Justin Freer

This exciting music for wind band, written by composer Justin Freer, was originally commissioned for the 2011 Texas All-State Symphonic Band. Additionally, the piece has been featured on recordings by ensembles at both the University of North Texas and Colorado State University.

Freer, a native of Huntington Beach in California, has received numerous accolades for his artistry as an instrumental composer. He works with regularity scoring films and conducting professional performances of his compositions. Find out more about composer Justin Freer at his professional website, http://justinfreermusic.com/

This video was recorded live at Edna Rizley Griffin Concert Hall, University Center for the Arts on the campus of Colorado State University during the 2011 Aries Composers Festival (Nov. 6 – 8, 2011) http://ariescomposersfestival.com

Named for bassist, song-writer and long-time Jacksonville, FL resident Leon Wilkeson, this joint delivers in every way imaginable. It all starts while approaching from the parking lot where Leon himself is perched high above the front entrance. Bordered in a bright pink glow, the convivial host welcomes his every guest. Through the doorway, a cramped dinning room is unimpressive at first glance. But, tap beer and other modern amenities make quick appearances. Flat-screen televisions hosting a myriad of Zydeco performances and football games show at five separate locations, interspersed among the eclectic Rock, Zydeco and Cajun memorabilia tacked firmly to the walls.

The service at Neon Leon’s is extraordinary. The attention to detail and social graces of the staff are rival to that of even the finest of big city eateries. Waitresses move smoothly and seamlessly between tight tables and highchairs, bringing timely re-fills and helpful answers. Fresh warm cornbread and soft butter are served with drinks at every table and in every way, the food compliments the spectacular qualities exhibited in the service.

Picture this meal: a considerably sized offering of two delectably fried catfish fillets served over a duo of fresh crab cakes, all smothered in an Étouffée cream sauce. This is Leon’s signature dish known as Catfish Louisianne. Leon’s menu is also highlighted by the Cajun Sampler, a dish featuring three all-star Cajun dishes (Gumbo, Étouffée and Jambalaya).

Live music starts loosely around five o’clock. When guitar and fiddle strings are finally tuned, driving Zydeco beats stir up the dust. Accentuated by the sounds of the washboard, played by audience volunteers, the accordion and occasional sounds of harmonica fill the space well. Humorous banter interspersed with Pop, Country and Zydeco tunes are a good balance with the guitar and precise fiddle soloing.

“Neon” Leon Russell Wilkeson, while well known for his contributions as bass player and song writer with the infamous Southern rock band “Lynyrd Skynyrd”, is lesser known for his contribution to fine cuisine via his down home Cajun style menu and honky-tonk evening show. A rare treat if you can happen to find your way down to Homosassa in Citrus County, Florida.

1. Shhhhhhhh…practice softly

Learning to play clearly and with quality articulations at a soft dynamic is one of the most frustrating but necessary trials that a trumpet player must endure. I recommend taking any solos, etudes, or technical studies that you’re working on and try playing them as softly as possible. Next, focus on range extension exercises, always keeping in mind the philosophy that you don’t have to play as loud as you are thinking that you have to. This will not only save your endurance, but allow your ‘chops’ to get to the right position. Trust me, power comes later. Focus on achieving intonation and tone quality during your range practice.

2. Rest, rest, and more rest

Take a break there, Superchops! Even the best trumpeters break this cardinal rule of practice: brass players need rest! Although not always practical advice, try and follow this guideline whenever possible: rest as much as you play. As an example: if an etude lasts 2min. 45sec. then you should rest for an equal 2min. and 45sec. when you finish before moving onto the next routine or going back to cover rough passages. Find creative ways to immerse yourself in trumpet culture during your rests. Come up with an interesting score to follow or read some articles like this one, but please, give those chops a rest!

3. Relax, you’ll breath deeper

This tip sounds so dumb and obvious but the truth is that we could all learn to breath better as brass players. A slow, deep, relaxed breath will be the best source of the air you’ll need to get up above a written high C on command. The air stream that you release through your axe should be as warm and slow as possible at any given dynamic. Efficiency is paramount. Learn to expel your airstream as slowly as possible throughout your entire dynamic range from triple forte all the way down to triple piano. When you breath before a phrase, think of the air filling your lungs from the bottom up as if it was water pouring into a pitcher, then as you exhale release your air stream more slowly from the top of your ‘pitcher of air’. You’ll be able to put a sizzle on the air stream for those high notes and you’ll be surprised by the increased control. Feel the difference!

