Pratica strumentale
167 articoli disponibili online
Membro
Maurice Ravel and the new trombone
Dance-band trombonists reshaped orchestral expectations in the 1920s and 30s, leaving their mark on Ravel’s Boléro and a generation of players.
Di Michel Laplace
Gratuito
Why pretend to be Mozart?
Reply to Bernhard Krol
Should a cadenza imitate Mozart? Peter Damm argues for stylistic fidelity without imitation—at the heart of a debate with Bernhard Krol.
Di Peter Damm
Membro
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.
Di Leno Lloyd
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.
Di Lewis Waldeck
Membro
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.
Di Willi Aebi
Membro
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.
Di Roger Bobo
Membro
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.
Di Jeffrey Agrell
Membro
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.
Di Roger Bobo
Membro
Parte 2
Ornaments in 18th-century Horn Concertos?
Essential ornaments
Natural horn technique left little room for excess: Peter Damm sets 18th-century ornamentation against the practical limits of range, style and notation.
Di Peter Damm
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.
Di Jean-Pierre Mathez
Gratuito
Parte 1
Practical Hints
Built around Herbert L. Clarke’s Technical Studies, these practice routines refine flexibility, intonation and note placement through structured brass exercises.
Di James Stamp
Membro
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.
Di Philippe-Henri Dejonker, Francis Orval, R. Miller, R. Sneppe
Membro
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.
Di Benny Sluchin
Membro
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.
Di Benny Sluchin
Gratuito
The Trumpet in the Works of Jean-Philippe Rameau
From court entertainments to operatic dances, Rameau’s trumpet writing reveals uncommon technical demands and a broader palette of Baroque brass practice.
Di Albert Hiller
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.
Di Daniel Bourgue
Membro
Horn singing
Earl S. Saxton advocates a “singing” approach to horn playing, emphasizing tone production through vibration, breath control and vocal-inspired technique.
Di Earl S. Saxton
Gratuito
Inventor's corner
Shaping Your Own Mouthpiece
A tiny alteration to the mouthpiece rim challenges conventional design, seeking greater upper-lip endurance without sacrificing flexibility, attack or control.
Di Ninck Blok
Membro
Parte 4
Zen and the Art of Horn playing
From meditation to distance running, horn playing becomes a way of quieting mental noise, linking breath, concentration, and daily life.
Di Jeffrey Agrell
Gratuito
1981 Geneva International Competition
Readers Letters
Philip Jones responds to the Geneva 1981 debate, arguing for fairer jury decisions, balanced repertoire, and the enduring value of international trumpet competitions.
Di Philip Jones
Gratuito
Which Horn for which Music?
Article discussing the choice of horn according to repertoire, comparing instruments, sound ideals and stylistic requirements.
Di Hermann Baumann
Membro
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.
Di 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.
Di J. M. Bowsher, P. S. Watkinson
Membro
Parte 1
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.
Di Jean Douay