I have spent a lot of time recently (mainly virtually!) working with players who have used this enforced period of time off to look at new and possibly better mouthpiece options for themselves. Many classical, and particularly specialist orchestral players are traditionally very conservative in their choices and often choose to stick to the ‘tried and tested’, even if it is not necessarily completely trusted. Often the rigours and pressures of full-time orchestral playing do not allow time for experimentation!
I have given a summary below of eight Frate Precision models that have worked really well for players looking for a rich and open core sound with great orchestral projection. Each of these eight mouthpieces however have their own unique characteristics:
Cup diameter 16.95mm, Medium deep cup, Throat 3.74mm, Medium-large Backbore #102 : Equivalent: 1-1/2C (26 throat)
This is the new ‘Easy Selection’ model with the #1 rim, and a best seller! The #1 models all have a really comfortable rim and the M (medium deep) cups seem to suit most players that I have encountered. The slightly open throat and the flexible backbore give a nice balance between core sound and flexibility. Great on both Bb and C trumpets.
1 M
Cup diameter 16.95mm, Medium deep cup, Throat 3.66mm, Medium-large backbore #101 : Equivalent: 1-1/2C
This has a similar responsive feeling to the model above, but with a slightly tighter throat and brighter backbore. Particularly good on C trumpets as well as larger Eb instruments such as the Schilke E4. This has also been a really good mouthpiece to recommend to students who have perhaps just moved up to their first ‘larger’ mouthpiece.
1 M, 3, 106
Cup diameter 16.95mm, Medium deep cup, Throat 3.74mm, Medium-large backbore #106 : Equivalent: 1-1/2 C (26-24)
This is my personal favourite, and the model that has really got peoples’ attention here in the UK. It has a nice open feel but with a really rich core sound, great stability and slotting as well as flexibility.
2 M, 3, 102
Cup diameter 16.95mm, Medium deep (V-shape) cup, Throat 3.74mm, Medium-large backbore #102 : Equivalent: 1-1/4C
Although it has the same rim shape, size and contour as the #1 models, the slight V-shape of the cup gives a very different feel and response, more similar to a Bach 1-1/4C. It retains the immense core sound and stability of the 102 backbore, and woks really well across both Bb and C trumpets.
2 M, 3, 106
Cup diameter 16.95mm, Medium deep (V-shape) cup, Throat 3.74mm, Medium-large backbore #106 : Equivalent: 1-1/4C (26-24)
This is a slightly more open feeling and sounding version of the 2 M, 3, 102. The #106 backbore gives that big core sound, but still with the level of control, response and flexibility that players need.
3 M, 3, 106
Cup diameter 16.62mm, Medium deep cup, Throat 3.74mm, Medium-large backbore #106 : Equivalent: 3C (26-24)
For players that like a narrower inside rim, but still an open feel to the mouthpiece. There are a number of well-known makers such as Monette, AR Resonance etc., that use extremely open throats and backbores to get players to fall in love with the sound. However, these infatuations are often short-lived when you realise what you have lost – core sound and flexibility. Both this model and the 1 M, 3, 106 offer the perfect compromise, giving you openness, core sound, response and flexibility.
6+ M, 3, 106
Cup diameter 17.12mm, Medium deep (V-shape) cup, Throat 3.74mm, Medium-large backbore #106 : Equivalent: 1-1/4C – 1C (26-24)
This has a wider inner rim, and a smooth V-shape cup alongside the fantastic power of the #106 backbore. This is a great full-sounding orchestral mouthpiece that has suited players moving from 1, 1C and 1-1/4C style pieces.
5+ M, 3, 106
Cup diameter 17.12mm, Medium deep cup, Throat 3.74mm, Medium-large backbore #106 : Equivalent: 1C (26-24)
The 5+ has the same configuration as the 6+, but with a more traditional bowl-shape medium depth cup. The response is similar, but perhaps with more of a roundness to the sound.
Anthony Prisk has been the 2nd trumpet in the Philadelphia Orchestra since 2013, after previously spending eleven seasons with the Houston Symphony. Tony is an Ultimate Brass and Yamaha artist, and kindly shares his thoughts with us here:
What first drew you to the trumpet in the early days?
I distinctly remember listening to my Dad’s Star Wars soundtrack over and over again. When I went to my elementary school’s band program I was drawn to the cornet and was successful at making a sound. Then as I went along, I really began to enjoy practicing and hearing improvement and performing for my friends and family. It was the ultimate trill to eventually work with and study with Maurice Murphy and John Williams. It came full circle for me!
