||"Roshi" for Trumpet and Marimba was written by Kelly Rossum in 2011.
This piece was premiered on March 31, 2012 at The Society of Composers, Inc., Region III conference at Christopher Newport University. Interesting work and a excellent addition to the literature.This piece for trumpet and marimba, dedicated to my teachers: Dennis Schneider, Keith Johnson and David Baldwin, symbolizes the relationship between teacher and student as described in the following Japanese parable: "To a province in Southern Japan came on holiday, a famous teacher of music. The local musicians begged him to address them, and he showed them a new type of flute then coming into flavor at the capital. Sitting motionless in their midst, he so entranced them with its melody that at the end they cried out: ’you play like a god!’ "They persuaded him to accept one of their numbers as a pupil, to study under him & return with a certificate of Mastership, to teach the others. They choose a young flute player to be the pupil, and subscribed the money for the journey. The young man was naturally overjoyed, and at the capital worked night and day to master the difficult technique of the new flute. To his disappointment, the master would only let him try the one melody, a classical air. Again and again he was made to play it, but never to the master’s satisfaction. The time went by, and he came to the conclusion that he had failed, and the master did not intend to give him the certificate. "He left the master’s house, ashamed to return. He stayed in cheap lodgings in the capital. Now he tried out other melodies on the new flute, but realized that in them too his performance was unsatisfactory. He thought of giving up the flute altogether, but became intolerably restless and was forced to take it up again. Now he was playing to himself merely to calm his spirit everyday and evening, sometimes on the new flute and sometimes on the old one, and in this way his shame and distress of mind gradually became less. In the end he drifted back home, but did not play in public or show his face to the society of musicians. "One day the musicians organized a great concert and sent a messenger begging him to attend with his flute, for sake of their former friendship. ’We will not’ they said, ’hold the concert without him.’ Touched by their kindness he went with the messenger, but on arrival found he had unconsciously picked up and bought the new flute, of which, he was not an accredited master. It was too late to change it for his old one, but in any case he had no reputation now, so careless of what the others might think he sat down and played for himself the old melody, repeated so many times for the master. He became lost in the melody, and did not know whether he played well or badly. Afterwards there was dead silence, and the musicians cried out: ’you play like a god!’ "He ran home in tears and wrote a long letter to the old master, praying his forgiveness and blaming his own lack of understanding of the training. The master immediately sent the certificate of Mastership, with a letter saying: ’You need not blame yourself too much. Your personal desire for fame gave you the energy to work hard at the technique. But Mastership is much more than technique. You had to practice till your practice became no-practice, till it was a natural activity. When you had forgotten your selfish aim, forgotten yourself, forgotten any effort in playing, forgotten even the flute-when nothing remained but the melody itself, you achieved Mastership.’"(credit: Rober W Smith’sbook "Martial Musings ")Also available as a PDF.