The phrase “ni de aquí ni de allá” (neither from here nor from there) leaves many feeling like they don’t belong. When we are in our parent's homeland we’re the American, but when we are in the U.S. we are seen as the Latinos or othered in some way. Existing in the hyphen, between two cultures is a reality that should be embraced, but very difficult to navigate. Most first-generation Latinos often have to live between two worlds, balancing their American side with that of their family's homeland.

This program will embrace both my American and Mexican roots while starting the conversation about some of the struggles we face that are further felt within academia and the performing arts. The program will start with a piece that features three Mexican genres symbolizing my roots, the Selena Quintanilla arrangement will feature some of her struggles with being a first-generation Latina in the public eye, “Identity Crisis” will be a world premier that hints at the struggle of being in between two worlds, and lastly there is a commissioned work that will include a mix of the two worlds.

This project aims to show, educate, and generate knowledge in the North American student and listener about the melodic work in Chilean and South American music in folk music, through the Trombon, Piano, and trombone format accompanied by a trombone quartet, with the aim of achieving the greatest approach to the typical rhythms, typical harmonies and colors of Chile and South America, emphasizing melodic singing. The concert would have a mix of talk with concert, explaining the characteristics of the style, the influence of the area in relation to nature in music, and putting it into practice through the formats that will be used in the concert, Showing the most melodies characteristics and their way of interpretation.

Anna Bon (1738-1769), known as Anna Bon di Venezia, the Virtuosa di Musica di Camera for the court at Bayreuth, was an 18th-century Italian composer and performer. Critically heralded in her day, Bon is among the several centuries of women who have made vital contributions to the world of composition. There are anecdotes in history about composers like Fanny Mendelssohn, who composed incidental music and conducted “Sunday Concerts” in her home, or Nadia Boulanger, who was internationally renowned as a music pedagogue, but was also one of the first women to conduct her compositions with prestigious English and American symphony orchestras. Mapping the careers of the first women composers has been challenging. Now in the 21st century, we can begin to fully grasp the weight and depth of the role women composers have played in the development of music as an artform throughout history.

Trombone and Guitar. Unusual? Yes. Necessary? Most Definitely. Award-Winning Trombonist Ben McIlwain and International Guitarist Nicholas Ciraldo have combined to form Seven19. The mission of Seven19 is to champion music - new and old - for trombone and guitar. Genres from pop/rock/metal to classical/modern, Seven19 endeavors to expand the musical horizon of this duo combination. Acoustic and electric guitar plus acoustic and electric trombone equal a new and exciting instrumental combination that up until now has been largely ignored if not avoided. Included on a program of music that Seven19 has adapted for this duo, they will also perform a new piece written for them by acclaimed composer, David Biedenbender that was premiered in January 2024.

The Connexus Trombone Duo (Drs. Jason Hausback and Bill Haugeberg), will present a recital of new chamber music for Tenor and Bass Trombone. The program will include the world premiere of Brian Sadler’s Currently Untitled for two trombones with fixed media. Other works on the program will be selected from: Three Monochromes by Justin Writer, Salsa Passacaglia by Jimmy Kachulis, Stars Rewritten by Steven Verhelst and Event Horizon by Evan Zegiel.

My proposed performance is for solo Bass Trombone and piano, showcasing new (since 2000) repertoire that I believe is under performed while also representing the diversity of the fantastic pool of composers we have. The title of the program will be “New Standards: Pieces to Consider for Your Next Performance.” I would like to make clear this list is not all encompassing and represents only my opinion with the goal of showing pieces which I would like to see programmed more as well as a brand new piece “Inked Concerto” which I organized the commission for.

Dr. Lucas Borges and Dr. Anderson Rodrigues hail from Brasília, Brazil, and live in North America – USA and Mexico. Through the years, they explored Latin American Composer's music in their solo projects. During the pandemic lockdown, they reunited virtually on a duet project, which led to the desire to create a full concert together. The program focuses on Latin American Music, containing compositions from Brazilian, Argentine, and Mexican composers.

The Golden Trombones of Kazakhstan are bright musicians who popularize classical music and the trombone in general. laureates of national and international competitions, artists of the Kazakh State Philharmonic named after Zhambyl, the State Wind Orchestra of the Republic of Kazakhstan, the State Academic Symphony Orchestra of the Republic of Kazakhstan - Murat Bisengaliev, Arman Surtaev, Chingiz Dauletbaev, Nurbolsyn Toleukhan. All members of the quartet are artists of the Symphony Orchestra of India - SOI, as well as the State Symphony Orchestra of Kazakhstan. They have toured in such countries as England, Switzerland, Germany, Lithuania, India, UAE, Brazil, Argentina.

