Several of my students’ parents have asked me what brass or music accessories would make good Christmas or holiday gifts, so I’ve decide to put together a list with some of my favorites! I like to buy my brass equipment from Brasswind, so that’s the site I’ll link to, but of course you can find these items other places!
- Chopsaver is a lip balm or chapstick developed by a trumpet player for brass players. It’s all natural, and has herbs and other ingredients that reduce inflammation and bruising after a long playing session. The scent is very mild. This is the only lip balm I use.
- Portable Music Stand: There are many brands and styles available. Every student needs a stand that will support heavy music books at any height without collapsing or wobbling. Avoid the cheap wire stands — they fall apart. Look for something sturdy! A collapsible stand allows the student to easily carry it to rehearsals, etc. Here’s another one.
- Tuner/Metronome: EVERY student needs a tuner and metronome at home. There are apps available for these functions, or you can buy the actual thing, either a combined tuner/metronome, or two separate devices. Korg makes excellent products.
- Pencil Clip: This makes a great stocking-stuffer! Every musician should always have a pencil at the ready during rehearsals!
- Stand Light: Great for practicing in less-than-bright areas, or for performances where the lighting isn’t designed for reading music. Doubles as a book light!
- Polishing Cloth: Keep your instrument’s finish in great shape and tarnish-free!
- Metal-free Cleaning Kit: Many cleaning kits and snakes have exposed metal, which can scratch the inside of the instrument, leaving grooves where bacteria and tarnish can flourish. I recommend using a metal-free kit.
- New mouthpiece: Choosing a mouthpiece is like buying shoes — they’re not one-size-fits-all, the right fit can be amazing, and the wrong fit can be crippling. Selecting a new mouthpiece size is a process that needs to be done with the student and teacher working together. Check with me before buying one.
- Mouthpiece Pouch: A must-have if the mouthpiece comes out of its place and keeps rattling around the case. Protects both the mouthpiece and the instrument from damage.
- Music: There is SO MUCH great music available for every instrument. If you’d like to get some sheet music, I can either make some recommendations, or let you know if the music you’ve picked out is too easy or difficult for your child.
- Valve casing guard: Protects the finish on the trumpet from corrosive oils and acids in the skin. Also allows better grip for people with sweaty hands.
- Lexan (non metal) mouthpiece: Sort of gimmicky, but can be useful. Many people will use one of these mouthpieces during marching band season, when extreme outdoor temperatures can make a metal mouthpiece uncomfortably hot or cold. Get the same size the student currently plays.
- Trumpet stand: Portable, stores inside the bell of the trumpet, allows the student to have hands free when taking a break, or during rehearsals when the conductor is working with other sections. MUCH more secure than laying the instrument on the ground, a chair, or (god forbid) balancing it on its bell! Here’s another one.
- First Straight Mute: This is the first mute that students will need. Denis Wick has a new fibre mute that offers the same high quality that their professional mutes have, but at a more affordable student price. This is the only mute under $30 that I can recommend. I currently have two of these, still in the packaging. I’ll sell them for what I paid for them – $13.
- Next Mutes: As a student progresses to harder music in band, jazz band, or solo performances, they’ll need extra mutes. If you’re investing in this equipment, I recommend buying good quality stuff from the beginning, rather than starting with something cheap and low-quality. It will actually save you money in the long run. Here are the mutes I recommend: Straight Mute, Cup Mute, Harmon, Plunger (3-4inch), Practice Mute
- Lead Pipe Swab: Keep the inside of the leadpipe free of red rot, mildew, and other gross stuff. Prevent costly repairs down the road! If you have an expensive horn, this is a must.
- Custom Valve Finger Buttons: This is quite pricey, but also pretty cool! If you do this, make sure your student SAVES THE ORIGINAL BUTTONS from their trumpet!
- Horn Stand: This is actually a guitar stand, but it works well for horn. Great for practicing at home so the horn can be securely set aside during breaks, or left set up all the time so the instrument is always in sight, which usually leads to more practicing! Here’s another one.
- Hand Guard: Makes the hand more comfortable and protects the instrument’s finish from corrosive oils and acids in the skin.
- Pencil Clip: This is extremely popular with horn players — keep a pencil at hand at all times!
- Rotor Oil: Designed specifically for rotary valves, with a long pin for getting oil to the hard-to-reach areas.
