OFFICIAL NEWSLETTER OF THE IWBCwww.iwbc-online.org Winter 2006 • Vol. 12, No. 2

Another Successful IWBC Conference!

In this IssueMessage from the Co-Editors...........2Musician Health & Performance.......3Book and Music Reviews..................4NoteWorthy News.............................5A Letter to the IWBC.........................6Spotlight on...Susan Slaughter.........7

At iwbc-online.orgIWBC 2006 Conference Photos!

(more photos also available at www.IWBC2006.com)

Commissioned CompositionsPioneers Page

Conference Insert Inside!

by Dr. Sharon Huff, IWBC President What a fantastic summer this has been for the IWBC. The conference brought together great music, wonderful performers, and appreciative au-diences. The performers and composers who honored us this summer with their work attest to the variety and vibrancy of our musical community. The IWBC can be proud of the work it is doing to develop connections and increase opportunities for all brass musicians. I would like to thank my co-hosts Gail Robertson and Amy Gilreath, and all the good people at ISU who helped out, especially James Major, Steve Parsons, and David Collier. I would also like to thank Kelly Watkins, Theresa Hanebury, Laura Line-berger, Maureen Horgan, Robyn Card, Mary Jo Douglass, Amy Cherry, Jeanie Lee, Darcy Ackley, Margie Catania, Susan Slaughter, Joan Fann, Danny Rowland, and all the volunteers. Their hard work made it happen.

One week before The Monarch Brass performed at the IWBC, the group played at the 2006 International Trumpet Guild Conference in Glassboro, NJ. ITG conferences have historically featured a prevalence of male per-formers, with a few “token” females. Elizabeth Schulze, our conductor and The Maryland Symphony’s Music Director, led the group with a pas-sion and intensity that helped create this astounding performance. I was stunned to be greeted by such a large number of people who told me how moved and blown away they were by our performance. I think our trum-pet players felt especially validated (and perhaps a bit vindicated) by the concert. There has been talk about having the Monarch Brass Ensemble perform another concert tour, perhaps in 2008. If you might be interested in bringing the Monarch Brass to your town or school, please contact me at seh819@aol.com.

Not only was the Monarch Brass concert such a rousing success at the IWBC Confer-ence, but all the other events were as well. This included 11 concerts, 10 workshops, two presentations, four premiered compositions, and the Pioneer Award. The solo competitions featured 73 competitors in 15 categories and awarded prizes totaling $15,050. It seems the

Conference co-hosts, Sharie Huff and Gail Robertson

...continued in conference insert.

From the IWBC Newsletter Co-EditorsJeanie Lee (j.lee@moreheadstate.edu)Susan Rider (smrider@verizon.net)

Conference PhotosThe IWBC would like to acknowledge photog-rapher Ken Wendt for contributing the photo-graphs included in this issue of the newsletter from the 2006 conference.

Article(s), Book and Music Review(s), and NoteWorthy News SubmissionsPlease contact the co-editors for submissions. The co-editors maintain final editorial rights over all materials.

IWBC Online Membership Directory PasswordCurrent password: 301006iwbc

IWBC Website addresswww.iwbc-online.org

OFFICIAL NEWSLETTER OF THE IWBCIWBC PresidentDr. Sharon Huff earned a M.M. and D.M.A. from the University of Illinois and a B.M.E. from Illinois State University. She is currently on the faculty at Millikin University in Decatur, Illinois, where she teaches tuba and euphonium, conducting, brass methods, and super-vises student teachers. Before coming to Milliken, she taught at Illinois State University in Normal, IL, and St. Norbert College in De Pere, WI. As a conductor, adjudicator, clinician, and euphonium soloist, she has appeared in a wide variety of venues and locations. She is the founder and a former member of the quartet, Junction, and is a Willson artist.

Co-EditorsDr. Jeanie Lee is Associate Professor of Trombone at Morehead State University. She is a graduate of the Ohio State University and the University of Michigan. Lee’s previous positions include Principal Trombone of Midland-Odessa Symphony, Big Spring Symphony, and Anchorage Symphony Orchestra. Lee now performs as a regular member of the Horizon Brass Quintet, Kentucky Jazz Repertory Orchestra, and the DiMartino/Osland Jazz Orchestra. Lee is a clinician for Edwards Instrument Co.

