Práctica instrumental
167 artículos disponibles en línea
Miembro
Nerves, Pills and Doping
Behind a debate once confined to musicians lies a wider shift in how performance anxiety, medication and professional responsibility began to be separated instead of confused.
Por Christian Baechler
Miembro
Serie El jazz y la trompa • Parte 8
Jazz and the Horn
Dale Clevenger
Principal horn of the Chicago Symphony Orchestra, Dale Clevenger spent his Tuesday evenings playing jazz, discovering a freedom that classical training alone could not provide.
Por Jeffrey Agrell
Miembro
The trombone: changing times, changing slide positions
From Virgiliano to Praetorius and Eisel, early sources reshape long-held assumptions about trombone tuning, slide positions and historical playing practice.
Por Howard Weiner
Gratuito
Parte 1
The Baroque trumpet, the high trumpet and the so-called Bach trumpet
Edward H. Tarr examines the Baroque trumpet and clarifies the origins and meaning of the so-called “Bach trumpet.”
Por Edward H. Tarr
Miembro
Parte 1
Articulation or bowing on the trumpet
Trumpet articulation becomes a precise study of attack, sustain, release and legato, linking tongue, breath, lips and sound in Dokshitser’s method.
Por Timofey Dokschidser
Miembro
Parte 3
A study of musical intonation
From wind quintets to brass sections, balance, overtones and perception shape intonation in ways that often diverge from measurable frequency.
Por Christopher Leuba
Miembro
Parte 3
Maurice André
Biography
Maurice André reflects on maturity—balancing performance, recordings and teaching, refining his approach to instruments and audience, and preparing for the limits of a virtuoso career.
Por Jean-Pierre Mathez
Miembro
Parte 1
A study of musical intonation
Resultant tones, harmonic series ratios and chord spacing challenge equal temperament, linking acoustics and practical ensemble intonation.
Por Christopher Leuba
Gratuito
Frequency and Pitch
A = 440 became the international standard only in 1939, after centuries of competing pitches that shaped orchestral practice, instrument making and musical notation.
Por Benny Sluchin
And approach the realm of making beautiful music
A rare and powerful call from maestro Roger Bobo: at the height of the “Tuba Explosion”, he challenges players to define — at last — the ideal instrument.
Por Roger Bobo
Breathing and the physiological mask
Air is not everything: Michel Ricquier challenges the “air column” myth, revealing how breathing and the “physiological mask” together unlock control, power, and ease.
Por Michel Ricquier
Gratuito
Editorial
So your trumpet plays in tune
Keyboard tuning, just intonation and string phrasing place brass players between conflicting pitch systems, as Thomas Stevens outlines practical compromises.
Por Thomas Stevens
Miembro
Good intonation on the trombone
The trombone’s fixed positions meet the compromises of natural harmonics, as Raymond Fonsèque proposes a different logic for pitch across major and minor keys.
Por Raymond Fonseque
Miembro
Parte 2
A study of musical intonation
From harmonic-series tuning to valve-slide adjustments on the horn, practical listening and resonance become more reliable guides than equal temperament alone.
Por Christopher Leuba
Miembro
Parte 1
Ornaments in 18th-century Horn Concertos?
Performance once depended as much on informed invention as on written notes, and early horn concertos still carry that forgotten freedom in plain sight.
Por Peter Damm
Miembro
Parte 2
Articulation or bowing on the trumpet
Trumpet articulation becomes a full performing language, from détaché and staccato to legato, glissando, dynamics and score interpretation.
Por Timofey Dokschidser
Miembro
Barry Tuckwell
Interview
Between the London Symphony Orchestra, international solo tours and Mozart or Strauss concertos, Barry Tuckwell reflects on sound, risk and musical instinct.
Por Jean-Pierre Mathez
Miembro
Serie El jazz y la trompa • Parte 6
Jazz and the Horn
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.
Por Jeffrey Agrell
Miembro
John Fletcher
Is Big Always Beautiful?
As brass instruments grew larger and louder, John Fletcher saw something being lost: the individual voice, clarity and character that make a player heard.
Por Thomas Aitken
Gratuito
Serie El jazz y la trompa • Parte 5
Jazz and the Horn
Tom Varner
Choosing jazz over the orchestral path, Tom Varner confronts the horn’s stiffness, projection and unlikely place as a front-line improvising voice.
Por Jeffrey Agrell
Miembro
Serie Técnica de los metales • Parte 2
The Body
A brass player's physical condition depends on more than muscular strength, with sleep, nutrition and recovery shaping the balance between technical control and fatigue.
Por Jean-Pierre Mathez
Miembro
Serie El jazz y la trompa • Parte 7
Jazz and the Horn
John Clark
John Clark made the horn a jazz voice on its own terms, balancing improvisation, studio realities and an instrument still fighting to escape classical expectations.
Por Jeffrey Agrell
Miembro
Serie El jazz y la trompa • Parte 4
Jazz and the Horn
Thomas Bacon
Classical discipline meets jazz-rock freedom as Thomas Bacon confronts improvisation, stylistic crossover and the physical demands placed on the horn.
Por Jeffrey Agrell
Miembro
Serie El jazz y la trompa • Parte 2
Jazz and the Horn
Julius Watkins
A pioneering career, landmark recordings and collaborations with jazz legends gave the French horn a place it had never occupied before.
Por Jeffrey Agrell