of the I N T E R N A T I O N A L WOMEN?S BRASS CONFERENCE
V o l u m e 2, N u m b e r 3
November, 1996
(WBC
June
26-29,
?97
Dear Friends:
T i m e is fast approaching when we w i l l all gather again to celebrate our second I n t e r n a t i o n a l Women?s Brass Conference. M a r k your calendar right now - June 26 - 29, 1997, The conference w i l l be held in St.L o u i s , M O . We are delighted tohave W a s h i n g t o n U n i v e r s i t yasco-presenters once again for our 1997 conference.
The artists have been contacted, and all have verbally agreed to perform. (See page5 for artists names.) Our brochure w i l l be mailed to you very soon.
A s y o u k n o w , the I W B C does n o t p u t on a b i g ? d r i v e ? to raise m o n e y t h r o u g h ?dues c o l l e c t i o n ? ; t h e r e f o r e w e m u s t r e l y on r a i s i n g m o n e y d u r i n g the y e a r o f the c o n f e r e n c e . Y o u r s u p p o r t is needed n o w and I a m a s k i n g y o u to c o n s i d e r a v e r y special o p p o r t u n i t y . T h e average c o s t o f b r i n g i n g i n an a r t i s t to St, L o u i s w i t h i n t h e b o u n d a r i e s o f U S A is $ 5 0 0 f o r a i r f a r e and h o u s i n g . T h e a v e r a g e c o s t to b r i n g in an a r t i s t f r o m o u t s i d e N o r t h A m e r i c a is $ 1 2 0 0 . I f y o u m u l t i p l y the n u m b e r o f artists t i m e s the cost, y o u can see w e have a b i g c h a l l e n g e a h e a d o f us.
T h i s is w h e r e y o u can h e l p ! Y o u r t a x d e d u c t i b l e c o n t r i b u t i o n to s p o n s o r an a r t i s t f o r t h e I W B C 1997 c o n f e r e n c e w i l l h e l p k e e p the c o n f e r e n c e f e e d o w n and a f f o r d a b l e f o r a l i o f those w h o a t t e n d i n 1997. P l e a s e take a l o o k at the a r t i s t l i s t a n d d e c i d e n o w to s p o n s o r an a r t i s t o r e n s e m b l e . Y o u r n a m e w i l l a p p e a r i n t h e o f f i c i a l c o n f e r e n c e p r o g r a m asa s p o n s o r o f the a r t i s t ( s ) . M o r e t h a n o n e p e r s o n m a y s p o n s o r the same artist. O r g a n i z e ag r o u p s p o n s o r s h i p ! Please g i v e t h i s r e q u e s t y o u r m o s t s e r i o u s c o n s i d e r a t i o n .
Thank you in advance for your help
C O M E C E L E B R A T E W I T H US I N 1997. SEE Y O U I N ST. L O U I S !
T h e M o n a r c h B r a s s { n a u g u r a l T o u r , 1 9 9 6
Reflections of
a
Roadie
B y : K a t h y M c K n i g h t
¢
7:00
p.m.
onJuly
2,in
A
w
Oklahoma,
theheat had fallen only afew degreesfrom the day?s high o f 102, and
storm clouds had begun to gather to the north. M y seat forthe first concert of the inaugural tour was a grassy spot, sur-rounded by hundreds of listeners of all
ages,musicians and non musicians alike. Conductor M a r i n Alsop cued the tim-pani, and my body and soul thrilled to
the strength and optimism of Monarch Brass intoning Copeland's ?Fanfaref o r the Common Man.? The moment was spiritual!
The seventeen musicians wove a sensual tension between vibrant solo-playing and full, rich, often dangerous harmonies throughout a concert of in-spiring ?older? pieces -Tomasi?s ?Fan-fares Liturgiques,? arrangements o f Ravel and Bizet - and exciting world premieres. . .Libby Larsen?s ?Brass Flight?, Jon Deak?s ?Fanfaref o r Annie O?,Carolyn Bremer?s ?Throw Caution
tothe Wind.? In Bizet?s ?Carmen,? Su-san Slaughter, A m y Gilreath and Julie Landsman drew clear sweet solos from trumpets and horn M a r i e Speziale got downandd i r t y while ?Struttin? withSome Barbecue.? Ava O r d m a n spoke a hun-dredvoices through her trombone in the lyricism of Libby Larsen. Theentire l o w brasssection snarled raunchy chords for Annie Oakley?s shooting rival Frank Butler, while the trumpets and horns played Oakley?s jagged edged nervesas
she stepped up to the contest. After whooping and clapping for AnnieO.?s
victory, the wholebandjoined in joyous dissonances and harmonies to celebrate the breaking of barriers by a pioneering woman.
Larsen?s ?Brass Flight,? written for the inaugural tour, offers arich meta-phor for this ensemble of women musi-cians; Larsen had explained tothe audi-ence that she worked from the image of
the butterfly, which she read into the group?s name, She played with the ?Glint? of light dancing o f f of wings in
thefirst movement, by releasing whim-sical upward flights over.a constant 3-2-3pulse; shedevelopedawarm ?Glow? o f ensemble sound inthesecond move-ment, suggesting the glow of colorona butterfly?s wings, and explored, in the third movement, the butterfly?s inexpli-cable flight that flutters and ?Glides? by Jayingdown challenging rhythmic pat-ternsunder short, smooth melodic lines of flight. I heard in this butterfly a rebirth, a newness, a hopeful transfor-mation, and a musical form that de-manded excellence from the playersand
offered beauty to its listeners. After the first movement, the composer, sitting near me on the grass breathed, ?If this pieceisever performed this well again, T'll be happy.?
Theseelements of hope and trans-formation evoked feelings that I have rarely experienced in a concert. The dream o f Monarch Brass, birthed by Susan Slaughter, has grown with the participation of the group?s members. The dream began as an effort to give greater visibility to womenbrassplayers and to bring seldom-performed music by women composers totheaudiences it deserves. In addition to the works by Larsen and Bremer, pieces written by Joan T o w e r , and others arranged by Melba Liston and Velvet B r o w n were also featuredonthe tour?s concerts; but much of theexcitement I feltandheard
~
in the days leading up to the first concert also revolved around the building of a new model o f professional musician-ship.