- Horn-to-Mellophone Mouthpiece adapter: Great for marching band. Allows the student to use their french horn mouthpiece on the mellophone, preventing them from having to switch back and forth between embouchures. This is a big deal for horn players.
- Trombone stand: Allows the horn to be securely set aside when not in use — MUCH safer than laying it on the ground or balancing it on a chair. Prevent costly damage! Here’s another one.
- First Straight Mute: This is the first mute that brass players need. Denis Wick has a new fibre mute that offers the same high quality that their professional mutes have, but at a more affordable student price. This is the only mute under $30 that I can recommend.
- Next Mutes: As a student progresses to harder music in band, jazz band, or solo performances, they’ll need extra mutes. If you’re investing in this equipment, I recommend buying good quality stuff from the beginning, rather than starting with something cheap and low-quality. It will actually save you money in the long run. Here are the mutes I recommend: Straight Mute, Cup Mute, Plunger Mute (6+inch)
- Slide bow protector: Avoid dents in the end of the slide, which are incredibly difficult and costly to fix.
- Slide savers: clear plastic sleeves protect the outer slide!
- Mutes (euph) (tuba): Until a euphonium or tuba player gets well into college, it’s unlikely they’ll need anything more than a straight mute. The larger the instrument, the more expensive the mutes, so these mutes are a bit pricey.
- Breathing aids: The larger the instrument, the more air is required. Equipment and techniques that develop lung capacity and control are incredibly helpful to the low brass student. Here’s another breathing aid. Here is a book of breathing exercises for euphonium or tuba.
- Tuner pick-up: Plugs into a tuner, with a small microphone that clips onto the bell of the instrument. Allows the player to more accurately tune their instrument.
- Tuba rest: Allows smaller tuba or euph players to hold the instrument more easily, leading to more practicing!
The participants in the summer Small Ensembles for Brass workshop performed, as did one of my other trombone students. The Southern Park Brass Trio (Andrew – rising 11th grader, Jasmine – rising 8th grader, and Joshua – rising 8th grader) are at the beginning and end, with Jacob, a rising 7th grader, performing on trombone in the middle, accompanied by Veronica, a rising 6th grader.
I’ve gotten a little behind on posting recordings of student recitals. This should get me up-to-date!
Here’s Duncan, a 10th grade horn player, performing “Andante Cantabile” from Tchaikovsky’s Fifth Symphony, at the April 29 recital. He is accompanied by Jun, a piano student.
Jasmine, a 7th grade trumpet player, plays “Andante and Allegro,” arr. Voxman on the May 20 recital. She is accompanied by Raymon, an 8th grade piano student.
Another performance of Tchaikovsky’s “Andante Cantabile,” this time on the May 20 recital, by Quinn, another 10th grade horn student. He, too, is accompanied by Jun.
Here’s a great performance by a student brass quartet! Jasmine and Addison, both 7th graders, are on trumpet; Quinn, a 10th grader, is on horn; and Josh, an 8th grader, is on euphonium. They’re playing “Imperial March” and “It Don’t Mean a Thing.”
Summer is nearly here. It is time to start thinking about what sort of musical activities you’ll participate in during all your free time! A great way to really immerse yourself in music, and to revitalize your enthusiasm for your instrument, is to attend a music camp. Most are just a week or two long (some of the more challenging and prestigious programs are longer), and you learn so much! I myself attended UNCW’s Summer Jazz Workshop when I was in high school — I had a blast, and they solidified my desire to play the trumpet in college. Here’s a list of some summer music camps in our area, as well as a few farther away. Click the titles for a link to the camp website.
If you know of a camp that isn’t listed, please mention it in the comment section below!
**Keep checking back — I’ll update this page when I hear of more opportunities!**
Small Ensembles for Brass Students (NEW!): This is MY website, after all, so I feel I have the right to give myself top billing! This summer I will be offering a 5-week workshop for middle and high school brass players. Students will be organized into small ensembles of 3 to 5 players, and will meet once a week with me. Students will learn how to perform chamber music — the responsibility, the leadership, the repertoire, intonation and blend, and how to put together a concert, the performance of which will conclude the workshop. Students must have been playing a brass instrument for at least a year. I also strongly recommend that participants take at least two or three private lessons to work on individual skills. June 11 – July 29 (weekly) Held at Southern Park Music School. The info will be on Southern Park’s website soon. In the meantime, use the following files:
Small Ensembles for Brass Players flyer 2012
Small Ensembles for Brass Players registration 2012
JazzArts Music Camp – a one-week day program for students grades 7 – 12. Includes small combo performance, jazz improvisation, theory, history, etc. Held at Providence Road Methodist Church, June 11-15.