Dr. Susan Rider performs with The President’s Own United States Marine Band in Washington, D.C. She also teaches at the Shenandoah Conservatory in Win-chester, VA. She has played with orchestras in Iowa, Indiana, Kentucky, Texas, South Carolina, Florida, and Pennsylvania. She earned her D.M. and M.M. degrees at Indiana University, and her B.M. degree at the University of Northern Iowa.

Honorary Board of DirectorsClora BryantBarbara ButlerJoAnn FallettaJulie LandsmanEugene PokornyGerard SchwarzLeonard SlatkinJoan TowerGail Williams OfficersSharon Huff, PresidentLaurel Ohlson, Vice-PresidentDarcy Ackley, TreasurerExecutive Director, SecretaryAmy Cherry

Board of DirectorsVelvet BrownJan Z DugaLangston Fitzgerald, IIILisa FordNancy GoodearlMaureen HorganSharon HuffFred Irby, IIILaura LinebergerArdash MarderosianLaurel OhlsonGail RobertsonJudith SaxtonFaye-Ellen SilvermanSusan SlaughterMarie SpezialeMarvin StammGinger Turner

Membership ChairJeanie Leej.lee@moreheadstate.eduNewsletter EditorsJeanie LeeSusan RiderDesign & ProductionChristina Hershbergercmhersh@mac.comKeith KavanaughBauWau Designkeith@bauwau.comEditorialIWBC Editor249 Baird Music HallMorehead, KY 40351j.lee@moreheadstate.edu or smrider@verizon.net

SubscriptionsIWBC Subscriptionsc/o Darcy Ackley, IWBC Treasurer709 E. Taylor StreetBloomington, Illinois 61701-5425wmnglfer@aol.com

Visit these Websites!• DIVA:

www.divajazz.com• La Bella Brass Quintet:

www.labellabrass.com• Najoom Music Products:

www.najoom.com• Sheet Music Service:

www.sheetmusicservice.com• Stoneback Sisters & Stoneback Brass:

www.stonebrass.com

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International Women’s Brass Conference

Musician Health & Performanceby Maggie Miles, GCFT, ABMPCertified in the Feldenkrais Method® & the Anat Baniel Method™

Marching Harder not Smarter The crisp autumn air; early morning frost clinging to the practice field grass; the rhythmic cadence of the drum section; my mouthpiece so cold it freezes my lips. Remembering those early morning marching band practices and precision drill marching at football games still exhilarates me. Even my year of scatter band in college brings back fond memories (apparently a not-so-good-and-rusty French horn player was better than no player at all!) Now that I work regularly with student and professional mu-sicians seeking to optimize their performance or recover from injury, I see a distinct correlation between the extraordinary demands marching band places on young musicians in development and the potential for injury.

This does not mean that marching band is bad or harmful. In fact, many marvelous qualities are gained from the marching band experience— professional conduct, leadership and performance, learning to master complex techniques.

Yet, it cannot be denied that marching band ramps up the physical, psychological and performance demands considerably. If any difficulty or confusion in playing posture, breathing technique, or fingering existed beforehand, more often than not, these will be exacerbated with the increased demand. How can we maintain the highly stylized posture required for marching band, while performing precision drill movements and playing accurately? How can we march smarter, not harder?

A useful concept to keep in mind, both in marching and in your prac-tice and performing routines, is the hierarchy of demands. We all have a position that is most comfortable and places the least demand on your system. It is also where we are most stable. For many people, that is lying down. Sitting up would be more demanding, then standing, walking, and so on. However, it is not always so. I work with a professional client whose system is more organized to ride a horse than to stand or walk!

As we add more complex actions or changes in our environment occur, the demand on our system increases, and requires adaptation throughout the system. Demands can be internal—experiencing stage fright, having a cold—and external—performing a piece for the first time, an unfamiliar chair, new shoes, a different accompanist. When the demand is greater than our current learning or development in a particular area, we tend to act in compulsive or mechanical ways, using excessive force. Precision and quality deteriorate.

So, what can we do? Just being aware that progressive demands make a difference, and that we must adapt dynamically to them, can make a huge difference. Most helpful would be to engage in a process of self- discovery where we learn to feel how to play with our entire self. Many brass musicians do not fully use their legs and feet for support, because we have focused so intently on developing their breath, hands, and lips. This places an unnecessary demand on the system because it must constantly manage this lack of stability, and must generate a sense of stability else-where. It might be by pressing the mouthpiece hard into the lips to feel more stable, or locking our knees and back, or holding our breath. Any of these tendencies just become magnified when marching.

