A Guide to Buying a TRUMPET

Trumpet bell (Photo credit: Wikipedia)

Picking the best trumpet can be a difficult task. Most parents looking for a trumpet have no idea what to buy. I've been a trumpet teacher for twenty years and a band director for the last fifteen. I've played on almost every trumpet available today, and many of them are great instruments while some are far from it.

Trumpets come in different levels. There are the beginning or student trumpets, intermediate trumpets, professional trumpets, and custom trumpets. There are also some instruments that should only be made into lamps or put on walls as decoration because of their inferior quality. The price gives them away. If you buy one of these, you're most likely throwing your money away. Be very careful.

Most students start out at the beginning or student trumpets. Student trumpets are generally built with less hand-fitting and tougher materials. They are usually built to withstand normal student use, and they should last through the first few years of the band. Don't just buy a cheap trumpet. Some of them are so poorly made, they will hold a student back.

Intermediate trumpets come next. These instruments have some of the professional trumpet characteristics, and they do perform a little better than a student trumpet. They are often silver plated. They will always have a first valve slide saddle and third valve slide ring so they can be kicked out. While these trumpets don't cost as much as a professional trumpet, the price can be close. Generally, it's better to go ahead and purchase a professional trumpet when it is time to purchase a "step-up" trumpet.

Professional trumpets are truly fine instruments, and most professional trumpet players perform on them. I received my first professional trumpet when I progressed to high school band, and I believe most students that work hard should move to a professional trumpet at that time. These instruments will have slides that all work well right out of the case. They are hand fitted throughout the instrument, and they play as well as any high school student is able to play. These instruments will last through college, and for players that don't perform for a living, they will probably last the rest of their lives.

Custom trumpets come next. These are the best instruments available today. True custom trumpets are hand-made throughout. While these are truly incredible trumpets, they are not necessary for most high school students. If you want to have the best trumpet available today though, buy one of these.

By Harry Richardson - Article Source: EzineArticles

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TRUMPET and TROMBONE High Notes

Photo  by Christophe ALARY 

Are you a brass player that has heard an album or a live performance by one of the giants of our instrument and been totally amazed at how they possess a complete command of the instrument?

Such giants as Maynard Ferguson, Wayne Bergeron, Bill Watrous, Slide Hampton?  It's not that these individuals were born with great skills and never had to practice, yet more over, they were driven by the desire to play.  Along with that desire comes support.  Support from family, friends, peers, and authority figures such as band directors.

What is essential for all beginning players young and old is a strong support system.  Family, friends and teachers must all rally around the student to help them believe in themselves and in what they're doing!  Statements such as... ya, ya, that's good but can you do that somewhere else is not exactly a supportive frame of mind.

If you could go back in time and interview the greatest players, you would find that they were strongly supported by family and cohorts.  Maynard Ferguson is a prime example of this!  His parents were both school principals in Montreal Quebec Canada, and as he and his brother Percy were growing up, they were strongly supported in everything they did.  Whether it was sports or music, they were rallying to their kids support.

As Maynard grew into his early teen years and showed a knack for trumpet playing, his parents nourished this talent by not only buying him the recordings, but taking him to the performances that came through.  From Duke Ellington to Dizzy Gillespie, they were there.

The next thing a young player needs is the right tools.  Teachers who don't really know what they're teaching can be a serious detriment to a young player and his growth.  The right approach and the right books as well as specific instruction on how to perform each exercise is vital!

If you are a player who did not exactly experience either of the above, it's not too late.  Trumpet players are most likely looking for that Maynard type range and power.  The high notes that make the audience just sit back in total amazement and wonder - does that hurt?  Is that some freak trick?

High notes are nothing more than just really fast air being forced through a very small hole.  NOT large volumes of air, but rather extremely compressed air moving rapidly through a small hole between your lips.

Sounds easy, doesn't it?  It is once you gain the right concept.

Keith Fiala / Anna Romano - Article Directory: EzineArticles

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TRUMPET, Trumpeter & Warm Up Woes

Are you one of those trumpet players that pulls the horn out of the case, jams the mouthpiece in and just starts playing?  Or are you a trumpeter that carefully plots out the next hour or more for a warm-up routine that requires you to perform something of a circus act musically?

