Florida State University Libraries

2016

A Survey and Guide to United StatesMilitary Band Trumpet AuditionsJames Johnson

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FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

A SURVEY AND GUIDE TO UNITED STATES

MILITARY BAND TRUMPET AUDITIONS

By

JAMES T. JOHNSON

A Treatise submitted to the

College of Music

in partial fulfillment of the

requirements of the

Doctor of Music

2016

ii

James Johnson defended this treatise on 5 April 2016.

The members of the supervisory committee were:

Christopher Moore

Professor Directing Treatise

Richard Clary

University Representative

John Drew

Committee Member

Paul Ebbers

Committee Member

The Graduate School has verified and approved the above-named committee members, and

certifies that the treatise has been approved in accordance with university requirements.

iii

ACKNOWLEDGMENTS

This treatise would not have been possible without the help of my committee members,

whom helped guide me through this process and degree, along the members of the military bands

who gave their knowledge and experience in this field to make this treatise a reality. I would

like to thank the publishing companies who granted permission to use their materials in this

document. I would also like to thank my fiancée for supporting me in every step of this process.

Finally, I would like to thank my family for their continued support in my quest for musical

enlightenment.

iv

TABLE OF CONTENTS

List of Tables ...................................................................................................................................v

List of Figures ................................................................................................................................ vi

Abstract ......................................................................................................................................... vii

CHAPTER 1 HISTORY OF THE AMERICAN WIND BAND ....................................................1

CHAPTER 2 THE RESEARCH......................................................................................................5

CHAPTER 3 THE QUESTIONNAIRE ..........................................................................................8

CHAPTER 4 THE TOP TEN EXCERPTS ...................................................................................12

CHAPTER 5 CONCLUSION .......................................................................................................32

APPENDICES ...............................................................................................................................33

A. RECORDINGS OF EXCERPTS IN ORDER OF APPEARANCE.........................................33

B. ANSWERS FROM SURVEY ..................................................................................................35

C. HUMAN RESEARCH CLEARANCE.....................................................................................38

D. COPYRIGHT PERMISSIONS AND FAIR USE DOCUMENTS...........................................39

References......................................................................................................................................50

Biographical Sketch.......................................................................................................................52

v

LIST OF TABLES

Table 2.1 List of Military Bands Contacted for Study ....................................................................6

Table 2.2 Chart of Trumpet Excerpts ..............................................................................................7

vi

LIST OF FIGURES

Figure 4.1 Summon the Heroes by John Williams/Lavender ........................................................13

Figure 4.2 Pines of Rome Movement II by Ottorino Respighi/Duker............................................14

Figure 4.3 An Outdoor Overture by Aaron Copland .....................................................................16

Figure 4.4 Variations on “America” by Charles Ives/Rhoads ......................................................18

Figure 4.5 Symphony in B-flat Movement I by Paul Hindemith ....................................................20

Figure 4.6 Festival Variations by Claude T. Smith .......................................................................23

Figure 4.7 Toccata Marziale by Ralph Vaughan Williams ...........................................................25

Figure 4.8 Festive Overture by Dmitri Shostakovich/Hunsberger ................................................27

Figure 4.9 Washington Grays March by Claudio Grafulla ...........................................................28

Figure 4.10 Symphonic Dances From West Side Story by Leonard Bernstein/Lavender..............30

vii

ABSTRACT

This study examines the military’s process of selecting trumpet excerpts used for audition

screening along with performance preparation advice for the top ten most commonly requested

excerpts within the premier military bands in the United States of America: The Pershing’s Own

Marine Band, The President’s Own Army Band, The U.S. Navy Band, The U.S. Air Force Band,

and The U.S. Coast Guard Band. The first step in this process is to collect as many audition lists

for trumpet as possible and compile them into a single chart. This chart will display every

excerpt that is being requested by each of the five premier bands and will also display which

trumpet excerpts are requested by multiple bands. From this chart, the top ten trumpet excerpts

will be confirmed and sent to members of the premier military bands along with a short four-

question survey designed to help understand why these ten excerpts are being requested over

others. Using the information gathered from the survey, a learning approach will be provided,

suggesting how best to prepare the excerpts for auditions.

1

CHAPTER 1

HISTORY OF THE AMERICAN WIND BAND

In order to understand the trumpet excerpts being requested for military auditions, it is

important to gain an understanding of the use of the trumpet within the wind band and

furthermore, understand the history of the wind band in America and how it has changed since

its conception. The origins of the wind band (and its music) was entirely functional. While the

orchestra was created as a form of artistic expression, the original purpose of the wind band was

to provide music for specific occasions, both military and civic.1 The American wind band

origins can be traced back to the influence of German military bands. William White states in his

book History of Military Music in America that “during the first half of the Eighteenth Century

we find that German military bands were superior, in organization and development, to all others

in Europe.”2

France and England based their military band models off of German bands. The basic

instrumentation of these bands included pairs of flutes, oboes, horns, bassoons, one or two

trumpets, and a bass trombone. England was the first country to utilize the clarinet in its bands,

surpassing the oboe as the superior instrument.3 During the second half of the Eighteenth

Century, England’s military bands made rapid progress and soon became the leading force in

military music throughout Europe.4 Since England still occupied colonial America during the

better part of the Eighteenth Century, most of America’s wind band influence originated from

there.

While sacred music was alive and well within local churches and other spiritual venues,

secular music was struggling to find its foothold in the New World. Musicians who wanted to

perform secular music had to be willing to perform wherever they could, including taverns,

government chambers and dance halls until concert halls were established in the early 1740’s.

The first known band concert held in the colonial United States took place in Boston in 1729 and

other documented concerts are noted in Charleston, South Carolina as early as 1732.5 Over the

next decade cities within the colonies began to embrace the music of wind instruments. In the

1 Richard Franko Goldman, The Wind Band: Its Literature and Technique (Boston: Allyn and Bacon Inc, 1961), 7.

2 William Carter White, History of Military Music in America (New York: The Exposition Press, 1944), 13.

3 Ibid, 13.

4 Ibid, 14.

5 Richard K. Hanson, The American Wind Band: A Cultural History (Chicago: GIA Publications, 2005), 15.

2

early 1740s a group of people in Bethlehem, Pennsylvania organized their own Collegium

Musicum. This group of musicians performed chamber music of Europe’s leading composers at

the time, including the first American performance of Handel’s Messiah in 1742.6

During the late 1750’s, the British Ministry sent regimental troops to the colonies

including military musicians. These bands performed concerts in almost every major city at the

time including New York, Boston and Philadelphia as a way of maintaining their control over the

New World. Colonists were quick to form their own local bands as well. The first account of a

military band concert was performed by the Royal American Regiment Band of New York on

April 13, 1767.7 The American government began to see the advantages of music as propaganda

in the years leading up to the American Revolution, and by 1776, the Continental Army was

employing over four-hundred wind musicians within their regiments.8 In the years following the

war, wind bands continued to flourish throughout the thirteen colonies. In 1798 President John

Adams founded one of America’s oldest music ensembles, The United States Marine Band. At

first these musicians were deployed to ships and forts across the colonies until it was decided to

establish its main location in Washington, D.C. In 1801 the Marine Band gave their first

performance in front of the White House for a New Years’ Celebration led by President Adams.9

Along with the founding of the Marine Band, technological advances in instrument

making allowed military bands to become a staple in the American music scene. By the war of

1812 military bands grew larger and expanded the range of instrumentation, including a full set

of keyed woodwind instruments (clarinets, oboes, flutes, bassoons and saxophones) and keyed

bugles, serpents, bass horns and ophicleides (eventually replaced with valved instruments).10 In

1832 military regiments were ordered to reduce the size of their ensemble from twenty-four

members to ten, causing a massive surge in brass bands across America. Many cities including

New York, Boston and Salem started their own brass bands in conjunction with military bands

that lasted well into the American Civil War.11 During this war, President Abraham Lincoln

travelled the union territories, bringing the Marine Band to play in each town he stopped in,

including Gettysburg, Pennsylvania for his famous Gettysburg Address. The band also kept

6 Richard K. Hanson, The American Wind Band: A Cultural History (Chicago: GIA Publications, 2005), 16.

7 Ibid, 17.

8 Ibid, 17.

9 United States Marine Corps, “Marine Band History,” The President’s Own: United States Marine Band,

http://www.marineband.marines.mil/About/OurHistory.aspx/ (accessed January 2, 2016). 10

Richard K. Hanson, The American Wind Band: A Cultural History (Chicago: GIA Publications, 2005), 22. 11

Ibid, 24.

