Playing

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.

By Peter Damm

John Fletcher

Is Big Always Beautiful?

As brass instruments grew larger and louder, John Fletcher saw something being lost: the individual voice, clarity and character that make a player heard.

By Thomas Aitken

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.

By 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.

By Lewis Waldeck

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.

By Willi Aebi

Part 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.

By Roger Bobo

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.

By Jeffrey Agrell

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.

By Roger Bobo

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

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.

By Jean-Pierre Mathez

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

Part 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.

By Benny Sluchin

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.

By 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.

By Daniel Bourgue

Horn singing

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

By Earl S. Saxton

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.

By Ninck Blok

Part 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.

By Jeffrey Agrell

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.

By Philip Jones

Which Horn for which Music?

Article discussing the choice of horn according to repertoire, comparing instruments, sound ideals and stylistic requirements.

By Hermann Baumann

Part 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.

By Thomas Stevens

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.

By J. M. Bowsher, P. S. Watkinson

Part 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.

By Jean Douay