Vaclav Nelhybel (1919-96) was an incredibly prolific composer, including many works for the trombone in a variety of chamber music settings. In addition, Mr. Nelhybel leaves behind music for a variety of ages and ability levels. This program, presented by Dr. Nathan Siler and Douglas Yeo (a close friend of Mr. Nelhybel), will explore an array of music for trombone for a variety of ability levels, from professional level to intermediate and amateur players, including:

While attending the International Trombone Festival for the first time in 2013, I fell in love with the sound of trombone choirs and quartets. I was also greatly inspired, hearing the music of “Star Wars” arranged for trombone by Jim Nova, and participating in Master Classes with Jim, and also Paul Pollard and Brian Hecht, at the Southeast Trombone Symposium. Based on these experiences, I decided to pursue Arranging as a hobby, and possibly an eventual career. “Trombones in Middle-earth”, my first ITF Presentation in 2021, seemed to be very well received, and has been a real ‘labor of love’ for me. With “Second Breakfast”, I am very excited for the opportunity to present even more of Howard Shore’s fantastic music, in the setting of the trombone choir.

In the Applied area at most higher education institutions, there frequently are one or two faculty members teaching multiple instruments. While there are some exceptions, fundamentally these are the low brass faculty. One is often expected to teach the four traditional low brass instruments: trombone, bass trombone, euphonium, and tuba. Additionally, there is continual pressure on all institutions to cut costs and increase revenue and enrollment. With this pressure, as professors retire or leave an institution, departments are replacing them with part-time faculty, or in some cases hiring one person as a full-time tenure-track professor teaching all low brass instruments instead of multiple faculty. The skills acquired through doubling on an auxiliary low brass instrument at a high level not only improves one’s musicianship and knowledge, but when applied to students of that instrument it yields faster progress and a higher level of performance. Through research that included significant performance study, teaching observations by industry professionals, and interviews with established performers and teachers, this presentation serves to outline a pedagogical and performance framework for those in positions where they are obliged to teach multiple low brass instruments, or those looking to perform on multiple low brass instruments more faithfully.

With the growing acceptance of carbon fiber in trombone manufacturing, I thought it would be a good idea to give a presentation including some scientific research as well demonstrate the qualities of carbon fiber bell and slide combinations and how they affect the sound of the instrument. I would also include an overview of the potential for lowing physical stress while playing trombone as well as adding a slightly different tone pallet to the instrument. I will do my best not to make this a "commercial" for my products, but more of an overview of the development of alternate materials for brass instruments.

This performance features the innovative chamber music of trombone, horn, and piano. It will ideally be performed as a 30 minute recital. The first piece is Hornsongs by Johannes Brahms, arranged by horn pedagogue, Verne Reynolds. This piece is our very favorite piece to perform as husband and wife. The innovation of the arrangement bring an old piece to a new instrumentation to makes it a fantastic piece to share amongst the trombone community. The second piece Azure Dawn written by trombone player, Frank Gulino, is a piece composed in 2012. Azure Dawn is a visual and programmatic work, depicting the beautiful imagery of the Shenandoah Valley mountains during the sun rise.The final piece is The View from my Window by Jeff Scott, which we are hoping will be the world premiere at the International Trombone Festival. Jeff Scott is a black composer, currently the horn professor at Oberlin College. He composed this thinking of the year 1983 in New York, when his step father became a cocaine addict and he would dream outside his window and use his horn as an escape. it is a powerful piece that we would love to share. Thank you for considering this proposal.

Mr.P'chao will do a presentation called “Creativity, an undervalued gift in our field,” which will last 90 minutes. In this presentation, he will explain how through creativity he could create his own brand and his own music after developing focal dystonia. The presentation will also feature his music with musical tracks, three trombones, congas and stage lights. Mr.P'chao features a mix of dance hall with afrobeat with sounds from salsa, cumbia, funk, and reggaeton with the trombone and sung voice as protagonists .This presentation is directed to all audiences taking advantage of catchy sounds and the duo of trombone and voice.

Join Slide School for an enriching and energizing warm-up session. We'll embark on a musical journey to help you kickstart your day with purpose and precision. This interactive presentation with Brian Hecht as live moderator and Nathan Zgonc as virtual presenter combines insightful guidance, practical demonstrations, and play-along participation. Our focus will be on refining the fundamentals of tone production, flexibility, range, and endurance. We'll explore proven techniques and exercises designed to enhance your skills and establish a solid foundation for your daily practice regimen. Attendees will gain a deeper understanding of the importance of daily routines and how they can dramatically impact their playing. You'll leave with a routine that aligns with your goals and aspirations as a trombonist. This session is ideal for trombonists of all levels, from amateurs to seasoned professionals, seeking to enhance their playing abilities and establish a structured daily practice routine. Join us at "Elevate Your Daily Routine with Slide School" and set the stage for daily success in your trombone playing journey. Unlock your full potential and experience the transformative power of a well-structured warm-up routine.