A former brass player, Maggie Miles has a private practice in Morehead, Kentucky, and travels widely to present workshops on promoting musician health. She is certified in both the Feldenkrais Method® and the Anat Baniel Method™.

Feel free to contact her with any questions at: 606-356-6773 or mcsmiles@mrtc.com.

Small changes can help, too, when done in a context of self-discovery. While practic-ing, notice if there are areas where you sud-denly tighten up, or alter your breathing, or get sloppy. Go back to where it is easy (or, simply easier) to play, usually just before the glitch. Feel how you are sitting (or standing) and what you are doing with your feet, your back, or your hands. Can you reduce your effort in some way? It may be by shifting your feet or stance. It may be unclenching your stom-ach or jaw. Play around those glitches—with a spirit of curiosity and exploration. What hap-pens when you shift your feet? What happens when you clench your jaw even more? Being novel, even goofy, can trigger new learning. So, what would happen if you played lying down on the floor? Between your legs? Stand-ing on one foot?

Whether we are marching in precision drill formation or practicing in the studio, we can easily introduce this new awareness into our routine. If you are curious to learn more, contact the author. Either way, marching—and playing—can be more comfortable and pleasurable.

2006 IWBC Conference: Athena Brass Band

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Noteworthy: Winter 2006

BOOK AND

MUSIC REVIEWS

The Book and Music Reviews section is designed to inform our readers about books, CDs, or music of interest to our brass players. The follow-ing item has been received for review. Please contact the co-editors if you wish to review this item for a future IWBC Newsletter:

Compiled by Bruce Nelson. Also Sprach Arnold Jacobs: A Devel-opmental Guide for Brass Wind Musicians. Germany: Polymnia Press, 2006.

Owner, Liemar Technologies, LLC (www.chop-sticks.com)Publisher, Purple Lizard Press, LLC (www.purplelizardpress.com)This teaching resource is very timely considering the recent emphasis on outcome-based education. The premises are simple—to organize skills that are measurable, develop a plan to acquire them, and provide a means of assessing their acquisition. Faced with this challenge myself several years ago, I put together a set of outcomes for my own purposes. As a result, it was very stimulating to see a different view of how various skills are identified and what recommendations are offered for measuring prog-ress. Identifying and quantifying these skills and the means of progressing toward them also empowers the student to participate in the process itself, whether keeping track of practice sessions, assessing progress (with stated objectives), even grading.

Ms. Patton’s Student Log Book is designed to be used over a calendar year. In it, we have many opportunities to chart progress:

1) Following the instructions of how to use the book, we are presented with a Skill Area Checkoff Sheet which, in conjunction with corresponding questions, serves as an initial assessment.

2) Goal sheets identify skills and places to record goals for the upcom-ing term.

3) Weekly lesson logs (52 of them) include space for assignments and time spent.

4) Logs are also for other assignments of reading, listening, clinics, and other things that are nice, even important, to have records of.

5) Monthly practice logs access longer term practice.6) Assessment instruments, including initial assessment and two prog-

ress assessments; assessing measurable skills, subjective skills (intona-tion, tone, phrasing, etc.), diligence (assess effectiveness of practice, etc.), professional development (including performances), motivation (includ-ing goal-setting and focus), and learning styles (assessing what worked, what didn’t).

The instructor manual helps explain the process of assessment and log-ging of activities. It also offers recommendations on how to use/integrate this resource with teaching. Teachers and students who have gone through the formulation of outcomes may be interested (as I was) in the way Ms.

Patton has gone about this—using Kopprasch etudes, for example, as a means by which spe-cific skills can be measured in progress charts. A trumpet player who began formulating this resource as a graduate student at the University of Arizona, Ms. Patton has also included similar means of assessment for all brass, using Arban studies for skill acquisition and assessment for the other brass instruments.

Obviously, there is a lot to contend with here, and a lot to question in terms of one’s own take on what skills are needed and how one might acquire and assess them. For those new to this way of organizing and assessing materials and progress, using this particular re-source will take some getting used to, but the concepts are sound, and the logs are helpful in identification of specifics to then teach/learn toward. I strongly recommend this for teachers who need some sort of outcomes template, but whose pedagogical training has not included this sort of assessment experience. I also think that many students will benefit from having this sort of guidance and structure in organiz-ing their practice time and setting goals with confidence.

As a result, I believe this is a very useful resource, whether as new information or as an-other view on outcomes and skill assessment for brass instruments.

