technique • Evidence of daily practice can be heard/seen in weekly lessons

VIII. UNIVERSITY ACADEMIC AFFAIRS The following website will inform you of important dates and offices available for any assistance that you may need: https://academicaffairs.okstate.edu/sites/default/files/Fall%202018%20Syllabus%20Attac hment_0.pdf https://academicaffairs.okstate.edu/sites/default/files/documents/Spring%202016%20Syll abus%20Attachment.pdf

Any issue in regards to this course should be taken up with the instructor. Please do not wait until the end of the course to ask for assistance.

This syllabus is subject to change. HELPFUL HINTS (compiled by professor interviews) • Always be positive and enthusiastic about your love for music and the trumpet, and demonstrate this in your playing and your cooperation with faculty and other musicians. • Maintain a regular, daily practice schedule of at least two hours each day. • Be faithful about addressing the Daily Routine as prescribed in your lesson. • Plan practice sessions so that they are purposeful and directed at accomplishing specific results. Write your goals for each session in a notebook. Establish both short-term and long-term goals for yourself. • Always be well prepared! Be early to lessons with all your materials ready, and with plans about what you will do in the lesson. Have any questions written out so that you ask them at the beginning of the lesson. • Understand that developing performance skills may at times be a slow and demanding process. Patience and persistence are important traits for success in music. • Take advantage of opportunities to attend live musical performances of all kinds. • Seek opportunities to perform in public. After learning a work, perform it several times. • Collect and listen to recordings of quality music daily. These should both include your instrument and other genres. Listen to a wide range of styles. It is only through focused listening that musical style can be developed. • Own the necessary equipment to be successful in your profession. This includes quality instruments, mutes, metronome, tuner, literature (including methods, etudes, solos, and orchestral excerpts) and accessories. • Record your practice sessions periodically, and evaluate them objectively.

COMMON STUDENT PITFALLS (Compiled from professor interviews)

• Apathy • Poor planning • Listening the wrong way, or to the wrong people or performances • Taking advice from the wrong people • Lack of effective practice • Being late or unprepared • Not asking questions • Asking the wrong questions • Lack of resourcefulness or imagination • Being dogmatic about the wrong things • Not listening • Just "getting by"

BRASS PEDAGOGY BOOKS

Baines, Brass Instruments, Their History and Development (Faber)

Bate, The Trumpet and Trombone (Ernest Bern, Ltd.)

Campos, F., Trumpet Technique

Cardoso, Ascending Trumpets (Wilfredo Cardoso)

Cardoso, Playing Trumpet in the Orchestra (Cardoso)

Dale, Trumpet Technique (Oxford Univ. Press)

Donington, Baroque Music: Style and Performance: A Handbook

Eliason, Instrument Makers (Brass Press)

Eliason, Keyed Bugles in the United States (Smithsonian)

Farkas, The Art of Brass Playing

Farkas, The Art of Musicianship

Gordon, Claude, Brass Playing Is No Harder Than Deep Breathing (Carl Fischer)

Green, The Inner Game of Music (Double Day)

Grorock, Advance Method (Agree Music Press)

ITG, Related Trumpet and Brass Articles

Hanson, Brass Playing (Fischer)

Haynie/Hardin, Inside John Haynie’s Studio: A Master Teacher’s Lessons on Life (UNT Press)

Hickman, Trumpet Pedagogy: A Compendium of Modern Teaching Techniques(HME Press)

Jacobs, Arnold, Song and Wind by Frederiksen, pub. Windsong Press.

Johnson, Art of Trumpet Playing (Iowa Univ. Press) Mathie, The Trumpet Teacher's Guide (Queen City)

Mendez, Prelude to Brass Playing (Fischer)

Pietzch – Die Trompete (University of Michigan)

Smiley, The Balanced Embouchure

Weast, Keys to Natural Performance (Brass World)

Werner, Effortless Mastery: Liberating the Master Musician Within

HISTORY OF THE TRUMPET

Altenburg, The Trumpeters’ and Kettledrummers’ Art. The Brass Press

Bendinelli, Tutta l’arte della Trombetta. English trans. by Tarr. The Brass Press

Dalquist, The Keyed Bugle and Its Greatest Virtuoso, Anton Weidinger (Brass Press)

Fantini, Modo imperare a sonare di tromba. English trans. by Tarr. The Brass Press

Smithers, The Music and History of the Baroque Trumpet Before 1721. Syracuse University Press.

Tarr, “Trumpet.” Groves Dictionary of Music and Musicians

Tarr, The Trumpet. Amadeus Press.