Several trombonist friends who will attend ITF know this proposal and are available for sample concert. I am a pianist accompanying my own works. During the development of the study of any musical instrument, the teacher uses bibliographic material that allows him to approach teaching progressively. This systematized advance is presented in various elements: technique, expression, difficulty, speed, historical styles, etc. The academic programs par excellence include different composers in history, who lived at various times in the history of music (baroque, classical, romantic, etc.)

This recital pays homage to the state of Texas, featuring music of living composers residing in Texas or having spent significant portions of their career in the Lone Star State. The program includes works for trombone and piano by David Wilborn, Kevin Day, Michael P. Schneider, and Thomas Hultén, as well as a recent commission for solo trombone by Brett Kroening. The program concludes as Pinson is joined by an octet of Texas trombonists to perform a new arrangement of “Deep in the Heart of Texas” by Curtis Wilson, Emeritus Professor of Music at TCU.

Joannès Rochut (1881–1952) is well-known to trombonists for his three volumes of Melodious Etudes from the works of Marco Bordogni (Carl Fischer, 1928). Born in Paris, Rochut made a significant impact on the worldwide trombone community as an arranger of music, as a performer, and a teacher. He was a first-prize winner at the Paris Conservatorie (1905), performed as a member of the Orchestra de la Garde républicaine (French Republican Guard Band), the Orchestre Lamoureux, and the Boston Symphony Orchestra (where he served as principal trombonist from 1925–1930), played trombones by Lefevre and Vincent Bach, endorsed Holton trombones, and was the (posthumous) recipient of the ITA’s 2021 Legacy Circle Award. Using rare photographs, Rochut’s original manuscripts, and archival documents, this presentation will present Joannès Rochut’s life and work as an impactful trombone influencer—his career, his music, his playing, and his instruments—and bring his life and work into sharp focus for today’s trombonists.

Since 2015, the Drei Bones Trombone Trio has been dedicated to performing and recording the existing trombone trio literature and commissioning works for trombone trio. Trio music has been a relatively unexplored area in trombone chamber music in the past and the mission of Drei Bones has been to present more of this music to trombone audiences as an alternative to standard quartet literature. We propose a 30-minute recital of trombone trio music for all trombonists at the ITF. The “New” includes a new commission, Freundschaften, by Catherine McMichael and recent works by Elizabeth Raum and Henry Wolking. Representing the “Old” are lesser-known trios by Andre LaFosse and Vladislav Blazhevich. All these works form the nucleus of new recording on Centaur Records to be released in 2025.

Combining brain science and body mapping, this session will be a practical hands-on experience designed to set you up for success in practice and in performance. Based on brain research by Dr. Amisha Jah at the University of Miami, participants will be directed through several exercises designed to develop one’s focus of attention. The focus of attention will be used to help participants identify areas of tension in the body and establish a balanced standing and seated position. Once tension areas are identified and released, participants will practice the relationship of balance and physical efficiency with breathing and blowing. We will work through the natural swing of the arm to reduce tension in the shoulders and increase efficiency the slide action. Participants will also practice the simple gesture of bringing the trombone into playing position, linking this action to breathing and blowing, while maintaining a balanced standing and seated position. We will wrap up by efficiently moving air through some blowing exercises from a position of physical efficiency.

Compositions written for the trombone have come a long way since the late 19th Century. Exceptional trombonists, spanning different genres, have pushed the envelope of trombone performance and showcased to composers as well as other instrumentalists what the “slide” can do. Several performers have also infused music concrete and extended techniques to widen the approach to eccentric trombone performance and augment the possibilities of the instrument’s timbre.

Due to these phenomena, composers are interested in writing new compositions for the trombone that are both intellectually and creatively enriching. Just like the composers of old, 21st Century composers are excited to produce music relative to the conditions, perceptions, and conventions of our time, while pushing the boundaries of the instrument.

This recital is centered on this premise but features under-represented composers, which include but are not limited to male and female BIPOC, white female, and LGBTQ+. The performance will include the premiere of three works: two sonata-formatted selections for trombone and piano as well as fixed media with the trombone. The selection of pieces for this recital has either been commissioned or initiated by consortiums of which I was a member. The works presented in this recital will be accessible to the college-to-professional trombonist.

