Matching Items (9)
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- All Subjects: Trumpet
- All Subjects: Repertoire
- Creators: Hickman, David
- Creators: Hickman, David R
Description
The purpose of this project was to: (1) describe a brief history of Salvation Army works for euphonium and piano that are relevant to the larger euphonium repertoire, and (2) produce a professional-quality compact disc recording of these works for study and reference. Part I of this project is an annotated bibliography discussing selected works for euphonium and piano written exclusively by Salvation Army composers. Each bibliographic entry is accompanied by a brief annotation, including information on each composer, hymn tunes used in each work, and difficulties encountered in performance. Part II of this project consists of a professional-level recording of these works. The recording and bibliography is intended to serve as a reference guide for students and teachers of Salvation Army euphonium literature, and is also intended to serve as a pedagogical tool utilized in the development of high school and university-level euphonium students. Five solos and one duet with piano accompaniment were selected for this project, works that represent a wide variety of Salvation Army compositional styles. The works also cover a wide range of technical and musical challenges, and are appropriate for study by both undergraduate and graduate students of music. All of the works are currently in publication as of this writing. The following works are included in this project: "The Song of the Brother" by Erik Leidzén, "Ransomed" by George Marshall, "Ochills" by Ernest Rance, "The Better World" by Norman Bearcroft, "Symphonic Rhapsody for Euphonium" by Edward Gregson, and "Timepiece" by Norman Bearcroft.
ContributorsDraper, Andrew (Author) / Pilafian, Samuel (Thesis advisor) / Hickman, David (Committee member) / Mook, Richard (Committee member) / Humphreys, Jere (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2012
Description
Every year hundreds of aspiring musicians audition for positions with professional orchestras throughout the United States. This study is designed to provide a comprehensive look at professional orchestral auditions for trumpet. While other resources rely on the single opinion of their author, this study gathers information from a broad range of sources to develop its conclusions. This project was completed in three phases. In the first phase, lists of excerpts from trumpet auditions were compiled. In the second phase, an online survey of musicians who have served on a trumpet audition committee was conducted. In the final phase, four principal trumpet players of major orchestras and one conductor were interviewed to look further into the criteria and procedures used in orchestral trumpet auditions. The results of this study can be grouped into four categories: the desired qualities sought in a trumpet audition, common mistakes and concerns for those taking auditions, common mistakes and concerns for audition committees, and a discussion of the top fifteen excerpts asked in auditions. The data from this study can be used to consider two different perspectives: what does an aspiring trumpet player need to do to win an audition? And also, what should a committee want to hear? Although there is a broad range of opinion when considering trumpet auditions, certain standards remain. Also, while most of those involved in this study agree that the audition process is among the fairest ways to determine the winner of a job with an orchestra, they also agree that significant changes to the process still need to be made. This is especially true with reference to the types of excerpts asked and the audition procedures used.
ContributorsHunsicker, John David (Author) / Hickman, David (Thesis advisor) / Hackbarth, Glenn (Committee member) / Hill, Gary (Committee member) / Pilafian, J. Samuel (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
Description
The combination of soprano, trumpet, strings and continuo was used with much frequency by Baroque composers in their cantatas, oratorios and operas of the time, giving the trumpet a very important place as a solo instrument from 1600 to 1750. The discovery of two pieces by Neapolitan Baroque composers Domenico Sarro (1679-1744) and Gennaro Manna (1715-1779) enlarges the already important body of known works for this instrumentation. Presenting them in performance editions is a valuable contribution to this repertory. Making performance editions available to performers is always an important and exciting task, especially if they exhibit features that have rarely been seen in this combination of instruments and voices. This is specifically the case with Manna's Tuba Sonora Exclama, which shows many interesting features of the Early Classical style. Both works were discovered by the author in a digital archive sponsored by the Ministry of Heritage and Culture for the Italian Government. The original copies of these works are held at two Neapolitan libraries: Biblioteca Statale Oratoriana del Monumento Nazionale del Girolamini (Manna's piece), and Biblioteca del Conservatorio di musica San Pietro a Majella (Sarro's Per abbattere il mio core, from his opera Partenope.) The manuscripts, obtained in digital format, are well preserved and easy to understand. Along with the scores prepared for this document, some historical background about each composer, a discussion of the use of the trumpet as a solo instrument in arias with voice, and descriptions of the pieces are presented. Other important information, such as editorial procedures and critical notes, is also given.