Who or what were your early musical influences?
My biggest influence in the early days was my high school band directors, Ross Kellan, Greg Cunnigham and Steve Hoffman. Ross was such a positive and encouraging teacher, he instilled pride and artistry in everything we did. I went to the University of Illinois with the goal to follow in his footsteps and influence students in a positive and inspiring way. Eventually, Ray Sasaki took over with this great influence and encouraged me to pursue a life in musical performance and supported my goals and progress. To this day, he is still supportive and helpful in my development as a player and teacher.
Do you have any particular practice regimes? Does this change a lot depending on what repertoire you are covering in the orchestra?
I am an avid practicer. I have a daily fundamental routine including many concepts from the Sach Daily Fundamentals to Stamp, Schlossberg, Cichowicz, Plog, Vizzutti, Bai Lin, Zauder, Gekker, and more. I do try to stay in shape away from the orchestral repertoire playing etudes and solos from Bousquet, Arban, Concone, Snedecor, Brandt, Charlier, Bitsch, etc…to Bohme, Tomasi, Jolivet, Arutiuinian, etc…If we are playing big rep I will prepare for the week by blowing down Bordogni/Rochut, Brandt, or Smith Top Tones to get ready and then the week of, focus on fundamentals and lighter repertoire to balance my playing. When I am doing a lot of low playing in the orchestra I will turn to playing more piccolo at home and softer solo repertoire. I keep a daily practice log most weeks to keep track of my routines and progress. This also allows me to take notes on what is working and what isn’t. I bring this into my teaching to help students achieve their daily, weekly and life goals.
What do you think are the most important elements of music and trumpet playing that young players should focus on?
First of all, SOUND! Finding a Resonant, Brilliant, Rich, Warm, Complex, Flexible, Dominant, Sweet, Singing sound or tone that moves a listener is most important. Finding an efficient way to do this should be a daily goal. Then, for the music, it’s great TIME! Not just playing the correct rhythm but feeling the music and creating the style out of time feel and pulse. If you have these two things, the others will come. Everyone wants great range and speed and loudness but Sound and Time come first.
How have different teachers through your life shaped the way that you teach?
I have studied with more teachers I can count but every single lesson had something in it that was helpful. I can remember little tips from each lesson from Bud Herseth showing me how he practiced Arban’s and Bobby Shew showing me his wedge breath. There are endless amounts of tools to help students solve issues and achieve their goals. I try to get them to hear the issue, figure out what might be causing it and then create a routine or practice regiment that will nip it in the bud. I also encourage my students to work on their fundamentals to serve the music. For instance, if they are working on Mahler, then play your Concone with a Mahler like sound or work on the Gekker Articulation drills in the tempo and style of Ravel. This all comes from the many teachers that help me along the way. Thanks to Ray Sasaki, Dr. Mike Ewald, John Hagstrom, Paul Merkelo, Charlie Geyer and Barbara Butler, Mike Sachs, Ray Mase, Chris Gekker and so many more.
Can you talk a little about your Ultimate Brass mouthpieces, why you play them, and the process of selecting them?
Sun He and I worked on finding a replacement for my longtime Parke mouthpiece. The mouthpiece was wearing out and I always thought it was leaving something on the table for me and my playing. I needed a mouthpiece that was flexible in sound production in my role as second trumpet but also allowed me to step out of the ensemble and lead at times or play solos with brilliance. The mouthpiece line we came up with takes the mouthpieces I played and improved the playability and resonance by finding a better balance of throat and back bore along with adjusting dimensions of the mouthpiece. They are derived from Bach, Parke and Reeves elements but really are unique to Ultimate Brass. We spent a couple years of testing in the orchestra and sending videos back and forth to land on our final product. We are also continuing to develop better versions and more horn specific sizing.
Can you also tell me a little about your relationship with Yamaha?
Ever since Yamaha introduced the Gen 1 Chicago C trumpet I have been playing Yamaha trumpets. I actually had a Yamaha Piccolo way before but I really switched around 2005 or 2006 cold turkey to mostly Yamaha trumpets. Now I am a Yamaha Artist and I play exclusively Yamaha trumpets. The support you get from Bob Malone, Wayne Tanabe and all the folks at Yamaha are unmatched. They are in constant development of new instruments to serve the needs of their customers and artists. It’s a pleasure to work with and represent Yamaha. And the Ultimate Brass mouthpiece works very well with my Gen 3 instruments.