Band & Orchestra Camp through Community School of the Arts – this is a 5-day program for 4th-12th grade band and orchestra students. Held at Park Road Baptist Church, July 16-20. Students who were in All-District or other honor ensembles will be given a $50 merit award to be applied toward tuition.
Jazz Camp through Community School of the Arts – a 5-day program for rising 7th-12th graders who play a jazz band instrument (see website for a list). Held at Holy Trinity Middle School, July 23-27. There’s a discount available for students who attend both the band/orchestra and the jazz camps.
Cannon Music Camp – I had to give this top billing, as it is held at my alma mater, Appalachian State University! One of the most highly regarded music camps in the southeast, this camp is three weeks long and is for students who have completed grade 8, 9, 10, 11, or 12. Focus is on performance and music theory, ensemble playing and private lessons.
Brevard Music Institute – For high school and college age students, minimum age is 14. This intensive, prestigious program lasts for six or seven weeks and is held on the Brevard Music Center Campus.
Eastern Music Festival – A five-week program held on the campus of Guilford College, for students between the ages of 14 and 22. Designed to meet the needs of the pre-professional student. Orchestral performances, chamber music, and private studies.
UNC Summer Jazz Workshop – Held at UNC-Chapel Hill, this five-day jazz workshop is for high school students, college students, and adults. Participants receive college credit.
UNC-Chapel Hill High School Music Camp – A one-week program for students in grades 8 through 12. Focus on music theory and literature, opportunities for private instruction, small ensembles, performances.
UNCG Summer Music Camp – A one week program for students grades 5 through 12, must have been playing for at least 1 year. There are two different weeks to choose from.
UNC School of the Arts Workshops – (There are no brass workshops this year, but there is one on composition and music technology.) One- or two-week workshops for students age 12 (rising 7th grader) and up. Intensive master classes and coaching. Participants earn high school credit.
UNCW Summer Music Workshops – These programs are for rising 9th – 12th grade students. UNCW offers both Band and Jazz workshops, and they’re two different weeks, so you could do both if you wanted. This could be added onto a beach vacation!
This is just a tiny, tiny sampling of the available music camps in the US and around the world. If you’re looking for a camp in a specific location, chances are there is one!
Bar Harbor Brass Week – For high school and college students in Bar Harbor, Maine. Opportunities for chamber music, coaching, private lessons, master classes. The registration deadline has passed for this year, but it is something to keep in mind for next year.
English Brass Academy – A four-day session for students between the ages 8 and 18, held in Bushey, Watford, England. Yes, it is a bit out-of-the-way, but could easily be included as part of a family vacation in Great Britain.
Interlochen Summer Music Programs – There are several different arts camps held at this prestigious Michigan institution, three of which are for music. There’s a high school division (grades 9-12), an intermediate division (grades 6-9), and a junior division (grades 3-6).
Jamey Aeberosold Summer Jazz Workshops – Offering 2-day and week-long intensive workshops in jazz improvisation, theory, ear training, and performance. For experienced jazz musicians OR those just starting out! Held at the University of Louisville in Kentucky
National Jazz Workshop – A one-week program for musicians entering 9th grade and older. The intensive curriculum includes improvisation, theory, composition and arranging, recording and production, and performance. Held at Shenandoah University in Winchester, VA, July 8-13.
Purtle.com Brass Camp – A three-day event held at Anderson University in South Carolina, August 2 – 4. This program is targeted to high school players, college students, and professionals. Master classes, repair classes, vendors, concerts, etc.
Sewanee Summer Music Festival – This is a month-long program for students age 12 up to college and graduate students. Admission require an audition. Held at Sewanee: The University of the South, in Sewanee, TN.
I had three students participate in a student recital at Southern Park Music School this weekend. This was the first time that two of them had performed a solo in public, and the first time that any of them had worked with a student accompanist, someone close to their own age. It was a wonderful educational experience, and I think they all did really well!
Here’s Jacob, a 6th grader, on trombone. He’s been playing trombone since August 2011.