T o e x p l a i n , I must speak to w h y I called the members o f M o n a r c h Brass w o m e n musicians. I n m y o w n profes-sional f i e l d o f Spanish A m e r i c a n litesa-ture, the w o r d p o e t i s a s , l o n g used to t e f e r to w o m e n w h o w r o t e poetry, sepa-rated t h e m o u t f r o m the canon o f male p o e t a s and degraded t h e i r artaslesser i n q u a l i t y and i m p o r t a n c e ; f e m i n i n e m o d i -f i e r s can have v e r y negative e-f-fects. T h e w o m e n w h o p l a y i n M o n a r c h Brass are n o t o n l y the best w o m e n brass players i n the c o u n t r y ; they are a m o n g the best,
brass players, period. A n d yet, f o r n o w ) . . . a n d h o p e f u l l y not m u c h longer... t o p o i n t out that they are w o m e n serves an i m p o r t a n t f u n c t i o n in r e s p o n d i n g to the h i s t o r i c a l ( m i s ) t r e a t m e n t o f w o m e n w h o have ventured i n t o this male realm, a
mistreatment w h i c h , t h o u g h d i m i n i s h -i n g , st-ill pers-ists. U n t i l opportunities and r e c o g n i t i o n f o r w o m e n brass p l a y ers respond t o the h i g h q u a l i t y o f m u s i -c i a n s h i p they offer, -c a l l i n g attention to the gender o f top-rate players helps to b r e a k stereotypes and barriers and to encourage y o u n g f e m a l e musicians
Susan?s dream has expanded be-y o n d the v i t a l tasks o f recuperating the h i s t o r y o f w o m e n brass pioneers and s u p p o r t i n g the g r e a t e r i n c l u s i o n o f w o m e n brass players i n professional are-nas. W h a t ] saw and f e l t o n the i n a u g u r a l M o n a r c h Brass t o u r was a remarkable m o d e l o f professional ensemble w o r k , o f professional ethics, that o f f e r s w h ? p o t e n t i a l to t r a n s f o r m t r a d i t i o n a l w o r k
relationships between m e n and w o m e n .
i O O
2 TWBC November 1996
the first missed note of @ : : . tour from half-way
A t times, these d y n a m i c s , n o w , border on the a b y s m a l , as the stories o f m y brass-playing buddies reveal.
The women o f Monarch Brassare
fantastic musicians, whose level of ex-perience ranges from the long European. solo career o f Carol Dawn Reinhart and the prestigious chairs held for years by several members in this country?s top orchestras to players in the initial years o f their first professional jobs. An aura o f mutual respect and inclusiveness in-fuses the group's work; the only exclu-sionary element o f
their ethic is the rejec-tion of the inter-per-sonal competitiveness that leadstostressand divisive actions. Fol-lowingSusan
Slaught-er?s precedent at the I W B Cth r e e yearsago, Abbie Conant offered
around the world, to e n t h a ttherewoulds u r e be nosquabbling over who had played it. Spleeeah!
From that
mo-ment of the opening rehearsal on, the first rule was to have fun, Hard work, excellence, and good humor were
giv-ens, evenunder impossible conditions: the heat and the ensuing thunderstorm in the middle of the opening concert, 4:30 wake-up calls and a Kansas w i n d that rendered music clips and stands useless. Mentoring, supportive suggestions, ro-tating of chairs from one piece to the next, and general
taking-care-of-each-other banished exclusionary or harshly critical words from the scene. Conduc-tor Marin Alsop helped infuse the ambi-ancewith a mutual respect through her self-effacing comments. . .?if you just ignoremein measure 5, you?! do fine? ...,herfinesse in those ?oops? moments . . . ?hmmm, that works nicely as a canon, but I was starting in bar 22?, while her hands led with aprecision that the musicians ate up, and her genius madethedifficult and quirky segments o f the brand new pieces work magnifi-cently. Listening to the exhilarating
ci
=
Monarch Brass at University o f Oklahoma Campus
music, I f e l t the strongest sensation that the musicians were p l a y i n gt h e i r best f o r each other, m o t i v a t e d not o n l y b y p r o -fessionalism, b u t b y their genuine en-j o y m e n t o f each other.
O f course, w h a tI seeasan expan-sion o f Susan?s dream towards a n e w m o d e l o f p r o f e s s i o n a l i s m. ...
t h i s transfor-m a t i o n of creative w o r k through values traditionally gendered as female, though
accessible to women and men-has prob-ablybeenap a r t of her unspoken aims all along, and it just took meanintense four dayswith the group to figure it out. This model is one that also makes men?s
p a r t i c i p a t i o n in the I n t e r n a t i o n a l Women?s Brass Conferences essential;
suchtransformation requiresthe contri-butions of both women and menandw i l l benefit all.
I f the inaugural t o u r o f the M o n -arch Brass p r o m o t e d g o a l s s p e c i f i c a l l y related to w o m e n , i t a c c o m p l i s h e d much more. A t least some o f m y sense o f o t h e r -w o r l d l y transport in the f i r s t c o n c e r t c a m e f r o m sitting i n the m i d s t of an audience unused to n e w m u s i c , b u t which became enthralled b y a concert f i l l e d w i t h it. T h a n k s to the energy and q u a l i t y of the per-formance, the N o r m a n ( O K ) a u d i e n c e r e -sponded w i t h tremen-d o u s e n t h u s i a s m to both the n e w a n d o l d e r m u s i c and closed the concert w i t h t w o e x p l o -sive standing ovations. A s I write, ithas been 62 hours since | left the tour i n the W i l l Rogers W o r l d A i r p o r t . Severe symptoms o f withdrawal appeared 61 hours and 55 minutes ago and continue. T o all the musicians o f M o n a r c h Brass: thank you, f r o m the soles o f m y feet to the t i p o f my nose. Susan, let m e k n o w as soonasplans are d r a w n u p f o r the next tour, so I can sign o n again asy o u r most dedicated roadie. A n d c o u n tme in f o r the Conference next June!
dream possible. T h a n k you
TWBC November 1996
Thank You!
?TheMonarchBrassTour wouldnot havebeenpossiblewithoutthe helpandsupportoft h e followingpeopleandorganizations:
Dr. DavidWoodsand hisentire Universityo f Oklahomastaff; LibbyLarsen,JohnDeak,Carolyn Bremer,f o r creatingdiverseandfuncompositions; Marin AisopandCarol Crawford who broughtthemusic alltogetherwith their conducting;JoanBriccetti; Dr. Daniel Burdick; KerrFoundation
a n d i n d i v i d u a ldonorswhohelpedwiththe funding;Kathy McKnightforw r ithettourarticle;i n g eachm e o fmMonaichb eBrass whor madethewhole
Monarch Brass Personnel
Michelle Baker Nancy Goodearl *Kristin Jurkscheit Julie Landsman * A n n e Scharer A m y G i l r e a h C a r o l e D a w n R e i n h a r t Susan S l a u g h t e r M a r i e Speziate *Julie Bantin *Jeannie Little *Lynn Mostoller Kay D. Nicholas * A v a Ordman S t a c y A . B a k e r Velvet Brown Erin Elstner K i m S h e l l e yC O N D U C T O R
Marin
Alsop
BORN
Metropolitan Opera Orchestra
H o u s t o n S y m p h o n y Orchestra
Colorado Symphony Orchestrat
Principal, Metropolitan Opera Orchestrat Columbus Symphonyt
TRUMPET
Peoria S y m p h o n y t ; F a c u l t y , U l i n o i s State U n i v e r s i t y I n t e r n a t i o n a l S o l o i s t ; F a c u l t y , C o n s e r v a t o r y o f M u s i c , V i e n n a S a i n t L o u i s S y m p h o n y O r c h e s t r a tFounder International Women?sBrassConference Cincinnati Symphony Orchestra};
Faculty, Cincinnati Conservatory of Music
TROMBONE
O r c h e s t r a S y m p h o n i q u e de Québec F a c u l t y , James M a d i s o n U n i v e r s i t y T u l s a P h i l h a r m o n i c
Northwestem Ballet Orchestra Grand Rapids Symphony?
