BrassBulletin
Rivista internazionale degli ottoni
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Auguste Léonard de la Tuilerie
Benny Sluchin
A Paris apothecary turned trombone evangelist challenges 19th-century musical habits, imagining the slide trombone as the future voice of harmony.
From Weber and Vivier to contemporary solo works, singing into the brass instrument becomes a multiphonic technique shaped by notation, acoustics, and practice.
From interval production and tone generation to contemporary repertoire, simultaneous playing and singing becomes a demanding extension of brass technique.
From Weber's Concertino to Berlioz's chord writing, acoustic principles explain how combination tones emerge from simultaneous playing and singing on brass.
From commissioned works to jury voting, a long-standing examination tradition reveals how brass players progressed through the Paris Conservatoire.
At the 1983 Paris acoustics congress, brass research moved between factory consistency, vibrating bells, mutes and the elusive mechanics of multiphonics.
Interview
Benny Sluchin, René Caussée
International Trombone Competition