3

spirits high during one of the darkest times in American history by providing frequent concerts

on the White House lawn.12

After the Civil War, the wind band movement had become so popular that professional

traveling bands were established. From this, some of the greatest band leaders gained their fame,

including Patrick Gilmore, Edwin Goldman and John Philip Sousa. Patrick Sarsfield Gilmore

(1829-1892) was an accomplished cornettist as well as being a band leader. Edwin Franko

Goldman (1878-1956) was known for giving one of the first concerts of all original band music

in 1942. John Philip Sousa (1854-1932), who along with having his own traveling band, began

his career with the Marine Band from 1880-1892. During those years, Sousa led the band on

their first concert tour and produced some of the first phonograph recordings of band repertoire

ever made.13

The Marine Band, along with professional traveling bands, were the main source of wind

band music in America until the end of World War I. Around this time other major branches of

the military began to establish their own full-time bands. The Navy Band established their

ensemble in 1918, followed by the Army Band in 1921, the Coast Guard Band in 1925 and the

Air Force Band in 1941.14 To this day these five military bands continue to be leading forces in

the wind band medium, providing employment for hundreds of musicians and support for troops

all over the world.

While they may not be as active as the Sousa or Goldman bands had been during the

Twentienth Century, there are still many professional wind bands in existence today in major

cities including Dallas, Atlanta, and Colorado Wind Symphonies, as well as the San Fransisco

Wind Ensemble, to name a few.

The majority of band music today stems from educational institutions. Almost every

college or university has a band program with a full time director. College band programs have

been in existence almost as long as the Marine band, but did not reach full maturity until the

early Twentienth Century with the formation of the Collegiate Band Directors National

Association (CBDNA) in 1947.15 By the 1950’s, CBDNA had a membership of over three

12

United States Marine Corps, “Marine Band History,” The President’s Own: United States Marine Band,

http://www.marineband.marines.mil/About/OurHistory.aspx/ (accessed January 3, 2016). 13

Ibid. 14

Edwin Franko Goldman, The Wind Band (Boston: Allyn and Bacon Inc, 1961), 104. 15

Collegiate Band Directors National Association, “History,” CBDNA.org, http://www.cbdna.org/cgi-bin/about3.pl

(accessed March 29, 2016).

4

hundred band directors, and established an annual conference hosted by universities all across

the country.16 Several university ensembles have achieved great success, including institutions

such as the University of North Texas, the Florida State University, Northwestern University,

and the Eastman School of Music, whose wind ensemble was nominated for a Grammy Award in

1987.

Over the years, the trumpet’s role within the wind band bears a resemblance to its role in

the orchestra. It was limited to providing harmonic support for chromatic instruments until the

invention of the valve in 1814 by Heinrich Stoelzel. While it took years to establish itself as a

chromatic instrument, composers began writing more comprehensive and difficult trumpet

parts.17 The most significant difference between orchestral and wind band trumpet parts center

around the use of the cornet. While Berlioz and other composers used cornet parts in their

orchestral writing the vast majority of orchestral parts are written for trumpet, whereas wind

band music utilizes both the trumpet and cornet. The cornet is conical, meaning that the diameter

of metal tubing gradually expands from the leadpipe to the bell flare, whereas the trumpet is

cylindrical, meaning the diameter of the tubing stays the same. This slight difference in tubing

creates a tonal contrast between the two instruments, allowing composers to utilize both

instruments in the wind band literature simultaneously. Trumpets are normally used for fanfare

sections, while the cornet acts as a solo instrument or used to accompany the woodwinds. The

height of cornet part writing came during the early Twentienth Century when cornets were more

accessible. Since most educational institutions currently do not have the resources to afford

quality cornets, more composers are writing for trumpet, as they are the predominant instrument

of beginning band programs in the United States.

16

Edwin Franko Goldman, The Wind Band (Boston: Allyn and Bacon Inc, 1961), 107. 17

Edward Tarr, The Trumpet (Portland: Amadeus Press, 1988), 146.

5

CHAPTER 2

THE RESEARCH

The wind band medium is a true American art form. It places some of the most

challenging demands on wind players both musically and technically; serves as a great

employment opportunity and is an invaluable educational resource for student musicians. In

addition, it is a vital source for students’ musical upbringing both expressively and historically

and serves as a vehicle for non-performers to connect and support the musical arts through local

community bands and regional military bands.

Aspiring trumpet players spend countless hours in the practice room working on

orchestral excerpts in order to win an orchestral job. There are dozens of books in circulation

today that include collections of the top orchestral excerpts that trumpet players should study, yet

there are no books doing the same for wind band trumpet excerpts. This study was created to

introduce which wind band excerpts are being requested in auditions today, provide a wealth of

knowledge into these excerpts, how they are picked for audition lists, and tips on how to practice

them to increase success.

Growing up, my main source of musical experience came from the school band program.

The school district I attended did not have the resources for a school orchestra, thus band was the

only option available as a instrumentalist. As I progressed into college and graduate school, the

institutions I attended were best known for their band programs over anything else, further

expanding my knowledge of the wind band literature. It is because of this immersion that I chose

to do this study of wind band trumpet excerpts. The idea for the layout of this study comes from

an article that was published in the September 1993 issue of the International Trumpet Guild

Journal by The Florida State University alumnus, T.S. Anthony Kirkland titled Auditioning for

Military Band: Some Helpful Advice. In this article, Kirkland created a table of wind band

trumpet excerpts that were appearing on audition lists at that time, followed by advice regarding

the audition process for military positions. Over the past few decades, this has been one of the

only articles on the topic of military band audition preparation.18 Since it has been over twenty

years since this article’s publication, I wanted to expand upon it, go beyond which excerpts were

18

Anthony B. Kirkland, “Auditioning for Military Band: Some Helpful Advice,” International Trumpet Guild

Journal, Volume 18, No. 1 (September 1993): 30-33.

6

requested for military band auditions and discover the “top ten” excerpts, investigating why these

were chosen over others. I also wanted to gain a better understanding of the military band

audition process, feeling that it would be beneficial to provide information regarding what

committees expect during auditions and provide performance considerations for each excerpt,

comparable to the orchestral excerpt books in circulation today.

The first step in finding the top ten excerpts was to collect as many military band audition

lists for trumpet as possible. The table below displays the bands from which audition lists were

gathered. The premier bands are the considered the top military ensembles in the country and

are located in or near Washington D.C. with the exception of the Coast Guard Band which is

located in New London, Connecticut. Base bands are more numerous and regional with locations

throughout the United States.

Table 2.1. List of Military Bands Contacted for Study

Premier Band Base Band

Navy Concert Band Navy Band Southeast (FL)

“President’s Own” Marine Band 1st Marine Division Band (CA)

“Pershing’s Own” Army Band 1st Infantry Division Band (KS)

Air Force Band U.S. Army Military Intelligence Corps Band (AZ)

Coast Guard Band Air Force Band of the Northeast (PA)

While the primary source material for this study came from the premier bands, the base

bands listed were also contacted to help discover if their audition processes are any different. As

it turns out, the base bands do not use audition lists that have specific excerpts to be prepared.

For their auditions, auditionees are required to choose their own musical selections that

demonstrate their technical and musical abilities. Due to this discovery, the audition lists used in

this study came solely from the premier bands.

After the audition lists were collected, the next step was to combine them into one chart.