ContributorsAraya, Luis Miguel (Author) / Hickman, David R (Thesis advisor) / Pilafian, Samuel (Committee member) / Hill, Gary W. (Committee member) / Rogers, Rodney (Committee member) / Bailey, Wayne A (Committee member) / Arizona State University (Publisher)
Created2011
Description
This document accompanies new recordings of four recent sonatas for trumpet and piano. The project’s objective is to promote these works, while providing a comprehensive resource for potential performers. The four sonatas were selected based on their appeal to modern audiences. Composers Brendan Collins, Luis Engelke, William Rowson, and Christoph Nils Thompson each represents a different country, and they offer significant contributions to the trumpet repertoire. Each sonata expertly features the trumpet by highlighting its lyricism, virtuosity, and ability to cross genres.
The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
The accompanying document draws upon interviews with the four composers, which reveal insights into the compositional process and provide details that performers will find useful. This document also offers in-depth musical descriptions, allowing performers to enhance their understanding of each sonata. The principal component of the document is the performer’s guide: Advice is presented directly to the trumpet player that has been garnered from the composers’ interviews, study of the music, and the author’s thoughts on preparing the music. To help other young musicians better comprehend the recording process, the author’s own experience is detailed. Ultimately, this document provides a window into the lifespan of the four sonatas; from their initial composition through the various stages of studying and rehearsing, culminating with the experience of recording these works for the first time.
ContributorsKlein, Garrett Lane (Author) / Hickman, David R (Thesis advisor) / Holbrook, Amy K (Committee member) / Hill, Gary W. (Committee member) / Arizona State University (Publisher)
Created2019
Description
Joseph Turrin’s compositions for trumpet are frequently performed, and have
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
become a large part of the trumpet repertoire. His trumpet works are played at events
such as International Trumpet Guild conferences, have been featured with many well-known
orchestras and bands, and are standard recital works. Many of Turrin’s trumpet
works have been performed and recorded by well-established musicians, which include
Philip Smith, Joseph Alessi, David Hickman, Robert Sullivan, Brian Shaw, Thomas
Hooten, Terry Everson, Wynton Marsalis, and Alison Balsom.
This study examines in detail each of Joseph Turrin’s twenty-four published
works for trumpet. Turrin’s pieces include Elegy, Caprice, Concerto for Trumpet, Intrada,
Two Portraits, Someone to Watch Over Me, Chronicles, Two Gershwin Portraits,
Fandango, and Three Episodes, and include pieces written for Philip Smith, Joseph
Alessi, Wynton Marsalis, Harold Lieberman, Lew Soloff, Brian Shaw, Robert Sullivan,
and Thomas Hooten. A complete history of each composition and arrangement, and
information relating to their premieres are presented. Technical elements from the music
are discussed, such as range, articulation, melodic contour, endurance, and difficult
fingerings. Biographical information such as youth, education, and career about Turrin
are incorporated, along with a discussion of his compositional characteristics and
influences. In addition, a list of each work with an assigned difficulty grade, as well as a
current discography, is included.
ContributorsAlbrecht, Christopher (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / Stover, Christopher (Committee member) / Arizona State University (Publisher)
Created2019
Description
Many of Erik Morales's trumpet compositions have become standard repertoire. This study examines his trumpet works, which are examples of Morales's outstanding compositional skill and versatility. The composer, some of the most significant performers, and people who commissioned these pieces were interviewed. Biographical information and compositional characteristics of Morales are presented. Historical information about the pieces is also provided, including the premieres, commissions, recordings, and significant performances. Technical concerns specific to the trumpet, and performance recommendations, are assessed. This study is a pedagogical and informative source for all trumpet educators and performers interested in solo and trumpet ensemble music.
