LOUIS ARMSTRONG: Transformation From Reform School to Infamous Trumpets

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

Trumpets have been in existence since primitive times, but they did not really gain the recognition they deserved until the infiltration of jazz into the music world. When Buddy Bolden altered his own music style in the 1890's, it had the first inklings of what jazz music would become with its hearty spirit and spontaneity. He eventually leads the first genuine New Orleans jazz band. Continuing to invent jazz music was Freddie Keppard and Joe "King" Oliver playing the cornet as the lead instrument.

Then along came Louis Armstrong from a poor section of New Orleans where the heroes of the neighborhood were gamblers and pimps. His first musical instrument, within the family of trumpets, was a long, tin horn that he would blast while working on a coal delivery wagon to let clients know the wagon was coming. At age 10 Louis Armstrong had earned enough money to buy a battered cornet in a pawnshop. By age 11 he had left school, left his job, and organized a street corner quartet. Unfortunately, while on the street he committed some minor crimes and was sent to reform school at the age of 12. While in reform school Louis Armstrong joined the band and developed his talent. He became the leader of the band which changed his reputation. By the age of 13, he was back on the street and found small jobs to keep himself out of trouble.

As a teenager, Louis Armstrong worked with professional musicians and joined Fate Marable's band playing on a riverboat in Mississippi. By his early twenties, he could outplay any trumpets at cutting contests where soloists improvised until one was clearly outperforming the others. With the addition of 23-year-old Lois Armstrong to the Fletcher Henderson band in New York, the band began to really swing with their new featured soloist. A year later he formed his own group in Chicago called the Hot Five. He organized the band and music around the solos which became one of the key characteristics of modern jazz.

Louis Armstrong became known as the father of modern jazz trumpets and the first modern jazz soloist. He greatly extended the range of trumpets as he could hit high notes that none of his peers could reach. His main contribution to jazz was his sense of rhythm which had a natural beat that made anyone listening want to get up and dance. Louis Armstrong taught the world how to really swing. He also taught jazz musicians how to extend the melodic line with improvisations on trumpets. Louis Armstrong used trumpets to belt out loud, sharp cutting sounds that commanded his listeners to pay attention. He had made trumpets the leading instruments with cornets virtually disappearing from the jazz scene.

Trumpets were not the only driving force in Louis Armstrong's career. Not only did he extend the range of trumpets, but he also showcased the extension of his own range of talents. He had a unique compositional and vocal ability, he was comedic, he had charisma, and he had charm. All of these talents wrapped up together made for a famously popular musician and showman.

By Dianna Joseph Dianna Joseph is the owner of DJ Music Store. She is a saxophonist, novice pianist, and novice guitarist. In addition, she is an occupational therapist who works with a host of disabilities utilizing sensory integration and neurodevelopmental therapy in combination with music and a variety of other techniques to assist these persons in achieving the highest level of function and quality of life possible. Article Source: EzineArticles

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• Iconic trumpet players who defined jazz history

Birth and Development of the FRENCH HORN

French horn back (Photo credit: Wikipedia)

If you ask someone to think of a musical instrument, most likely French horns are not the first instrument that comes to mind. Yet, it is quite an interesting, beautiful, and exceptional looking music instrument. It brings with it a mysterious quality that projects a mellow and subdued sound to any orchestra, marching band, concert band, or even a brass ensemble.

It is quite intriguing actually, to look at the historical underpinnings of French horns. Looking back at their birth and development brings to light how they acquired their sound and unique features. It also explains why even today they are not the most popular musical instrument in any type of music group.

The most primitive form of french horns were megaphones. They were made from a hollow branch or cane and the player sang, spoke, or made vocal noises into them to produce a harsh sound to frighten away evil spirits. Megaphones evolved into the early trumpets which could produce only one or two notes and made a terrifying sound. These trumpets were used at circumcisions, funerals, and sunset rites.

It was not until the Renaissance period, about 1550, that a music instrument was developed which bears the most resemblance to the present day French horns. This was the close-coiled helical horn, established in Central Europe. About one hundred years later, the parent of French horns was constructed in the form of a thin conical tube with two or more circular coils.

There is no evidence that French horns were used for purely musical purposes with other music instruments prior to the eighteenth century, only for hunting in France, Germany, and Italy. Their introduction in Germany by Graf Franz Anton von Sporck in 1681 and their inclusion in a German orchestra score in 1705 helped them to gain a position in the music world. In England, however, they were used mainly in the form of an entertaining duet in the gardens or along the river versus attaining the prestigious right to be in an orchestra. France continued to restrict their use to the chase for hunting until 1735.