This chart displays every excerpt that has been requested by the premier bands going back as far

as 2000. The excerpts were separated into five main categories: original band compositions,

orchestral transcriptions, marches, popular arrangements, and bugle calls. The numbers that are

next to some of the excerpts represent the number of times that excerpt appeared on audition lists

7

from other premier bands. Upon completion, the information provided displays the excerpts that

are requested by military bands (in order of frequency of requests):

1. Summon The Heroes (John Williams/Lavender)

2. Pines of Rome Movement II: Pines near a Catacomb (Ottorino Respighi/Duker)

3. An Outdoor Overture (Aaron Copland)

4. Variations on “America” (Charles Ives/Rhoads)

5. Symphony in B-Flat Movement I: Moderately Fast, with Vigor (Paul Hindemith)

6. Festival Variations (Claude T. Smith)

7. Toccata Marziale (Ralph Vaughan Williams)

8. Festive Overture (Dmitri Shostakovich/Hunsberger)

9. Washington Grays March (Claudio S. Grafulla)

10. Symphonic Dances from West Side Story (Leonard Bernstein/Lavender)

Table 2.2. Chart of Trumpet Excerpts

Original Band Compositions Orchestral Transcriptions Marches Popular

Arrangements Bugle Calls

-Eternal Father, Strong to Save

-Scherzo a la Britten

-Ride

-Molly on the Shore

-Lincolnshire Posy Mvt. II

-Watchmen, Tell us of the

Night

-Toccata Marziale (2)

-Symphony in B-Flat Mvt. I (3)

-Symphony in B-Flat Mvt. II

(2)

-Fantasy Variations

-Concertpiece for Cornet

-2nd

Suite in F Major Mvt. II

-Divertimento for Band

-Battle Hymn of the Republic

-Festival Variations (3)

-When Jesus Wept

-Pas Dedouble

-La Tregenda

-Symphonic Metamorphosis

-HoeDown

-Short Ride in a Fast Machine

-Symphonic Dances from West

Side Story (2)

-Summon the Heroes (5)

-Festive Overture (2)

-Histoire du soldat

-Swan Lake

-Cappriccio Italien

-Variations on “America” (3)

-Pines of Rome Mvt. I

-Pines of Rome Mvt. II (3)

-Samson et Dalila

-Triumphal March from Aida

-Silverado

-Ruslan and Lyudmila

-Pictures at an Exhibition-

Promenade

-Symphony no. 4 (Tchaikovsky)

-Flag Officer’s

March

-Black Horse Troop

-The Circus Bee

-Golden Jubilee

-Queen City

-Pride of the

Wolverines

-Hands Across the

Sea

-Washington Grays

(2)

-Galliant Seventh

-The Thunderer

-British Eighth

-Barnum and

Bailey

-Boogie Woogie

Bugle Boy

-Slaughter on

Tenth Ave.

-Taps

-Tattoo

-To the Colors

8

CHAPTER 3

THE QUESTIONNAIRE

In order to understand why these ten excerpts were chosen on audition lists, a

questionnaire was created and sent to members of military bands who were willing to share their

insight and experience. These musicians have been through the trenches of auditioning for

military bands and have spent countless hours preparing to earn a spot in these prestigious

ensembles. The questionnaire was designed to be simple so that the answers would be

approachable and applicable for trumpet players of varying levels of ability.

Question 1: Included with this document are the most commonly requested trumpet excerpts for

premier military bands. Regarding these excerpts, could you please briefly explain why you

believe these specific excerpts appear so frequently on audition lists?

Question 2: What qualities do you look for in any given audition? Are you looking for a

candidate who is note perfect, perhaps technically flawless or most musical and unique?

Question 3: Auditionees can spend countless hours practicing audition lists and sight-reading

when preparing for an audition. Do you have any advice in preparing the excerpt as well as the

section-playing portion of the audition?

Question 4: Is the repertoire for your auditions chosen solely by an individual or by a

committee?

While the answers from each band member varied slightly, they all carried a similar

message that can be used not only for preparing military excerpts, but also for excerpts in any

audition situation. Their answers can be applied to various aspect of trumpet playing, from

listening to recordings to technical considerations and musical phrasing. The following

paragraphs are a summary of the answers received for this study.

9

Question 1: Included with this document are the most commonly requested trumpet excerpts for

premier military bands. Regarding these excerpts, could you please briefly explain why you

believe these specific excerpts appear so frequently on audition lists?

In general, the answers given suggested that the main reason these excerpts are chosen

for auditions is because of the diversity of musical styles each excerpt represents. Summon the

Heroes demonstrates the ability to play majestically and with brilliant sound, specifically in the

upper register. Pines of Rome and An Outdoor Overture demonstrate playing beautifully and

musically over long phrases. Variations on “America” is written in a march style, which requires

agile and crisp articulations. Symphony in B-flat requires the ability to play with power and

sound projection in both the middle and lower register. Festival Variations demonstrates the

technical abilities in regards to articulation, technique and steady rhythm. Toccata Marziale

requires the ability to switch between technical and lyrical playing within the same excerpt.

Festive Overture demonstrates technique in the first excerpt and musical phrasing in the second.

Washington Grays March requires playing in a march style while demanding clear articulation

and finger technique. Symphonic Dances from West Side Story demonstrates the ability to play

jazz music, along with upper register precision and the use of extended techniques.

Question 2: What qualities do you look for in any given audition? Are you looking for a

candidate who is note perfect, perhaps technically flawless or most musical and unique?

The majority of the answers indicated that first and foremost, an auditionee should strive

to play with the best sound possible. Since most of the playing within these ensembles is with the

trumpet section, the auditionee should play with core in the sound that is easily molded to fit

within the trumpet section. The next level of importance is that of musicality. Being able to

shape a phrase demonstrates creativity and musical maturity. While playing with technical clarity

and dexterity is important, musicality is vital in connecting to your listener on an emotional

level.

The next aspect of an audition that the committee listens for is rhythmic accuracy. If an

auditionee has poor rhythm, they may struggle to perform with other musicians. Accurate rhythm

helps keep the ensemble together regardless of complexity. The final level of importance in an

10

audition is technical ability. The auditionee must be able to demonstrate exceptional technique

such as finger dexterity and articulation. In order to have a successful audition, the auditionee

must demonstrate these skills effectively, which will make a lasting impression on the audition

panel. A deficiency in any of these areas can be grounds for elimination.

Question 3: Auditionees can spend countless hours practicing audition lists and sight-reading

when preparing for an audition. Do you have any advice in preparing the excerpt as well as the

section-playing portion of the audition?

The answers provided suggest that the first step in preparing for an audition is to listen to

a wide variety of recordings. This will give the auditionee a better understanding of the excerpt

in terms of emotional context and instrumentation. Some excerpts might be a true solo with

minimal accompanimental support, or a unison line with the other instruments. While the excerpt

looks the same on paper, its role within the work can vary depending on the musical context. The

excerpt can also be played along with a professional recording. This will allow the auditionee to

perform the excerpt within the context of the work. Other answers proposed the idea of recording

practice sessions of the excerpts. Recording excerpts will allow them to become their own critic.

Another level of preparation suggested from the survey suggests playing the excerpts for

other people, both trumpet players and other musicians. Playing the excerpt for other people

could help give insight that might not have been considered before. If the excerpt is from an

original band score, consider playing it for a band director at a school or university. If it is an

orchestral transcription, perhaps play it for an orchestra director. There is a chance that these

directors may have studied the work before and can offer further insight into the excerpt. Playing

for other people may also help to overcome possible nervous tendencies.

Auditionees should also consider playing the excerpts with other musicians. Some

excerpts that appear on the audition lists are not always solo excerpts, but rather sectional. The

auditionee can go to their school’s orchestra or band library and obtain the other parts for that

work and play along as an entire section. This will require them to perform the excerpt in

context, which will help in terms of balance, intonation, blend, and articulation.

11

Question 4: Is the repertoire for your auditions chosen solely by an individual or by a

committee?

Typically, the section leader chooses most of the excerpts for audition lists after

considerable input from members of the section. These section members can spend years

performing together, creating a family-style bond. When someone leaves the section and needs

to be replaced, it is a group decision to choose the new member. While the section leader may

have the final decision as to which excerpts appear on an audition list, they usually rely on the

section’s advice.

12

CHAPTER 4

THE TOP TEN EXCERPTS

Each excerpt discussed in this chapter will include a brief biography of the composer,

performance considerations and a short list of suggested recordings to refer to while studying

these excerpts. A list of these recordings can be found in appendix A.

John Williams (b. 1948) is considered to be one of the most popular and successful

composers of the twentieth Century, winning over thirty awards for his film and ceremonial

works. He has composed music for over eighty films, including E.T., Schindler’s List, Superman,

and Star Wars to name just a few. He studied composition at the University of California Los

Angeles and both composition and piano at the Juilliard School of Music.19 After Juilliard,

Williams returned to Los Angeles and began writing for television and small films with Bernard

Herrmann, Alfred Newman and Franz Waxman. In 1980, Williams was appointed conductor of

the Boston Pops Orchestra, touring across the United States and Japan from 1980-1993. During

this time he was a guest conductor of several orchestras including the London, Cleveland,

Philadelphia, Chicago, Los Angeles and Pittsburgh Symphony Orchestras. In addition, Williams

has also written theme music for the 1984, 1988 and 1996 Olympic games.20 Summon the Heroes

was written for the 1996 Olympic Games held in Atlanta, Georgia and was written specifically

for Tim Morrison, former principal trumpet of the Boston Pops Orchestra.