Reviewed by Jeffrey Snedeker Book and Music Reviews EditorThe Horn Call, Vol. 35, No. 3 May 2005Reprinted by permission of The Horn Call

Maximizing Your Studio’s Potential™ Series for BrassBy Julie Patton

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International Women’s Brass Conference

Peggy Gilbert and Her All-Girl BandIn 2006, Music historian and composer, Jeannie Pool, Ph.D, released a documentary film about musician Peggy Gilbert and her all-girl band. The film is narrated by Lily Tomlin. During her career, Gilbert was a driving force, not only as a musician, but also as a contractor for women musicians. Her musical versatility was evident by her pro-ficiency as a saxophonist, clarinetist, violinist, vibraphonist, singer, and arranger. Be-yond this, Gilbert was a one-woman support network and staunch advocate for women starting in the 1920s, inspiring several generations of musicians. Now 101 years old, Gilbert performed publicly on the tenor saxophone for more than 80 years. Of the film, composer, Carol Worthey, says “Peggy Gilbert and Her All-Girl Band is an aspiring, delightful and heartwarming portrait of an indomitable and ageless woman who broke through stereotypes and pioneered the way for women musicians everywhere.” For addi-tional information about the extraordinary life of Peggy Gilbert and the documentary film, please visit www.peggygilbert.org.

Elizabeth Freimuth was named principal horn of the Cin-cinnati Symphony Orchestra in the spring of 2006. She began her appointment in the fall of 2006. Previously, Elizabeth was princi-pal horn of the San Francisco Ballet, Kansas City Symphony and Chamber Orchestra, and Adjunct Professor of Horn at the Univer-sity of Missouri-Kansas City Conservatory.

Amy McCabe won a position in the summer of 2006 with the trumpet/cornet section of The President’s Own United States Marine Band in Washington, DC. Amy earned a B.A. in Elemen-tary Education and Music from Illinois Wesleyan University, and a M.M. in Performance from Northwestern University. She was a student of Charlie Geyer and Barbara Butler. Before joining the Marine Band, Amy was a member of Blast! The Show and the Civ-ic Orchestra of Chicago.

Jennifer Montone was named principal horn of the Philadel-phia Orchestra in the spring of 2006. She began her appointment in the fall of 2006. She was formerly principal horn of the St. Louis Symphony, and held positions with the Dallas and New Jersey Symphony Orchestras. Additionally, Jennifer is a faculty member at the Aspen Music Festival and School, and an aspiring soloist. She appeared as a guest artist at the 2006 IWBC Conference.

Judith Saxton, was named Artist-Faculty in Trumpet at the North Carolina School of the Arts starting in the fall of 2006. Ju-dith was formerly Associate Professor of Trumpet at Wichita State University, and principal trumpet of the Wichita Symphony and Wichita Brass Quintet. Additionally, she performs with the Eastern Music Festival and Shenandoah Valley Bach Festival among oth-ers. Judith has performed with the Monarch Brass and is on the IWBC Board of Directors.

Marie Speziale, Professor of Trumpet at Rice University, IWBC Board of Directors member, and former IWBC President, spent five weeks in the summer of 2006 as a faculty member of

the University of Cincinnati College-Conservatory of Music’s Opera Theatre and Music Festival of Lucca (Italy). Marie conducted the Brass Choir, coached brass chamber music, and taught brass orchestral repertoire classes. Additionally, Marie was invited by Michael Tilson Thomas and the Administration of the New World Symphony to conduct the NWS Brass Ensemble in the first concert of the 2005-2006 cham-ber music series. Marie has also served on the NWS’s team of coaches for orchestral training and audition training residencies.

2006 Holiday Brass Concerts• Baltimore, Maryland: Cathedral of Mary our Queen, Tuesday, November 28, 7:30 p.m.• Houston, Texas: Williams Trace Baptist Church (Sugarland, Texas), Monday, December 4, 7:30 p.m.• St. Louis, Missouri: Cathedral Basilica of St. Louis, Tuesday, December 5, 2:15 p.m. and 8:00 p.m.For complete information, visit www.holidaybrass.com. All proceeds go to raise scholarship money for the IWBC.

NOTE- WORTHY NEWS

Please send NoteWorthy News items to Jeanie Lee (j.lee@moreheadstate.edu) or Susan Rider (smrider@verizon.net). Co-Editors maintain final editorial rights over submissions.

Peggy Gilbert in 1928, just after moving from Sioux City to Holly-wood.