What are some career highlights to date?
Playing for John Williams was an absolute highlight. I had goose bumps when he walked out on stage the first time. But I really have to say, almost every concert I play with the Philadelphia Orchestra, something special and moving happens on stage. I am absolutely lucky to be playing with so many great and inspiring colleagues, highlights happen every week. I’m looking forward to making more career highlights as we start this new season!
I guess that there were some periods of long lay-off through the pandemic? Is working life starting to get back to normal now? Are there any lessons that you can take out these past 18 months?
The lessons I learned from the past 18 months are many. Mainly, to appreciate your friends and colleagues. Learn from everyone around you. Take the good and leave the bad. Positive influence and encouragement goes a long way to help others rather than negative talk and thoughts. I learned a lot about how to be a better colleague, teacher and friend. On the trumpet side of things, I experimented with different ways of playing, warming up, equipment, etc. It was time to reflect on weakness in my playing and coming up with new ways of tackling those issues. I also created lots of online content that you can see on my Facebook/Instagram and YouTube Channel. I actually didn’t take any time off the trumpet…I looked at the pandemic as an opportunity in the middle of my career to practice like I was in college again and try to develop better habits for second half of my career. It was a productive time for me that helped me to stay in a positive and productive mindset.
Any projects that you have coming up that you would like to talk about?
I continue to work on projects for social media and my YouTube tutorials. I am looking forward to a more regular performance schedule and teaching in person. I get so much energy from teaching, sharing my knowledge and inspiring younger students. My hope is to transition from performing to full time teaching in the next 10 years. So my goals currently are to get the most from my playing experiences and build a great trumpet studio at Peabody and Temple University.
Thank you for asking me to contribute. I enjoy sharing my experiences and stories with the music world. I want people to know I am accessible for questions on social media and look forward to hearing from everyone. Let me know what you think of the Ultimate Brass mouthpieces…I’d love the feedback.
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First trumpet with the Philharmonic Orchestra of Calabria (Italy) and Frate Precision artist Alessandro Silvestro kindly shares some thoughts and experiences with us!:
What first drew you to the trumpet?
I was in the fourth grade when my teacher asked a classmate to bring his trumpet in to play it in front of the whole class. It was the perfect day day for me! I immediately fell in love with this instrument. After a few days, in my small mountain village (Acri – Italy) it was a day of village celebration – I saw the band playing in the streets of the village, and I told my parents that I also wanted to join that band.
I enrolled at the age of 8 in the music course, which the Calabria Region organised every year in collaboration with the band. My first teacher was a clarinetist, it was unusual to have an instrument teacher other than the one I fell in love with and want to learn. I did my musical studies, and after the duration of the course he told me that I had talent and why not try to face a more professional and demanding study? I continued my musical studies and then in 1986 I made the admission to the Conservatory of Music of Cosenza. I attended until 1990 when I met at a masterclass in Palmi (RC) – Italy, my teacher Sandro Verzari, First trumpet of the RAI Symphony Orchestra of Rome and teacher of the Conservatory of Music “A. Casella” of L’Aquila. I moved to him to continue my final studies until graduation. I continued to study with him to prepare myself for a future as a musician and began to participate in various auditions and competitions in Italian orchestras.
Who or what were your first musical influences?
I do not come from a family of musicians, so, until I entered the musical field, I did not realize what the world of music was. My first real musical world was the period of study in the Conservatory, I remember that my first Maestro, Mauro Marcaccio, he gave me cassette tapes of Maurice André. I bought my first vinyl record by Maurice André – this was really influential and I remember that I really wanted to play like him, it was my primary goal! It was my dream, I played with the vinyl almost every day with the trumpet having fun. It was Torelli’s concerto, Viviani’s sonata, Vivaldi’s concerto for two trumpets. In short, I tried to imitate him, at least I tried.
There was also another great influence in the 90s, Canadian Brass. I bought their CD and listened to it over and over. After that CD I immediately formed a brass quintet with the other study and class friends of the conservatory, we enjoyed playing together with the desire to grow so much and learn many other musical things, in addition to the usual class studies in the conservatory doing our first concerts. Other trumpeters who have influenced my musical path a lot were Timofei Dokshizer, Guy Touvron and Wynton Marsalis.