Style is a significant consideration in preparing this excerpt. At the beginning, the words

used to describe the style are “majestically” and “broader,” and should be played heroically and

stately while striving for brilliant tonal color and full resonance. The last four measures of the

excerpt use the phrase “a little broader” followed by the term “ritardando.” This can get

complicated if performed exactly as written, so consider using “a little broader” to begin the

“ritardando” and gradually slow until the last four eighth notes, allowing the music to unfold

naturally. Throughout this excerpt, the term “cantabile” is used, and should interpreted to play

lyrically with brilliance in tonal color as the music ascends above the staff. The majority of the

19

Colin Larkin, ed. s.v. “Williams, John (composer),” Encyclopedia of Popular Music, 4th edition. Oxford Music

Online, Oxford University Press,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/epm/50055 (accessed April 4, 2016). 20

Alison Eldridge, “John Williams: American composer and conductor,” Encyclopedia Britannica, last modified

March 17, 2016, http://www.britannica.com/biography/John-Williams-American-composer-and-conductor

(accessed April 4, 2016).

13

excerpt is set at the top of the staff, and a common mistake is to play too aggressively,

disregarding the style that is indicated.

Figure 4.1. Summon the Heroes by John Williams/Lavender.

If range proves to be an issue, spend time with two-octave scales and lip flexibilities to

gain the ability to play comfortably in the upper register, striving for ease and excellence in

centering. With regards to articulation, using a “du” syllable will help maintain the majestic

quality from beginning to end. There are several places that have tenuto markings under a slur,

indicating that the notes should be articulated for clarity in the upper register while playing as

sustained as possible. One final consideration with this excerpt is breathing, as there are no long

rests or any breath marks. When choosing places to breathe, be careful to not break the musical

phrase.

Suggested recordings for this piece include the United States Army Field Band’s Strength

of the Nation album, which has a beautiful interpretation of this excerpt that truly embodies the

14

cantabile style. Her Majesty’s Royal Marine Band’s recording on their Summon the Heroes

album also achieves the cantabile style, but has more tonal brilliance throughout that helps

display the majestic quality. The Boston Pops Summon the Heroes album, while an orchestral

recording, is worth studying. Since Williams wrote the work for Tim Morrison, studying his

performance should provide valuable insight into how best to prepare the excerpt with the

understanding that the orchestral version is for trumpet in C rather than B-flat.

Figure 4.2. Pines of Rome Movement II by Ottorino Respighi/Duker.

Ottorino Respighi (1879-1936) was born in Italy and was exposed to music at a very

young age, studying viola at the Liceo Musicale in Bologna before spending a few years in

Russia. During his time there (1900-1903), Respighi had several lessons with Rimsky-Korsakov

before returning to Bologna.21 In 1913 he held the position of Professor of Composition at the

Liceo Musicale di S Cecilia, an institution that became a Conservatory in 1919 and appointed

Respighi as director in 1923, which he held for three years.22 Respighi spent the rest of his life

composing, traveling and conducting in both Europe and America until his death in 1936 of heart

complications.23 Pines of Rome is one of his three symphonic poems, and is considered a sequel

to Fountains of Rome, which was composed in 1924.

21

John C. G. Waterhouse, et al, s.v. “Respighi, Ottorino,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/47335 (accessed January 10,

2016). 22

Ibid. 23

Ibid.

15

In regards to musical considerations, little is given in this excerpt. With the exception of

the forte dynamic marking at the beginning, the phrase “ma dolce ed expressivo” (strong, but

sweetly and expressively) and a diminuendo at the end, there are no other musical markings.

One way to determine the musical structure is by the number of phrases and the climatic points

of each phrase. Discovering the phrases is rather simple as they are marked with phrase

markings, but finding the climatic points can be slightly more difficult. In the first phrase, the

climatic point is the downbeat of measure two; the second phrase is beat four of measure three.

The third phrase has two climatic high points: beat four of measure five and beat two of measure

six. The fourth phrase serves as one long crescendo into the downbeat of measure nine, the

highest musical point in the entire excerpt, followed by a long decrescendo until the end. Finding

proper places to breathe is an important consideration when preparing this excerpt. Without

interrupting the musical line, the last note at the end of each phrase provides excellent places to

breathe. If the tempo is slow enough that breathing is required in the middle of the phrase, there

are several options, preferably after longer note values such as half or dotted half notes.

The United States Air Force Band’s album Ottorino Respighi has a beautiful

interpretation of this excerpt. While the trumpet solo is not overly loud and aggressive, it is well

balanced with the rest of the ensemble and captures the sweet and expressive nature of the

musical line. The United States Marine Band’s recording of this piece on their Director’s Choice

album also captures the integrity of the musical phrase, but is considerably slower, and sounds as

if the soloist is possibly offstage, giving the feeling of being “from a distance.”

A first generation Jewish immigrant who grew up in Brooklyn, New York, Aaron

Copland (1900-1990) was one of the most influential American composers of the Twentieth

Century and helped to establish a distinctively American style of music. Copland began

composing at the age of seven and began taking piano lessons at thirteen.24 By age sixteen he was

taking theory and composition lessons from Rubin Goldmark, Victor Wittgenstein and Clarence

Adler. In 1921, Copland spent the summer at the American Conservatory before continuing his

studies in Paris with Ricardo Vines and Nadia Boulanger. During his three years in Paris,

24

Howard Pollack, s.v. “Copland, Aaron,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/06422 (accessed January 10,

2016).

16

Copland also traveled across Europe and explored all of what European music had to offer,

developing an admiration for notable composers such as Stravinsky and Mahler.25

Figure 4.3. An Outdoor Overture by Aaron Copland.

Copland returned to the United States and was appointed Assistant Director of the

Berkshire Music Center in 1940 where he taught summer courses until 1965. During the 1940’s,

Copland was regarded as the foremost American composer of his time despite receiving bad

press during the participation of the 1949 World Peace conference where he was labeled a

communist.26

Copland moved to Rock Hill, New York in 1961 where he lived out the rest of his

days, dying shortly after his ninetieth birthday. An Outdoor Overture was originally written for

orchestra in 1938 and arranged for band in 1942 by the composer.27

Range plays a significant role in this excerpt, as it spends a significant amount of time at

the top of the staff and covers a two-octave C major scale towards the end. When working on

this excerpt, practice two-octave scales up to high C and beyond for control and ease of playing

in the upper register. Stylistic considerations are essential, but aside from a few crescendos and

decrescendos the only musical marking given is the phrase “cantabile, freely with natural

25

PBS, “Aaron Copland: A Self Portrait—About the Composer,” PBS American Masters,

http://www.pbs.org/wnet/americanmasters/aaron-copland-about-the-composer/475/ (accessed March 16, 2016). 26

Ibid. 27

Howard Pollack, s.v. “Copland, Aaron,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article/grove/music/06422 (accessed January 10,

2016).

17

expression.” When preparing this excerpt, consider adding a crescendo in measure seventeen

going into measure eighteen (antecedent/consequence). Measure nineteen can have a slight

crescendo through the quarter note triplets into measure twenty-one, maintaining the musical

energy into the written A-natural. The written G-natural after beat two in measure twenty-three is

the climatic point of that phrase. Measures twenty-four and twenty-five contain the same musical

figure, and in order to make it effective the second statement should be louder and more intense

than the first. When playing the written high C-natural in measure twenty-six strive for good core

to the sound with full resonance. As the two-octave scale descends do not worry about getting

softer, but rather maintain the same volume to the end of measure twenty-nine. It is acceptable to

breathe after the half note in measure thirty, and move the decrescendo back until after the last

note is established with good tone.

One final consideration to be aware of when preparing this excerpt is the rhythmic

complexity. With sixteenth and eighth notes combined with syncopation and quarter note triplets,

this excerpt can be difficult to perform if the subdivision is not constant. While it may be

difficult in the triplet passages be sure the eighth note subdivision remains consistent, as it will

serve as the best option overall to maintaining consistent tempo and playing the correct rhythms.

For suggested recordings, The United States Air Force Band’s Celebration album

demonstrates the ease and clarity needed to perform this excerpt as well as musical phrasing

which seems to flow naturally. The United States Marine Band’s recording on their The Legacy

of Aaron Copland album is slightly more aggressive in terms of style and tempo, but does not

interfere with the musical product, which still sounds natural and expressive. The Cincinnati

Wind Symphony has a recording of this work on their American Dreams album, which takes a

more relaxed approach to this excerpt. The tempo is considerably slower, and the soloist treats

the slur markings as phrase markings, allowing for legato articulations instead of slurs, notably in

the two-octave scale at the end of the excerpt.

