Brass Bulletin No. 58
II / 1987
108
9 articles
Original inserts
World News JournalOut of print
Brass Bulletin No. 58
II / 1987
Contents
Editorial
Jean-Pierre Mathez
Brass Bulletin’s summer editorial pairs a pause after the concert season with an appeal for new subscribers to support colour pages and an overworked team.
Jazz Improvisation
Major scales
Charlie Shoemake
Major scales, seventh chords and interval exercises provide the foundations for a systematic approach to jazz improvisation based on chord-scale relationships.
Reminiscences of modified rotary valves
Patented curiosities or missed opportunities?*
Günter Dullat
German patents from 1877 to 1919 document alternative brass valve mechanisms, reflecting makers’ attempts to shorten valve travel and offer players new technical aids.
The Lips
Jean-Pierre Mathez
Lip function in brass playing depends on a delicate balance of muscular tension and breath, developed through flexible control rather than excessive mouthpiece pressure.
One step for intonation: one giant step for the serpent
Craig Kridel
The 1986 Amherst serpent gathering combined Christopher Monk’s teaching with the premiere of Simon Proctor’s eight-part suite, expanding the instrument’s repertoire.
Fats' Heirs
Clifford Brown, Freddie Hubbard, Wynton Marsalis
Michel Laplace
Fats Navarro’s full trumpet sound shaped a jazz lineage through Clifford Brown and Booker Little to Wynton Marsalis, uniting early maturity with technical mastery.
17th- and 18th-century Brass Instruments at the Shrine to Music Museum
Margaret Downie Banks
The Shrine to Music Museum’s early brass collection includes a tenor cornett, a slide trombone, trumpets and hunting horns made in Germany and France.
Did Bach write the "corne da caccia" part in the B minor Mass for Gottfried Reiche?
Peter Damm
Baroque horn symbolism and Bach’s cantata writing underpin Peter Damm’s case for a low D horn in the Quoniam of the B minor Mass, intended for Dresden.
David Monette
Profile
Thomas Stevens
Chicago trumpet maker David Monette won leading players as customers in under two years, building instruments for individual musicians and their performance needs.