Most players who have been in private trumpet lessons have had an instructor sketch out a warm-up routine for them.  My question is - do you know why you're doing what you're doing?  What is your warm-up supposed to do for you?  It's certainly not supposed to make your lip swell up like a balloon or feel stiff as a board by the time you're done.  In fact, your warm-up routine should help you to relax, breathe deep naturally, and help to center your pitch, sound, control, and ability to play in all registers easily and comfortably.

If you're not already doing so, you should think about what your playing needs and goals are for that day.  It should also be taken into consideration as to what yesterday was like.  Was it strenuous?  Was it light?  Did you play at all?  This all can impact how long it will take you to warm up and what you should be doing for a warm up.  Something again that most players don't consider.

Below is a routine that I use during a typical warm up... most days I play for 4 or more hours and usually push pretty hard... so my warm-up starts VERY easy.

*  I start with long tones very soft... usually starting on a 2nd line G - how long depends on how my face is responding to the horn.  Usually I play this note on / off for about 3 to 4 minutes.  I focus on my breathing during this process to help get my air moving.

*  Once I have the note responding without airing out or sputtering, I will perform Clarke Studies #1... chromatic scale patterns (7 notes up / down).  Again, performing these softly to help relieve tension and not cause any swelling.  This is also performed on / off to allow ample rest during this warm up process.

*  Once I've completed exercise #1 from the Clarke book, I will either play exercise #2 or I will start running jazz patterns that don't take me any higher than a G on top of the staff.  Again, resting every now and again...

*  After resting from my last phase, I will run exercise #9 out of the Clarke book... this is extended chromatic studies.  Once again, I focus on keeping my volume down so I don't add tension to my lips, and I can use my air to reach the upper register notes.  Most players run into big trouble here because they start using lip tension vs. holding the lips close together and pushing the air speed.

Please note that I am allowing for rest in my warm up - just as much as I'm playing.  This is VITAL!  If a trumpeter does not allow for rest during their warm up process, strain and tension can start to hinder their playing.  This causes frustration, which creates a vicious circle.

By Keith Fiala and Anna Romano - Article Source: EzineArticles

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Homage to LOUIS ARMSTRONG

Head and shoulders portrait of jazz musician Louis Armstrong.
(Photo credit: Wikipedia)

For the last 15 years, I have been living in Lausanne, Switzerland, where the International Olympic Committee has its HQ, and where the writer (most famously for A Many-Splendoured Thing) and controversial "provocative" Han Suyin lived before she passed away on 2 November this year, among other things. It is also where the world-famous business school IMD is located where I have been working. I love this world, and when one is in love with the world Lausanne is not a bad place to be.

It is by the lake Léman, surrounded by snow-capped mountains, with most of the time blue skies, no pollution, and riotous colors of nature in the city as well as around. My flat is about 15 minutes' walk to IMD. I am often away and travel perhaps 75% of my time. But when I am here, I invariably walk to work and in so doing pass by gardens, hear birds, see squirrels, sometimes, if it's especially early, a fox or two, all depending on the season of course, but always splendid. I get to my office and hum Louis Armstrong's What a Wonderful World!

As far as I can remember, I have always loved the world. But not just the flowers, lakes, trees and hills, nor just the birds, squirrels, and deer, but also the men and the women - or at least many of them, the tremendous variety of languages, cultures, histories, literature, painting, music, topographies, architecture, food and drink, and so on. Of course, there is a lot of evil in this world, there is misery, which needs to be combated; there are lots of jerks; but in aggregate, what a wonderful world indeed.

Danger to the wonderful world

But the world is in grave danger of losing its splendor, its identity, and its diversity. On the last, diversity, I refer not only to biodiversity, but also to cultural diversity and indeed cultural identity. The world has never been so interconnected and so open. Yet, as an educator, I am constantly struck by how little people actually know or learn about not only other countries but often even their own!

An illustration: A few days ago I took a flight from Dhaka to Istanbul. 

Just before departure an announcement came on that the audio/visual system was not functioning, hence there would be no "entertainment". The business class was full. With very, very few exceptions (I was one), the passengers, when not sleeping, spent the nine hours flight staring into emptiness. They had no books with them, nothing to read, nothing from which to learn, nothing to challenge their minds. They are traveling physically, but not intellectually.