ContributorsZapata Correa, Oswaldo Arley (Author) / Hickman, David (Thesis advisor) / Swoboda, Deanna (Committee member) / DeMars, James (Committee member) / Arizona State University (Publisher)
Created2016
Description
The normal playing range of a brass instrument includes a definitive stopping note in the instrument's low register. However, players have the ability to manipulate their lips to extend the low range beyond this point; notes sounding below an instrument's normal playing range are called pedal tones. The history of pedal tones in trumpet performance and pedagogy has long been a source of confusion and misinformation. Consequently, this paper also discusses the educational value of using pedal tones, includes a brief history of players and teachers who have formulated pedal tone exercise methods, and examines their use within the six most influential method books that promote the use of pedal tones. The six books are Original Louis Maggio System for Brass by Carlton MacBeth, Double High C in 37 Weeks by Roger Spaulding, Systematic Approach to Daily Practice by Claude Gordon, Trumpet Yoga by Jerome Callet, James Stamp Warm-Ups +Studies by Thomas Stevens, and The Balanced Embouchure by Jeff Smiley.
ContributorsRodriguez, Malachy Sean (Author) / Hickman, David (Thesis advisor) / Holbrook, Amy (Committee member) / Bailey, Wayne (Committee member) / Hill, Gary (Committee member) / Arizona State University (Publisher)
Created2014
Description
Since 1913, some of the world’s finest trumpeters have utilized the advantages of
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
specialized custom trumpets that can be played in multiple key centers through the operation of additional valves and slides. Merri Franquin (1848-1934), a leading trumpet teacher in twentieth-century Paris, patented two multiple-key trumpets: a four-piston- valve model that plays in the keys of C and D, and a five-piston-valve model that plays in the keys of A, B , C, and D. Thibouville-Lamy (1867-1969), a now-defunct French instrument company, built both models by adding extra valves and slides to three-valve C trumpets.
In the mid-1900s, top performers such as Roger Voisin, Armando Ghitalla, and David Hickman began using similar trumpets in performances and recordings. Regrettably, only a privileged few have had access to these instruments and the numerous advantages that they can provide. Thus, by reviewing and building upon current data on multiple-key trumpet design and performance, the author aims to unlock a vast potential for performance enhancement, waiting to be tapped by current and future trumpet performers.
ContributorsEwing, Bryan Christopher (Author) / Hickman, David (Thesis advisor) / Humphreys, Jere T (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2016
Description
The rich musical tradition of the Bohemian and Moravian regions of modern-day Czech Republic dates to the Medieval period. In the trumpet community, the orchestral music of Bedřich Smetana, Antonín Dvořák, and Leoš Janáček enjoys considerable attention. Trumpet authors have also explored Czech Baroque and early Romantic music extensively, including the music of Pavel Josef Vejvanovsky. However, a gap emerged in research of Czech trumpet music and Czech trumpet players from the period after the Czechoslovakian communist coup d’état of 1948. After this event, Czech musicians and artists experienced years of censorship and seclusion from the outside world except for those who regretfully fled their homeland. During this time, opinions developed abroad that in a communist environment without freedom and ideological dictations against artists, great art could not be produced. Much to the contrary, since 1948, Czech composers wrote over two-hundred trumpet works for excellent Czech trumpet soloists. This research project seeks to build a wider awareness of the extensive work by Czech composers and trumpeters during this period, and investigate the definition of Czech musical style and trumpeting. Discussion begins with historical analysis of trumpet repertoire throughout Czech musical history to develop a greater understanding of the music composed during a dark period of communist Czech history. This is followed by profiles of selected Czech trumpet soloists who contributed to the Czech trumpet repertoire by recording and commissioning works by Czech composers. A concluding discussion addresses the definition of Czech musical style, and explores compositional aspects and the playing style that make the music “Czech.” This document includes a catalog of works by Czech composers for unaccompanied trumpet or trumpet and electronics, works for trumpet and keyboard, works for solo trumpet and ensemble, and works for trumpet and other solo instruments with ensemble. This catalog was compiled to serve as a resource for future performers interested in Czech trumpet music.
ContributorsBrand, Spencer (Author) / Hickman, David R (Thesis advisor) / Fossum, David (Committee member) / Spring, Robert (Committee member) / Arizona State University (Publisher)
Created2021