The Avatar for trumpet and piano by Dr. Steve Rouse is one of the most challenging compositions in the trumpet repertoire. Due to The Avatar's challenges and increasing popularity, a study is necessary to aid its performance. Each movement is performed on a different instrument: Bb piccolo (with an optional A piccolo part) for Nativity, Bb Flugelhorn for Enigma-Release and Bb trumpet for Rebirth. In addition, the performer must convey one of the work's possible programmatic meanings: (1) The Hindu belief of an Avatar and its life cycle, (2) the life of Christ or (3) the human lifecycle. Chapter 1 gives historical information about the work. Chapters 2-4 discuss each movement of The Avatar programmatically and pedagogically. Facets of each movement are analyzed including differences in programmatic choices, rehearsal techniques and sound concepts. Chapter 5 provides recording suggestions, including choosing a recording engineer, preparing and planning for a recording section, choosing a venue and the benefits of hiring a tonmeister.

The compositions of Fisher Aubrey Tull are widely performed and many have become standard repertoire. Tull's compositions encompass a multiplicity of performance media including works for orchestra, chorus, symphonic band, jazz band, brass choir, and solo and chamber works. Tull's compositional output for the trumpet is prolific and is acknowledged to be music of high quality. An examination of Trumpet and Brass Programs, compiled and published annually by the International Trumpet Guild, shows Tull's solo and ensemble works for trumpet to be frequently performed. Furthermore, his compositions for trumpet have been performed and recorded by internationally acclaimed artists including Vincent DiMartino, Terry Everson, Håkan Hardenberger, Anthony Plog, Carl "Doc" Severinsen and Allen Vizzutti.This study investigates Fisher Tull's eight solo works for trumpet, which include: Vignette for Trumpet and Piano (1954); Concerto No. 1 for Trumpet and Orchestra (1964); Concerto No. 2 for Trumpet and Band (1974); Three Bagatelles for Trumpet and Piano (1975); Eight Profiles for Solo Trumpet (1978); Rhapsody for Trumpet and Band (1980); Sonata for Trumpet and Piano (1986); and Chromutations for Solo Trumpet (1988). Histories of each composition are chronicled. An analysis of formal organization and significant style features examines musical structure, harmonic language, rhythmic character, instrumentation, and orchestration. A discussion of technical concerns specific to the trumpet that addresses range, tessitura, articulation, flexibility, endurance and the use of extended techniques is included. Performance suggestions, pertaining to technical and artistic issues, offer the reader specific recommendations as an aid in performance preparation. Finally, the significance of Fisher Tull's works for trumpet and his impact on the trumpet literature is assessed. Evidence suggests that his prolific compositional output, diversity of forms, and musical quality rank him as one of the most significant composers for the trumpet in the twentieth century.

Det här konstnärliga arbetet har pågått under en lång tid, närmare bestämt fyra år. Jag påbörjade det år 2017 när jag studerade master-programmet i jazztrumpet på Kungliga Musikhögskolan. Våren 2019 blev jag dock tvungen att sluta spela trumpet på grund av hälsoskäl. Beskedet kom plötsligt och var inte något jag räknat med, vilket ledde till att jag var tvungen att tänka om. Hösten 2019 började jag istället studera master-programmet i jazzkomposition på Kungliga Musikhögskolan. Arbete utgår från frågeställningen: hur kan jag använda improvisation som kompositionsmetod med utgångspunkt i Vingt Études pour Trompette Ut ou Si♭? Idén för den konstnärliga praktiska delen har varit att pröva kombinera en jazzsättning med piano, bas och trummor med en stråkkvartett för att tillsammans bilda en sorts kammarensemble som tar avstamp i både jazzmusiken och den klassiska musiken. Till arbetet hör fem egenskrivna verk: Form, Pyramid, Inversion, Fragment och Final. / <p>Till dokumentationen hör partitur till Form, Pyramid, Inversion, Fragment och Final. Den kommer även att kompletteras med en videodokumentation som preliminärt sker HT-21 eller VT-22.Henning Ullén: Form (2021) 10’, för piano, kontrabas och trummor samt stråkkvartett – partitur. Henning Ullén: Pyramid (2021) 7’, för piano, kontrabas och trummor samt stråkkvartett – partitur. Henning Ullén: Inversion (2021) 10’, för piano, kontrabas och trummor samt stråkkvartett – partitur. Henning Ullén: Fragment (2021) 6’, för piano, kontrabas och trummor samt stråkkvartett – partitur. Henning Ullén: Final (2021) 7’, för piano, kontrabas och trummor samt stråkkvartett – partitur. </p>