Do you have special practice regimes? Does this change a lot depending on whether you are performing different styles of repertoire?
I have no special regimes, my study day is always the same. I always divide it by studying with the different trumpet models (Bb, C and Eb Trumpet). I like to vary my routine also so as not to get used to the usual study especially when it comes to technique.
I go in search of new stimuli of new techniques and new styles. I am curious about the technique of other instruments in addition to mine to see how they are structured. This helps me to grow both the musical side and the search for new things and experiment with them on the trumpet.
Obviously based on what I have to play I try to concentrate the study and the right technique for the repertoire to do, then the preparation is subjective for each of us, I change a little bit but I do not distort it in the most absolute way, I also believe that it changes according to the different style of playing.
What do you think are the most important elements of music and trumpet playing that young musicians should focus on?
There are quite a few important elements, the music itself is already the most important thing. First of all, beautiful sound and good intonation. These two factors, are the two most important things that a professional musician or young musician must build.
I believe that building a good foundation is the hardest and most important job. I divide study and preparation into three parts: the first part concerns sound, breathing and control; the second part concerns a whole part where we study the coordination of flexibility, intervals, finger technique, scales in all tones both major and minor. The third and final part is the repertoire.
Can you tell us a bit about your Frate Precision mouthpieces?
I became aware of the Frate mouthpieces when I tried one from the authorized dealer in Gragnano (Naples) – Italy, I immediately realised that it was a truly exceptional product. I bought one based on the characteristics of other mouthpieces I use. After studying it and playing it in the orchestra I realised that it was what I had been looking for a long time! I was immediately struck by the precision of the intonation – very defined and easy on flexibility. It also blends well with the other orchestral instruments, but the thing that struck me most is the projection of the sound in addition to the homogeneity it has on the whole register.
In April I recorded my latest work with the record label Movimento Classical with the “MaSiFuLa Quartet” with the 5+M,6,105 Frate Precision mouthpiece.
What are some career highlights to date?
At the age of 16, I had my first master-class with Sandro Verzari, and I performed the Concertpiece Op.12 by W. Brandt. It was my first experience on a big stage, from that performance I understood that you had to sweat 7 shirts if you wanted to pursue a professional career! I started at the age of 18, doing auditions, competitions and also orchestral experiences as first trumpet and in the section, at the Regional Orchestra of Lazio. I then did the T.I.M International Music Tournament and won the first prize. Immediately after I did other auditions such as the National Symphony Orchestra of the RAI of Turin, the Teatro Regio of Turin, the Teatro San Carlo in Naples, the Teatro dell’Opera in Rome, the ORT Orchestra Regionale Toscana where I stayed for almost three years as first trumpet, the Teatro Massimo in Palermo, with the Sicilian Symphony Orchestra where here too I held the role of first trumpet for three years, with the Solisti Aquilani, Orchestra Sinfonica Abruzzese, Chamber Orchestra Officina Musicale di L’aquila, Orchestra città aperta di l’Aquila where I recorded some soundtracks from Film such as Salvo d’acquisto, the boys of via Pal and Ginostra.
Currently I hold the role of first trumpet with the Philharmonic Orchestra of Calabria, with the MaSiFuLa Quartet and I am a professor at the Conservatory of Music “Giuseppe Martucci” of Salerno – Italy.
Like many artists, I imagine that your work has been severely affected by the pandemic? How did you keep yourself playing at a high level and getting back (hopefully) to being much busier now?
Like many of us the pandemic has been devastating, even in other sectors, especially ours, we found ourselves from the stage that was everyday life, to be closed in four walls of the house without being able to live normal life. In addition to the magic of music and theatre, at the beginning I did not really know where to start. It was really difficult, in the end I said to myself, you have to do something to pass this bad nightmare. With colleagues we recorded videos such as the concert in D minor by A. Marcello, the first half “Andante e Spiccato”, other videos with the quartet MaSiFuLa and published on various social networks, YouTube, Facebook, Instagram.
in addition to having recorded in December 2020 with MaSiFuLa Quartet, our first CD, in the immediacy in April 2021 we prepared and recorded the second CD with the record label Movimento Classical.
Can you tell us about the MaSiFuLa Quartet?
