Complete articles index

Jazz and the Horn Series • Part 6

Peter Gordon

Classically trained but drawn elsewhere, Peter Gordon made the horn at home in jazz, studios and popular music without abandoning its orchestral foundations.

By Jeffrey Agrell

Editorial

In Recognition of the Philip Jones Brass Ensemble

At the height of his career, Philip Jones hands over his brass ensemble, prompting wider reflections on musical excellence, stage presence and the changing role of musicians.

By Jean-Pierre Mathez

Brass Techniques Series • Part 5

The Lips

Lip function in brass playing depends on a delicate balance of muscular tension and breath, developed through flexible control rather than excessive mouthpiece pressure.

By Jean-Pierre Mathez

Yuriy Andreyevich Bol'shiyanov

A Russian Trumpeter

In Soviet musical life, Yuriy Bol'shiyanov combined orchestral performance, chamber music and teaching, shaping generations of trumpeters at the Leningrad Conservatoire.

By Anatoly Barantsev

Part 1

The Art of the Musical Instrument Maker

Encyclopédie méthodique — Paris 1795

A 1795 encyclopedia captures brass and wind instruments at a moment when their language, character and expressive roles were understood rather differently.

By Anonyme

Part 7

How and why I became a musician

Edouard Gros recalls wartime variety work in Geneva, intensive tuba practice and the audition that led to a secure orchestral post and 32 years in Berne.

By Edouard Gros

Part 1

Does Jazz still have a soul?

By Michel Laplace

Staatskapelle of Dresden

Long Orchestral tradition

By Peter Damm

Horn singing

Earl S. Saxton advocates a “singing” approach to horn playing, emphasizing tone production through vibration, breath control and vocal-inspired technique.

By Earl S. Saxton

Low register development for the trombone

Should you really drop the jaw for low notes? James Fulkerson challenges this idea and proposes a more stable approach to extend the low register.

By James Fulkerson

Experimental musical institutions

Report followed by an interview with John Marcellus

By Jean-Pierre Mathez

Théo Mertens

Interview

By Paul Voet

Editorial

1976: Brass Bulletin transforms. A4 format, three languages side by side — and already readers in 41 countries. A real turning point.

By Jean-Pierre Mathez

Part 8

Dental Clinic for Wind Players

The effect of over brushing teeth on brass instrument playing

By Toshio Nemoto

From the bombardon to the Vienna concert tuba

The Vienna tuba has been part of the "Vienna sound" and the Vienna Opera (Vienna Philharmonic) for 160 years

By Gerhard Zechmeister

Eran Levi: top talent on the euphonium

By Jean-Pierre Mathez

Interview with Paul Spörri

Principal trumoet of the Berlin Philharmonie

By Heinz Klose

The Euphonium in America

A Short History

Euphonium terminology, bore sizes, and band instrumentation shifted across Europe and America, from Sax and Conn to Gilmore, Sousa, and Fennell.

By Robert Reifsnyder

The trombone in Belgium

Published in memory of its author, this article reflects on the trombone tradition in Belgium and his lasting contribution.

By Albert Mertens

General remarks on the role of the teeth for wind instrument players

Your teeth are part of your instrument: a dental expert explains how they shape sound, technique and long-term health.

By Jean-Paul Rocca

Where do brass players stand today?

By Brass Bulletin

The Trumpet

An exhibition at the Trumpeter's Castel in Bad Säckingen

Natural trumpets from Verona, Nürnberg and Vienna framed a 1979 gathering in Säckingen linking Baroque practice, collecting culture and modern playing.

By Kurt Janetzky

Melvyn Poore

Tuba britannica

A tuba becomes a laboratory for circular breathing, reeds, strange mutes and music theatre as Melvyn Poore pushes beyond the orchestral role assigned to it.

By Thomas Aitken

Part 10

Dental Clinic for Wind Players

Irregular teeth formations and brass playing

By Toshio Nemoto