SELECTED SOLO LITERATURE TO REFERENCE Solo Literature Section I

Arutunian Andante et Scherzo

Balay Petite Piece Concertante

Barat Andante et Scherzo

Bernstein Rondo for Lifey

Bozza Badinage

Clarke, H.L. Bride of the Waves

Clarke, H.L. The Debutante

Clerisse Noce Villageoise

Donato Prelude and Allegro

Emanuel Sonate

Gibbons-Cruft Suite

Goedicke Concert Etude

Handel-Fitzgerald Aria con Variazioni

Hovhaness Prayer of St. Gregory

Jean, Paul Jean Capriccioso

Kail Variations in F

Kreutzer Variations in G

Latham Suite

Martinu Sonatina Nelhybel Suite

Peaslee Nightsongs (Flugelhorn and Trumpet)

Plog Animal Ditties

Robbins Mont St-Michel

Ropartz Andante and Allegro

Rossini Una Voce M'Ha Colpito

White, David Ashley Sonatina

Whitney Concertino

Willis, Richard Sonatina

Solo Literature Section II

Addison Concerto

Antheil Sonata

Arban Carnival of Venice

Arutunian Concerto

Bennett Rose Variations

Bitsch Quatre Variations sur un Theme de D. Scarlatti

Bloch Proclamation

Böhme Concerto in F-minor

Bohrnstedt Concerto

Bozza Caprice

Bozza Rustiques

Brandt Concertpiece No. 1

Casterede Breves Recontres Casterede Sonatine

Charlier Solo de concours

Chance Credo

Chaynes Concerto

Cheetham Concoctions

Copland Quiet City

Davies Sonata (D-trpt, E-flat trpt preferred)

Dello Joio Sonata

Desenclos Incantation, Threne, et Danse

Eben Okna (Windows)—with organ

Enesco Legend

Ewazen Sonata

Fantini 8 Sonatas

Giannini Concerto

Gregson Concerto

Hamilton Five Scenes

Handel Suite in D Major

Haydn Concerto (Tarr, Universal Edition)

Hindemith Sonate

Holmes Sonata

Honegger Intrada

Hubeau Sonata

Hummel Concerto in E-flat/E major (authentic key)

Ibert Impromptu Jolivet Concertino

Jolivet Concerto no. 2

Kennan Sonata

Lovelock Concerto

Neruda Concerto in E-flat

Orr Concerto (Brass Band)

Pahkmutova Concerto

Peeters Sonata

Persichetti The Hollow Men

Pinkham The other voices of the trumpet

Plog Animal Ditties II

Riisager Concertino

Sachse Concertino in E-flat Major

Sampson The Mysteries Remain

Stanley Suite No. 1 of Trumpet Voluntaries

Stevens Sonata

Suderburg Ceremonies

Suderberg Chamber Music VII (E-flat preferred)

Theurer Fantasia

Tomasi Concerto

Tomasi Semaine Sainte a Cuzco

Tomasi Triptyque

Tull Three Bagatelles

Turrin Caprice Zaninelli Autumn Music

Piccolo solos (to high D on A-piccolo)

Clarke, J. Suite in D

Clarke, J. Trumpet Voluntary/The Prince of Denmark

Corelli Sonata in D

Handel, G. F. Suite in D Major

Humphries Concerto in D

Purcell Sonata in D

Telemann Heroic Music

Telemann Sonata

Torelli Sonata in D (G. 1)

Torelli Sonata for trumpet, 2 violins, Viola, Bass and Basso Continuo

Piccolo solos (to high F or G on A-piccolo)

Albrechtsberger Concertino (Bb Piccolo)

Bach, J.S. Brandenburg Concerto No. 2 in F Major

Fasch Concerto in D

Frackenpohl Sonatina for piccolo trumpet

Hertel Concerto No. 1 in E-flat (B-flat piccolo, high F)

Hertel Concerto No. 3 in D

Martini Tocatta (with organ) Molter Concerto No. 2 in D

Mozart, L. Concerto in D

Richter Concerto

Tartini Concerto in D

Telemann Concerto in D

Viviani Sonatas in C (I & II with organ, high E-flat)

Small Chamber settings (with more than one performer)

Bach Brandenburg Concerto #2 (B-flat picc, high A)

Bach Cantata 51 "Jauchzet Gott" (Trpt. and Soprano, A-picc F)

Balissat, J. Kaleidoscope (for trumpet and percussion)

Brown, N.K. Figments (for trumpet, saxophone, bassoon and cello)

Copland Quiet City (with English horn)

Ewazen Trio (Trpt, Vln, Piano)