The MaSiFuLa Quartet was formed in May 2020, to date we have completed two recorded works. We are already thinking about the third with music by G. Gershwin, L. Bernstein and we are trying to organize the next future concerts. You can listen to the two CDs on YouTube and on Spotify.
What advice do you have for aspiring young musicians?
From my experience as a professional musician and as a teacher all these years, I advise future aspiring young musicians to work hard, but above all to set the right goal and achieve it with the utmost stubbornness, dedication, conviction, tenacity, preparation and face everything always with conscience!
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John Foster is a leading exponent of performance on historical trumpets and cornetto as well as being a former member of the Sydney Symphony Orchestra. John is a former classmate of mine from the Royal College of Music, and talks to me here about trumpets, trumpeting and his recent collaborations with Pickett Brass.
What first drew you to the trumpet? Any early musical influences?
My earliest musical recollections came from listening to my grandmother singing and playing the organ in far North Queensland, and after that my next encounter with music really came through the primary school system. At school I played piano, violin, recorder, percussion, and then eventually by age 10, I was given a trumpet. Probably the first time I was acutely aware of music for the trumpet was when I was 12 years old and heard my first recording of Maurice Andre.
Can you talk a little about your trumpet education and how that has influenced what you are doing now?
All of my early music education on the Trumpet came through I would say an American style of Trumpet teaching. My teacher at age 12 was Yoram Levy (Israel Philharmonic) a former student of Vincent Cichowitz and Adolf Herseth, and all the usual Trumpet methods that went along with the ‘Chicago school’ including the Arban Method, Cichowitz studies, Rochut, Schlossberg, Louis Davidson, Vassily Brandt and several other methods. After receiving a thorough grounding in orchestra on solo studies on the modern Trumpet I moved to the United Kingdom, to the Royal College of music in London where I studied baroque trumpet with the wonderful Professor Michael Laird (Academy of St Martin’s in the Field) and Mark Bennett, and further formal, modern trumpet studies with Paul Beniston (London Philharmonic). I also benefitted greatly at this time by taking private studies with Ian Balmain (Covent Garden) and Rod Franks (London Symphony). During these formative years I was also very privileged to spend quite a bit of time with Swedish trumpet soloist Håkan Hardenberger.
What trumpeters do you most admire and enjoy listening to?
What a great inspiration is always been French trumpet virtuoso Maurice Andre, his magnificent sound and sensitive approach to music making always seem to transcend the fact he was even playing the trumpet. These days Reinhold Friedrich is also one of my favorite players to listen to. In a similar way to Maurice Andre he manages to always ensure that the audience feels the emotions he conveys in his playing. In the 21st-century we are truly spoiled with choice from so many wonderful artists and so many fine recordings being made in the last 50 years. Some other artists (past and present) that spring to mind are Adolf Herseth, Maurice Murphy, Håkan Hardenberger, Thomas Stevens, Vincent DiMartino, Doc Severinsen, Serge Nakariakov, Giuliano Sommerhalder, David Gurrier, Niklas Eklund, Matthias Hoffs, Yigal Melzer, Marc Ulrich, Gabrieli Cassone, Michael Laird, Mark Bennett, Crispian Steele-Perkins, David Blackadder, Neil Brough, Edward H. Tarr, Friedemann Immer, Geoffrey Payne, Gordon Webb, Omar Tomasoni, Michael Sach, and so many more…..
At what point did you make the decision to move away from an orchestral career to focus on early music?
By the time I reached my mid 30s I had already spent the better part of 20 years playing in professional orchestras (the last 12 years of those with the Sydney Symphony). Whilst I adore the orchestral repertoire and performing orchestrally (and will probably never fully divest from playing in orchestras) my true passion has always been with the trumpet/cornetto repertoire from the 16th – 19th centuries. I’m also very involved in directing and conducting now as well.
I hear that you have quite the instrument collection! Can you tell me about a few highlights?
I have over 100 historical instruments pertaining to the trumpet family. Some highlights would include:
• Original English Slide Trumpet by F.Besson c.1860
• Hand-Stopped Natural Trumpet in D by Georg Öttensteiner c.1850
• MacFarlane’s ‘Clapper Key’ Cornopean by Charles Pace c.1850
• B flat Keyed Bugle by Charles Pace c.1840
• E flat Keyed Bugle by George Smith c.1835
• Coach Horn (House of the Duke of Glouster) by Kohler of London c.1796
How does the future look for period instrument performance?