Charles Ives (1874-1954) was a native of Danbury, Connecticut. His father served as his

main musical influence during his youth and exposed him to a wide array of musical styles. Ives

played the drums in his father’s band, and took both piano and organ lessons from a variety of

teachers in the area, becoming the youngest salaried organist in the state at the age of fourteen.28

28

Jan Swafford, “Ives the Man: His Life,” The Charles Ives Society, last modified 1998,

http://www.charlesives.org/ives-man-his-life (accessed January 11, 2016).

18

He studied at the Hopkins Grammar School before attending Yale, studying with Dudley Buck

and Horatio Parker. Upon graduation, Ives moved to New York and began working for the

Mutual Life Insurance Company as a desk clerk.29

Figure 4.4. Variations on “America” by Charles Ives/Rhoads.

Trained in organ and composition, Ives spent the better part of thirty years selling

insurance while composing in his free time. Most of his works took years to complete,

sometimes going unperformed. Ives would continue to revise his music until his death in 1954.30

Variations on “America” was written in 1891 for organ and is set to the traditional tune My

Country ‘Tis of Thee. Ives wrote this work for a Fourth of July celebration at the Methodist

church where he was employed at the time. William Schumann transcribed the work for

orchestra in 1962 and William E. Rhoads did the band transcription in 1968.

29

Ibid. 30

J. Peter Buckholder, et al, s.v. “Ives, Charles,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article_citations/grove/music/A2252967

(accessed January 11, 2016).

19

Originally written as two separate parts, the solo is traditionally performed by one player,

making breathing a substantial issue. Since there is no good place to breathe, the excerpt is

normally performed in one breath. If a breath is necessary consider catching one anywhere there

is a eighth followed by two sixteenth notes, but avoid this unless absolutely necessary.

Using a crisp articulation will aid in the march style for this excerpt. While the eighth

notes (and some of the sixteenth passages) in this excerpt are all marked with staccatos, do not

think of them as short but rather separated and pointed. Double tonguing will likely be used for

the sixteenth note passages so be sure to practice both syllables independently to ensure that they

sound the same.

Musical considerations can be challenging when preparing this excerpt. Aside from the

dynamic and articulation markings, the rest of the solo is rather sparse. The downbeat of measure

three is considered the first climatic point, thus the first two measures should crescendo to

measure three. The end of measure five is the entrance of the second part and should crescendo

into measure six, which then decrescendos into measure seven. Measures seven through ten can

be played musically by following the shape of the line. Measure eleven and twelve should

maintain a fairly low volume to set up a strong crescendo in measure thirteen, finishing strong

with a molto crescendo into the end of the excerpt. Other than the melody in the upper

woodwinds this solo is the only other musical material during this variation, thus loud is not

necessary.

For suggested recordings, The United States Marine Band’s Ives: Variations on America,

Old Home Days and The Alcotts album demonstrates the flawless execution that the excerpt

requires without sacrificing the musical elements. The United States Air Force Heritage of

America Band’s recording on their Heritage to Horizons album takes a slightly more aggressive

approach to this excerpt. The tempo is slightly faster than that of the Marine Band, and the

soloist is slightly more adventurous with their interpretation. The United States Coast Guard

Band’s Semper Paratus album is a little more reserved in regards to tempo, but explores the

extremes of style and dynamics.

20

Figure 4.5. Symphony in B-flat Movement I by Paul Hindemith. Copyright ©1951 by

Schott Music, Mainz, Germany. Copyright © renewed, all rights reserved. Used by

permission of European American Music Distributors Company, sole U.S. and

Canadian agent for Schott Music, Mainz, Germany.

Paul Hindemith (1895-1963) was born into a poor family in Frankfurt, Germany and

spent several years of his childhood living with his grandfather in Naumburg. His father, Robert

Rudolf Emil Hindemith, was intent on having his son becoming a professional musician and

subjected him to intense musical training from a very young age.31 Taking up both the violin and

viola, Hindemith began taking lessons from Anna Hegner and eventually Adolf Rebner, principal

violinist of the Frankfurt Opera Orchestra. Through this relationship, Rebner accepted Hindemith

into the Hoch Conservatory.32 Hindemith helped to support his family by performing often and

sending as much money as he could back to his family. While at Hoch, he also began to study

composition with Arnold Mendelssohn and in 1914 played first violin for the Frankfurt Opera

Orchestra where he was exposed to the music of Debussy, Dukas and Bartok.33

After World War I, Hindemith’s compositional output exploded, ranging from piano

solos to one-act operas, and was appointed the Professor of Composition at the Berlin

Musikhochschule in 1927. Shortly after the publishing of his book The Craft of Musical

31

Fondation Hindemith, “Biography,” Fondation Hindemith, http://www.hindemith.info/en/life-work/biography/

accessed March 16, 2016. 32

Ibid. 33

Ibid.

21

Composition in 1937, Hindemith initially immigrated to Switzerland and eventually the United

States in 1940. While in America, Hindemith was offered teaching positions at The State

University Of New York in Buffalo, Cornell and eventually Yale.34 Hindemith continued to teach

and compose throughout the 1940’s, eventually retiring form Yale to take a position at the

University of Zurich, which he held until 1957. During his final years, Hindemith moved back to

Frankfurt where he spent the rest of his life before passing unexpectedly in 1963.35 Symphony in

B-flat was commissioned by the United States Army Band and was premiered in 1951 with

Hindemith conducting. The piece rivaled that of any orchestral work at the time, and convinced

several first-rank composers that the band was a legitimate medium for serious music.

In regards to style, the excerpt is marked “with vigor” and serves as the main musical

motive of the entire first movement and needs to be bold, aggressive and stately with a sense of

foreboding and an undercurrent of intensity. To accentuate the intensity necessary make a

noticeable difference between the accented and unaccented notes, using the first quarter note

triplet to crescendo to the written E-flat in measure two. Any time there is a note longer than a

quarter note it tends to function as a climactic point and should have more weight than the notes

around them. A slight decrescendo at the end of measure five allows for a molto crescendo to

the end of measure seven. The rest of this excerpt outlines a hemiola, which is established by the

reoccurring written G-natural.

Developing a strong low register is essential for the performance of this excerpt. Daily

practice in this register will aid in developing the strength needed, making sure that the low

register maintains the same core and tonal clarity and not allowing the firm articulation to affect

the pitch. Rhythm can also be a problem when working on this excerpt so make sure the

subdivision is constant throughout. Either the eighth or quarter note subdivision will suffice for

this excerpt, but do not let the quarter note triplets slow the tempo down, as is the tendency.

A unique aspect to this excerpt is that it is unison across all of the trumpet parts. While

striving to play with vigor and boldness, be careful not to get edgy or spread, otherwise matching

the other performers can be problematic. When preparing, consider asking other trumpet players

to assist, taking turns as the principal player as this will aid in section playing preparation.

34

Giselher Schubert, s.v. “Hindemith, Paul,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article_citations/grove/music/13053 (accessed

January 11, 2016). 35

Ibid.

22

For suggested recordings, The United States Marine Band’s Emblems album

demonstrates the musical detail required and the section playing provides the right balance of

brilliance in the sound and technical consistency. Their Bicentennial album (recorded in 1958),

the work is considerably more aggressive in terms of both style and tempo from their other

recordings. The United States Air Force Concert Band’s Signatures album displays a balance

between the aggressive style of the work while maintaining the musical structure.

Claude T. Smith (1932-1987) was born and raised in Monroe City, Missouri. As a high

school student, he played the cornet and french horn with his school band, and joined the 371st

United States Army Band shortly after starting school at Central Methodist University in Fayette,

Missouri. After serving in the Korean War, Smith returned home and completed his

undergraduate degree in music from the University of Kansas in Lawrence, Kansas.36

Smith taught at several public schools throughout Missouri, and served as both Professors

of Theory and Composition at Southwest Missouri State University in Springfield, Missouri. He

composed over one hundred works for band, including solos that featured prominent artists such

as Doc Severinsen and Brian Bowman. Many professional ensembles performed Smith’s

compositions during his lifetime. His piece Flight has been labeled the official march of the

National Air and Space Museum, and Eternal Father, Strong to Save was commissioned in 1975

to mark the fiftieth anniversary of the United States Navy Band. Festival Variations was

commissioned and premiered at the fiftieth anniversary of the National Association for Music

Education (NAfME) by the United States Air Force Band in 1957.37

Rhythmic accuracy is paramount in this excerpt, as the change in meter can create timing

issues so take care to practice with eighth note subdivision throughout the excerpt to increase

rhythmic consistency. There are some difficult technical passages, such as mm. 55-56, which can

be overcome with slow, calculated practice. Be sure to use the metronome and only play as fast

as possible with no mistakes and refined ease. Over time gradually increase the speed to an

acceptable tempo.