TUBA
V e r m i l l i o n Festival Brass; F a c u l t y , M o r e h e a d State U n i v e r s i t y B o s t o n Brass Q u i n t e t ; F a c u l t y , B o w l i n g G r e e n U n i v e r s i t yPERCUSSION/TIMPANI
N e w Y o r k C i t y S a m b a n d i t o s B a n d ; M a n n e s C o l l e g e o f M u s i c F a c u l t y , St. L o u i s S y m p h o n y C o m m u n i t y M u s i c S c h o o l ; Free-lance percussionist I n t e r l o c h e n alumna or facultyP r i n c i p a l , associate, or former principal
Donors
»
April
to
October
1996
~
|
O v e r $1000
Adelaide Cherbonnier The Kerr Foundation Julie Landsman
Susan Slaughter
$250
to
$999
Rebecca Bower Barbara ButlerCharles G e y e r & Barbara B u t l e r Kay N i c h o l s Eugene P o k o m y R i c h a r d and M a r y A n n S h a w $100 to $249 Mary Bahr Gienda Cloutier D r . M a r y A n n C r a i g Jan Z D u g a D r . L a n g s t o n F i t z g e r a l d B e t t y G l o v e r Theresa Hanebury
Bonnie Jean Kline @ Norma Lain Ardash Marderosian D r . P h y l l i s G r a h a m Parr D r . C a r l a R u t s c h m a n A n n e Scharer U p t o $ 9 9 Velvet Brown Steven Bryant D r . D a n i e l B u r d i c k M a r y D u n e Jo A n n e E d w a r d s Kathleen V a u g h t F a m e r E l a i n a F a r n s w o r t h A n g e l a H u n t e r Diane Kelchner Janine L e y s e r D r , R i c h a r d & C l a r e M u r r a y Susan R i d e r B a r b a r a S c h m i t J a c q u e l y n Sellers Mary Weber Caroline Weick Kathy Wood
o
TWBC November 19961997 IWBC Conference
Participating Artists*
I n d i v i d u a l s
Lisa Albrecht - Acting Assistant Principal Trombone New York Philharmonic
Michelle B a k e r - Second Horn, Metropolitan Opera Orchestra Rebecca B o w e r - Co-Principal Trombone,
Pittsburgh Symphony
K a t h y Brantigan - Tuba, Denver Brass
Velvet B r o w n - Professor o f Tuba & Euphonium, Bowling Green State University
Clora B r y a n t - Trumpet Jazz Soloist Pia B u c h e r - Solo Trombone,
Berne Symphony; Slokar Trombone Quartet A b b i e Conant - Professor o f Trombone at the
Trossingen Hochshule D r . M a r y A n n C r a i g Euphonium
-Director of Bands, Montclair State University J a n Duga, Tuba - M. Sgt., U.S. A i r Force Band Langston Fitzgerald, I I - Second Trumpet,
Baltimore Symphony
Joanna Hersey, Tuba - Musician First Class
U.S. Coast Guard Band
Angie H u n t e r , Euphonium - Professor o f Low Brass, German Bible Institute in Koenigsfeld Julie Landsman - Principal Horn,
Metropolitan Opera Orchestra I k u k e M i u r a - Euphonium Soloist, Japan
Betty O?Hara - Trumpet and Trombone Jazz Soloist L a u r e l Ohison -Associate Principal Horn,
National Symphony
Eugene P o k o r n y - Principal Tuba, Chicago Symphony B a r b a r a P r u g h - Trumpet Soloist
Jean Rife - Natural Horn Expert L y n d a Robbins - Solo Trombone,
Dortmund State Opera Orchestra David Saltzman - Tuba, University o f M i c h i g a n M a r i e Speziale - Associate Principal Trumpet,
Cincinnati Symphony
M a r v i n S t a m m - Trumpet Jazz Soloist
D e b r a T a y l o r - Trombone, New Mexico Symphony, Grant Park Symphony
M a t t T r o p m a n - Euphonium, U.S. Marine Band
Joan Watson - Associate Principal Horn, Toronto Symphony O t h e r s
Interservice T u b a E u p h o n i u m Q u a r t e t Tucson Symphony H o r n Section D r . Don Greene - Sports Psychologist D I V A - No Man?s Band
M O N A R C H BRASS
*List is accurateasof 10/22/96.Due to unforeseen circumstances, we cannot
guaranteethatalltheaboveperformerswillparticipate.
A
Wish
Come
True
Melba Liston, worldclasstrombonistandarrangerwiththe
Dizzy GillespieOrchestra,hadastrokeinthemideighties.Finding itimpossibletolivealoneanylonger,shemovedinwith herauntin California.Duringthe processof movingMelba?s treasuredOlds Trombonewasstolen. Melbawas devastated;whileshenolonger couldplay professionally,hertrombonebroughtbackmany
wonder-fulmemories.
Susan Slaughter, Principal Trampet oftheSaint Louis
Sym-phonyOrchestrahadmet Liston atthe May1993IWBCi n St.Louis.
Onarecentt o u r t o Californiafora performance withthe SaintLouis Symphony,Susandroppedintoseeherfriend,Melba. WhenSusan
learnedofthemissingtrombone,shedecided totryto replaceit. Back in St.Louis,Slaughter contacted Roger Davenport, secondtromboneo f theSaint Louis Symphony,ab i gfanofMelba?s, andtold him aboutMelba?s stolentrombone. Roger offeredtohelp f i n dasuitablereplacement.He l o c a t e dausedOldsTromboneand it
was purchased withthehelp o f Roger, Susan,andthefollowing IWBC friends: Dave Takach, Jeff Neville, T i m Myers, Gary Smith, Gerry Pagano, Bili Nottelmann o f Nottelmann Music Company,andDon Muckerman ofSt.Ann?sMusic.
?Thetromboneplayedgreat,butwassorelyinneedof
lacquer-ing,Susantookthetrombonet oherinstramentrepairshop ofchoice,
St.L o u i sWoodwind & BrassInstrument Repair,andtalked tothe
ownerB i l lM e y e r s ,WhenB i l l ,alsoa fo fMelba?s,a n heardabout her
stoleninstrument, hedonatedh i s servicest o repairandlacquer the
used,OldsTrombone. The trombone looked like new after Bill's
expertworkwascompleted!
?Thetrombone wasthen boxed andsentto Melbaby UPS on
September24.Withinafewdays,anexcitedandjubilant Melba calledSusanand expressedherj o y by playingsome jazzynotes over
thephoneonhernewtrombone.
A special thanks to all w h o helped with this project. W e hope it brings Melba many hours o f playing pleasure, and marvelous memories.
