Sound

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

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

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 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

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

The column of air

A System of Breathing for Brass Players

Explains the role of the air column in brass playing, focusing on breath support, airflow control and their impact on tone, articulation and sound quality.

By Robert Bouché

Problems of teaching methods in brass instruction

Talent isn’t enough. Krumpfer argues that brass teaching must align physiology, psychology, and method—only then can young players reach their true potential.

By Hans-Joachim Krumpfer

Pyotr Naumovich Volkov (1877-1933)

First trombone professor at St. Petersburg Conservatory

From imperial St. Petersburg to Soviet Leningrad, Volkov shaped a distinctive Russian trombone tradition through performance, teaching and generations of pupils.

By Viktor Sumerkin

I myself have formed this instrument

“Forming” the instrument? A dangerous illusion. This article debunks the myth: the instrument cannot be shaped — it is the player who must adapt.

By Robert Ischer

The mute belt

In Stockhausen's demanding trumpet works, six different mutes had to be changed while performing from memory, turning a practical problem into a new stage technique.

By Markus Stockhausen

The alto trombone and contemporary concepts of trombone timbre

Alto trombone timbre from Vienna to Brahms, orchestral balance, period practice, and why bright brass sounds gradually disappeared.

By William E. Runyan

On the sensitivity of brass instruments

Metal, pressure nodes and temperature shifts shape response, timbre and tuning, as Emile Ferron links instrument acoustics to the player’s imprint.

By Emile Ferron

Part 2

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

Continuation of Edward H. Tarr’s study on the Baroque trumpet, examining the high trumpet and further clarifying the concept of the “Bach trumpet.”

By Edward H. Tarr

The Leningrad School of Horn Playing

From St. Petersburg to the Soviet era, generations of horn players shaped a distinctive approach to sound, interpretation, and orchestral playing.

By Frøydis Ree Wekre

Part 3

The Trumpet in the USA

Gadgets I

From Schilke soundposts to piccolo trumpet extensions, American performers turned technical frustrations into specialized tools for modern playing.

By Thomas Stevens