Teaching

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

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

Ferrol, exemplary instrumental courses in Spain

By Jean-Pierre Mathez

Part 5

Practical Hints

Working from a Clarke study, a modified routine links tone stability to velocity, showing how secure sound supports precision as tempo increases.

By James Stamp

The subconscious, a useful friend

From yogic practices to auto-hypnosis, mental conditioning and visualisation are linked to performance, self-control, and the body's hidden responses.

By Michel Ricquier

Part 8

The instrumental player’s maintenance and development

The opinion of an expert

By James Thompson

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

My Experiences with Colleagues and Pupils

in 50 Years as trumpet player and trumpet teacher

Across five decades, Heinz Burum links trumpet embouchure, mouthpiece design and teaching practice to concrete cases from orchestras, pupils and colleagues.

By Heinz Burum

Part 7

James Stamp Master in listening

By Jean-Christophe Wiener

National Trombone Workshop (USA)

Report on the first National Trombone Workshop (1971), highlighting pedagogy, leading performers and the legacy of Emory Remington.

By Henry Romersa

Professor Timofey Dokshitser

Trumpet Virtuoso and Artist from Moscow

In 1983 Moscow, Timofey Dokshitser weighs virtuosity against musicianship, opening a window onto Soviet trumpet training, orchestral life and artistic discipline.

By Marcel Hollenstein

Reflections on the brass player

Why do brass players so often resist new music? Vinko Globokar dismantles schools, routines, and traditions—and calls for a freer musical mindset.

By Vinko Globokar

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

Collective improvisation in instrumental classes with different instruments

What if learning an instrument meant more than playing pieces? Roland Böckle promotes collective improvisation to develop listening, taste, and creativity.

By Roland Böckle

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

Contemporary Hungarian Brass Music

From early decline to recent revival, Hungarian brass emerges through pedagogy, competitions and new chamber works, with Varasdy outlining key figures and shifting ensemble practices.

By Frigyes Varasdy

Part 4

Jazz Improvisation

The melodic minor scale 2

By Charlie Shoemake

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

James Stamp, subtle teaching

Intonation, held notes and mouthpiece work shape James Stamp's subtle approach to trumpet playing, where listening and physical economy guide technique.

By Alfred Willener