I think the future for period Instrument performance is incredibly bright. Here in Australia (as like never before) universities and Conservatories are embracing early music and historically informed performance practices by adding resources to the departments in order to properly train young musicians.
Any advice for aspiring players who are interested in getting into early brass?
The classical music industry is both a very challenging and rewarding one. Firstly I would advise any aspiring Brass players to definitely become involved in early brass playing. Fundamentally (particularly in the case of the trumpet and horn) the Natural Trumpet/Baroque Trumpet gives the best possible foundation to any serious brass player’s fundamentals, being that everything you perform is based on the natural harmonic series, sounds must be extremely well-connected, with great support and air-flow, as well as there being an absence of ‘force’ in the blowing. Musically, the playing of historical instruments also gives a wonderful foundation into developing ‘ensemble listening skills’. In particular listening to the other instruments and vocalist (not just the immediate Brass colleagues). The softer dynamic range of early brass instruments allows for much more sensitive listening and acute awareness to other ensemble members, and indeed in many cases it also allows more readily to the imitation of style. From a practical point of view; with the size of the classical music industry seemily shrinking, and with more and more players graduating from leading universities, being able to except work on historical Instruments only allows for one more avenue of work for players. Anything today I see historical instrument playing seeping more and more into the regular working life of symphonic players as well.
How about ATA? Any plans for future course?
Indeed the Australasian Trumpet Academy hopes to have many more courses in the future, once international travel is readily available again (post the current pandemic).
Can you talk a little about your relationship with Pickett Brass and the process of designing your mouthpieces?
Certainly. I have worked with several instrument makers and mouthpiece designers over the past 20 years but upon meeting Peter Pickett (from Pickett Brass) I was immediately impressed. Peter has a wonderful mind for engineering and matches that with all the skill and precision you would expect from a 21st century mouthpiece maker,however what sets him apart is that Peter Pickett is also a real trumpet player. I found it such a great advantage when describing to Peter what I wanted in my signature John Foster Baroque Trumpet Mouthpiece, that not only did he understand what I wanted from the technical specifications, he also knows forensically from the players point of view what will work. The results speak for themselves I love the mouthpieces Peter makes for me and I’d recommend them to anyone. https://www.pickettblackburn.com/signature-series-trumpet-models-c-107_115_200/john-foster-p-1647.html
What does 2021 hold for you?
Lots of Golf and Trumpet Practice at the moment awaiting the end of COVID 19 lockdowns.
What instruments do you use?
Trumpet in C/D (A = 415hz/430hz/ 440hz) – ‘Foster Model’ (2016), based on an instrument by Johann Kodisch (Nürnberg ca.1700) Baroque Mouthpiece – ‘John Foster’ Signature Model by Pickett Brass Tromba di tirasi in C/D (A = 415hz) made by my own construction (reproduction bell after J.W. Haas c.1720) Cornetto (Soprano A = 440hz) – Phillip McCann (2005) Cornettino – Christopher Monk (c.1970) Mute Cornetto – maker anonymous (UK) Keyed Trumpet in E flat (A = 430hz, 440hz) My own construction (2006). Demilune Trumpet in F/E/Eb/D/C/Bb by Stephen Giordano, based on original instrument by Anon (Strasbourg ca. 1805) Keyed Bugle in B flat ‘New Improved’ by Charles Pace (ca.1840) Keyed Bugle in E flat by George Smith (ca.1830) English Slide Trumpet in F/E/Eb/ D/C by F. Besson (c.1880) Posthorn in A by Kohler and Sons (c.1880) Cornet in G/Ab/A/Bb ‘Levy Model’ by Courtois (c.1875) Cornet in Ab/A/Bb by Thiboulville- Lamy (in high pitch, 1890)
Modern Trumpets • B flat Trumpet by Vincent Bach Model #37 • C Trumpet by Vincent Bach, 25H leadpipe 229 bell. • Eb/D Trumpet by Schilke • Piccolo Trumpet by Schilke P5-4
Books:
• ‘The Baroque Trumpet Revival’ by John Foster (Publisher David Hickman, Hickman Music)
• ‘The Natural Trumpet’ and other related instruments. by John Foster (published by Kookaburra Music).
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Alliance Brass mouthpieces were launched in 2006 by Roger Webster, former principal cornet with Black Dyke and Grimethorpe. Initially these were for the brass band world to accompany Besson instruments but in more recent times, there have been some significant developments with their trumpet range.
