Técnica

Aebi, Willi

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.

Globokar, Vinko

Possibilities for development of brass instruments (1967)

Experimental study by Vinko Globokar on extended techniques for brass instruments, covering microtonality, voice-instrument interaction and new sound production methods.

Knodt, Heinz

Singing lessons for brass players?

Explores how vocal training can benefit brass players, improving breathing, phrasing, tone production and musical expression.

Bouché, Robert

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.

Mertens, Albert

The trombone in Belgium

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

Lloyd, Leno

Lip vibration characteristics

of the trombone embouchure in performance

Study of lip vibration in trombone performance, analyzing embouchure behavior and its impact on sound production and control.

Saxton, Earl S.

Horn singing

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

Janetzky, Kurt

Impossible?

Kurt Janetzky challenges the notion of the “impossible” in brass playing, arguing that technical limits evolve and that demanding repertoire—past or present—should never be dismissed as unplayable.

Orval, Francis

The F/Bb horn with whole-tone ascending 3rd valve

A different horn, a different approach: Francis Orval explores how an ascending 3rd valve reshapes technique, intonation and response.

Périnelli, René

My teeth

A dentist visit that changed everything: René Périnelli reveals how his teeth directly shaped his trumpet playing.

Perantoni, Daniel

Contemporary systems and trends for the tuba

New music, new rules: Daniel Perantoni explores extended techniques, graphic notation and the evolving language of the tuba.

Huber, Heinrich

The trombone: changing times, changing slide positions

Did trombonists always use seven positions? Heinrich Huber reveals how history, theory and early music reshaped the slide.

Fulkerson, James

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.

Douay, Jean

The trombone in Maurice Ravel's Bolero

How should Boléro’s trombone solo be played? After 100 performances, Jean Douay challenges conventions and argues for a more supple, controlled approach.

Mathez, Jean-Pierre

A talk with Rolf Quinque

What if strength is the wrong approach? Rolf Quinque traces his shift from force to mastery through controlled breathing, discipline, and relaxed playing.

Willener, Alfred

Advices from an expert brass clinician: Robert Pichaureau, Paris

What if everything you control is wrong? This radical approach to brass playing shifts focus away from the embouchure — back to the true origin of breath and sound.

Perrins, Barrie

Some thoughts on the euphonium and euphonium technique

The euphonium revealed: Barrie Perrins explores its history, technique, and expressive power—making a compelling case for its place as one of brass’s most versatile solo voices.

Damm, Peter

On the question of articulation in the horn concertos by W. A. Mozart

How should Mozart really sound? Peter Damm questions traditional editions and reveals how articulation—often missing—must be rebuilt through style, listening, and musical judgment.

Johnson, Tommy

A guide to commercial tuba playing in the Los Angeles area

Hollywood reality check: Tommy Johnson reveals what it really takes to become a commercial tuba player in Los Angeles—skill, versatility… and patience.

Quinque, Rolf

ASA-Method

From Bach’s clarino tradition to modern piccolo trumpet playing, extreme high-register technique is tied here to breath support, pressure control and disciplined endurance.

Stevens, Thomas

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.

Stamp, James

Practical Hints

Built around Herbert L. Clarke’s Technical Studies, these practice routines refine flexibility, intonation and note placement through structured brass exercises.

Dokschidser, Timofey

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.

Dokschidser, Timofey

Articulation or bowing on the trumpet

Trumpet articulation becomes a full performing language, from détaché and staccato to legato, glissando, dynamics and score interpretation.

Stamp, James

Practical Hints

A simplified preparation method adapted from Herbert L. Clarke links transposition, tempo variation and repetition to technical fluency and mental anticipation.

Elias, Joel

Basics in breathing

An Outline to a Better Sound

From breathing awareness to sound production, practical exercises link physical relaxation, air control and rhythmic precision in everyday brass playing.

Stamp, James

Practical Hints

A preparatory adaptation of a Clarke technical study reframes finger technique, airflow, and efficiency through a progressive approach to daily practice.

Stamp, James

Practical Hints

A single Clarke study becomes a lesson in note placement, breath control and continuity, as James Stamp reshapes a familiar exercise through preparation.

Stamp, James

Practical Hints

Working from a Clarke study, a modified routine links tone stability to velocity, showing how secure sound supports precision as tempo increases.

Cramer, William F.

Blowing as a body function

Breathing habits, posture and body mechanics converge in a practical view of tone production, where William F. Cramer questions prevailing assumptions.

Sluchin, Benny

Playing and singing simultaneously on brass instruments

From Weber and Vivier to contemporary solo works, singing into the brass instrument becomes a multiphonic technique shaped by notation, acoustics, and practice.

Stamp, James

Practical Hints

A progressive adaptation of Clarke’s No. 91 uses slurs, accents and dynamic shaping to build speed while preserving tone stability and control.

Sluchin, Benny

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.

Stamp, James

Practical Hints

Tone stability remains the foundation of velocity as James Stamp reshapes a Clarke study into a preparatory exercise linking sound control with fluent technical playing.

Weiner, Howard

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.

Quinque, Rolf

ASA-Method, ASA-Technic

Virtuosity grows from disciplined work on scales, articulation and reading, arguing that consistent fundamentals matter more than chasing the upper register.

Kenny, P. · Davies, John

The Measurement of Mouthpiece Pressure

Objective measurements on trumpet players challenge common beliefs about mouthpiece pressure, showing stable individual patterns across pitch, dynamics and playing level.

Burum, Heinz

My Experiences with Colleagues and Pupils

in 50 Years as trumpet player and trumpet teacher

Across five decades, Heinz Burum links trumpet embouchure, mouthpiece design and teaching practice to concrete cases from orchestras, pupils and colleagues.

Willener, Alfred

James Stamp, subtle teaching

Intonation, held notes and mouthpiece work shape James Stamp's subtle approach to trumpet playing, where listening and physical economy guide technique.

Bourgue, Daniel

The French Hunting horn, its history, its technique and its music

Centuries-old hunting signals still shape performance today, where technique, ritual and oral tradition preserved a musical language unlike any other brass practice.

Gotthold, Jean

Thoughts on the Bass Trombone

Long before modern standards took hold, bass trombones existed in many forms, raising questions that still shape orchestral writing and performance today.

Bürger, Edgar

Mouthpiece pressure in Horn Playing

Graduation project in technical method

Long before sensors entered the practice room, one horn student measured embouchure pressure by hand, challenging assumptions that still shape brass pedagogy.

Holland, Jack

An Introduction to "In Tune"

the Scale of Just Intonation

Long before electronic tuners, brass players faced a choice between mathematical order and acoustic truth, with consequences that still shape ensemble playing today.

Davidson, Louis

The attack

Precision often begins with doing less, not more—a principle Louis Davidson places at the heart of trumpet playing with surprising practical consequences.

Dejonker, Philippe-Henri · Orval, Francis · Miller, R. · Sneppe, R.

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.

Agrell, Jeffrey

Jazz and the Horn

Getting started

For the classically trained horn player, jazz replaces the security of the printed page with listening, swing and improvisation—and a different kind of discipline.

Davidson, Louis

Tonguing

A tiny shift in tongue movement changes speed, endurance and clarity, turning articulation from a mechanical attack into one of the trumpet player’s subtlest tools.

Mathez, Jean-Pierre

Editorial

Between disciplined practice and creative folly, musicianship emerges where scales and systems give way to imagination, instinct and the unsettling freedom to think.

Hübler, Klaus-K.

The Polyphonic Trombone

A suggested notation system

When trombone slide, overtones, breath and valves become independent musical voices, conventional notation reaches its limits and a new system becomes necessary.