The frequent and irregular articulation patterns can present problems and should be

practiced separately from the excerpt. Each slur is marked with an accent, which can be used to

initiate each slurred grouping. If performed at the tempo marking indicated, double-tonguing will

36

Claude T. Smith Publications, “Biography of Claude T. Smith,” The Life and Music of Claude T. Smith,

http://www.claudetsmith.com/biography.html (accessed January 11, 2016). 37

Ibid.

23

likely be required. Since there are several syllabic pairings to choose from when multiple

tonguing (tu/ku, du/gu) be sure to practice each syllable independently (t’s/k’s) to ensure clarity

on every note. When two notes are slurred together, a common tendency is to clip the second

note. Unless a note has a staccato marking associated with it consider playing it full value, which

will help maintain a constant airstream through heavily articulated passages.

Figure 4.6. Festival Variations by Claude T. Smith. Used with permission by Wingert-Jones

Publications.

The United States Army Field Band has a live recording of this piece from the 2008

Midwest Clinic, which is full of energy and excitement. The United States Air Force Academy

Band has also recorded this work on their album entitled The Speed of Heat, performing it

slightly slower than indicated, resulting in flawless execution.

Ralph Vaughan Williams (1872-1958) was born in Gloucestershire, England. During

his time at preparatory school, Vaughan Williams found an interest in violin, viola, piano and

organ before attending both the Royal Conservatory of Music and the University of Cambridge.38

Just as he was becoming a noteworthy composer at the turn of the Twentieth Century, Vaughan

38

Stephen Connock, “The Life of Ralph Vaughan Williams,” The Ralph Vaughan Williams Society,

http://www.rvwsociety.com/bio_expanded.html (accessed March 16, 2016).

24

Williams joined the army to fight in World War I, serving as a wagon orderly.39 After returning

home in 1919, Vaughan Williams was appointed the position of Professor of Composition at the

Royal Conservatory of Music. As a teacher, he strongly encouraged his students to be

themselves, to seek advice and use their own judgment when composing.40 He continued to

compose into the 1950’s, moving to downtown London and lecturing across Europe and the

United States, continually expressing his love for music. Toccata Marziale was written for band

after Vaughan Williams was exposed to military music during his time in the British Army, and

Toccata Marziale was premiered in 1942 as part of the British Empire Exposition.41

Articulation is a substantial factor in this excerpt, as there are a wide variety of markings

used throughout. Each articulation marking presents different problems, and each of them should

be practiced separately from the excerpt to ensure a successful performance. One particular

articulation that is sometimes misinterpreted is the tenuto marking under a slur and should be

played with a legato “du” articulation. Be sure to give the accented notes weight and avoid

clipping notes marked with staccato. Range and endurance can also be an issue specifically

towards the end of the excerpt, thus increasing strength and stamina should be part of a daily

routine. This can be achieved through range exercises such as two-octave scales and upper

register flexibility exercises, like those found in Colin’s Lip Flexibilities and Schlossberg’s Daily

Drills and Technical Studies.

This excerpt is meant to demonstrate the ability to be the leader of the trumpet section,

thus should be played with confidence. The musical ideas indicated in the part should be

demonstrated clearly so that the rest of the section will be able to replicate those ideas in their

performance. The multi-meter rests are a unique aspect to this excerpt and should be counted

carefully. Counting rests accurately is just as important as playing with rhythmic precision, and

should not be thought of as rests, but rather silent moments of intense concentration.

The Royal Northern College of Music Wind Orchestra recording on their album British

Wind Band Classic is an important recording to study as it is of the same nationality as the

composer and will give a better understanding of the style required for the excerpt. The recording

is very eloquent and playful, exploring the softer dynamic spectrum that creates a more intimate

39

Ibid. 40

Alain Frogley and Hugh Ottaway, s.v. “Vaughan Williams, Ralph,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article_citations/grove/music/42507 (accessed

January11, 2016). 41

Ibid.

25

listening experience. On their Bicentennial album, The United States Marine Band’s recording of

this work is slightly slower in tempo, creating a more stately and pompous atmosphere to the

piece. The brass section in the Marine Band recording is more present than in the Royal Northern

College Wind Orchestra, allowing for the trumpet to be heard more clearly. The United States

Air Force Band of the Rockies’ recording of this work on their Fantasies and Heroes album is

drastically faster and more aggressive than any of the other recordings.

Figure 4.7. Toccata Marziale by Ralph Vaughan Williams

Dmitri Shostakovich (1906-1975) grew up in St. Petersburg and began taking piano

lessons at age nine. In 1915, Shostakovich enrolled and attended Ignaty Glyasser’s private music

school and began composing short piano pieces. In 1919, he began to study both piano and

composition at the St. Petersburg Conservatory with Maximilian Steinberg, and by 1925,

26

Shostakovich finished his first symphony, bringing him international fame.42 Shostakovich’s

output includes fifteen symphonies, six operas, three ballets, nearly fifty film scores, choral

pieces, songs, and other orchestral works. Shostakovich continued to compose until his death,

having an output of at least one major piece every year until the year he passed away.43 Festive

Overture was written to mark the thirty-seventh anniversary of the Bolshevik Revolution and

was premiered in Moscow in November of 1954, and transcribed for wind band in 1965 by

Donald Hunsberger.

It is important to understand when preparing for an audition that these are two separate

excerpts, the first of which ends at rehearsal marking seven, while the second begins at rehearsal

marking thirteen. When playing these excerpts in an audition situation, it is acceptable to take a

brief pause between these excerpts. Both have passages that explore the upper register, thus

increasing range is essential while striving for ease of playing in this register. The first excerpt

has troublesome technical passages and should be practiced separate from the excerpt at first to

ensure accuracy. Due to the lack of rests, the second excerpt is a challenge in terms of breathing

and endurance. If additional breathes are needed avoid the tendency to disrupt the musical

phrase.

There are few stylistic markings offered, but there are multiple options to enhance the

musical elements in these excerpts. For the first excerpt, a small diminuendo on the whole notes,

followed by a crescendo on the following eighth notes helps to accentuate the contour of the

musical line. The second excerpt can be intimidating at first glance due to the length and range,

but approaching it from a musical standpoint will aid in nullifying those worries. Using the

stylistic marking that are offered as a blueprint, the first phrase from rehearsals thirteen through

fourteen act as a musical antecedent and rehearsal fourteen through sixteen can be considered the

musical consequence, ending with a musical epilogue beginning at rehearsal sixteen.

Finding recordings for this arrangement can be a challenge, as there are different

arrangements of this piece and the parts can vary significantly. The United States Air Force

Band’s Favorite Overtures album has a recording of this specific arrangement. The trumpet solos

are well balanced with the woodwinds, and the musical phrasing feels organic. The Air Force

42

David Fanning and Laurel Fay, s.v. “Shostakovich, Dmitry,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article_citations/grove/music/52560 (accessed

January 11, 2016). 43

Ibid.

27

Reserve Band’s recording on their The Sound of Freedom album is one to consider studying, and

although the tempo is slightly slower than their Air Force counterpart, it makes up in musical

creativity. The trumpet solos are not as well represented when playing with the woodwinds, but

the dramatic nature of the performance is inspiring. The Marine Band’s recording of this on their

Bicentennial album (recorded in 1978) is of high quality, but has moments that lack the

refinement found in other recordings.

Figure 4.8. Festive Overture by Dmitri Shostakovich/Hunsberger.

Claudio Grafulla (1810-1880) was a Spanish-American bandmaster and composer.

After emigrating from Minorca (a small Spanish-controlled island in the Mediterranean Sea) to

New York in 1838, he became the musical director of Lothian’s New York Brass Band, an

ensemble that provided music for the twenty-seventh regiment band of New York. Grafulla

directed this brass band until 1859 when he was asked to form a new regiment band that included

28

thirty-eight members. Grafulla directed this new ensemble until his death in 1880.44 Washington

Grays March was written in 1861 for the newly formed seventh regiment band and is performed

regularly by military bands across the country.

Figure 4.9. Washington Grays March by Claudio Grafulla.

Correct style is paramount in marches, and can be achieved through listening as well as

performing. Accented notes are typically on downbeats, giving the sensation of continuous

forward motion both musically and physically as marches were traditionally played while

marching. The first cornet part in most marches can be technically demanding while also

requiring finesse, which is achieved through clear technique and articulation.

