Articulation

Part 1

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.

By Timofey Dokschidser

Part 2

Articulation or bowing on the trumpet

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

By Timofey Dokschidser

Emory Brace Remington

A Profile

“The trombone must sing.” Ralph Sauer profiles Emory Remington—legendary teacher whose vocal approach shaped generations and redefined brass pedagogy.

By Ralf Sauer

Part 4

The Trumpet and the Cornet in Jazz and Popular Music

The instrument for jazz

Jazz trumpet playing balances equipment, embouchure and articulation, as changing sound ideals reshape mouthpieces, technique and the physical approach to playing.

By Michel Laplace

Fundamental trombone performance technique

Teaching and application

Technique becomes musicianship when breathing, vibration, resonance, articulation and slide movement cease to be separate skills and begin working as one.

By William F. Cramer

Part 1

The trombone in Jazz and Popular Music

Jazz did not invent the modern trombone: early virtuosos, New Orleans players and changing techniques reveal a more complex path toward flexibility and legato.

By Michel Laplace

Part 2

Cesare Bendinelli (1542-1617)

The Trumpet Method

The first trumpet method rediscovered: Edward H. Tarr reveals how Bendinelli’s 1614 treatise reshapes our understanding of trumpet technique, signals, and ensemble art.

By Edward H. Tarr

Part 6

The Trumpet and the Cornet in Jazz and Popular Music

Special jazz techniques

Vibrato, half-valves, growls and shakes lead to a larger argument: jazz transformed trumpet technique, yet its contribution remained strikingly undervalued.

By Michel Laplace

Vassily Gueorguievitch Brandt (1869–1923)

Biography

Sélianine traces Brandt’s life and artistry, from Bolshoi virtuoso to influential pedagogue, revealing the foundations of a distinctly Russian trumpet tradition.

By Anatoly Selianin

Jazz and the Horn Series • Part 3

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.

By Jeffrey Agrell

Part 2

The Haydn Trumpet Concerto

André, Wobisch, Dokshitzer, Stringer and others reveal how tempo, phrasing, ornamentation and cadenzas reshape Haydn's trumpet concerto.

By Alfred Willener

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.

By Louis Davidson

Phonetics in the articulation and expression of the language of music

Rethinking articulation: Francis Orval challenges traditional teaching—revealing how phonetics, language, and psychology shape sound, phrasing, and musical expression.

By Francis Orval

Natural trumpets, basic techniques

Natural trumpet playing demands more than historical equipment: Friedemann Immer sets modern technique against Baroque sound, articulation, style and authenticity.

By Friedemann Immer

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.

By Michel Laplace

Part 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.

By Peter Damm

Part 1

Practical Hints

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

By James Stamp

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.

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

Part 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.

By Benny Sluchin

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.

By Louis Davidson

Part 3

Ornaments in 18th-century Horn Concertos?

Deliberate divisions

Improvisation, articulation and ornament were once inseparable: Peter Damm recovers an 18th-century horn practice later narrowed by increasingly precise notation.

By Peter Damm

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.

By William F. Cramer

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.

By Peter Damm