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Noteworthy: Winter 2006

By Cindy Scaruffi-Klispie I was carrying my Conn Director cornet case as I walked home from my first lesson. One of the neighborhood girls walked up to me and asked me what I had in the case. I told her it was a cornet, which is like a trumpet. She replied without hesitation, “Girls don’t play the trumpet, only boys do.”

I just returned home from the International Trumpet Guild Conference and the International Women’s Brass Conference. I performed with the Monarch Brass. What an incredible experience.

Luckily the negative comments of the people around me did not deter my effort to learn to play this instrument. To modify a famous cigarette commer-cial: “You’ve come a long way, baby…you have a cornet of your own.”

Now women have a brass conference of their own—who would have imagined it?

I really wanted to play the clarinet. Then the orthodontist told my par-ents to find an instrument that pushes back on the teeth. We went to a music store in a mall in suburban Chicago and asked the fellow working there what kind of instruments pushed back on teeth. He told us that all the brass instruments had a mouthpiece on the outside of the lips. The tubas and euphoniums were much too large for an eight year old. So were horns and trombones. Alas, I could actually hold a cornet.

There were women in Monarch playing tubas and euphoniums. How were they able to play those instruments when they were young? It must have taken some perseverance. Amazingly, one of the tuba players was recently appointed Principal Tuba of the Philadelphia Orchestra.

I took to the cornet pretty well and continued to play through junior high school and high school being the only girl in the trumpet sections of the school bands. My private instructor introduced me to another girl from another area junior high who played trumpet. It was nice to know there was at least one other female in the world who played the “boys” instruments.”

There are other female trumpeters in Monarch. What outstanding play-ers: musical, nice sounds, and great pitch and rhythm. I wonder if they were told that only boys play the trumpet?

I played a Getzen trumpet for a while and would read the Getzen Ga-zette. I thought it was pretty neat that Carole Dawn Reinhart was some-times featured in that publication. I knew about Doc Severinson, but a female trumpeter! Wow!

Carole is one of the most gracious and classy ladies around. I first met her in Vienna and have talked to her at previous IWBC Conferences. What a career she has had, and what an inspiration she has been. She was hon-ored as a pioneer by the IWBC in 2003.

My junior year in high school, I played the Goedicke ‘Concert Etude’ at the solo festival, and had Bette Eilers for a judge. She told me about Susan Slaughter, the principal trumpet of the St. Louis Symphony. A couple years later, I was able to go to a workshop that was held in St. Louis and meet and study with her.

Bette Eilers is an inspiration for female brass players in the Chicago area. She was honored as a pioneer at the IWBC this past summer. She was thrown out of an orchestra years ago because the conductor did not want any female brass players. Susan Slaughter is really a hero to all female musicians and most gracious and giving with her time and talents. The IWBC was her vision and the Monarch Brass her idea.

Is there a need for a Women’s Brass Conference? Yes. Why? Because in recent years comments such as “Oh, a woman trumpeter—is there much of

a market for that?” have been made to my face. Or how about a patron at a concert seeing me warming up and saying to my colleague, “Hey, there’s a broad over there playing a trumpet.” Not ancient history, folks, but in 2000.

My Italian colleague was so upset that I was the principal trumpet he would try to throw me off while we were playing. For example, he would play really loud, and then really soft, or drop out completely. He would do all kinds of crazy things to try to distract me.

The atmosphere of the rehearsals for Monarch was amazing. Everyone addressed each other with respect. The musicians were not afraid to ask others to listen and critique one another. We worked together to tune and balance passages. We encouraged and com-plimented each other. Elizabeth Schulze, our conductor, was amazing. Rehearsals were seri-ous, but fun. Playing with the ensemble was an affirming experience.

Does this happen in all musical groups? No. Very rare is the professional situation where there is such a support and affirmation between colleagues. There was not a hint of competition, just concern for making music as well as humanly possible.

Judging from the reaction Monarch re-ceived from the audiences at the ITG and IWBC, the spirit of working together to pro-duce a moving musical product was evident to all those present, not just the performers.

The IWBC Conference was organized so well, and ran so smoothly. The IWBC’s atten-tion to detail (and all at the last minute with the venue change) really provided a great experi-ence for all the participants. They must have received hundreds of emails—I know they re-ceived a great many from me.

Do we need the IWBC? If it produces groups like Monarch, encourages young fe-male musicians to strive to be the best they can be, and invigorates those who have been put down and discouraged, then yes. If women are encouraged to enter the competitions, and judge the competitions, then yes. If women are asked to lead master classes, and featured as performers, then yes. Carry on! You go, Girls!

