What Brass Players Want – A Quest for the Brass Player of the Future

www.whatbrassplayerswant.comFrom the quiet practice spaces of those beginning to learn to play a brass instrument to the large concert halls across the World, you’ll find everything from the Little F and G March to a full blown Mahler Symphony at What Brass Players Want.  Every brass player has something to offer and a way of expressing their own musical voice.  With a keen eye and an understanding of the needs of the developing trumpet, horn, trombone or tuba player we will search out those important issues to help combat issues before they become a problem.

To see a list of our current articles, just click here or on the button below.

Join What Brass Players Want as we discuss and explain important techniques and ideas that will really help you to develop your own, personal playing.  Get involved with debates and discussions and enjoy the camaraderie of a growing network of brass musicians from chamber ensembles to symphony orchestras.

Although our focus will be on the developing musician, we will also be delving into the world of the professional musician.  There will be examples of how to prepare your pieces and excerpts for that important audition or how to secure a seat in a prestigious band.

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What Brass Players Want – A Quest for the Brass Player of the Future — 3 Comments

  1. Any cornet players out there? I’m now playing the cornet with a lot of success,and I discovered that there are two schools of energy that one can invest in, and of course it’s all about the sound that you’re after on the instrument. The first is the trumpet approach which is where I came from originally. Here you can approach with closed lips, lower jaw out, and fast air. This, I found, got me a bright trumpet sound on the cornet which didn’t fit well with the expected mellow sound of the cornet. By dropping my relaxed lower jaw, or leaving it where it is after a big breath through the mouth, and then placing the cornet mouthpiece on that opening with more mouthpiece towards the Cupid’s bow on the upper lip, I got a nice cornet sound (it might go into the red of the lip depending on the size of your lips). This felt wrong somehow and “how can one play with such a huge aperture for the air?” I was pleasantly surprised to find that I could play everything just fine, only with a big, mellow cornet sound!

    • Whilst not a cornet player myself I have played with many great cornet players. The main observation I made was to play on a “bucket” – a mouthpiece that was big and allowed the sound to fatten rather than pierce. The sensitive use of vibrato (my preference being tight rather than sinusoidal). Youtube names to listen to:- Jim Shepherd, Phil McCann, and Maurice Murphy (before he migrated to trumpet).

      • Thanks John, a good point. Although playing on a larger mouthpiece has the effect of allowing the sound to widen and become bigger it should be matched with player experience and embouchure strength. The larger mouthpiece can sometimes contribute player fatigue so matching with experience, throat and backbone size is also quite important. Always best to try a few out over a period of time before committing to a particular one.

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