T r o u b l e - S h o o t i n g f o r Tone Production
B y : M a r i e Speciale
One thing I have encountered with regard to tone pro-duction, is that younger players sometimes have difficulty moving air through the instrument, either because they are
tight in the throat, or because their aperture is not open enough to service the needs oftheinstrument. And, generally, w h a t[ doistrouble-shoot. I f it happenstobe an aperture problem, I look at how they are forming the embouchure. Do they indeed have an aperture?
There was a school of thought many years ago that advocated stretching the lips tightly like a rubber band to produce what was called the ?smile system? of playing. Over the years that?s not been proven to be the most successful way to produce a good tone. With that method, the lips are
stretched sothinly across the teeth, and so tightly, that the
vibrating surface is reduced, thereby inducing more pressure onthe embouchure.
It?s best to use a c o m b i n a t i o n o f p u l l i n g i n and p u l l i n g out at the same time, w h i c h preserves more v i b r a t i n g surface and createsal i t t l e b i t o f tension in the center o f the l i p . I n e f f e c t , w h a t y o u ' r e d o i n g is u s i n g the muscles around the l i p and m o r e f a c i a l m u s c l e s to c o n t r o l the aperture. I encourage the student to use the r i n g o f muscles around the m o u t h p i e c e to h u g the m o u t h p i e c e ever so gently and, at the same time, p u l l out f r o m the c o r n e r s o f the m o u t h and i n t o the cheeks. F o r e x a m p l e , i f y o u l o o k atat i m p a n i s t w h e n he tunes, he tightens the t w o e x t r e m e ends o f the t i m p a n i headw i t h the keys. I s the p u l l f r o m both sides that p r o d u c e s the t e n s i o n f o r the p r o p e r pitch.
W h e n y o u p u l l i n and out, the f o r m a t i o n i n the c e n t e r lip p r o d u c e s a shape that is n o t u n l i k e that o f an oboe reed-oval-shaped. A s t h e o b o i s t plays f r o m the l o w e r register t o the u p p e r register, the o p e n i n g i n the reed g r a d u a l l y becomes smaller. H o w e v e r , the ( i t a l i c ) s h a p e ( i t a l i c ) o f the aperture remains the same. T h i s is w h a t we, as t r u m p e t players, strive to d o as w e l l . T o i m i t a t e that o b o e reed shape, g r a d u a l l y c l o s i n g the aperture i n t o the u p p e r register, but s t i l l keeping enough o f an o p e n i n g sothat the a i r can pass through the l i p s .
Insimplest terms, the production of the tone is when the air meets the lips and sets the lips into vibration. So it?s
important to establish a good aperture, starting withasmuch of an openingas is comfortable i n the lower register. I f you start with arelatively closed aperture at the bottom end, there?s
no place to go when you get tothetop. Once you establisha
fairly open aperture,it?seasier fortheair column tosetthe lips into vibration andyou?r e less apttoshut down completelyas
youascend intotheupperregister.You?ll be able to servicethe
instrument through the middle and upper registers without feelingasthough everythingiscoming back at you intheform o f resistance. Basically, there?s someplace for the air togo.
But assoon as you shut the aperture down, as in the smile fashion ortherubber band fashion, there?s no place fortheair to go andthetone quality suffers dramatically in all registers.
A n o t h e r t h i n g t h a tI have f o u n d that has been ap r o b l e m w i t h y o u n g e r players is the i n e f f i c i e n t use o f the air c o l u m n . W h a t they tend to do is deflect the air c o l u m n . W e all t h i n k in terms o f high and l o w . T h e r e is an a u d i b l e vertical, as w e l las
a v i s u a l vertical. W e see the notes o n the page as being high o r l o w , W e hear t h e m as being h i g h o r l o w . Therefore, the tendency is to do j u s t that w i t h the air c o l u m n , m o v i n g the air u p o r d o w n in a s o m e w h a t vertical fashion. W h e n that h a p -pens, you w i n d u p d e f l e c t i n g the air colurmn e i t h e r i n the m o u t h p i e c e o r in the lead pipe, thereby h i t t i n g resistance very q u i c k l y . T h e r e s u l t i satone q u a l i t y t h a t i s t h i n , unfocused, and one that tends to shut d o w n i n the upper register.
I f y o u t h i n k i n terms o f a t o n a l approach w h e r e b y the l o w note is s i x inches i n f r o n t o f y o u r b e l l and the high note is at the o t h e r end o f the room, then you?re g o i n g to have am o r e horizontal, rather than vertical concept. Y o u ' r e f o l l o w i n g through w i t h the air c o l u m n so that the air c o l u m n isn?t deflected and y o u don?t getasm u c h resistance.
A n o t h e r analogy is to t h i n k o f a g o o d baseball p l a y e r w h o steps up to the plate and makes c o n t a c t w i t h the bat o n the ball. H e doesn?tj u s t stop the m o t i o n o f the bat w h e n c o n t a c t is m a d e between the b a t a n d the b a l l (unless he?s bunting, o f course). Once he hits that ball, he f o l l o w s t h r o u g h w i t h the bat. A n d it?sthe same type o f f o l l o w t h r o u g h that is necessary i n s u p p o r t i n g the tone. Y o u must keep the air c o l u m n going.
Deflecting the air column can doanumber of things to cut down on your tone production.You?ve gotal i t t l e cup that you?re blowing into, When you're aiming air right into the throat of the mouthpiece, the air isgoing into the mouthpiece unimpeded. Butassoonasyou start to move that aircolumn?
either up or down, you?re going to hit the cup part o f the mouthpiece and not the center of the mouthpiece where the
TWBC November 1996
=
r r r r r r r
hole is. Eventually the air is going to find its way into the throat
o f the mouthpiece, but not before it comes back in your face, P o e m
soto speak. It?s possible to move the air through the center of
the mouthpiece and still have it deflected somewhere in the By MarieSpeziale
lead pipe. There again,it?sgetting trapped and causing some A s strangers we a r r i v e d production problems. There's a definite resistance there and one F r i d a y n i g h t in J u n e we sometimes have to be aware that in order to counteract that F r i e n d s w e became
resistance we just have to really think horizontally and follow 80 very, very soon through with the air column. United in s p i r i t
w i t h one c o m m o n g o a l l l i k e to have my students remove the tuning slide on the With strength and f e r v o r instrument and, with the mouthpiece in the lead pipe, just have we p l a y e d so bold them blow. Not even buzz. Just blow air throughthelead pipe With w a r m t h and p a s s i o n
sothey can get the feel o f moving the air throughtheleadpipe w i t h m a g n i f i c e n t sensitivity without any resistance,sothat there's nothing coming backat We spun o u r p h r a s e s
them, justtheniceeasyfeel o f blowing through the pipe. Then 80 soft and velvety gradually move to producingavibrationatthe lip, more than With A n n i e D . a n d F r a n k just blowing air, letting the vibration take hold, aiming to a
low-pitched vibration withtheconcept o f actually movingthe
aircolumn through the lead pipe. That helps a great deal Then when they put their tuning slide back on, they get the feel of blowing through the lead pipe without the resistance associ-ated with deflecting the air colurnn.