Bennet is a 7th grader. He has been playing for a few years, and made All-District Band this year.
Robbie is in 6th grade, and has been playing the trumpet since June of 2011.
If you enjoyed my previous post on different versions of “The Carnival of Venice” for cornet or trumpet, check out these recordings of C0fV for other instruments of varying weirdness.
Here’s a short performance on PVC Slap Organ. Note the use of flip-flops.
An outdoor performance of double-bell Euphonium with windband.
Here’s what that Holton double-bell Euphonium looks like up close:
Solo classical guitar, played with lots of visible emotion and drama.
Solo accordion, played with lots of facial expression.
The famous Roger Bobo, making it look easy on tuba.
A pretty exciting clarinet performance!
An arrangement for brass quintet: the Canadian Brass.
Here’s a comedic performance, for solo sax and piano.
And just in case all that wasn’t enough, try this one: “The Carnival of Venice” for solo Ocarina:
Here’s a video of the 7th and 8th grade All-District band performing James Swearingen’s A River’s Fury, which was commissioned for this occasion, conducted by the composer.
Three of my trumpet students are in this performance.
The Carnival of Venice is a folk tune that has been arranged for different instruments countless times over the years. Many of these arrangements have been for cornet or trumpet, and most of them are in the “theme and variations” form. Jean-Baptiste Arban’s version, published at the back of his famous Method for Cornet, is the most well-known, and remains one of the most beloved and often played cornet solos to this day. Take a listen and you’ll understand why!
Here’s a recording of a young Wynton Marsalis performing Carnival of Venice with the Boston Pops, under the direction of John Williams:
For a different interpretation, here’s the Black Dyke Mills Brass Band featuring Phil McCann on cornet. Note the introductory cadenza: Read the rest of this entry
This interview was originally published here.
Recently, I had some work done on my Bb trumpet. I was having particular trouble with slotting and intonation in the G-to-Bb-above-the-staff area. So I sent it off to Bill Jones of Trumpet Design Studio, told him what sort of problems I was having, and asked him to do what he thought was necessary to fix it.
I’d been playing on this horn for almost 15 years, and while I liked it better than most other, more expensive trumpets, there were still some issues. The trumpet that came back, however, felt like it was made just for me — things just fit. I can honestly say it has been one of the best investments I’ve made in my musical career.
This improvement got me thinking about the process of trumpet modification, and how very little I know about it. I figured that other trumpet players are likely interested in learning more about tweaking your horn to suit your needs, so I asked Bill Jones if I could interview him and he graciously agreed.
Dr. Jones is a highly respected trumpet soloist and chamber performer, music educator, and trumpet designer. He is the author of many definitive scholarly works on the brass quintet, the co-creator of the Brass Quintet Database (at www.AmericanBrassQuintet.org), and director of the International Brass Chamber Music Festival, to name a few of his many accomplishments. I was honored to have the chance to “pick his brain” a little about the innovative work he does on trumpets.
How did you get started doing design work/ modifications/ customization?
I became interested in trumpet and mouthpiece design while studying with William Vacchiano at the Julliard School. For me this is something that evolved as I experimented with my own equipment, students’ equipment, etc. I am always curious about what is possible. I have also wondered why so many instruments (high quality/professional models) are produced either consistently poor (not possible to play to professional standards) or inconsistently (some play well, some don’t).
Once I considered all of the variables in manufacturing a trumpet, this helped me understand why it is so hard to make two instruments that are exactly alike. Even for expensive custom instruments that are produced to exacting standards, it would be very difficult to produce two hand-made bells that are exactly alike, to produce two trumpets that have the same amount of solder in each joint or to produce two trumpets that have the exact same tension in the bracing, etc.
On numerous days I have had in my hands two expensive, factory-made (professional) trumpets of the same brand, model, design, etc. that are not the same exact length! Once I had two, expensive custom piccolo trumpets in hand that were the same manufacturer, model, etc. The bell diameters and contours were totally different and the leadpipe on one horn was ½ inch shorter than on the other horn (they both played extremely well, however). If I consider all of the possibilities and variables in designing a trumpet then I realize that there are still untested possibilities for design and modifications. I am always curious!
What sort of work are you able to do?
To “tune-up” a trumpet I replace mouthpipes, lead pipes, tuning crooks, and tubing. Sometimes I also exchange bells if this helps accomplish my customer’s playing goals. Many of my customers purchase the parts that they want and send these to me to assemble an instrument of their design.