To play French horns during the early 1700's, musicians would point the widely flared bell upwards like a bugle horn. The length of the tubing varied according to the pitch needed, so separate horns were needed for every key change. This problem was solved by the crook system, developed in 1715, which consisted of various lengths of tube rings fitting into the end of the mouthpiece socket. It allowed the player to use any key.

An important technique came to fruition when Anton Joseph Hampel of Germany was testing out various mutes in 1750. He discovered that he could progressively lower the pitch by pushing a cotton pad or his hand into the bell further and further, called "stopping". This hand-horn technique required that the horn is held horizontally and is still used today. Hampel then redesigned it with the crooks in the center of the hoop versus near the mouthpiece. However, just like the unpleasant sound of the original horns, there was still a disparity between tone and power of the open and stopped notes.

The best innovation for french horns came when two German musicians invented the valve in 1815. Voila! Crooks no longer needed to be changed as the descending spring valves lowered the pitch. The last notable invention for french horns was in 1899 when double F/Bb French horns were first sold.

Over one hundred years later, no significant alterations or additions have been necessary. Materials may have changed somewhat, but spring valves are still used as well as the hand-horn technique to attain a perfect mellow timbre and keep the natural roughness of tone in check. French horns have continued to maintain their musical status all over the world.

By Dianna Joseph - Article Source: EzineArticles

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FLUGELHORN - Music-Instruments of the World

Flugelhorn - Music-Instruments of the World

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CORNETand TRUMPET Care For the Busy Musician

Photo  by Patents Wall Art 

As a performer, it is essential that you keep your instrument in pristine condition. Most players don't seem to be bothered about cleaning their instrument often enough. If you rely on your instrument to earn a living you may form a different opinion. It's a bit cut-throat out there and the difference between having a pure tone quality and a muffled uninteresting sound could mean the difference between getting the gig or not. Not to mention the hygiene problems that could develop.

Cornets were developed from basically a post horn, which over time was curled and developed into the form you see today. Valves were added which allowed more playable notes and dexterity of performance. It's the careful manufacturing and handwork that make it into a cornet that plays well. Take care of your instrument and it won't let you down.

There is nothing worse than being in the middle of a show and your valves or slides start to stick. It can ruin a perfectly good performance.

Cleaning the cornet should only take about 10 to 15 minutes of your time and the results are more than beneficial to your playing. You would be surprised at the "gunge" that appears out of the tubes after a good clean.

So let's begin. Run a warm bath - Yes a bath, and put a small amount of dishwashing soap into it. Check with your product information or your manufacturer's website to make sure before you use it. Pull all the valves and slides out of the cornet and place everything submerged under the water - Leave to soak for about 30 mins. That was easy! Note - you may have to disconnect the "triggers" on the first and third valve slides if they are fitted.

You'll need a flexible cleaning pull-through brush, a valve casing brush, and a mouthpiece brush. You'll also need silver polish and two lint-free polishing cloths, valve oil, and slide grease. (I use a petroleum jelly)

Now it's time to put the pull-through brush to work. Gently feed it into the tubes of the cornet and pull through the brush, watch out for the "Gunge". Do this a couple of times and then rise the cornet tubes out under running water until it runs clear. Do this now to all the removable slides as well.

Now using the valve brush we need to clean the valve casing. Just push the brush in and out a couple of times and all should be well. Now turning to the valves themselves. First of all you need to clean the internal surfaces of holes. You can also use the pull through for this but be careful not to scratch them. Using a Silver polish and the lint free cloth, now clean the valves outer surface, dry off and polish with a separate clean rag.

Now the Slides. Again using the silver polish clean the slides. If your cornet is of the lacquered type (brass looking) DO DOT use silver polish on the external surfaces. This attacks the coating. Finally, clean the inside surface of the valve caps both top and bottom again with a soft rag.

After all, the internals of the cornet is clean, its time now to clean the external surfaces, again remember if it is of the lacquered type just soap and water will clean it. Otherwise, on silver-plated surfaces use your metal.

Now it's time to re-assemble the cornet, oil the valves and 1st and 3rd valve slides, and grease the slides. If you have triggers on your instrument on the first and third slides it is better to use valve oil on them as they will move faster.

Trevor Halliwell has been a band player and director for 45 years with college diplomas in trumpet performance and music education. For more information about playing the cornet or trumpet, please visit http://www.trevorhalliwell.co.uk/ - Author Name: Trevor Halliwell - Contact Email Address: trevorhalliwell@gmail.com Trevor Halliwell (http://www.trevorhalliwell.co.uk) is a Cornet/Trumpet performer and teacher in the North West of England. He is a Fellow of the Trinity College of Music London.  Article Directory: EzineArticles

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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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