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63 artículos disponibles en línea
Symphonic tuba playing
A warning from the orchestra: Lewis Waldeck challenges modern tuba playing—calling for a return from solo brilliance to the dark, blended power of true symphonic sound.
Por Lewis Waldeck
Miembro
The inner acoustics of the horn
Study of the horn’s inner acoustics, explaining how its structure and air column influence tone production and intonation.
Por Willi Aebi
Miembro
Parte 1
Arnold Jacobs
Interview
Two tuba giants meet in 1979 Chicago, where Arnold Jacobs turns technique, sound, orchestral life and pedagogy into a lasting musical ethic.
Por Roger Bobo
Miembro
Steve Lewis, Hornmaker
Old World Craftsmanship plus New World Technology
In 1980s Chicago, Steve Lewis joined Old World bench craft to modern precision, building horns one by one around the player, the metal and a distinctive sound.
Por Jeffrey Agrell
Miembro
Dynamics in the 80's
From Reykjavik to the Hollywood Bowl, rising concert hall scale and amplified culture reshape orchestral sound, leaving acoustic limits exposed.
Por Roger Bobo
Gratuito
Empire Brass Quintet
Portrait in brief
From New York to Boston, five brass players built a chamber music identity rooted in Ewald, early music and a string-quartet approach to ensemble sound.
Por Jean-Pierre Mathez
Miembro
Oscillatory Mechanism of the Glotis in Horn Playing
A horn note may begin before it is heard, as subtle vocal-fold oscillations appear to prepare the airflow that the lips will ultimately shape.
Por Philippe-Henri Dejonker, Francis Orval, R. Miller, R. Sneppe
Miembro
Parte 2
Playing and singing simultaneously on brass instruments
From interval production and tone generation to contemporary repertoire, simultaneous playing and singing becomes a demanding extension of brass technique.
Por Benny Sluchin
Miembro
Parte 3
Playing and singing simultaneously on brass instruments
From Weber's Concertino to Berlioz's chord writing, acoustic principles explain how combination tones emerge from simultaneous playing and singing on brass.
Por Benny Sluchin
The Horn in France
Historical overview of the horn in France by Daniel Bourgue, covering instruments, makers, pedagogy and the evolution of tone and playing style.
Por Daniel Bourgue
Miembro
Horn singing
Earl S. Saxton advocates a “singing” approach to horn playing, emphasizing tone production through vibration, breath control and vocal-inspired technique.
Por Earl S. Saxton
Gratuito
Which Horn for which Music?
Article discussing the choice of horn according to repertoire, comparing instruments, sound ideals and stylistic requirements.
Por Hermann Baumann
Miembro
Parte 4
The Trumpet in the USA
Gadgets II
Mouthpiece backbores for piccolo and C trumpet are compared through practical performer testing, linking equipment choices to sound, volume and intonation.
Por Thomas Stevens
Gratuito
Manufacturers' Opinions about Brass Instruments
Between workshop lore and acoustic certainty, brass makers’ claims expose a restless debate over metal, finish, resonance, and playing quality.
Por J. M. Bowsher, P. S. Watkinson
Miembro
The column of air
A System of Breathing for Brass Players
Explains the role of the air column in brass playing, focusing on breath support, airflow control and their impact on tone, articulation and sound quality.
Por Robert Bouché
Miembro
Problems of teaching methods in brass instruction
Talent isn’t enough. Krumpfer argues that brass teaching must align physiology, psychology, and method—only then can young players reach their true potential.
Por Hans-Joachim Krumpfer
Miembro
Pyotr Naumovich Volkov (1877-1933)
First trombone professor at St. Petersburg Conservatory
From imperial St. Petersburg to Soviet Leningrad, Volkov shaped a distinctive Russian trombone tradition through performance, teaching and generations of pupils.
Por Viktor Sumerkin
I myself have formed this instrument
“Forming” the instrument? A dangerous illusion. This article debunks the myth: the instrument cannot be shaped — it is the player who must adapt.
Por Robert Ischer
Gratuito
The mute belt
In Stockhausen's demanding trumpet works, six different mutes had to be changed while performing from memory, turning a practical problem into a new stage technique.
Por Markus Stockhausen
Miembro
The alto trombone and contemporary concepts of trombone timbre
Alto trombone timbre from Vienna to Brahms, orchestral balance, period practice, and why bright brass sounds gradually disappeared.
Por William E. Runyan
Gratuito
On the sensitivity of brass instruments
Metal, pressure nodes and temperature shifts shape response, timbre and tuning, as Emile Ferron links instrument acoustics to the player’s imprint.
Por Emile Ferron
Miembro
Parte 2
The Baroque trumpet, the high trumpet and the so-called Bach trumpet
Continuation of Edward H. Tarr’s study on the Baroque trumpet, examining the high trumpet and further clarifying the concept of the “Bach trumpet.”
Por Edward H. Tarr
Miembro
The Leningrad School of Horn Playing
From St. Petersburg to the Soviet era, generations of horn players shaped a distinctive approach to sound, interpretation, and orchestral playing.
Por Frøydis Ree Wekre
Gratuito
Parte 3
The Trumpet in the USA
Gadgets I
From Schilke soundposts to piccolo trumpet extensions, American performers turned technical frustrations into specialized tools for modern playing.
Por Thomas Stevens