Jazz Lab I at Colorado State University School of the Arts for the Fall of 2011 is:

Trumpet 1: Scott Webber (Lead)
Trumpet 2: Jon Gray
Trumpet 3: Ryan Sullivan
Trumpet 4: Matt O’Connor

Trombone 1: David Ellis (Lead)
Trombone 2: Logan Kingston
Trombone 3: Jesse Sylvester
Bass Trombone: Will Gamache

Alto Sax 1: Ben Strauss (Lead)
Alto Sax 2: Matt Banks
Tenor Sax 1: Elliott Schwebach
Tenor Sax 2: Johnathan Federico
Baritone Sax: Nathan Wilson

Bass: Daniel Smith (Lead)
Guitar: Joe Surnett
Piano: Christian Smailes
Drums: Collin Sitgreaves

Directed by: Professor Peter Sommer

(Band members not featured in this video: Matt Becker, lead trumpet)

1. Review every key signature and mode until you know each one like your mother!

Let’s face it, scales seem so boring to practice. You’ll have to find innovative ways to practice since feeling confident in any key begins with knowing each key signature and how each mode sounds. Focus on being able to recall each accidental in a particular key as well as on getting the scale under your fingers. A little time each day on scales will get you through hours out on the stage.

2. Sight read charts with a metronome.

By charts I specifically mean big band, swing and jazz band literature. Figure out how to get some parts that are in your range in order to get started. The best ones are the arrangements by Kubis, Nestico, Catingub, Kenton, Ellington/Strayhorn, Frank Mantooth, Oliver Nelson, Thad Jones/Mel Lewis and others. You don’t have to play lead parts. Actually, any part will do. The substance here is that the rhythms found in these charts are filled with key signature changes, usually written in cut-time, and often the same lick can be notated in several different ways according to arranger, publisher etc. After finding the performance temp0 via metronome, cut that in half to start. The critical discipline is to go all the way through the piece at the tempo with which you’ve started a few times, snatching up as many rhythms as you can, then quickly move onto a new chart as soon as the one your working with starts to get familiar. Later on when you feel more comfortable with the rhythms and counting, you’ll be able to read similar charts very effectively up to tempo. Once you’ve assimilated certain common rhythms at half tempo, your mind will be able to speed up to full tempo with ease. Try it and you’ll reap some serious musical benefits!

3. Listen to lots of music… score in hand with which to follow along.

This tip is self-explanatory, nevertheless, please enjoy an enriching elaboration: Grab some scores for any work of which you already have or can get a recording. There are music libraries at universities and within public libraries across the country that have amazing music on file. Next you’ll have to sit down and do some real listening. Yep that’s right, it’s time to start doing some real listening. You see, most of us hear music rather than really listen. Music that is heard is processed in the background. Sometimes we focus on the words even, but we don’t catch each voice (instrument) individually. What we usually experience is the complete sound of a group and our ears ignore each instruments specific contribution to the overall sound of the piece. In order to get this going, avoid distractions. Allow yourself to really focus on following the score as the music plays. Each time you listen, follow a different instrument all the way through the work. Once you begin to truly listen, an entire language of rhythm will become yours to own just as if you were reading and writing in your native tongue.

4. Get to the gig early

Another self-explanatory tip but, in the words of G.I. Joe – the real American hero, “Knowledge is power!”. Getting to the gig early creates many positive effects to the sight-reading aspect of professional music performance. First, you’ll have a chance to silently read over each assigned part. You can “cheat” by noting any tricky rhythms or key changes. If you can’t hum a rhythm to yourself quietly, then chances are you can’t play it out loud on the horn either! Next, there are some notable side effects to punctuality that will always keep a musician sharper on stage. For one thing, you’ll have a smidge more personal space. The last player to get on stage (or to the orch. pit) always gets the least amount of real estate during the gig. This you can count on like gravity (-: Also, being early and getting comfortable with the current surroundings should be a great way to ease any tension and nervousness. Take the extra time to stretch and breathe. This will aid in your ability to focus when reading through some of those treacherous licks in front of a captive audience.