In his brilliant book Collapse, author Jared Diamond has shown how societies can commit ecocide and indeed have committed ecocide. That is a major threat this wonderful world faces. Another major threat is the destruction of civilization due to excessive materialism and absence of curiosity.

By Barbara Meynert Barbara Meynert is an avid follower of disruptive technologies that are transforming our world. She is the founder and one of the contributing authors in http://www.sagevita.com. Come and visit Sage Vita to learn more about the advancing technology at http://www.sagevita.com. Article Source: EzineArticles

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TRUMPET CARE - The Care and Feeding of a Trumpet

 (Photo credit: Wikipedia)

As a band director, I've come to realize that most trumpet players don't clean their instruments often enough. I've actually seen trumpets that were almost totally clogged with crud. That is the "technical term" for the greenish, grayish, brownish sludge that forms inside an instrument over time. If it's been awhile since you cleaned your trumpet, prepare yourself for what will come out of it, but your trumpet will play better after it's clean.

Trumpets are fairly simple things. They are basically just 4 1/2 feet of brass tubing with valves and slides. It's the careful manufacturing and hand work that make it into a trumpet that plays well. A well-cared-for trumpet of good quality will last minimally 10-20 years with a lot of playing. A trumpet cared for poorly will be trash in a short time.

Although this article makes it sound like cleaning a trumpet is a long and involved process, once you have done it a couple times, it will only take you 15-20 minutes to complete, and it will make your instrument last much longer.

Unlike woodwind instruments (flutes, clarinets, saxophones, etc.), trumpets can be given baths to clean them. In fact, it's the only good way to truly clean them. You could take them to a music repair shop for an "acid bath", but that's really not necessary if given baths once a month or so. Once you get the accumulation of minerals in the horn, it will take an acid bath to remove them, but if you give the horn a bath often, your trumpet usually won't get mineral deposits.

You'll need a flexible cleaning brush or a cleaning snake, a valve casing brush, and a mouthpiece brush. You'll also need silver polish or a silver polishing cloth if it's silver plated, valve oil, and slide grease. I have always used liquid dishwashing soap in lukewarm water to clean my trumpets, but some manufacturers don't recommend the soap. Check with your product information or your manufacturer's website to make sure before you use it.

You'll also need a high-quality valve oil and slide grease if you want to make your trumpet last. Just like a car, the valves of a trumpet need a film of oil on them to work well. I've become sort of fanatical about how my trumpet valves work. I've tried just about every available brand of oil on the market, and I've decided that synthetic oils are the only oils to use. They last longer, and they minimize wear on the valves.

You also need a heavy grease for the main tuning slide and second valve slide. If you don't grease these slides, they will wear, and you'll start to see your slide moving when you least expect it throwing you out of tune...usually at the most inopportune times. They can also stick badly enough that it requires a trip to the repair shop to pull them. If you use a heavy grease, it will last until your next cleaning.

First, fill a bathtub with enough lukewarm water to cover the instrument. Hot water can damage the finish, so it's best avoided. Disassemble all of the instrument, but don't remove the water keys (spit valves), remove any triggers if so equipped, or disassemble the valves. If you have a trigger on the first or third valve slides, you'll need to remove the screw that holds the slide on, but don't remove any of the other parts of the trigger. Trust me, you don't want to try to put a trigger or water key spring back on without the necessary tool.

After it's disassembled, place all of the parts except the valves into the lukewarm water, and let them soak for a few minutes. After the soaking, run the snake through all of the tubings. Don't force it through any of the tight bends. Just go as far as you can. Then scrub the inside of the valve casings with the valve casing brush. After that, run clean water through all the tubing until the water runs clear.

Next, using a soft cloth clean between all the outer tubing to remove any dirt or tarnish. You might need to use silver polish to remove the tarnish on a silver trumpet. Never use silver or brass polish on the outside of a lacquered or "brass" looking trumpet. There is a clear lacquer protecting the finish, and polish can remove it. Next, clean the inside of the bottom valve caps with a paper towel. A lot of the crud settles in these caps.

After all, the tubing on the horn is clean, and the outer surface of the trumpet is clean, it's time to pay attention to the valves. I use one end of the cleaning snake to clean the ports of the valves and rinse them off with soap and water. Be careful inside the ports, You don't want to damage the metal with the end of the brush.