w i t h T o w e r , T o m a s a i a n d L i b b y W e f o u n d o u r u n c o m m o n v o i c e a n d celebrated o u r c r e a t i v i t y With M a r i n at the h e l m w e f o u n d o u r s e l v e s b o u n d i n g R e j o i c i n g i n o u r a r t
2 Since we are trouble shooting,it?simportant to remem- So wonderfully resounding ber that there are a number of things to check for. Sometimes O u r m u s i c t o o k f l i g h t
it might not be the embouchure, it might not bethedeflection leaving a l l else b e l o w
of the air. I once had an experience with a freshman at the A n d all too soon we were saying g o o d - b y e conservatory. He seemed to be doing all theright things, but when we b a r e l y h a d said hello
wej u s t weren?t getting anywhere. Well, little did I realize that The tones h a v e f a d e d no one had informed this young man thatheneeded to clean the last s o n g is p a s t out his trumpet and mouthpiece periodically! I made an The sounds o f l a u g h t e r assumption that he knew to do that. One day, I checked the so q u i c k l y dashed instrument and the mouthpiece, and, oh my word! Thereare With smiles now m e m o r i e s
somany things that have to be addressed, and the important w i t h tears untold thing is to leave no stone unturned! To be r e m e m b e r e d a l w a y s
the songs o f o u r souls Associate Principal Trumpet f o r the Cincinnati Sym- The D r e a m Team o f w o m e n phony Orchestra since 1964, Marie Speziale is the f i r s t the one with s u c h class woman trumpetplayer in a major symphony orchestra. She The girls o f s u m m e r also servesasA d j u n c t Professor a t the College-Conserva- The M o n a r c h B r a s s tory o f Musica t t h e University o f Cincinnati. H e r many solo
appearances include NBC?s ?Today? and ?Tonight? shows. 6July 1996
D u r i n g the 1969 European t o u r o f the orchestra, she ap- EnrouteKC-Cincinnati
p e a r e d a s a soloist withD a v eBrubeck. . C h a n g e o f A d d r e s s ? ? Ninety percent o f the time, Marie Spezialeplays a Bach
Stradivarius silver C trumpet, large bore, 2 5 - H lead pipe, P l e a s e u s e t h e m e m b e r s h i p f o r m o n t h e with E R (enhanced resonance) a n d a 239 bell. A l s o a s i l v e r | b a c k c o v e r t o l e t us k n o w o f a n y c h a n g e
.W B a c h Stradivarius, h e r B b trumpet is a 3 7 bell, medium | i n n a m e , a d d r e s s , p h o n e n u m b e r , e t c . large. She u s e sa Bach 1-1/4 mouthpiecew i t h an open throat | M a r k ? C H A N G E ? o n f o r m
and open back,
List of New Brass W o r k s
C o m p i l e d by Faye-Ellen Silverman
A b r a m s , A l i s s a , A n a n t e f o r brass quintet, ( 2 tpt, hn, and tba). 3°15? A v a i l a b l e f r o m c o m p o s e r at 2 6 2 0 A v e n u e J,
B r o o k l y n , N Y 1 1 2 1 0
Amis Kenneth Quintet No. 2 For Brass.(c16)Recently published by Frank Warren Music Service Recorded bythe Empire Brass.
A u s t i r , E l i z a b e t h R. T o B e g i n f o r brass quintet. 6°4 7 " N o w a v a i l a b l e on Capstone Records ( C P S - 8 6 2 5 ) on ?Eliza-beth A u s t i n , R e f l e c t e d L i g h t . ?
Beck, Jeremy. H o U s E m i X for tuba and synthesizer.(c. 5) Note:The synthesizer part is an on-board sequence, trig-gered by the performer. This work is also available in a version for tuba and tape, the tape part being a dub o f the
sequencewith additional cues employed.
Prermiered by Jeffrey FunderburkonApril, 21, 1996at the Iowa Composer Forum Concert Coe College, Cedar Rapids, Ia. Available form the composer at: Universoty of Northern Iowa. School of Music, Cedar Falls, Iowa 50614-0246. (319-273-2809) e-mail: beckj@ uni.edu.
B e n n e r , A l S e r e n a d e f o r T w o f o r E u p h o n i u m and piano. (10°) A v a i l a b l e f r o m C o n n e r s Publications at 6 7 8 0 State Road #57. Greenleaf, W1 5 4 1 2 6 - 9 7 3 8 , ( 4 1 4 - 8 6 4 - 3 1 6 5 )
* e-mail. A L M E I @ aol.com
Benner, A l S e r e n a d e f o r T w o f o r t r o m b o n e and piano (10?) A v i a l a b l e f r o m Conners P u b l i c a t i o n s . See above.
Brazelton, K i t t y , C o m e S p r i n g f o r brass quintet. (ca.22') C o m m i s s i o n e d by T h e Manhattan Brass Q u i n t e t . A v a i l a b l ef r o m t h e c o m p o s e ra t : 172.E, 7th S t . # 1 C , N e w Y o r k , N Y 10009.
(212-982-2471) e-mail: Kitbraz @ aol. com.
Bremer, Carolyn. T h r o w C a u t i o n To The W i n d Commissioned byt h eSummerWind Festival forthe Monnarch Brass and premiered by them on July2,1996in Norman, OK. Available from the composer at: School of Music, University of Olahoma, Norman O K 73019. (405-325-2313) e-mail ebremer @uoknor. edu
B r o a d h u r s t , Denise. I n t r o d u c t i o n a n d A l l e g r o f o r brass quintet. (c.7?) P r e m i e r e d June 25, 1996 b y the St. A n t h o n y Brass Q u i n t e t , St. M a r k ? s L u t h e r a n C h u r c h , St. Paul, M N . A v a i l a b l e f r o m the c o m p o s e r at: 77-16 A u s t i n n St., # 5 G , Forest H i l l s , N Y 1 1 3 7 6 ( 7 1 8 - 2 6 1 - 9 5 0 0 ) .
Carastathis, A r i s . E u p h e m i s m f o r e u p h o n i u m . ( 3 ° 3 0 " ) Recently p u b l i s h e d b y Conners Publication. See address un-d e r A l Benner.
Constantinides, Dinos. M u t a b i l i t y Fantasy for eupho-nium and piano (5') Recently published by Conners Publica-tions. See address under A l Benner.
Constantinides, Dinos. Tale for trumpet, trombone and piano. Published by Conners Publications. Seeabove.