Ewazen "…to Cast a Shadow Again" (Trpt, Low Voice, Piano)

Franceschini Concerto for 2 Trpts in D (both on A-piccolo)

Handel "Let the Bright Seraphim" (Trpt and Soprano, A-picc D)

Hindemith Concerto for Trumpet and Bassoon

Hertel Concerto á 6 (B-flat piccolo-high F, with oboe)

Ives, C. Allegretto Sombreoso (trumpet, flute, 3 violins and piano)

Kraft Encounters III (with percussion)

Lessard, J. Movements No. 4 Trumpet and Percussion

Manfredini Concerto for 2 Trpts in D (both on A-piccolo)

Peaslee, R. Trumpet/Flugelhorn/Harp/Strings Plog Animal Ditties I (with narrator)

Plog Animal Ditties II (with narrator)

Querfurth Concerto in E-flat Major (for trumpet bassoon and piano)

Scarlatti 7 Arie Con Tromba (with Soprano, Piccolo to high F)

Starer, R. The Mystic Trumpeter (trumpet, voice and piano or organ)

Stravinsky, I Soldiers Tale

Vivaldi Concerto for 2 Trpts in C (both on A-piccolo)

Wilder, A. Suite for Trumpet and Marimba

Unaccompanied solos

Arnold, M. Fantasy

Berio Sequenza X

Browning, Z. Refrain

Campo Times

Dokshitser, T. Suite pour trompette solo

Erickson, R. Kryl

Gallagher Sonata

Henderson Variation Movements

Henze, H.W. Sonatina

Ketting Intrada

Nelhybel, V. Four Monodies

Persichetti Parable

Powell Alone

Sampson Litany of Breath Sampson Notes from Faraway Places

Soloman, E.S. Dialogue

Takemitsu, T. Paths

Ticheli, F. The First Voice

Tull Eight Profiles

Whittenberg Polyphony

Wilder, A. Suite No. 1 and No. 2

Vizzutti Cascades

RECOMMENDED ORCHESTRAL LITERATURE FOR TRUMPET MAJORS Suggested orchestras to listen to: Atlanta Symphony, Boston Symphony, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, Metropolitan Opera Orchestra, Montreal Symphony, , Philadelphia Orchestra, San Francisco Symphony Bach Suite No. 3 Suite No. 4 Cantata No. 51 Magnificat Christmas Oratorio Mass in B minor Brandenburg Concerto No. 2 Bartok Miraculous Mandrin Concerto for Orchestra Beethoven Leonore No. 3, Overture Leonore No. 2, Overture Symphony No. 5 Symphony No. 9 Berlioz Roman Carnival, Overture Fantastic Symphony Le Carnival Romain, Overture Bernstein West Side Story (1957) Symphonic Dances Bizet Carmen Brahms Symphony No. 2 Symphony No. 4 Academic Festival Overture Britten Young Person’s Guide to the Orchestra Peter Grimes, Four Sea Interludes Bruckner Symphony No. 4 Symphony No. 5 Symphony No. 6 Symphony No. 7 Symphony No. 8 Symphony No. 9 Charbrier Espana Copland Fanfare for the Common Man Outdoor Overture Rodeo Quite City Appalachian Spring El Salon de Mexcio Buckaroo Holiday Debussy Ibera Fetes, Nocturnes La Mer Dukas Fanfare from La Peri Sorcerer’s Apprentice Dvorak Symphony No. 8 Symphony No. 9, From the New World Falla, De Three--Cornered—Hat Frank Symphony in D minor Gershwin Rhapsody in Blue An American in Paris Concerto for Piano in F Ginastera Estancia Dances Handel Water Music Samson Messiah Music for the Royal Fireworks Judas Maccabaeus Hindemith Symphonic Metamorphosis Mathis der Mahler Konzertmusik for Brass Ibert Escales Divertissement Ives Variations on America Janacek Sinfonietta Kabalevsky Colas Breugnon, Overture Kodaly Hary-Janos Suite Liszt Piano Concerto No. 2 Mahler Symphony No. 1 Symphony No. 2 Symphony No. 3 Symphony No. 4 Symphony No. 5 Symphony No. 7 Martin Concerto for Seven Instruments Milhaud Creation of the World Mozart Serenade No. 9, Posthorn Mussorgsky Night on Bald Mountain Pictures at an Exhibition Prokofieff Symphony No. 5 Symphony No. 6 Peter and the Wolf Lieutenant Kije Romeo and Juliet Scythian Suite Ravel Piano Concerto in G La Valse Rhapsody Espagnole Bolero Alborada del Gracioso Daphnis and Chloe, Suite No. 1 Daphnis and Chloe, Suite No. 2 Rachmaninoff Rhapsody on a Theme of Paganini Piano Concerto No. 3 Respighi Pines of Rome Fountains of Rome Feste Romane Rimsky-Korsakov Scheherazade Russian Easter, Overture Capriccio Espagnole Rossini William Tell, Overture Schoenberg Theme and Variations Variations, Op. 31 Schumann Symphony No. 2 Shostakovich Piano Concerto No. 1 Symphony No. 1 Symphony No. 5 Symphony No. 7 Sibelius Finlandia Symphony No. 1 Symphony No. 2 Symphony No. 5 Skryabin Poem of Ecstasy Strauss, R. Don Quixote Alpine Symphony Death and Transfiguration Symphony Domestica Ein Heldenleben Don Juan Till Eulenspiegel Also Sprach Zarathustra Der Rosenkavalier Soloeme Le Bourgeouis Gentilhomme Stravinsky Rite of Spring Firebird Petrouchka, 1911, 1947 Pulcinella Suite L’ Histoire du soldat Song of the Nightingale Tchaikovsky Romeo and Juliet Overture 1812 Overture Symphony No. 4 Symphony No. 5 Symphony No. 6 Capriccio Italien Nutcracker Suite “Le Chocolat” Marche Slav Verdi Nabucco Overture Force of Destiny Overture Requiem Wagner Rienzi, Overture Parsifal, Ride of the Valkyries Gotterdammerung, Siegfried’s Funeral Music