After all that, it's time to reassemble the horn, oil the valves and 1st and 3rd valve slides, and grease the main tuning slide and second valve slide. No, grease does not belong on the third valve slide. it will move too slowly. Oil is all you need. I know that seems like a long process, but it actually takes longer to type it than to do it, and your horn will last longer and play better afterward.

By Harry Richardson Harry Richardson has been a band director for 14 years with college degrees in trumpet performance and music education. For more information on selecting and purchasing trumpets and accessories, please visit http://www.trumpetfinder.com Article Source: EzineArticles

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How to Play the TRUMPET - 6 Tips For Playing Like a Pro!

The trumpet is a magnificent instrument which produces a beautiful tone. It's versatile and can be played in many different types of bands, including orchestras, pop bands, and big bands.

However, mastering how to play the trumpet is a long process requiring immense dedication and passion, but having played the trumpet for over twenty years, I think it's well worth it!

So, to help you out here are six top tips for propelling your trumpet playing and to help you learn how to play the trumpet like a pro...

Photo  by   oddsock 

1. Warm up by buzzing just with your lips and then with your mouthpiece. This really helps build strength without causing lip fatigue which can happen if you just practice on your trumpet.

Do the following just with your lips and just with your mouthpiece:

- Buzz a note for a count of four, and then continue up the scale one tone at a time. You can vary this with different exercises you know or by buzzing louder of softer.

2. Rest for as long you play. This is so simple but players rarely do it. This helps your lip muscles recuperate quicker and means you can play for longer without getting tired.

I would recommend regular mini breaks rather than playing for 10 minutes and resting for 10 minutes. Practice an exercise or a part of your music and rest for as long as you played. While resting you can practice finger patterns on the valves or just stretch out your lips.

3. Practice with a metronome. Again, this is a very simple idea that is rarely adhered to.

Most music you play will require you to play in time and doing this really helps you to regulate your internal metronome. It also helps when practicing exercises or difficult musical passages as you can gradually build up the speed you play them at by increasing the speed of the metronome.

4. Practice your pedal notes. Pedal notes, for the purpose of this exercise, are all the notes below middle C. By playing the low register you build strength and range with less pressure on your lips. This means you can play for longer.

When you play the notes below bottom G you will need to create the notes using your lips and the fingering you would use for the octave above. This is great for improving tone and intonation.

5. Play without taking the trumpet off your lips. This is a fantastic way to build strength and endurance as well as learning how to control your breathing.

To do this, find an exercise that you can play continuously without stopping. Continue playing for 5mins non-stop, then 10minutes then for as long as you can at the end of every other practice session.

When you're gigging, especially in Big Bands, you can be playing for anything up to 2 hours with few breaks so this is a fantastic way to practice for these gigs and build your chops!

6. Plan your practice session. This will make a huge difference in the effectiveness of your practice while learning how to play the trumpet.

First, make a list of every element of playing the trumpet, eg tonguing, breathing, and tone, then before each practice session, list what you will practice during your session. This will always ensure that you regularly practice all the different elements, it will keep you focused and make the most efficient use of your time while practicing.

That's it, obviously, there are many more skills to learning how to play the trumpet but these have made a huge improvement to my playing and I hope they do for you too!

It takes some discipline to integrate these ideas into your practice regime but do it for a month and it will become a great habit that will feel like you've always practiced this way!

Ingram Sanders is an experienced trumpeter who has played for over 20 years.  Article Directory: EzineArticles

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Beginning TRUMPET Players Beware!

In the world of a beginning brass student (trumpet, trombone, euphonium, baritone,tuba), things look very overwhelming and the teacher seems to be the all knowing, so what the brass teacher says, usually seems as though it's the only way for things to be done.

Trumpet with sunlight streaming into Knox Chapel, taken during Christmas concert
(Photo credit: Wikipedia)

Brass teachers can tend to leave holes in the instructions to a young student as to the proper way for them to produce sound.  Most trumpet students end up with a pinched sound or extremely airy sound due to the lips not properly forming a relaxed embouchure.  This eventually leads to extreme frustration for the student and seems absolutely insurmountable because they can't find the answer to correct their problems.