Cooper, Constance, Bez m é h o V e d o m i ( U n b e k n o w n s t t o M e ) f o r tenor, t w o trumpets, and cello. (ca 13) Based on letters and fragments b y K a f k a . P r e m i e r e d b y the Composers? E n s e m b l e o f Princeton U n i v e r s i t y , Steven M a c k e y , cond. ( M i c h a e l W i l l s o n , ten. W a y n e D u m a i n e and Jon Nelson, tpts and John W h i t f i e l d , ve) on M a r c h 31, 1994 at Princeton U n i v e r s i t y ? s T a p l i n H a l l . A v a i l a b l e f r o m the c o m p o s e r at;
1400 S o u t h Joyce St., # 1 1 1 9 , A r l i n g t o n , V a 2 2 2 0 2 - 1 8 7 2 . D r a k e, Nathanial. C l e m e n t i n e f o r h o r n and tape. (c.15') P r e m i e r e d b y G r e g E v a n s on June 22, 1 9 9 6 o n the M u s i c U n d e r C o n s t r u c t i o n concert series, N e w Y o r k , N Y .? A v a i l a b l e f r o m t h e composer at: 5 4 3 E a s t 5th St. A p t . 11, N e w Y o r k , N Y 10009. ( 2 1 2 - 5 0 5 - 9 7 1 2 ) .
Fletcher, R o y . T u n d r a f o r 2 e u p h o n i u m s and 3 tubas. ( M a y be p e r f o r m e d w i t h m o r e than one p l a y e r p e r part) (8' 3 0 " ) P r e m i e r e d on A p r i l 5, 1996 b y the U n i v e r s i t y o f N o r t h Texas T u b a & E u p h o n i u m C h o i r . John Rider, cond. at the C o l l e g e o f M u s i c in D e n t o n , Texas. A v a i l a b l e f r o m the composer at: 2 6 3 1 1 C a m e l i a Ct., M a g n o l i a , T X 77355.
Fowler, Jennifer. Lament for 2 Bb euphoniums and2
basstubas. 7-8' Available from the composer at: 21 Deodar Rd., London SW15, 2NP United K i n g d o m . e-mail:
F r o o m , D a v i d . S e r e n a d e f o r T r u m p e t a n d S t r i n g s for t r u m p e t and s t r i n g orchestra o r s t r i n g q u i n t e t (6'). W r i t t e n f o r and p r e m i e r e d w i t h J e f f Silberschlag, tpt and the C i o m p i Q u a r t e t w i t h aguest bass p l a y e r on A p r i l 1994 at St. Mary?s C o l l e g e o f M a r y l a n d . R e c o r d e d on D e l o s (Seattle S y m p h o n y , S c h w a r z cond, w i t h J e f f Silberschlag, tpt). Published b y M M B M u s i c , Inc.
G u i d r y , Jason. E l e g y f o r J o h n P a t e r f o r brass ensemble (13 tpt, 14hn, 12 thn. b t b n , euphonium, tuba and t i m p a n i . ( 5
-TWBCNovember£996
6?)A v a i l a b l e f r o m the c o m p o s e r at: 9 6 3 8 So. P i n e b r o o k St. H i g h l a n d s R a n c h , C O 8 0 1 2 6 . ( 3 0 3 - 6 8 3 - 1 0 0 7 ) e - m a i l : j p g 0 0 0 !@ jove.acs.unt.edu
Jacobs, Kenneth. Ambassadors of Fortune for brass quintet. (13' 05") Recorded by Cathy Leach. Heidi Schiller, Calvin Smith, Don Hough and SandeMacMorran for The Zyode Company at: 1101Burton Rd., Knoxville, T N 37919-8111 (423-588-0737)
Jacobs, Kenneth. Night Covers A l l for horn and com: puterized synthesizer tape (20' 52") Recorded by Clavin Smith for The Zyode Company. Available from the address listed above.
James, K e v i n . A n d a n t e M a e s t o s o f o r alto trb. and P N O . 3.5' A v a i l a b l e f r o m Wehr?s M u s i c House, 3 5 3 3 B a x t e r D r i v e , W i n t e r Park, F L 3 2 7 9 2 - 1 7 0 4 . F a x 4 0 7 - 6 7 9 - 0 2 0 8 .
Joyce, M a r y A n n . F a n f a r e o n ?Te D u e m ? f o r brass q u i n t e t p l u s o p t i o n a l t i m p a n i . (3' 3 0 " ) P r e m i e r e d b y the A l a s k a Brass Q u i n t e t on A p r i l 2 0 , 1994 at D a v i s H a l l , U n i v e r -s i t y o f F a i r b a n k -s , A K . A v a i l a b l e f r o m the c o m p o s e r at: 88 S m i t h H i l l R d . A i r m o n t , N Y 10952 (914-368-1155: Fax:
@ 14-368-3647)
Johnson, A. Paul. S w i n g s e t w i t h S l i d e f o r brass quintet and c h a m b e ro r c h e s t r a (2/2/2/2. t i m p . strings). (12') C o m m i s -s i o n e d b y t h e G a i n -s v i l l e Symphony Orche-stra f o r t h e G a i n -s v i l l e Brass Q u i n t e t , P r e m i e r e d b y these g r o u p s w i t h R a y m o n d C h o b a z , c o n d on S e p t e m b e r 23, 1995 at the Center f o r P e r f o r m i n g A r t s at the U n i v e r s i t y o f F l o r i d a . P u b l i s h e d b y the A m e r i c a n C o m p o s e r s A l l i e n c e . K a m i n s k y , Laura. E l e g y f o r t h e S i l e n c e d V o i c e : I n M e m o r i a m M i c h a e l D a s h f o r B b trumpet. c. 3 1/2 C o m m i s -sioned and p r e m i e r e d b y P o s i t i v e M u s i c (Susan R a d c l i f f ) on June 21, 1995 at W a s h i n g t o n Square C h u r c h i n N e w Y o r k C i t y . A v a i l a b l e f r o m the composer at: 11 Lamerson Rd., Chester, N J 0 7 9 3 0 - 2 4 2 7
Katz, Marco. Five Pieces by Henry F i l l m o r e for brass quintet (20 minutes for the entire set, although they can be played separately.) Available from Carl Fischer.
K a t z , M a r c o . M o n t u n o f o r brass quintet. (3.5' + de-p e n d i n g o n w h e t h e r the o de-p t i o n a l i m de-p r o v i s e d sections are used).Released b y A l m i t r a M u s i c . A v a i l a b l e f r o m K e n d o r M u s i c ,I n c . , M a i n & G r o v e Streets, PO Box 278, Delevan, N Y 1 4 0 4 2 ( 7 1 6 - 4 9 2 - 1 2 6 4 ; f a x : 7 1 6 - 4 9 2 - 5 1 2 4 )
K i s t o f t , M a r k A . P a s t p e r s i s t e n c e f o r brass quintet (10°) C o m m i s s i o n e d and p r e m i e r e d b y the A u r o r a Brass at:
the 6th International Festival o f Brass on June 16, 17, 18and 19, 1995 i n V i c e n z a , B a g n o l a M e l l a , M a n t o v a and Verona, Italy. P u b l i s h e d by: The N e w m a t i c Press, 2 0 0 R i d g e l a n d D r . N o 4, Greenville, SC 2 9 6 0 1 . ( 8 6 4 - 2 8 2 - 0 6 8 3 )
Lefkowitz. Aaron. Symphony in E b for 12 trbs. c.20' Premiered by Prima Toni conducting The Orlando Trombone Choir of October8,1995 atPrince o f Peace Lutheran Church, Orlando, F L Available from: Wehr:s Music House.