Weber Overture, “Oberon”

Famous Trumpet Artists:

Adam Rapa Adolph “Bud” Herseth Al Hirt Allen Vizzutti Armando Ghitalla Art Farmer Arturo Sandoval Bix Beiderbecke Blue Mitchell Bobby Shew Charles Schlueter Chet Baker Chris Martin Clark Terry Claudio Roditi Clifford Brown Conte Candoli Cootie Williams David Hickman Dizzy Gillespie Donald Byrd Fats Navarro Freddie Hubbard Gerard Schwartz Hakan Hardenberger Harry "Sweets" Edison Harry James James Morrison James Stamp James Thompson Jens Lindemann Joe Burgstaller Jon Faddis Jouko Harjann Kenny Dorham King Oliver Lee Morgan Malcolm McNabb Marvinn Stamm Maurice André Maynard Ferguson Nat Adderley Rafael Méndez Red Rodney Rex Richard Roger Voisin Ronald Romm Roy Eldridge Roy Hargrove Sergei Nakariakov Snooky Young Terrell Stafford Tom Harrell Thomas Stevens Valentine Snow Vincent DiMartino Wallace Roney Wayne Bergeron Wild Bill Davison William Vacchiano

Famous Brass Groups: American Brass Quintet Atlantic Brass Quintet Brass Band of Battle Creek Boston Brass Canadian Brass Center City Brass Chicago Brass Quintet Dallas Brass Empire Brass Meridian Arts Ensemble New York Brass Quintet Philip Jones Brass Ensemble Rhythm and Brass

GENERAL INFORMATION

Accompaniment software & files:

http://www.smartmusic.com : Interactive solo accompaniments and more.

Ear Training:

http://www.good-ear.com : free web ear training

http://www.musictheory.net : free web ear training & theory

http://fastrabbitsoftware.com/eartraining.htm

http://www.risingsoftware.com/

Embouchure:

http://www.embouchures.com : Embouchure website

Library Holdings:

http://www.library.okstate.edu/database/index.cfm

Music paper:

http://www.printablepaper.net/category/music (free download and print)

Organizations:

http://afm.org/ American Federation of Musicians (AFM)

http://trumpetguild.org International Trumpet Guild

http://www.asboa.org Arkansas School Band and Orchestra Association

Purchase instruments and supplies:

http://www.horntrader.com: Equipment

http://www.dillonmusic.com : Equipment & supplies. http://www.music123.com : Equipment & supplies.

Metronomes and tuners: (These items are changing rapidly and range from the simple/complex to standalone/software-based) You will just have to search around for what you need. Music stores carry the traditional standalone units. Downloadable apps for computers and iphones are getting very useful. Here are a few.