Basically, by relaxing the upper lip, lower lip, and using the mouth corners to create the aperture the student can instantly create a relaxed open sound without having to over blow.

If the student is under the impression that it takes "talent" or a "natural ability" to play their instrument, this can also create a defeated feeling.  So it's VITAL that the trumpet instructor / brass instructor relay the message to each student that it is habit that is being created when practicing.  So if the student is careless in the beginning, they will have habits that they must fix or break in months and years to come.  I've found that sound problems usually indicate far more than just tonality issues.  A trumpeter's tone can indicate pinching, an overly open aperture, a lack of air usage, or a strained embouchure.  This will inhibit flexibility, range, endurance, and control of various volumes!

Keith Fiala / Anna Romano Article Directory: EzineArticles

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TUBA - Music-Instruments of the World

The Tuba

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Types of TUBAS

As you may or may not know, several types of tubas exist. Each of these has its own tonal properties. Having so many versions of the same instrument can be confusing to anyone. I am writing this guide as a general reference when purchasing or identifying one.

Man playing Tuba - Photo by New York Public Library

Contrabass Tubas

Contrabasses are the most common type of tuba today and are the lowest-pitched. There are two types of Contrabasses, pitched in either Bb or C.

BB-flat Tuba

The BB-flat Tuba is the most common tuba in the U.S. today and are the largest standard tuba. These are used by many school bands because most other brass instruments used by high schools are also keyed in Bb. They are also used by some professional players. BB-flat tubas are often designed to handle the rough treatment of young tubists and sacrifice responsiveness and tone as a result.

BB-flat tubas are the contrabass of choice in German, Austrian, and Russian orchestras. They are the standard for use in concert and symphonic bands.

CC Tuba

CC tubas are build a whole step up from BB-flat models. They lack the lowest notes of a BB-flat tuba, although many add extra valves to make up for this. In the US, most professional tuba players play C-pitched tubas. These tubas are easier to play in the sharp keys, allowing them to work better playing in an orchestra (String parts are often written in the sharp keys to make them easier for them). They are build more for responsiveness and not durability.

These tubas are typically the next step up for advancing tuba players, at least in the US. However; they are not a necessity. A good BB-flat player can play anything written with a CC tuba in mind.

Bass Tubas

Bass tubas are smaller than the Contrabasses and naturally play higher.

E-flat Tuba

Eb Tubas generally play an octave above the contrabasses in a brass band. They are somewhat rare in the US, although in the UK they are the standard orchestral bass. These widely used in bands in the late 1800's and early 1900's. According to one source "nobody remembers why"...

F Tuba

F Tubas are used mainly by professional players for solo works and to play higher parts in some older pieces. They are the standard orchestral tuba in much of Europe, with BB-flat or CC tubas used when additional low end is needed.

Tuba Variations

The Sousaphone

Attributed to and named after John Phillip Sousa, Sousaphones designed for marching. They wrap around the body, resting on the left shoulder and the bell faces forward to project sound into the crowd. They are most commonly pitched in Bb and have just three valves, although some are in Eb. The originals were in C. Just watch out for the wind!

Bell front (recording) tubas

These tubas are upright, but have bells facing forward to project the sound.

Contrabasses (Marching Tubas)

Often seen in DCI competition (Drum Corps. International), these resemble upright tubas but rest on the left or right shoulder, bell pointed to the crowd. These are more awkward than sousaphones and are not common in high school bands. Some upright tubas can be converted to marching tubas with special lead pipes that are interchangeable. This saves bands with low budgets the expense of buying a tuba for each season.

As you can see, many types and variations of tuba exist, each with their own purpose in a band. Hopefully this guide will shed some light on these instruments.

By Mike Quain Article Source: EzineArticles

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The Muscles Role in TRUMPET PLAYING

People literally use TOO many muscles when they play. They use muscles that actually work against playing as well as muscles that help playing. They pull with the cheeks out and pull with the corners in; they pull the chin down and try to make the lips compress. These are OPPOSITE actions and they just tire us out. Think about what the muscles do and then how they affect playing. When we learn where the extra tension is then we are automatically stronger.