A popular service that is somewhat different than what has been offered in the past is modifying instruments to play in other keys (converting a Bb to C, C to D/Eb, etc.). A strict “conversion” would entail shortening the instrument using the same parts. I don’t do this.
I replace/trade parts to produce an instrument that will play in tune to professional standards. This is rarely accomplished with just a strict conversion. I am also able to assist performers based on my experience because some horns will not convert to the desired key and sometimes the bell needs to be exchanged to get a horn to play well in a certain key.
I would like to say any instrument could be “fixed” to at least be easy to play in tune. Unfortunately, this is not always the case. For example, there is one C trumpet brand that I simply cannot get the bell to play in tune in C. It plays great in Bb.
Do you build trumpets from scratch, too, or do you work only on existing trumpets?
For me, “from scratch” would mean assembling parts that are made by other manufacturers. I design some lead pipes and tunable mouthpipe systems. I make some small parts such as pinky-rings for tunable bell models, etc. Other than that, I do not make parts. My business is currently one-third complete trumpet designs and two-thirds modifying existing instruments.
What is the most common modification you do?
It runs neck in neck between conversions and correcting problems on existing instruments. I “fix” a lot of piccolo trumpets, D/Eb trumpets, etc. that left the factory with problems.
What is the one thing that can be done to almost every trumpet that would result in improved playing (sound/feel/etc)?
Probably making certain that you have a mouthpiece that really suits the instrument. Other than that, practicing and really learning how the instrument plays before modifying it, which probably isn’t what anyone wants to hear! I bought a lot of instruments and mouthpieces early in my career in the quest to find something that would make my life easier.
Truth is, my life is easier now when I perform because I corrected my playing problems. The trumpet is only able to amplify the music that I am producing in my mind’s ear. It will not play the music for me, and it will not make me sound good if I don’t have a good mental concept of sound.
Sound and feel are a matter of taste, the type of music I play, and how I personally blow the horn. Some players create more resistance with their embouchure/blow so they may look for an instrument that has less resistance to add.
Other players depend upon the instrument for most of the resistance required (free-blowing embouchure/air flow). I have two Bb trumpets that I play. One of them, nearly everyone loves it when they play it. The other, maybe one out of ten players like it. However, this is the one I find works better for me when it comes to sound and control for solo playing and chamber music.
So, I guess the answer to this is to get to know your instrument really well before making many modifications.
If someone had a limited amount of cash to spend on improving their horn, what would you recommend they start with?
Normally trading lead pipes, tuning crooks, making gap adjustments, etc. Unless the player wants to replace a part with a very expensive part this is not expensive. I also warn against expecting something from an easy fix. That is, just changing the leadpipe or just changing the crook rarely corrects intonation problems. Aligning the valves or correcting leaky valves will not affect intonation. From my perspective, changing the “blow” of an instrument makes no sense if the intonation is not corrected in the process.
What design job have you done that is your favorite, or that you find the most interesting?
When it comes to playing success, it would be hard to place one instrument over another if I think of my eight or ten most favorite projects. The most interesting project started last year with a player in Sweden that is vision-impaired. He wants a really short trumpet so he can get very close to the music stand to see his music. The first version had 3 inter-changeable short, straight cornet bells. It played well and had a nice sound but my customer wants something with more “zing” for lead playing. We just started building another horn and Cliff Blackburn made a bell for this one that will help produce the desired sound.
Do you have a philosophy that informs the work that you do?
I have always been a performer and teacher so this business nurtures me as an artist and teacher. I like to work one-on-one with trumpeters.
The true value of an instrument is in how it plays. When I return an instrument to a customer knowing that it plays really well I feel like I have accomplished a valuable service.
Interestingly, as a university professor I was reluctant to spend more than a lesson or two with a student (doing a four-year degree) focusing on mouthpieces or equipment. There is so much to learn otherwise that I viewed this as peripheral to the process. However, as both a student and a professional player I have experienced the frustration of having a trumpet in my hands where I know that the D is going to be really flat or the C is going to be really sharp, etc. unless I make a radical adjustment. With the correct mouthpiece and a carefully designed instrument, these frustrations can be eliminated.
For more information about Bill Jones and Trumpet Design Studio, visit www.TrumpetDesignStudio.net