Metronome (standalone) - Dr. Beat (very sophisticated capabilities)

Metronome (standalone) - The Body Beat (standalone- vibrating units)

Metronome (web-based) - Seventh String Metronome

Metronome and Tuner (computer software) - www.smartmusic.com (also includes accompaniment software)

Tuner (iphone app) - Cleartune- Choromatic Tuner (iphone app.- download through itunes)

Tuner (web-based) - Seventh String Tuner

Sheet music:

Free Downloads:

http://www.mutopiaproject.org/browse.html (various composers- parts)

http://dme.mozarteum.at/DME/nma/nmapub_srch.php?l=2 (Mozart- scores only)

http://www.free-scores.com

http://www.musicaviva.com/index.html

http://www.google.com/search?output=&sitesearch=&hl=en&q=free+horn+sheet+mu sic&submit=Search+the+Web

Purchase

http://www.southernmusic.com : San Antonio business.

http://www.rbcmusic.com : San Antonio business.

http://www.rkingmusic.com : best selection of brass music. Online catalog.

http://www.sheetmusicplus.com :

http://www.cdsheetmusic.com/ : http://www.virtualsheetmusic.com

http://www.musicnotes.com/

Orchestral parts:

http://www.orchmusiclibrary.com : Orchestral parts on CD’s.

http://www.librarymusicsource.com/ Download orchestral parts (based on the orchmusiclibrary.com CD's)

http://www.lucksmusic.net/ :

http://www.kalmus-music.com :

http://www.schirmer.com/ :

Purchase recordings:

http://www.apple.com/itunes

http://www.amazon.com

http://www.towerrecords.com

www.napster.com

Repair:

Ask colleagues and teachers for local shop recommendations.

Call ahead to schedule a repair. For minor repairs request "while you wait service".

Not all shops are reputable. Determine in advance if possible what needs to be done by speaking with teachers.

For major repairs on professional grade instruments, consider shipping the instrument to shops who work primarily on professional instruments.

www.napbirt.org: Repair professionals organization

Summer Festivals: Aspen Music Festival (Aspen, CO)

Baltimore Symphony Orchestra Summer Music Fest (Baltimore, MD)

Bellingham Music Festival (Bellingham, Washington)

Blossom Music Festival (Cleveland, OH)

Blue Lake Fine Arts Camp (Twin Lake, MO)

Brevard Music Center and Festival (Brevard, NC)

Chautauqua Institution (Chautauqua, NY)

Chosen Vale International Trumpet Seminar (Hanover, NH)

Des Moines Metro Opera (De Moines, IA)

Domaine Forget (Quebec, Canada)

Eastern Music Festival (NC)

Grant Park Music Festival (Chicago, IL)

Hawaii Performing Arts Festival (Waimea, HI)

Hot Springs Music Festival (Hot Springs, AR)

Interlochen Arts Festival (MI)

Miami Music Festival (FL)

Music Academy of the West (Santa Barbara, CA)

National Orchestral Institute (MD)

National Repertory Orchestra (CO)

Pacific Music Festival (Japan)

Ravinia Festival (IL)

Round Top International Festival-Institute (TX)

Santa Fe Music Festival (NM)

Sarasota Music Festival (FL) Sewanee Summer Music Festival (TN)

Spoleto Music Festival (Spoleto, USA)

Tanglewood Music Festival (Boston, MA) Follow links to "TMC"

Trumpet Studio Class Schedule Dr. Ryan Gardner Tuesdays 1:45-3:15pm SCPA 123

Thursday, August 23: October 16: Syllabi Expectations Sight-Reading Performance Scheduling

August 28: October 23: Breathing Scales/Arpeggios Concerto Competition Participants Practicing 101 – Warming Up Practicing 201 – Singing through your Routine

September 4: October 30:

Practicing 301 – Making Repertoire Easy Again Orchestral Excerpt Mock Audition #2 Don Juan, Ravel, Mahler 5, Ives, Williams

September 11: November 6:

Technical and Lyrical Etude Performances (C) Solo Performances (A) Studio Trumpet Choir

September 18: November 13:

Technical and Lyrical Etude Performances (B) Solo Performance (B) Studio Trumpet Choir

September 25: November 20:

Technical and Lyrical Etude Performances (A) Trumpet Ensemble Performances/Recording Studio Trumpet Choir

October 2: November 27:

Orchestral Excerpt Mock Audition #1 Solo Performances (C) Pictures, Pines, Petroushka, Leonore #2, Bartok Concerto for Orchestra October 9: November 7-16 and December 1-11:

Section Excerpt and Duet Performance Rebecca Wilt Residency

Midterm Week: October 8-12, 2018 Noon Concert – TBA Book Reports Due: December 4, 2018

Group A: Daigle, Holmes, Nusser, Mennenga, Mertes, Montalvo, Stout Group B: Chai, Herron, Morse, Rylko, Tetzloff, Chapman, Landon Group C: Dixon, Mejia, Noblitt, Thorp, Belonga, Laurent