L o r d , C a r o l y n . B i t s a n d Pieces f o r brass q u i n t e t (c.5?)
Premiered by the M a n h a t t a n Brass Q u i n t e t on June 22, 1996 on the M u s i c U n d e r C o n s t r u c t i o n c o n c e r t series, N e w Y o r k , N Y . A v a i l a b l e f r o m the c o m p o s e r at: 10 East 18th Street. 3rd floor, N e w Y o r k , N Y 10003, ( 2 1 2 - 9 2 4 - 7 8 8 2 )
M c B i m i e , A n d r e w , S o n a t i n a f o r B r a s s f o r brass quin-tet (c12?)C o m m i s s i o n e d and p r e m i e r e d b y the O n y x Brass on M a r c h 16, £996 a t t h e S p i t a l f i e l d s M a r k e t Opera, L o n d o n , U K A v a i l a b l e f o r m the composer at: 146 Iverson Road, W e s t Hamstead, L o n d o n N W 2 H H , U K . e-mail: u d w m 0 3 2 @
kel.ac.uk o r a.mebirnie (@ ram.ac, u k .
M i s h e l l , K a t h r y n . W a x E l o q u e n t f o r solo t u b a ( 9 " ) Premiere performance b y S y B r a n d o n on Oct. 15, 1995 at M i l l e r s v i l l e U n i v e r s i t y , M i l l e r v i l l e . P A , A v a i l a b l e f r o m the composer at: 1406 Ridgecrest D r . , A u s t i n , T X 7 8 7 4 6 .
M u i r , John. T h e C h a m b e r e d N a u t i l u s f o r tuba quartet. 12' A v a i l a b l e f r o m the c o m p o s e r at: PO B o x 4 6 1 1 , Green-w i c h , C T . 06831.
M u i r , John. T r u m p e t s 1,2,3 f o r three B b trumpets. 4 A v a i l a b l e f r o m the composer. See above.
Ott, D a v i d . S o n a t a f o r T r o m b o n e f o r t e n o r trb. and pno. c . 15' Recently p u b l i s h e d b y Wehr?s M u s i c House.
Pehrson, Joseph. H o r n o r a r i u m f o r f o u r horns (7') Premiered b y the ?Flipside e n s e m b l e on the N e w Y o r k A r t E n s e m b l e consert at t h e K o s c i u s z k o F o u n d a t i o n on M a y 1,
1996. A v a i l a b l e t h r o u g h the C o m p o s e r s C o n c o r d a n c e at: PO B o x 20548, P A B T , N e w Y o r k , N Y 10129.
Raheb, Jeff. B r a s s Q u i n t e t N o . 1 6' A v a i l a b l e f r o m the
c o m p o s e r at 4 1 5 9 t h St. #3 B r o o k l y n , N Y . 11215 (718-788-7 0 8 1 ) e-mail: j r a h e b @n y h . m e d . c o r n e l l .edu
Raheb, Jeff. A Q u i c k G l a n c e f o r solo f r e n c h h o r n . 12°
15" A v a i l a b l e f r o m the composer. See above.
C o n t i n u e d o n N e x t P a g e
L i s t o f New Brass W o r k s
F r o m Previous Page
R i n d f l e i s c h , A n d r e w . F a n f a r e f o r B r a s s Q u i n t e t . (1' 2 5 " ) Recently p u b l i s h e d b y t h e F r a n k E. W a r r e n M u s i c Service.
Risher, Tim. E i n Stern fiel i n meinen Shoss (smali wind ensemble, features trumpet & oboe) ¢.20' Available from Wehr?s Music House.
Rowe, Monk. Cheeks ( f o r Dizzy Gillespie) for brass
quintet and optional percussion. (¢. 5') Availjable from the
c o m p o s e ra t : Hamilton College198College H i l l Road, Clinton, N Y 13323. Fax: (315-724-4893)
Sandler, F e l i c i a A n n Barbara. T h r e e S h o r t Pieces f o r T r u m p e t , (3' 0 5 " ) P r e m i e r e d b y Janna G a l l o w a y on A p r i l 1,
1996 at the U n i v e r s i t y o f M i c h i g a n , A n n A r b o r , M L A v a i l -able f r o m the c o m p o s e r at: 1102 M a i d e n L a n e C o u r t # 1 0 1 , A n n A r b o r , M I . 4 8 1 0 5 . ( 3 1 3 - 3 3 2 - 3 9 7 8 ) e - m a i l : f s a n d i e r @ f . i m a p . i t d . u m i c h . e d u
Suiter, W e n d y . M e d i t a t i o n f o r T w o F r e n c h H o r n e s
10? A l s o suitable f r o t w o t r o m b o n e s ; A v a i l a b l e f r o m the c o m p o s e r at: 3 9 0 C l a r k e St., N o r t h c o t e , A u s t r a l i a 3 0 7 0
Tarshis, Steve. T o p o f the W o r l d f o r brass quintet. (7 1/
2?)A v a i l a b l e f r o m the composer at: 6 4 0 W e s t End A v e . A p t 3C, N e w Y o r k , N Y 10024, (212-580-4535) T h e o b a l d , J i m . S o n a t a f o r T r o m b o n e a n d P i a n o . (ca. 16?) P u b l i s h e d b y : W e a r s M u s i c House, c a t a l o g #95. F a x order: ( 4 0 7 - 6 7 9 - 0 2 0 8 ) T r u s s e l l C u l l e n , Laura. T h e D e v i l s D e r m i s h f o r t r o m -b o n e and p i a n o ( 9 ' 3 8 " ) A v a i l a -b l e f r o m F r a n k E. W a r r e n M u s i c S e r v i c e . T r u s s e l l - C u l l e n , L a y r a . T o t e n t a n z f o r t u b a and piano. ( 1 ' 12") A v a i l a b l e f r o m F r a n k E. W a r r e n M u s i c S e r v i c e .
Vayo, David. EightPoems o f W i l l i a m Carlos W i l l i a m s for trombone (27') Commissioned by the St. Louis Symphony Society for Roger Oyster, Principal Trombone. Premiered by Roger Oyster on April 3, 1995at;The Sheldon Concert Hali, St. Louis, MO. (Chamber music concert series St. Louis Symphony). Available from the composer at: School of Music, Illinois Wesleyan, PO Box 2900, Bloomington, fl. 61702.
W e h r , James. T r i o f o r B r a s s O P . 1 f o r trpt, hrn and trb.
¢. 15? Premiered by Ken Moulton, Mark Fisher, and Mike
Brenner on October 23, 1994 at the University of Central Florida. Available from: Wehr?s Music House.
Wheelock, Donald. Fanfare f o r a Festive Occasion for3trpts, 4 hns (2 tenor, one bass), 2 tubas (tenor, bass) and percussion (4 or 5 players. (5') Commissioned for, and premieredatthe inauguration o f Ruth Simmons asthe ninth president of Smith College on Sept. 30, 1995. Available f r o m the composer at: Music Dept. Smith College, Northampton, M A 01063.