Cindy Scaruffi-Klispie currently performs with the Suncoast Brass, teaches at Edison College, and free-lances in Florida.

A Letter to the IWBC: Do We Need the IWBC?

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International Women’s Brass Conference

Bravo Circle $1000+ *Susan SlaughterDavid TakachBenefactor’s/Patron’s Circle $200-999*Velvet Brown *Jan Duga *Lisa Ford Betty Glover *Maureen Horgan *Fred Irby Ron Klemm*Ardash Marderosian Nancy Marron *Laurel Ohlson *Judith Saxton *Faye-Ellen Silverman *Marie Speziale *Marvin Stamm *Ginger Turner Supporter’s Circle $100-199Charles & Anne Gray Bubb Bruce D. HeimSteven & Virginia Hen-drickson Robert & Barbara Blee Maille Anne Marie McReynolds Lynn Mostoller Doug Myers William SasserPhil & Charlotte SlaughterMilton Stevens Melissa Williams Donor’s Circle Up to $99Joel AdairSara AlbertAnonymous

Anonymous Julie Atter Mark Babbitt Dr. Patricia Backhaus Monica BensonMark BlackmoreNancy Blaylock Jacob BowyerJamie BrothersCarol Ann Brown Fred Brown Steven Bryant Mary Burroughs Barbara BurtchRobyn CardSarah CarterMarjorie CataniaChristina Cavitt Kensey ChellisYi-ching ChenStephen Chenette Amy CherryDan CherrySandra ChesnuttAlex ChinCamie CoffeySandra Coffin Sandra Coffin Robert CoilTara CravenSuzanne D’AmbrosioJudy Davies Jean Davis Tara DavisEvelyn DennisDr. Emma Lou Diemer Mary Jo Douglass Rachel DrehmannKelly DrifmeyerLeah EarlesonMaggie EdwardsMarion EggeRyoko Endo Chelsea Fechter Allison Felter Susan Fleet Lin Foulk

Sara GiovanelliJoanna GoldsteinCharlie GoodmanJulie GrayAmanda GrumblesLaura HallRachel A. HallJanet Hamilton Theresa HaneburyBradley HarrisChristine HayesLacey HaysEva M. Heater Anna HenryDiana HerakJoanna Ross Hersey Jennifer HinkleBoyde Hood Dawn Hood Sharie Huff Angela Hunter Barbara J. Hunter Lyndsay Hunter Aaron HyndsMichael IdziorJanice Jacobi Naomi JarvisAnita-Ann JeroschKate JenkinsJulie Josephson Miriyam KarasikVince KenneyYoko Kikuchi Nanette King Barbara Kinzer Nicole Kline Debra KoepeleJoan KohlmeierJoe KopaczAdam KosbergCecilia KozlowskiJo Ann LamolinoBarbara Laronga Joan LaRueBrittany Lasch Jeanie LeeCharlotte Leonard

Jeremy Lewis Barbara LibermanAnthony LicataKirsten Lies-WarfieldHeidi Ann LucasMary MacKinnon Aaron Mahnken Alton & Carol MahnkenAngelo ManzoJohn Maresca Jennifer MarottaLisa Martin Sarita MaxwellEdna May Theresa MayMegan McBrideElizabeth McDonald Barbara J. McGough James McGrath Molly McNeill Anne Marie McReynolds Catherine Meckstroth Meredith MelvinMaggie MilesAaron MisenheimerAlex Moore Carol Morgan Donald Morton Dennis Najoom Amy NelsonKayla NelsonTraci NelsonPaul NesperNathan NewmanHeather Noyes RichterAlice OhlsonTracy ParishDeanna PelleyLaurie PenprazeMarylou Perhacs Christine PurdueMichelle RakersSusannah RamshawSusan Reigler Susan Rider Edna May Rimmelin Eric Robins

Raquel RodriquezDaniel RowlandAlicia RussellCyndi SalataAntonio SasmitamanggalaCindy Scaruffi-Klispie Michelle SchumacherNancy Schwartz Jacquelyn Sellers Susan SextonLaura Shea-ClarkRanko Shimizu Ruth Slone Samantha SmithStephanie SmithTawnya SmithTim SmithMichelle Sonmor Pamela Sonmor-Wintz Mary Jo Sparrow LeAnn SplitterAmanda Stewart Kristin Stoneback Margie Stoneback Mary Stoneback Ron Stoneback Sarah Stoneback Sarah StoutLori Stuntz Christianne SwartzDeanna Swoboda Elizabeth Thompson Mary Ann Tilford Jan TracyAlana VegterJulie VishChris VivioJoshua WilliamsEmily Wilson Gerald WoodMyra Wottowa Mika YoshidaKaren Zawacki