The medical community could not do anything for Louis Maggio. His music career was obviously finished. Although despondent, Maggio pursued the challenge and for the next year counseled himself, conceiving a totally new concept of brass playing.

To the amazement of his colleagues, the system Maggio had created not only enabled him to return to his chair with the symphony, but he was playing better than ever. He had acquired an unheard of five octave range and he displayed a rich velvet tone throughout all registers.

The news of the success of Louis Maggio spread gradually in the world of music. Brass players having similar problems started to seek his expert assistance. In 1930, Maggio settled in Los Angeles to devote himself to full-time teaching, and eventually to establish an international reputation as an acclaimed master brass instructor. He was able to help all those who came. His students played better than ever before; his success was so large that a majority of the West coast studio brass musicians became zealots of his method.

Louis Maggio has had a considerable influence on the training of many professional trumpet players in the United States, having had similar students to authors of the most widespread methods on the other side of the

Atlantic: Claude Gordon, Jimmy Stamp, Rafael Mendez, Jim Maxwell, Bill Adam…

In the photograph to the right, Louis Maggio (center) can be seen surrounded by two of his famous students: Phil Candreva (left) and Rafael Mendez (right).

The Maggio System reveals that a brass player’s throat should initially be open. For this, it is necessary to incline the head behind and look at the ceiling. This position forces the opening of the larynx. When tilting the head in position to play, preserve the open throat. It is an open throat, Maggio insists, that makes it possible to control the airstream while raising and lowering the tongue according to the pitch of the note. A brass player is able to avoid having to press on the lips allowing them to vibrate more freely and maintain their natural shape. Another characteristic of the Maggio method is to gather the lips around the mouth rather than to stretch them as in a smile. This concept is represented by the picture of a pursing monkey on the edition’s cover. This same picture hung in Maggio’s studio, a constant reminder to his students to be vigilant with their embouchure positioning. This method was formalized and published in 1968 by one of his students, Carlton MacBeth. It has been re-published by Charles Colin and is now available through The Amazon Store online. ~Adapted by Scott Webber

The Point Loma Nazarene University Concert Choir

Tucked away almost to the cliffs in San Diego, California, Point Loma Nazarene University sits fastidiously on 90 acres, serving as home to 3,500+ undergraduate and graduate students each year. The university’s growing fine arts programs are a true testimony of the core values to which Protestant Christians cling.

Although originally envisioned as a Bible college by the original seven woman who prayed laboriously as the Bible College Prayer Circle (started in 1897), PLNU’s current recognition as a selective liberal arts institution began to develop under its’ first president Dr. Phineas F. Bresee. True to the standard of excellence first sought after by Dr. Bresee, the PLNU Music Department’s scholars are able to present well-rounded, professionally prepared discourse on voice-leading, advanced music theory and composition, choral and orchestral arranging, conducting, music history and performance practice, jazz studies and more.

At many prominent fine arts institutions, leadership roles in ensembles are competitive, based on audition performance and rewarded with financial assistance. Selective at the onset, only the most highly qualified applicants are able to pursue a music degree at the Cooper Music Center on campus. Here are some pictures of Cooper Music Center’s state-of-the-art facilities:

www.scottwebber.net

Travel is emphasized throughout the program in successful efforts to re-create the vast touring that professional musicians will experience. Ensembles perform as far West as Hawaii and as far East as Russia and beyond. Top performers compete at the San Joaquin and Reno Jazz Festivals where PLNU ensembles have received top honors.

Alums of the PLNU Music Program have gone on to study in the top graduate programs of University of Southern California, Colorado State University, San Diego State University, University of Colorado, University of California, Los Angeles, University of Nevada, Las Vegas and others. The ineluctable conclusion: Point Loma Nazarene University’s Music Department is a veritable incubator of hatch-ling creativity and forward motion towards mature musical growth, understanding and scholarship.

The author earned his Bachelor of Arts degree with an emphasis in trumpet performance fromPoint Loma Nazarene University (Class of ‘03), and is also a former recipient of  the International Church of the Nazarene’s Phineas F. Bresee Award http://www.nazarene.org/