Woltmann, Chris. Brass for brass quintet. (c. 15?)
Premiered by The Manhattan Brass Quintet on June 22,1996
on the Music Under Construction concert series, New York, NY. Available from the composer at: 18 Myrtle Ave. Demarest, NJ 07627. (201-768-3375)
Ziffrin, Marilyn,J. Lines and Spaces forbrassquintet c. 7 1/2?, Available from the composer at: PO Box. 179, Bradford, N H 03221,
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o f D i r e c t o r s
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c / o 280 Carlton St. Toronto, QUE MSA 2L5 C A N A D A 416/920-1279 (H) 418/640-5227 (W) Orchestre S y m p h o n i q u e d e Q u e b e c M a r g a r e t Brouwer 2589OverlookRd,Apt. #9 ClevelandHelghts,OH 44106 216/397-9813(H)216/791-8000 (W) Composer H e a d - C o m p o s i t i o n D e p a r t m e n t / C l e v e l a n d institute o f Music AdelaideCherbonnier 16KingsburyPl. St.Louls,MO 63112 G l e n d a Cloutier {Irumpet) 5605 M o n d a t e Rd. Knoxville, IN: 37912 4 2 3 / 5 2 5 - 6 4 8 4 ( H ) 4 2 3 / 5 2 5 - 6 4 8 4 C a l l first Rosalind C r o n ( S a x o p h o n e / C l a r i n e t / F i u t e ) $ 0 0 S. G r a m m e r c yPt. LosAngeles,CA 90020 J a m i D a u b e r ( T r u r n p e t ) 475 W. 57th St.Apt. 23B-1 N e w York, NY 10019 212/262-3637 (H) DIVA UndaDempt (Hoiny 909S.Dunn Bloornington, IN 47401 812/339-0920 (H) J e n n i f e r Drennan C r u m p e t ) 3 9 4 7 U p p e r S a x t o w n Rd. Milistadt,IL 62260 6 1 8 / 4 7 6 - 1 2 3 0 ( H ) 8 1 2 / 3 3 3 - 6 2 6 7 ( H ) MaryDunn (Hom) 1322LimekinPike Jarrettown,PA, 19025-1004 215/646-8849(H) J o A n n e E d w a r d s Crumpet) RD2 80x 416 Johnson, VT 05656. 802/635-2054 (H) 802/636-1277 (W) 802/635-1294-4FAX}
Cofounder/ConstitutionBrassQuintet
K a t h i e e n Y o u g h t Famer.. Professor o f H o m
PacificLutheranUniverstty
Departmentof Music Tacoma, WA 98447-0003
206/535-7607(W)206/535-8669(FAX)
Pacific LutheranUniversity
(Hom) TWBC November 1996
D i r e c t o r y Update
A p r i l T e O c t o b e r 1996 Eialne Fameworth .... . ( r o m b o n e ) 10960 B e a c h Blvd, Lot 243 Jacksonville,FL 32246 904/646-2960 (H)Musle Tutot/Univertity of North F i o r d a Betty G l o v . (Bass Trombone/Tenot Tuba) CherninSt. Esteve Ménerbes 84560 FRANCE 011/33/90/72-3789 (H) Retired J o a n n a Hersey 6 P r o m e n a d eSt, Moosup, CT 06354 860/564-6805 (H) 860/444-8466 (W) C o a s t G u a r d Band .» (Tuba) A n g e l a Hunter ... we( E u p h o n i u m /Tuba) K i n d e r w e i d e 4 Koenigsfeld 78126 GERMANY 0 1 1 / 4 9 / 7 7 / 2 5 0 - 1 4 3 4 ( H ) 0 1 1 / 4 9 / 7 7 / 2 5 9 - 3 8 4 1 1 ( F A X ) L e e HillK a v a n a u g h.... 3501 H a p p y Hotlow Rd. I n d e p e n d e n c e , M O 64058 816/650-3746 (H) ..(Bass Trombone) B o n n e J e a n KlIne...,..0+ 28117 Selkirk Southfleld, MI 48076 810/569-7408 (H) A n a n g e r / P u b l i c Schoots F r e e l a n c e ..(trumpet) Dr. C y n t h i a LeBlano-Gardner... (Euphonium) 1839E,L a g u n a Dr, Tempe, AZ 85282 602/838-2183(H) JanineLeyser.. 62 BobwhiteLa. Hicksville,NY 11801 516/433-5166(H) LoraineMarik 334Downing Riverside,IL 60545 708/447-8049(H) (Trombone) J a n i c e Owens... P.O, Box 42422 Washington, DC 20015 202/244-3233 (H) 202/337-2268 (FAX) W i n d D e p t . Chait/Levine Schoo! of Music F a c u t t y / P e a b o d y Preparatory Freelance: Dr.Phyilis G r a h a m Parr... 2009 C a s t l e Ave. B l o o m i n g t o n ,IL 61701-5729 309/663-4145 (H) 309/766-7275 (W) .» ( i r o m b o n e ) ClaudiaRichards 687PopeRd. St. A u g u s t i n e ,FL 3 2 0 8 4 9 0 4 / 4 7 1 - 8 2 3 0 ( H ) 3rd Florida R e g i m e n t a l Bross B a n d
. .
Crumpet) Susan Rider... 4136E,52nd St.Apt. 807 Odessa,TX 79762 935/550-4676 (H) MaryRitch.. 998Divisadero#102 SanFrancisco,CA 94115. J a n e Sag P.O, Box1 Pawn Desert, CA 92261 619/340-3174(H)213/654-9770 (W) A n n e Scharer.. 7248S.SthSt. Columbia, OH 43206 614/481-9699 (H) P a m e l a S c h i m o k ... 13101 Sliver EagleTr. E d m o n d , OK 73013 405/478-2573 (H) n e(TTLUMPOT) Barbara S c h m i t . 8215 Kail Ridge Rd, #717 Uncoin, NE_ 68506 4 0 2 / 4 8 9 - 3 5 7 6 ( H ) 4 0 2 / 4 8 9 - 3 5 7 6 ( W ) .( T r u m p e t ) J a c q u e l y n Sellers.. 1216E,MilesSt. Tucson, AZ 85719 520/882-8975 (H)Prinelpal Horn/Tucson S y m p h o n y Orchestra
(Hom) J u l e Towner ... 1428 P e m b r i d g e Cincinnati, OH 45255 $13/943-0311 (H) 513/621-1919 (Wy 513/621-2133 {FAX} .» ( H O r n )
Susan Watts Sandier 785 LorettSt. Pittsburg, PA 15217 412/421-1062 (H) -{Trumpet) U e s e l W h i t a k e r = ( T r u m p e t ) 25-29 36thSt.Apt. 2-R Astoria, NY 11103 7 1 8 / 7 7 7 - 7 2 8 0 ( H ) 7 1 8 / 7 7 7 - 7 2 8 0 ( F A X ) L e a d T r u m p e t / D I V A Kathy W o o d 59 TrammettSt. Martetta, G A 30064 770{514-9003 (H) F r e e l a n c e (Horn)
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