44

Frank J. Cipolla, s.v. “Grafulla, Claudio S.,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article_citations/grove/music/47784 (accessed

January 11, 2016).

29

Multiple tonguing is essential to performing this excerpt and should be practiced out of

context at varying tempos in order to increase success. The staccato notes under the slur should

be played with separation. Unless it is specified on the audition list, be prepared to take any

repeats that are in the music, which may require practicing endurance exercises in a daily

routine.

Suggested recordings for this work include The United States Marine Band’s recording

on their Forward March album. The cornet playing is well balanced with the woodwinds, and is

performed at a tempo that is very appropriate and approachable for studying. The Marine Band

has made several recordings of this piece over the years, and their performance on their

Bicentennial album is significantly faster than others, which really adds to the excitement of the

piece. Recorded in 1973, this recording also adds another level of excitement as it was likely

recorded using rudimentary means in comparison to the mixing and mastering used today.

One of the most accomplished and recognizable musicians of the Twentieth Century,

Leonard Bernstein (1918-1990) was a first generation Jewish American of Russian decent.

Growing up in Boston, he began taking lessons from one of Boston’s leading piano teachers, and

showed such aptitude for music that he was playing gigs as a jazz pianist in his mid-teens to help

pay for lessons. He attended Harvard to study piano with Heinrich Gebhard and took

compositions lessons with Walter Piston.45 Upon graduation, Bernstein attended the Curtis

Institute and began studying conducting with Fritz Reiner. His musical break came when he

became the Assistant Conductor of the New York Philharmonic in 1943 and within eighteen

months was as well known for his conducting as he was for his compositions.46

Bernstein’s tenure with the New York Philharmonic is considered one of the most

successful appointments ever between a director and orchestra. He toured all over the world and

created hundreds of recordings that are still readily available today. He also used the orchestra

for many outreach concerts to help educate the public about music, most notably his “Young

People’s Concerts” that occurred between 1958-1972.47 His legacy stems to virtually all areas of

music, with masterworks such as Candide and West Side Story. Symphonic Dances from West

45

Leonard Bernstein Office Inc., “Leonard Bernstein,” Leonardbernstein.com,

http://www.leonardbernstein.com/lb.htm (accessed March 29, 2016). 46

Paul R. Laird and David Schiff, s.v. “Bernstein, Leonard,” Grove Music Online, Oxford Music Online,

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article_citations/grove/music/A2223796 (accessed

January 12, 2016). 47

Ibid.

30

Side Story is an orchestral adaptation of the music from the original Broadway musical West Side

Story. The musical was premiered in 1957, and the New York Philharmonic premiered the

orchestral reduction in 1961. Paul Lavender arranged it for band in 2008.

Figure 4.10. Symphonic Dances from West Side Story by Leonard Bernstein/Lavender.

Being a collection of musical selections from the original Broadway production, style is

pivotal, as it is heavily influenced by jazz music. Though it is written for a symphonic wind

ensemble, approaching it as a big dance band will aid in the stylistic integrity. If unfamiliar with

this style take time to listen and play along to numerous recordings of big band music. Range

plays a key factor, with several written C-sharps above the staff as well as an optional written

high E-natural. Daily practice in this register will not only eliminate range concerns, but improve

endurance as well. Measure 696 should be practiced with both notes of the divisi, and the

31

auditionee should either contact the audition coordinator before the audition or the proctor at the

audition about which note is preferred.

While the rhythms do not look overly complicated, the swing style can provide some

challenges if this style is unfamiliar. Practicing with straight eighth notes before adding the

swing style can aid in playing with rhythmic accuracy. One of the unique qualities of this excerpt

is the use of an extended technique known as a “shake,” which can be executed by a combination

of a lip trill and a subtle physical shake of the instrument.

Since this arrangement is only a few years old, recordings to study from are limited. One

of these recordings is by the Lone Star Wind Orchestra, under the direction of Eugene Corporon

on their album entitled Converging Cultures. Their recording of this piece, while very well

executed, seems to be reserved in regards to dynamic contrast and tempo markings in

comparison to other recordings, but makes up for that in musical maturity. The recording by the

United States Marine Band on their Symphonic Dances album is anything but reserved. It is

intense, powerful and embodies everything from the original Broadway recording. With its

expansive musical phrasing and extreme stylistic changes, it has the capability to be mistaken for

the original musical material from the Broadway show.

32

CHAPTER 5

CONCLUSION

The military band, and more generally the wind band medium, has been a part of

American history for centuries. Dating back to before the Revolutionary War, military bands

have played a substantial role throughout American history. From battling the Redcoats in 1776

to the current war on terrorism in the Middle East, military bands have provided the general

public with much-needed entertainment during some of America’s darkest hours, as well as

provided many Americans an opportunity to serve their county while still doing what they love,

making music. The wind band’s main struggle; however, is that the symphony orchestra has

always overshadowed it even to this day.

Hopefully this study will help illuminate the value of the wind band medium, specifically

military bands. It has revealed the top ten trumpet excerpts that have been requested over the

years, as well as why they have been requested and how best to prepare them when taking a

military band audition. This study also gives us valuable insight from members of the premier

bands in regards to audition preparation, both in terms of the top ten excerpts as well as general

audition information.

Looking closely at the information, this study discovered that the way to win an audition

is to play the trumpet to the best of our abilities through the use of a good sound concept, clear

musical ideas and refined technique, all of which serious trumpet players should be applying to

their playing on a daily basis. Preparing for a military band audition is not as difficult as it may

seem, so long as a daily routine of fundamentals is the main focus of one’s musical development,

with active listening of high caliber ensembles and a love for the art of music.

33

APPENDIX A

RECORDINGS OF EXCERPTS IN ORDER OF APPEARANCE

Williams, John. Summon the Heroes. United States Army Field Band. Altissimo Recordings

75442262242, 2011. Compact Disc.

Williams, John. Summon the Heroes. Her Majesty’s Royal Marine Band. Decca Records

B005ZD17NG, 2011. Compact Disc.

Williams, John. Summon the Heroes. Boston Pops Orchestra. Sony Classical 884977763430,

2010. Compact Disc.

Respighi, Ottorino. Ottorino Respighi :Fountains of Rome, Pines of Rome, Roman Festivals.

United States Air Force Band. Klavier Records KCD-11182, 2010. Compact Disc.

Respighi, Ottorino. Director’s Choice. United States Marine Band. Altissimo Recordings

75442260882, 2007. Compact Disc.

Copland, Aaron. Celebration. United States Air Force Band. Klavier Records KCD-

11176, 2008. Compact Disc.

Copland, Aaron. The Legacy of Aaron Copland. United States Marine Band. Altissimo

Recordings 75442263142, 2011. Compact Disc.

Copland, Aaron. American Dreams. Cincinnati Wind Symphony. Klavier Records KCD-

11048, 1993. Compact Disc.

Ives, Charles. Ives: Variations on “America,” Old Home Days, The Alcotts. United States

Marine Band. Naxos Records 8.570559, 2007. Compact Disc.

Ives, Charles. Heritage to Horizons. United States Air Force Heritage of America Band.

Altissimo Recordings 75442261812, 2006. Compact Disc.

Ives, Charles. Semper Paratus. United States Coast Guard Band. Altissimo Recordings

75442203072, 2014. Compact Disc.

Hindemith, Paul. Emblems. United States Marine Band. Altissimo Recordings 75442260892,

2007. Compact Disc.

Hindemith, Paul. The Bicentennial Collection. United States Marine Band. Altissimo

Recordings, 75442261012, 1958. Compact Disc.

Hindemith, Paul. Signatures. United States Air Force Concert Band. Altissimo Recordings

75442260502, 2008. Compact Disc.

34

Smith, Claude T. 2008 Midwest Clinic. United States Army Field Band. Mark Records 7952-

MCD, 2008. Compact Disc.

Smith, Claude T. The Speed of Heat. United States Air Force Academy Band. Altissimo

Recordings 75442263442, 2012. Compact Disc.

Vaughan Williams, Ralph. Holst/Vaughan Williams: British Wind Band Classics. Royal

Northern College of Music Wind Orchestra. Chandos Records CHAN9697, 1999.

Compact Disc.

Vaughan Williams, Ralph. The Bicentennial Collection Vol. 10: Guest Conductors. United States

Marine Band. Altissimo Recordings 75442262032, 2011. Compact Disc.

Vaughan Williams, Ralph. Fantasies and Heroes. United States Air Force Band of the Rockies.