An Argument for Japanese-Composed Trombone Music in American Classical Repertoire bridges the gap between the performance and scholarship in Japanese and American classical music. This project aims to encourage students and professionals alike to perform a rich genre of trombone music not often performed in the US. The presentation will offer a unique combination of performance and lecture detailing Ellie Abbott’s research into Japanese composers and a multimedia recording project of select works that will be completed in April 2024. Japan’s development of classical music resulted in works that differ greatly from Western repertoire and illustrate the country’s deep cultural heritage and continuous modernization. Given the large focus on Western classical repertoire in American trombone pedagogy, promoting Japanese classical repertoire will allow for an international view of the profession and a complete view of music, not just European/Western perspectives. This presentation aims to elevate Japanese trombone music, bridge cultural gaps, enrich musical experiences, and promote diversity and inclusivity within the classical music community.

The members of "Trombones de Asunción" are committed to taking their country's music to new heights and sharing their passion for the trombone with a global audience. This quartet is a true testimony of Paraguayan musical talent and is an exceptional representation of the diversity and musical quality that exists in Paraguay. Their participation in the ITF, apart from being a highlight in the world of trombone music, will be an opportunity to demonstrate Paraguayan musical prowess, seeking to enrich the international scene.

“Não Deixe para Amanhã” (Don't Put Off Until Tomorrow) is the debut album of Brazilian Trombonist, Educator, Composer, and Arts Administrator, Felipe Brito. The project integrates Afro-Brazilian music genres such as samba, bossa nova, maracatu, and alujá using a modern jazz language. The album will be released in May 2024 by the New Your label Outside in Music, owned by the great jazz trombonist and UNT Professor Nick Finzer. Felipe’s original compositions reflect his life in Brazil and The United States. The team of musicians counts on Latin Grammy Award Winner sound engineer Adonias Junior, Latin Grammy Award Winner saxophonist Raphael Ferreira, and Brazilian superstar artists Rodrigo Bras (drums), Jackson Silva (bass), and Fabio Leandro (piano). This album strongly marks the underrepresentation of Afro-Brazilian and LatinX musicians in The United States by being released in the US market by Brazilian musicians.

This program takes the listener backward in time, along the continuum of music for trumpet, trombone and piano. Starting with the Holmes work, which is the most recently composed, we then turn to three of our favorite living composers for brass: Eric Ewazen, Anthony Plog and Joseph Turrin. We then cross the Atlantic to mid-20th century France for the only composer not based in the United States, Jacques Castérède, and finally return to America, to an imagined Sousa Band gazebo concert, performing a classic 1904 work by Herbert L. Clarke.

Trombones are seldom included in chamber music ensembles that feature woodwinds. With the aim to address this gap and expand the repertoire for solo bass trombone and chamber wind ensembles, I have arranged the piano accompaniment of Alec Wilder’s Sonata for Bass Trombone for a woodwind ensemble. This arrangement connects the Sonata for Bass Trombone with Wilder’s Octets of the 1930s and 40s. The Sonata is notably similar in style to the third-stream aesthetic of the octets. Each of the sonata’s five movements, as well as each of the octets, can be described in terms of their unique blend of classical and jazz styles. Structurally, each work lives in the classical world, while harmonically and rhythmically, persistent jazz influences are revealed. The octets, composed for flute, oboe, B-flat clarinet, bass clarinet, bassoon and a rhythm section of bass, drums, and harpsichord, establish an ensemble agile enough to negotiate the piano accompaniment of the Sonata, while the combination of instruments provides opportunities for tonal colors and textures that bring new perspective on the work. The presentation will include a brief overview of Wilder's biography and contributions to American music, background on the octets and sonata, analysis of the arrangement, and performance of the work.

This record is a celebration of New York. Being here, going out, seeing your heroes play, then getting a gig at a place like Smalls and living out your jazz dreams for an audience who appreciates it. This record is a celebration of getting to do what we love to do. Being able to play the music without pretense or agenda.”

That is how trombonist Robert Edwards introduces his new album Upswing, a love letter to New York’s jazz culture, its people and its places. A mainstay of the city’s scene, he draws on his longtime residency at fabled jazz mecca Smalls in the West Village — hiring the same knockout band, calling a setlist of their favorite tunes, a mix of standout originals and favorite classics, and making the transition from stage to studio without skipping a beat.