Duncan Wilson playing Rotary Bass Trumpet in C with the BBC Symphony Orchestra
(Photo credit: Wikipedia)

Isometrics are good for adding muscle strength but NOT good WHEN we are playing. As far as isometrics go all you need is a unsharpened pencil. It costs 5 cents and gives you all of the workout you will ever need. Most people use the muscles UNDER the lower lip for compression and the pencil isolates that better. The pencil exercise should be done with the teeth CLOSED. That makes the lower lip do the work. When the teeth are apart the jaw moves and the pencil is partly supported by the jaw and neck. Working the neck is a BIG concern for many players as some of them have real issues with the throat closing.

The corners of the Buzz or vibration is INSIDE the mouthpiece. The actual mouth corners are isolated from the embouchure by the mouthpiece rim and pressure. Poor choice of words from many years ago. There are many embouchures and the corners play a significant part in only ONE of them. You have to realize that people have done themselves a disservice by blending and mixing embouchure ideas together that don't fit.

Sand is OK. Water is OK. Water and sand together make MUD. That is what we do when we keep assuming that ANY embouchure idea or exercise will work with another one. We muddy up our abilities.

What is the BEST embouchure? None of them. Maynard Ferguson used some pucker. Andrea Tofanelli rolls his lips in and uses a forward jaw. Arturo Sandoval buzzes. Walt Johnson has his top lip overlap his lower lip. Bob Odneal uses compression made by bunching his chin. Nick Drozdoff uses his tongue against his lip as part of the embouchure.

6 high note players and 6 completely DIFFERENT embouchures. Yet for some reason people think there is A high note embouchure. (NOT mixing several embouchures together by accident IS the high note embouchure.) Some of those NEED mouthpiece pressure to work. When you over lap the lips pressure IS the way they make compression. Now that is different. Some embouchures need tongue arch to induce a slight curl (when the tongue moves it moves the jaw and that realigns the lips and causes curl.) But in some like the Stevens; tongue arch is useless because the lips are already curled (the tongue can't move enough to add to the curl.)

See those 6 embouchures I have mentioned are NOT all of them. Plus there are variations on each. There are even some others I haven't mentioned yet. Bill Houghton - Principal Trumpet - BBC Symphony Orchestra plays with ONE lip against the tongue. The tongue takes the place of the bottom lip. (That was first written about in the ITG Journal Sept 1995.)

See there are many variations that work as long as we don't mix something from embouchure A with something from embouchure B and something from embouchure C. Mixing these elements often adds excess and throws off the balance that we need between lip aperture, firmness, relaxation, air support.... When this balance is upset then our progress halts and sometimes reverses.

Putting Ford parts on a Chevy doesn't work. That is why MOST embouchure experiments fail. The WAY we use some muscles and the WAY we use our jaw and the WAY we set our lips makes each of us a Chevy, or Ford, or Cad, or&& This makes actions that are VITAL to some setups completely worthless for others. See the old habits and over built muscles have to be overcome BEFORE the experiments have a chance of success.

If somebody smiles to play high we get them to set the embouchure by pulling the corners in so it is much harder to smile. That gives them a chance to learn to use compression. It could very well be that your playing embouchure reinforces things that prevent your experimental embouchure from growing. For example people who already use lip curl get ZERO benefit from tongue arch. Tongue arch helps BECAUSE it creates some lip curl as the tongue movement makes the jaw move. If you already use much curl the effect will NOT be noticed because the ratio of tongue movement to jaw movement is 16:1. That is why Stevens didn't use ANY arch. But on a pucker embouchure or a buzzing embouchure arch is like a turbocharger.

ALWAYS Useful for playing:

Actual lips themselves the Orbicularis oris ---------- close mouth, purses lips.

The muscle in middle of chin the Mentalis ---------- protrude lower lip and makes compression.

The muscle that goes from under corners of lower lip the Depressor anguli oris ---------- frowning and makes compression.

OFTEN Harmful for playing:

The muscle of the Upper cheek the Zygomaticus major/ minor ---------- smiling and thins the lips.

The muscle that goes from the cheek bone and lips the Buccinator ---------- compresses cheek and thins the lips.

The muscle that goes from the ear to mouth corners the Risorius ---------- smiling and thins the lips.

The muscle that goes from the lip to nose the Levator labii superioris ---------- raises upper lip and parts the lips and pulls top lip above teeth gap

The muscle that goes from the jaw to mouth the Depressor labii inferioris ---------- lowers lower lip and parts lips.

