In Brass Bulletin

Brass Bulletin 5 - 2 / 1973 · pp. 47–70

I chose to address myself to new music rather than new trumpet

Thomas Stevens argues that progress in trumpet playing depends on better training, repertoire and musical thinking rather than on equipment.

Brass Bulletin 27 - 3 / 1979 · pp. 5–8

The Trumpet in the USA

Across competitions, teaching and equipment in the U.S., trumpet practice exposes clashing ideas of musicality, raising the question of shared standards beyond national styles

Brass Bulletin 28 - 4 / 1979 · pp. 35–41

The Trumpet in the USA

American orchestral trumpeters reveal how Bach C trumpets, hall acoustics and extensive modifications shaped playing traditions in major ensembles.

Brass Bulletin 29 - 1 / 1980 · pp. 17–18

The Trumpet in the USA

From Schilke soundposts to piccolo trumpet extensions, American performers turned technical frustrations into specialized tools for modern playing.

Brass Bulletin 30 - 2 / 1980 · pp. 3–4

Editorial

Keyboard tuning, just intonation and string phrasing place brass players between conflicting pitch systems, as Thomas Stevens outlines practical compromises.

Brass Bulletin 33 - 1 / 1981 · pp. 41

The Trumpet in the USA

Mouthpiece backbores for piccolo and C trumpet are compared through practical performer testing, linking equipment choices to sound, volume and intonation.

Brass Bulletin 37 - 1 / 1982 · pp. 8–9

The Trumpet in the USA

Stage fright meets medical research as performers, physicians and early beta-blocker studies reshape the debate over confidence, fairness and public performance.

Brass Bulletin 43 - 3 / 1983 · pp. 67–68

The Trumpet in the USA

As trumpet makers rethink their standard instruments, Monette, Malone and Blackburn bring leadpipe design into a new dialogue between players and workshops.

Brass Bulletin 53 - 1 / 1986 · pp. 3–5

Editorial

Behind James Stamp’s legendary teaching stood something harder to preserve: an uncommon way of listening, diagnosing and giving musicians room to rebuild themselves.

Brass Bulletin 57 - 1 / 1987 · pp. 13–19

Can jazz performance be taught?

Brass Bulletin 58 - 2 / 1987 · pp. 71

David Monette

Chicago trumpet maker David Monette won leading players as customers in under two years, building instruments for individual musicians and their performance needs.

Brass Bulletin 61 - 1 / 1988 · pp. 103

Bob Malone

In Los Angeles, Bob Malone made his name modifying trumpets and designing custom leadpipes, and one of his C trumpet conversions appears on Hakan Hardenberger’s debut album cover.

Brass Bulletin 72 - 4 / 1990 · pp. 48–50

The Minute counter!

Brass Bulletin 75 - 3 / 1991 · pp. 26–28

Sampling?

Brass Bulletin 76 - 4 / 1991 · pp. 44–47

Sampling? A hard rality !

Brass Bulletin 83 - 3 / 1993 · pp. 62–63

Yes! We have no repertoire!

Brass Bulletin 102 - 2 / 1998 · pp. 59–62

About my “48 Lyric Studies”

Brass Bulletin 111 - 3 / 2000 · pp. 106–121

Suppose they had an orchestra audition and nobody won?

Brass Bulletin 114 - 2 / 2001 · pp. 42–44

The Composer’s Many Deaths

Brass Bulletin 115 - 3 / 2001 · pp. 118–120

Hooray for Hollywood (land of illusion)

Brass Bulletin 116 - 4 / 2001 · pp. 18–19

Fortissimo!

Brass Bulletin 117 - 1 / 2002 · pp. 28–29

Quotables

Brass Bulletin 118 - 2 / 2002 · pp. 28–29

Credit to the non-participants

Brass Bulletin 119 - 3 / 2002 · pp. 22–23

Feelings

Brass Bulletin 120 - 4 / 2002 · pp. 26–27

Marketing - One musician’s story

Brass Bulletin 121 - 1 / 2003 · pp. 26–27

Salud to the Managers!

Brass Bulletin 122 - 2 / 2003 · pp. 28–30

“Rienzi” at la Scala

Brass Bulletin 123 - 3 / 2003 · pp. 20–21

How does a mouthpiece feel?