*Denotes Board Member

Professional Position: Principal Trumpet, St. Louis Symphony OrchestraHometown: McCordsville, IndianaEducation: Bachelor of Music, Indiana University

Biggest Influence(s): Rafael Mendez, Herbert Mueller, Louis Davidson, Bud Herseth, Robert Nagel, Joan Sutherland,

Arnold Jacobs, and Bernard AdelsteinMost Memorable Musical Moment(s):

I can name several, not just one. I especially enjoy listening to St. Louis Symphony recordings—I marvel at how the orchestra sounds!

Favorite Piece(s) of Music: Many works by Mahler, Prokofiev, and Stravinsky.

Self Portrait: My image of myself is one who has worked exceedingly hard (and I am still working very hard) to make the most of the talent with which I have been blessed.

Greatest Accomplishment(s): Keeping my job!!!!; Playing the National Anthem for Game 3 of the 1991 World Series game in Atlanta (Atlanta vs. Minnesota); Founding the IWBC, Monarch Brass, and Holiday Brass Concerts.

Words of Advice or Wisdom: Be Smart ……always over prepare. This way you will be prepared for everything. Never put yourself down and be confident. You must say “I will do this!!!!”

Spotlight on… Susan Slaughter

Contributors

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OFFICIAL NEWSLETTER OF THE IWBC108 Cheltenham Drive • Normal, IL 61761-2733Return Service Requested

International Women’s Brass Conference

talent and performance level increases every conference. Wednesday, June 14th: The opening concert showcased the three grand

prize winners of the 2003 competition: Audrey Good (horn), Kelly Watkins (trumpet), and Barry Hearn (trombone). Three of the four 2006 commis-sioned compositions were then premiered. Hornist Laurel Olson performed In a Dark Time by Joelle Wallach, euphoniumist Gail Robertson performed Kim Archer’s Fiddlydee, and an all-star cast of euphoniums premiered Gail Robertson’s A Eupher’s Dream for eight euphoniums. The evening concert featured the U.S. Joint Services Brass and Percussion Ensemble conduct-ed by Captain Michelle A. Rakers, who currently serves as the Assistant Director of the U.S. Marine Band. This group is comprised of many of the outstanding female (and male) musicians in our country’s premier military musical ensembles.

Each morning we offered playing opportunities for conference attend-ees with our Breakfast Bunch brass ensembles, which rehearsed and then

performed a concert on the last day of the conference. The conductors were Chris Jaudes (trumpets), Jeanie Lee (trom-bones), Gail Lewis (horns), and Meredith Healy (tubas/eu-phoniums). To get everyone’s day started right, Deanna Swo-boda presented her popular Breathing and Buzzing Basics workshop to a highly receptive audience.

Thursday, June 15th: Workshops on Thursday were presented by Milton Stevens (“Tune it or Die” Developing Superior Ensemble Intona-

tion Skills) the U.S. Joint Services Ensemble (Careers in the Military), Marty Erickson (Beginning Jazz Improvisation), An-drea Rowlison (Successful Free-lancing), Chris Jaudes, trum-pet (“Power Play”), Ava Ordman, trombone, and Lisa Galvin (Making Practicing FUN with SMARTMUSIC). The conference exhibits opened, and attendees could examine and purchase a variety of instruments and accessories (see list of exhibitors on next page). Recitals on Thursday were given by the Bo-realis Brass (Karen Gustafson, Jim Bicigo, and Jane Apsnes), Cindy Scaruffi-Klispie (trumpet), Carol Jantsch (tuba), Jeanie Lee (trombone), Elizabeth Trujillo (trumpet), Maureen Horgan (trombone) (joined by Amy Cherry), Ashley Hall (trumpet), and Melissa Williams and Gail Lewis (tuba and horn).

...continued from front cover.

IWBC Conference20062006

Top: Carol Jantsch; Right: Monarch Brass; Bottom: Tubist, Marty Erickson with bassist William Koehler

...continued on next page.

International Women’s Brass Conference

AccentAcousticoilAltieri Instrument BagAvanti’s Italian Restaurants Blackburn TrumpetsCarl’s Professional Band Instru-ment Repair, Bloomington, IlChopSaverConn-Selmer, Inc.