The solidarity extension project developed at the Industrial University of Santander is exposed, the main purpose of which was to create pedagogical-musical material (musical repertoire) to promote and contribute to the dissemination and appropriation of Colombian Andean music, having creation processes as a strategy. collaborative artistic, audio recording, theoretical-practical workshops, in addition to proposing a record production proposal. These processes in turn became the fundamental stages and objectives of the project. The musical repertoire was created for bass trombone and piano. In total, eight (8) works were commissioned, including arrangements and unpublished compositions, innovating with the musical format in addition to contributing to the dissemination of Colombian Andean music at a national and international level. The project, in turn, included a stage in which a series of theoretical-practical workshops were held in three schools in the metropolitan area of the city of Bucaramanga, aimed at boys, girls and young people.

Bone-core Playlist is a recital re-envisioning the sounds and culture of the early 2000s punk aesthetic. These selected works have used existing melodies or created their textures based on elements found in the punk genre. You will hear everything you need to program your next recital for a room of degenerate millennials! Influenced by the in-your-face nature of a mosh-pit, Gary Gilroy’s Bone Slayer is full of aggressive rhythm associated with hardcore punk rock. Michael Krikorian's multimovement work Bone-core utilizes melodies of the early 2000s genre as if they were composed by famous romantic and 20th-century composers. Russ Zokaites dives into the DIY ethic with his first composition White-Hawk. As a symbol of clarity, focus, and creativity, White Hawk is inspired by board sports legends Sean White and Tony Hawk. The non-conformist punk sound aesthetic destroys barriers between genres. The Island makes use of Schnyder’s in-your-face marriage of jazz and classic music that encouraged Newsday to write, “[Schnyder] comes from a generation of composers who throw all kinds of music under their beds as they grow up and emerge in adulthood with a natural concoction.” And Bryce Cannel’s Thrash utilizes the subculture’s raw energy mashing hardcore sounds on a classical stage. Relive your warped tour experiences without the trouble of finding your chucks and getting a new piercing. You will feel like you are back in the Southern California anti-establishment movement of the late 1990s. Join us for some hard-core trombone.

The Trombone Retreat, a podcast of the Third Coast Trombone Retreat has in-depth conversations with trombonists from all areas of our field. Hosts Sebastian Vera, principal trombonist of the Pittsburgh Opera and Nick Schwartz, principal bass trombonist of the New York City Ballet talk with guests about what led to their path and success, the challenges, adversity and memorable moments along the way, and their views on the role of an artist in our current times. Our interviews encapsulate the silly and heartfelt aspects of our unique lives and seek to inspire and motivate musicians of all ages and backgrounds. Continuing after our live interview with Joseph Alessi in 2021, Christian Lindberg in 2022 and Alan Kaplan and Bill Reichenbach at last year’s ITF we are thrilled to return to the ITF in 2024. You can also hear all our interviews at tromboneretreat.com/podcast and subscribe everywhere you download your podcasts!

Our proposal is to present the works we recorded on our album "Bellas Artes Street" and new music for trombone. Our cd is on different digital platforms such as Spotify, Apple Music, Youtube, etc. It is a CD that contains music for trombone duo, in various formats such as: trombone duo, trombone duo and trombone choir, trombone duo and rhythm section, trombone duo and electronic tape. Our proposal is to show this music, that one part is classical and another is popular, jazz, Latin or rock. Several tracks are of original music and other tracks are music already known but arranged for 2 trombones.

We will present exciting trombone quartet repertoire, which will include a world premiere performance of a fresh work by Winthrop University Professor of Composition, Leonard Mark Lewis.

In this interactive session, four music administrators: Caroline Taylor, Heather Mensch, David Wilborn, and Thomas Zugger will lead the audience through the application process for academic positions, highlighting essential details to include and pitfalls to avoid. Addressed will be a review of CV, cover letters, other essential paperwork, identifying quality references, culling your social media, and recording essentials. Best practice steps for the zoom interview and campus visit will also be discussed, including choice of repertoire for performance, question to expect, questions to ask, how to do your homework, interview do’s and don’ts, meeting faculty and students, and interviews with administrators.

Present moment awareness is a highly desired and valuable skill for performing musicians. Being fully engaged with one’s playing, both in the practice room and in performances, can lead to not only greater productivity and a higher quality of playing, but a richer and more satisfying experience. But our attention is often pulled away from this present moment awareness, and distractions can often gain the upper hand. We are now living in what some would call the “attention economy.” In this presentation, we will consider what this means, along with the idea that “where attention goes, energy flows.” Ever-expanding research is revealing that our ability to pay attention and stay in the present moment is indeed a skill that can be improved upon. We will consider this research and what this means for musicians. We will include practical exercises that can be done in the practice room to develop the ability to both strengthen and stabilize your “flashlight of attention.”