Wednesday, May 30th - 11:00 a.m.

Kim Dunnick, Professor of Trumpet at Ithaca College and a Past President of the International Trumpet Guild, began by telling his capacity audience that more than half of the guild’s membership is comprised of amateur trumpeters. The ITG Board recently decided to provide more services to these players; this clinic being the first such offering. Future conferences may also feature master classes and ensembles for avocational trumpeters. With a standing-room-only crowd spilling out into the hallway, it was obvious that interest in this area was high.

Dunnick stunned the audience by joking, “We all know that when you’re over 65 … you can’t play!” He then reeled off an honor role of artists who played (or are still playing) well beyond that age including Doc Severinsen, Charles Schlueter, Clark Terry, Maynard Ferguson, Timofey Dokshizer, and Adolph Herseth. This session primarily focused on picking up the instrument again after a hiatus of several years. Dunnick stressed that realistic expectations were the key to success. “Don’t expect miracles,” he said, “but sometimes miracles may happen.” Assessing limitations of physical stamina as well as available time for practice and private lessons is a crucial starting point.

Part clinic and part lecture, Dunnick led those present in a basic warm-up to demonstrate several key points for developing a strong embouchure and solid technique. Starting with mouthpiece buzzing on G (above low C), Dunnick advocated the use of breath attacks to focus the embouchure in an unforced, natural formation. Continuing with simple interval slurs, he encouraged players to “slur dirty” by allowing glissandi between the notes to encourage a smaller aperture and promote efficient embouchure mechanics. He also recommended James Thompson’s Buzzing Book and dispensed good advice on tonguing and breathing. Building endurance is achieved by measured intervals of playing and resting during practice sessions; patience and humility produce the best results. Good posture (keeping the head over the spine) was also emphasized.

A handout listing suitable practice material was distributed. Dunnick prescribed general method books (Arban) as well as studies for fingers (Clarke) and lip flexibility (Schlossberg, Colin, and Irons). He heavily emphasized the need for satisfying musical solos and etudes along with short jazz tunes from The Real Book (they are fun to play, and are not high in range). Playing in community ensembles (bands, brass ensembles, jazz groups, church ensembles, etc.) was also recommended. Finally, Dunnick stressed that while playing the trumpet may resemble an athletic pursuit, above all, music should be the main focus.