The muscle that goes from the neck muscle that goes from jaw to shoulder the Platysma ---------- depresses mandible, lowers the lip and parts the lips.

The largest cheek muscle the Masseter ---------- closes jaw and chokes the air flow.

The muscle that goes from the top of cheek towards back of head the Temporalis ---------- closes jaw (elevate mandible) and chokes air flow.

Many players use ALL of these muscles but when you actually look at what they do then you see they hinder playing. So my best advice to you is that you check and see what elements are supposed to be present in the embouchure that you play and to not add ideas from other systems to it.

By Clint McLaughlin http://www.BbTrumpet.com Article Source: EzineArticles

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CONTRABASS TROMBONE - Music-Instruments of the World

Trombone

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Do You Want to Learn the TROMBONE?

The trombone is a member of the brass family and the horn and come in different sizes. The most common ones are the medium sized or tenor trombone and larger sized or bass trombone which are both pitched in Bb. They produce heavy sounds which are lower than the trumpet and are used when the orchestra is playing loud sections or in harmony with the higher horn and trumpet parts.

Trombones have a cylindrical shaped tube and a cup shaped mouthpiece and are related to the trumpets. But instead of valves which a trumpet has, a trombone has a moveable slide which moves in and out. A player will stop the slide at any of the seven positions to get the range of notes available to produce. At any of the positions a series of notes can be produced by tightening or slackening his lips. The notes produced are a series of natural notes called harmonics. When the slide is pulled out completely, the range of notes which can be produced will extend downwards for six semitones.

Trombone - Photo: Wikimedia CC

Like other brass instruments, the sound of the trombone is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. When the player moves the slide out it extends the length of the air column and lowers the pitch.

Trombones are played in a variety of situations like orchestras, military bands, jazz bands, dance bands eg the big band.. <br>Orchestras generally have two tenors and one bass trombone. The other groups having varying numbers of trombone players.

Let's take a look at two well known trombone players. <br>1. Slide Hampton (Locksley Wellington "Slide" Hampton ) was a famous American trombonist, composer and arranger who played all around Europe after he was in his dad's band, named Hampton's Band. He toured with them a lot and is probably the best role model for starting trombonists. Slide Hampton was born in 1932.

2.Tommy Dorsey ( Thomas Francis Dorsey ) was a great American jazz trombone player as well as a trumpeter, composer, and bandleader of the Big Band era. He had a smooth-toned trombone playing style and was known as "The Sentimental Gentleman of Swing". He is famous for The Spell of the Blues and The Boogie Woogie. Tommy Dorsey was born <br>November 19, 1905 and died November 26, 1956.

You now know that the trombone is a brass instrument of varying sizes and can be played in a variety of situations. You have been given examples of two well know trombonists which could look up on YouTube and see if the sound tantalises your taste buds. Then you need to make the final decision; Do you want to learn the trombone?

For pictures of the trombone and other brass instruments Look Here To look at a trombone or trombone music you might like This  Article Directory: EzineArticles

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TRUMPET MOUTHPIECES - Always Keep a Spare!

What should be the very first point of order that you think about when getting your trumpet ready to play - most real musicians will tell you to consider trumpet mouthpieces. That's right, you wouldn't be playing your trumpet if the mouthpiece was not in perfect operating order. Your trumpet mouthpiece get lots of abuse, isn't that where all of the sound is formed in the first place? That abuse, or heavy use can translate directly into very heavy wear and possible outright destruction. Always be prepared, and always carry a spare or extra mouthpiece in your trumpet case with you wherever you go - I guarantee that you'll never regret the decision!!

Trumpet Mouthpiece - Photo  by    cmelnychuk 

It's a fact that these days there are a lot of knock-offs or imitation trumpet parts on the market. They're made in low cost countries where the labor is dirt cheap, and since the manufacturer isn't worried about protecting his or her name brand, substandard materials are often used, in addition to poorly trained employees to form and assemble those materials. What this means to the end user is that a poorly made mouthpiece is bought because of the astonishingly low price - and not the overall value.