Crown Music PressDEG Music Products and WillsonGetzen, Elkhorn, WI Greenhoe, Inc. Hickey’s Music CenterIllinois State University College School of MusicJ A Musik J.W. Pepper

Music and ArtsNajoom/ Berps & BagsThe New School for Jazz and Contemporary MusicNorth Carolina School of the ArtsNottelmann Music Company Pelican Music PublishingPowerLungRayburn Music

Rice University, Shepherd School of MusicSamash.comSheet Music ServiceSheridan Brass InstrumentsSmith-WatkinsWoodwind & BrasswindYamaha Corporation of America

The IWBC would like to thank the following exhibitors and advertisers who supported the 2006 Conference:

Check out these CDs by some of our 2006 IWBC Conference artists:• My Very Good Friend and Smile, Marty Erickson,

tuba (www.martytuba.com)• Four Elements, Lin Foulk, horn (www.linfoulk.org)• Enjoying Life, Amy Gilreath, trumpet• Joyride, Wycliffe Gordon,

trombone (www.CDUniverse.com, www.Amazon.com)• Vocalise, Kana Madarame, trumpet• Passing Time with Carol Morgan Quintet and Classic Morgana,

Carol Morgan, trumpet/flugelhorn (www.cdbaby.com)• Tubas Under the Boardwalk, Gail Robertson, euphonium• Aerodynamics, Phil Sinder, tuba (www.markcustom.com)• Deanna’s Wonderland, Deanna Swoboda,

tuba (www.Amazon.com, or www.Summitrecords.com)

Before the Monarch Brass concert, scholar Linda Dempf gave a fasci-nating presentation on female pioneers in the brass field. We bestowed a Pioneer Award on Bette Eilers, whose career as a trumpet player included performances with the Chicago Symphony, the Lyric Opera, and with a wide variety of other performing groups. We also recognized in absentia pioneer award winners Frøydis Ree Wekre and Ruth Still. Having Bette and others like her in attendance at the IWBC events provides conference attendees a unique opportunity to experience our history first hand. Thursday evening’s events culminated with the Monarch Brass, and included the premier of the IWBC commissioned composition, Towards Light by Stella Sung.

Friday, June 16th: Clinics on Friday were offered by Ken Shifrin (Cistercian Sisters’ Orchestra in Brno), and Melissa Williams (tuba and low brass in various orchestral excerpts). Dr. Don Greene’s clinic on Cre-ating Optimal Performance drew a large audience, and Maureen Horgan presented a discussion on the Issues and Challenges Facing Women in Male-Dominated Fields.

Friday’s recitals featured Jennifer Montone (horn), Rebecca Bower-Cherian (trombone), Ava Ordman (trombone), Phil Sinder (tuba), Amy Gilreath (trumpet), and the duo Balance (Marty Erickson, tuba and Alison Shaw, percussion). IWBC commissioned composers, Stella Sung, Kim Archer, Joelle Wallach, and Gail Robertson were presented in a panel discussion in the afternoon. Audience members were in for a special treat Friday evening as Andrea Rowlinson (trombone), Chris Jaudes (trumpet),

Marty Erickson (tuba) and Gail Robertson (euphonium) brought down the house with their exciting jazz.

A recital on Saturday was given by Kana Madarame (trumpet), Lin Foulk (horn), and Deanna Swoboda (tuba). Master classes included: Cindy Scaruffi-Klispie (trumpet), Susan Slaughter (trumpet, Dental Inserts—Are they for you?), Rebecca Bower-Cherian (trom-bone, In translation: from Notation to Mu-sic), Wycliffe Gordon (trombone, A Singing Approach to Jazz Improvisation), and Earle Louder (euphonium, High C after 73). Jen Krupa (trombone), Carol Morgan (trumpet), and Wycliffe Gordon performed a jazz recit-al in the afternoon. On Saturday evening, the Athena Brass Band took the stage to present the conference’s Grand Finale closing con-cert. The band featured eight artists: Dr. Pat Backhaus (cornet), Dr. Earle Louder (euphoni-um), Lisa Galvin (tenor horn), Dr. Stacy Baker (tuba), Chris Jaudes (trumpet), and Dr. Sharon Huff, Laura Lineberger and Gail Robertson (euphonium trio).

If you were in attendance, I hope you had a wonderful time, and if you weren’t there this summer, I hope you will continue to support the work of the IWBC and make it a point to attend our next event in 2009!

2006 Pioneer recipient, Bette Eilers