Sound

Part 1

The Baroque trumpet, the high trumpet and the so-called Bach trumpet

Edward H. Tarr examines the Baroque trumpet and clarifies the origins and meaning of the so-called “Bach trumpet.”

By Edward H. Tarr

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 3

A study of musical intonation

From wind quintets to brass sections, balance, overtones and perception shape intonation in ways that often diverge from measurable frequency.

By Christopher Leuba

Part 1

A study of musical intonation

Resultant tones, harmonic series ratios and chord spacing challenge equal temperament, linking acoustics and practical ensemble intonation.

By Christopher Leuba

Part 2

A study of musical intonation

From harmonic-series tuning to valve-slide adjustments on the horn, practical listening and resonance become more reliable guides than equal temperament alone.

By Christopher Leuba

Brass in the Operas of Berlioz

Berlioz turned a changing brass section into a dramatic force, using horns, trombones, cornets and saxhorns to shape colour, distance, ceremony and fear.

By Benjamin Perl

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

Low register development for the trombone

Should you really drop the jaw for low notes? James Fulkerson challenges this idea and proposes a more stable approach to extend the low register.

By James Fulkerson

A Trombone Martyr

Auguste Léonard de la Tuilerie

A Paris apothecary turned trombone evangelist challenges 19th-century musical habits, imagining the slide trombone as the future voice of harmony.

By Benny Sluchin

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

My contacts with the United States

From a simple request to an unexpected invitation: this account dives into Indiana University—between dazzling technique and the search for true musicality.

By Michael Höltzel

Snapshot: the American Brass Quintet in Europe

Report on the American Brass Quintet’s tour in Europe, highlighting performances, reception and the ensemble’s role in chamber brass music.

By Jean-Pierre Mathez

The bell-tuning trumpet

Colin Bloch examines bell- and slide-tuned trumpets, comparing intonation patterns through controlled tests and outlining structural causes behind observed deviations.

By Colin Bloch

Yamaha, an ambitious giant

Behind the rise of a future industrial giant lies an unexpected lesson in craftsmanship, cultural exchange and the discipline that reshaped wind instrument making.

By Jean-Pierre Mathez

Instrument Making and the Ear

From hearing physiology to workshop testing, E. Ferron links instrument design, acoustics and perception, where no two ears judge sound in quite the same way.

By Emile Ferron

The Wrong Brass?

Between blind fidelity and reckless modernisation, instrument substitutions force performers to decide when the score’s wording serves—or betrays—the music.

By Rudolf Lewy

An American trumpet player's impressions of european brass performances

An American trumpet player reflects on European brass traditions, comparing education, amateur practice and professional performance across both continents.

By Harold E. Krueger

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

Editorial

Is sound something you control—or something you become? Jean-Pierre Mathez challenges technique, fashion, and pedagogy: sonority is a lifelong conquest of freedom.

By Jean-Pierre Mathez

Basics in breathing

An Outline to a Better Sound

From breathing awareness to sound production, practical exercises link physical relaxation, air control and rhythmic precision in everyday brass playing.

By Joel Elias

Advices from an expert brass clinician: Robert Pichaureau, Paris

What if everything you control is wrong? This radical approach to brass playing shifts focus away from the embouchure — back to the true origin of breath and sound.

By Alfred Willener

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

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