Altissimo Recordings 75442260432, 2008. Compact Disc.

Shostakovich, Dmitri. Favorite Overtures, Vol. 2. United States Air Force Band. Mark Records

5524-MCD, 2005. Compact Disc.

Shostakovich, Dmitri. The Sound of Freedom. United States Air Force Reserve Band. Altissimo

Recordings 75442262172, 2009. Compact Disc.

Shostakovich, Dmitri. The Bicentennial Collection. United States Marine Band. Altissimo

Recordings 75442261012, 1978. Compact Disc.

Grafulla, Claudio. Forward March! United States Army Band. Altissimo Recordings

75442255812, 2005. Compact Disc.

Grafulla, Claudio. The Bicentennial Collection. United States Marine Band. Altissimo

Recordings, 75442261012, 1973. Compact Disc.

Bernstein, Leonard. Converging Cultures. Lone Star Wind Orchestra. Naxos Records 8.572837,

2012. Compact Disc.

Bernstein, Leonard. Symphonic Dances. United States Marine Band. Altissimo Recordings,

2010. Compact Disc.

35

APPENDIX B

ANSWERS FROM SURVEY

In order to comply with oral history, the answers received from the survey must represent

the individual who gave the answers, not the organization they work for. It is because of this that

the band names are not included. The individuals whom gave answers to the survey are also kept

anonymous for liability purposes.

Question 1: Included with this document are the most commonly requested trumpet excerpts for

premier military bands. Regarding these excerpts, could you please briefly explain why you

believe these specific excerpts appear so frequently on audition lists?

“These excerpts, much like in a well-thought-out orchestral audition, cover the wide range of

what is expected of a performer in a premier military band. These are pieces that we see on our

stands on a regular basis. In the audition we want to hear if the facets of your technique are up to

snuff. Can you play with a beautiful lyrical sound? (Pines, Summon the Heroes). Can you play a

line that requires flexibility and range? (Outdoor, Summon the Heroes). Can you play with crisp

articulation? (Ives) Can you play with power and a nice big sound? (Toccata Marziale,

Hindemith). Can you play clean with fast fingers? (Festive Overture, Festival Variations) Can

you play with good time in the proper style? (Washington Grays, Bernstein). And there is

overlap with all of these excerpts and their techniques as well.”

“These excerpts appear for a few reasons. First, these pieces are regularly played by all of the

service bands. Second, the excerpts are great for exposing various skills such as whether or not

the player can play in time, musically, with a good sound and technique. Lastly, unless an

excerpt proves to be pointless, no one takes the time to scope out something new to replace it.”

Question 2: What qualities do you look for in any given audition? Are you looking for a

candidate who is note perfect, perhaps technically flawless or most musical/unique?

36

“Speaking for myself, when I am sitting on the panel listening, I look for stellar musicianship

and a beautiful tone above all else. Clean playing and correct rhythms and good time are also

important. However, someone who plays note perfect, but plays with no musicality and/or with a

poor sound, is a ‘no’ vote from me. There has to be life and vitality to the excerpt. It is also clear

to a panel if a candidate has not prepared the required list. I can be forgiving of wrong notes,

accidentals, rhythms in sight-reading, but not when playing the prepared list.”

“All of the above. We are looking for the best possible player and the best match for our section.

That being said, we know everyone can chip/miss notes. We know everyone gets nervous. It

happens, but if it happens consistently, that's when we wonder if it's a problem. When my section

holds auditions, we are looking for someone musical - but neutral... Nothing extreme. no over the

top ideas, etc. You are auditioning to be a section player, not a soloist. We are looking for

excellent technique as well. But the number one thing that we all find the most offensive is bad

time. A lot of trumpet players are turned away because their tempos fluctuate or they crush

rhythms. Having a good sound is important as well. Again, it should be neutral, meaning not too

bright, not dark and fuzzy, but centered within the pitch. When auditioning to play in a section,

we need someone whose sound will fit in.”

• Question 3: Auditionees can spend countless hours practicing audition lists and sight-

reading. Do you have any advice in preparing the excerpt as well as the section-playing

portion of the audition?

“Listening to recordings is important, even if it is the orchestral version of these excerpts. I think

it's important to listen to a variety of these recordings. YouTube is very helpful for this. Also,

record yourself playing the list and play the list for a mock committee and ask them to be very

critical. Take lots of notes. The section portion tests your ability to blend well with others in the

section. Play lots of duets with your friends, even if they play a different instrument. Pay critical

attention to intonation and articulations.”

“When practicing the excerpts and preparing for an audition, I would play for as many people as

you can. Not just friends, but teachers and even people who play different instruments. If you

37

can find someone in a military band to play for, that would be optimal. It doesn't necessarily

have to be someone who plays in the band you are auditioning for. Also, the Air Force band is

starting to put a lot of our recordings on our website. This can be a good resource. As for

preparing for the section playing portion of the audition, it's mainly just nailing your pitch, sound

and technique. We are looking for someone who blends and is flexible (in case we are doing

something out of the norm). Another hint - all bands play tons of marches. You can count on

these being in the sight reading portion or section playing.”

Question 4: Is the repertoire for your auditions chosen solely by an individual or by a

committee?

“Our repertoire was picked by the principal trumpet with lots of input from the whole section.”

“The repertoire is usually selected by our section leader/ principal chair. Sometimes they ask for

suggestions from the rest of the section, sometimes they don't.”

38

APPENDIX C

HUMAN RESEARCH CLEARANCE

Haltiwanger, Julie <jhaltiwanger@fsu.edu>

To: Clendinning, Jane <jclendinning@admin.fsu.edu>;

Cc: Johnson, James;

Wed 2/17/2016 10:33 AM

Upon review, it has been determined that your protocol is an oral history, which in general, does

not fit the definition of "research" pursuant to the federal regulations governing the protection of

research subjects. Please be mindful that there may be other requirements such as releases,

copyright issues, etc. that may impact your oral history endeavor, but are beyond the purview of

this office.

39

APPENDIX D

COPYRIGHT PERMISSIONS AND FAIR USE DOCUMENTS

40

41

42

43

44

45

46

47

48

49

50

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/music/A2252967 (accessed January 11, 2016).

Cipolla, Frank J. s.v. “Grafulla, Claudio S.” Grove Music Online. Oxford Music Online.

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article_citations/grove/

music/47784 (accessed January 11, 2016).

Claude T. Smith Publications. “Biography of Claude T. Smith.” The Life and Music of Claude T.

Smith. http://www.claudetsmith.com/biography.html (accessed January 11, 2016).

Collegiate Band Directors National Association. “History.” CBDNA.org.

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Connock, Stephen. “The Life of Ralph Vaughan Williams.” The Ralph Vaughan Williams

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Fanning, David and Fay, Laurel. s.v. “Shostakovich, Dmitry.” Grove Music Online. Oxford

Music Online.

http://www.oxfordmusiconline.com.proxy.lib.fsu.edu/subscriber/article_citations/

grove/music/52560 (accessed January 11, 2016).

Fondation Hindemith. “Biography.” Fondation Hindemith. http://www.hindemith.info/en/life-

work/biography/ (accessed March 16, 2016).

Frogley, Alain and Ottaway, Hugh. s.v. “Vaughan Williams, Ralph.” Grove Music Online.

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51

Laird, Paul R. and David Schiff. s.v. “Bernstein, Leonard.” Grove Music Online. Oxford Music

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52

BIOGRAPHICAL SKETCH

James Johnson is currently serving as trumpet instructor at Kansas State University.

While teaching in Kansas, Mr. Johnson is finishing up is Doctorate Degree in trumpet

performance from Florida State University, studying with Dr. Christopher Moore. He received a

music education degree from Indiana University of Pennsylvania, studying with Dr. Kevin

Eisensmith and his Masters Degree in trumpet performance from Kansas State University,

studying with Dr. Gary Mortenson. Mr. Johnson is currently serving as principal trumpet with

the Salina Symphony Orchestra (Salina, KS) and has performed with the Tallahassee Symphony

Orchestra (Tallahassee, FL), Albany Symphony Orchestra (Albany, GA), and Sinfonia Gulf

Coast Symphony Orchestra (Destin, FL). Mr. Johnson was a semi-finalist at the National

Trumpet Competition in both the Graduate Solo Division and the Trumpet Ensemble Division,

and is also an accomplished arranger, having his music performed at the National Trumpet

Competition, the Kansas Music Educators Association All-State Conference, and at the Haus

Marteau Brass Chamber Workshop in Lictenburg, Germany.