Thomas Stevens · The archive

In Brass Bulletin

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Thomas Stevens on Brass Bulletin ↗28 articles by Thomas Stevens 1 article about him

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By Thomas Stevens

1973

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.

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1979

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

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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.

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1980

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.

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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.

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1981

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.

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1982

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.

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1983

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.

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1986

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.

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