Detta skriftliga arbete inom konstnärligt självständigt examensarbete undersöker vilka metoder man kan använda sig av vid ett interpretationsarbete och vad som kan vara viktigt att ta hänsyn till när denna interpretation ska presenteras för en publik. Syftet med studien var att skapa en ökad förståelse och större medvetenhet kring interpretation, för att som musiker på ett bättre och mer övertygande sätt kunna nå ut med musikens budskap till åhöraren. Arbetet inkluderar litteraturstudier kring interpretation och musikkommunikation, samt en analys av Sonatine pour trompette (1950) av kompositören Jean Françaix (1912-1997) både på ett teoretiskt och ett gehörsmässigt plan. Arbetet resulterade i en bredare kunskap kring interpretation samt en tydligare bild av hur man kan jobba för att på ett tydligt sätt kunna nå publiken med sitt musikaliska budskap. Genom analys av stycket uppnåddes en god grund på vilken medvetna musikaliska val kunde göras och även en förståelse för hur olika tolkningar skiljer sig åt och kan ge dig som musiker inspiration för din egen tolkning. Det är genom interpretation, den egna tolkningen av musiken, som musikern kan ge något av sig själv och dela med sig av ett budskap till lyssnaren. Genom en tydlig bild av vilka medel som kan användas för att förstärka ens musikaliska intentioner kan detta bli ännu tydligare och mer övertygande både för musikern och publiken.

The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

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Anthony Plog (b. 1947) has contributed several notable works for brass instruments. He is known for writing extremely technically challenging works that contain angular melodies, fast rhythms and a large degree of chromaticism. Though his music is difficult, it also conveys intense emotions. His music for trumpet, specifically Concerto no. 1 for Trumpet, Brass Ensemble and Percussion and Concerto no. 2 for Trumpet and Orchestra, represents a zenith in his compositional development. This dissertation examines Concerto no. 1 and Concerto no. 2 from a performer’s perspective to better understand the stylistic characteristics and challenges encountered in his music. Each concerto is examined in terms of rhythmic structure, intervallic structure, thematic material, motivic material and form.

In this essay I will be exploring the work of five significant jazz trumpet players of the 20thcentury: Miles Davis, Clifford Brown, Lee Morgan, Freddie Hubbard and Woody Shaw. I will be delving deeper into the styles of these five trumpeters to find some characteristics of their improvisation. After that I will implement them into my own jazz improvisation vocabulary. By studying transcriptions of their solos, reading articles and watching videos about these trumpeters and their playing style, I intend to create exercises in order to add these aspects of their playing into my own improvisation. I will also explore the mental aspect of playing specifically jazz trumpet, and how the mindset can help develop my playing by studying how the aforementioned players’ mindset and attitude appears in their playing. The results will be a host of exercises which I created on my own, or acquired from other musicians, and different ways of approaching jazz improvisation on the trumpet.

In this essay I will be exploring the work of five significant jazz trumpet players of the 20th century: Miles Davis, Clifford Brown, Lee Morgan, Freddie Hubbard and Woody Shaw. I will be delving deeper into the styles of these five trumpeters to find some characteristics of their improvisation. After that I will implement them into my own jazz improvisation vocabulary. By studying transcriptions of their solos, reading articles and watching videos about these trumpeters and their playing style, I intend to create exercises in order to add these aspects of their playing into my own improvisation. I will also explore the mental aspect of playing specifically jazz trumpet, and how the mindset can help develop my playing by studying how the aforementioned players’ mindset and attitude appears in their playing. The results will be a host of exercises which I created on my own, or acquired from other musicians, and different ways of approaching jazz improvisation on the trumpet. / <p>My examenskonsert was 25th of February, 2022</p>

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