Possible your next question might be what trumpet mouthpieces to get, how many should you have and which brand should you choose? Even if you don't know know a single fact about this topic,my advice to you is clear; never buy the absolute cheapest mouthpiece available. As you'll probably discover some time after the purchase, there is most likely a very good reason for the low amount and, aside from obvious motives like product damage or some thing similar, there are things you just can't take into consider, such as inferior materials which don't always make themselves known until further down the road. There may be a case of poor assembly - that always worries me, because I'll never know what the problem might be until I actually utilize the mouthpiece. By then, it's probably too late, and I may end up having to spend more money to get a top-quality mouthpiece, the one I should have bought initially, if I was using my head instead of just trying to be cheap.

There are plenty of great trumpet mouthpieces that you won't have to spend excessively for - for example the Jet-tone DS GOLD RIM or a Schilke Trumpet Mouthpiece, or how about a TRUMPET MENDEZ #2 MOUTHPIECE. Not one of these excellent mouthpieces cost more than $60, they also can be delivered directly to your doorstep in under a week's time! How's that for convenience - and value?

Don't purchase inferior, imitation trumpet mouthpieces, there are tons of top-quality, affordable mouthpieces that can provide you years of service for only a couple of bucks more than those nasty substandard pieces.

Article Directory: EzineArticles

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TRUMPET or CORNET - Frustration Keeps Us From Answers!

As a trumpet / cornet player continues to grow in their playing abilities, we all reach frustrating times with various skills that we either can't seem to master, or can't seem to get a grasp on quickly.  To master trumpet/cornet playing, a student must have patience and tenacity!  Both are required to help trumpet students through the frustrating times.

Most answers are simple than what our minds will let us accept.  There have been many times that I've practiced something and it seems to fly out of the trumpet.  Usually what goes through my mind is "it can't be that easy, I've been struggling so long with this!"

Photo by .christoph.G.

The quick answer is - yes, it can be that easy.  Most people let the simple solutions escape them because of built up notions of complexity.  Something that isn't performed easily within the first few tries, becomes more and more frustrating to the cornet/trumpet player.  From double tonguing, high notes, better tone, playing pianissimo, controlling rhythm, performing difficult passages in a piece of music, learning scales, etc.  These can all present challenges to each individual trumpeter or cornetist.

Working on major scales for younger students can be not only boring, but a daunting task because they are looked at as difficult in many ways.  The F sharp major scale is one that has most notes sharp (or raised half step).  What most students don't think about is that there are only 7 notes in each major scale.  The F sharp scale has 6 sharps, so why not focus on the one natural?  By practicing slowly and taking each note one by one, within a few practice sessions, this scale becomes easier.  Within a week, the scale can be memorized.  Within a month, it will play as easily for the trumpet student as the C major scale with no sharps or flats.  Again - tenacity and patience!

Keith Fiala Article Directory: EzineArticles

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FLUGELHORN Guide

History of the Flugelhorn

It is widely accepted that the flugelhorn was derived from the bugle design by Michael Saurle in the early 1800's. Flugelhorns were named from the German word Flügel which means wing or flank in English. In the beginning, flugelhorn was primarily used on the battlefield to organize the flanks in an army.

Flugelhorn - Photo by aaltonen 

Appearance and Use

Flugelhorns are a member of the horn family and a brass instrument that resemble trumpets but with a wider bore. The appearance of the flugelhorn has also been compared to a cornet, although the trumpet is probably a closer comparison. The flugelhorn traditionally has three valves and uses the same piston valve system of other brass instruments. Four valve and rotary valve version exist but they are not the norm. Some modern flugelhorns include a fourth valve as this is becoming more popular. Today the flugelhorn is used in jazz, brass band, and popular music applications. The tone is considered to be fat and mellow compared to a trumpet. The actual sound probably falls somewhere in between a trumpet and a horn.

Choosing a Flugelhorn

Resources about the flugel horn are hard to find as this is a truly unique brass instrument. If you have a local music instrument store that happens to sell flugelhorns you are lucky and probably want to try one out there. For most people, the best option for locating a flugelhorn will be on the internet. Flugel horns are expensive compared to other brass instruments but you will find that they are worth the price for the true brass instrument player due to the unique sound and playing qualities. It is possible to find good deals on the flugelhorn if you use the proper resources on the Web.

For a complete flugelhorn guide visit http://www.flugelhornguide.com for information, articles, and shopping information. Article Directory: EzineArticles

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