Stephen Wick from Alliance Brass and Denis Wick Products was kind enough to send me two different models to put through their paces. Before I let you know what I think, here is what Stephen Wick has to say about them:
“The Alliance trumpet mouthpieces were designed with bodies considerably heavier than the standard Bach shape to create a mouthpiece which delivers a powerful sound and can project well. The mass is carefully distributed to achieve this effect without losing responsiveness. Some mouthpieces with extremely heavy bodies can feel very ‘dead’ and lacking in response. The idea behind the Alliance mouthpieces was to have just the right weight for the power and projection needed, but still be responsiveness enough to be enjoyable to play. The cups, bores and backbores are carefully designed to create a harmonious blend and optimal performance.
The rims are designed to be super comfortable – round enough to be very easy to play but with a gentle curve which is enough to spread the pressure evenly. The mouthpieces are machined using specialist tooling so that minimal polishing is needed before plating. This ensures that the exact contours of the rim are preserved and not altered at all in the polishing process. The taper of the shank is carefully checked so that optimum ‘gap’ is achieved, resulting in a mouthpiece that produces a resonant sound that is immediately noticeable to the player.”
In this play-testing review, I chose to go in blind without knowing anything of the specifications of the two mouthpieces:
Alliance 4 (WAGR11-4) The initial feel on the chops is that this is a nice ‘roomy’ classically orientated mouthpiece, reminiscent of a Bach 11⁄2C in feel, but perhaps with a slightly wider inner rim. There is a very quick response with this, and I find myself having to recalibrate my approach having been sucked into the Bach feel of the rim! Though brightly responsive, there is still a depth to the sound that I really enjoy. And after playing for a minute or so, I discover that I do not need to make as many adjustments to compensate for tricky intonation. I am also struck by the great balance of resistance in this mouthpiece, allowing ease of control in timbre and volume. This is a nice balanced mouthpiece, suitable for classical all-rounders, offering a depth of sound for orchestral playing as well as the flexibility and brightness for chamber or solo contexts.
• Inner cup diameter: 17 mm • Rim: 5.35 mm • Bore: 3.7 mm • Medium deep cup
Alliance 8 (WAGR11-8) Now this immediately has a classic 7C feel. The rim is extremely comfortable with a medium deep cup. My initial reaction is that this would be the perfect mouthpiece for a beginning player as it is so easy to play and make a nice full sound. However, this is clearly not a typical ‘beginner’ mouthpiece. The sound is full, the intonation is even across the range, and there is an ease of flexibility especially in the upper registers. There is a nice character to this mouthpiece, probably offered in part by the extra outer mass compared to a standard beginner mouthpiece. The I tried the model with gold rim, but I will certainly be recommending the slightly cheaper all-silver model to my beginner students!
• Inner cup diameter: 16.25 mm • Rim: 5.63 mm • Bore: 3.7 mm • Medium cup
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Wow, this blew my mind! This “No-Airflow Mouthpiece” demonstration from John Snell and Brett Kendall at Bob Reeves Brass really does make you think about efficiency and what is actually required to make a trumpet work. Enjoy…
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Established 2013 in Philadelphia by Chinese-born bass trombonist Sun He, Ultimate Brass started as a brass instrument repair studio and later became an innovative company that designs and makes brass instrument mouthpieces, trombones, trumpets, and brass instrument accessories. Ultimate Brass Mouthpieces and accessories are being used daily by members of the Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, Aachen Chamber Orchestra, Singapore Symphony, Melbourne Symphony, Beijing Symphony, Shanghai Symphony, Shenzhen Symphony and many other brass musicians across the world. Sun has been kind enough to share some of his thoughts on getting all of this off the ground.
Can you talk a little about the background to getting started on this mouthpiece craftsmanship journey?
Before diving into the music world, I was a engineering student at University of Science and Technology in Beijing, in 2013. When I first move to Philadelphia, I was able to combine my technical skills and musicianship and start my own brass repair shop. At that moment I thought I would never get into the mouthpiece business, it is such a different world than building and repairing musical instruments. Around that time, I was searching for a good mouthpiece for myself, but I still had not thought to start my own project.
In 2014, a friend want me to modify a mouthpiece rim for him, eventually I did, and it was pretty successful. Around the same time, a “modified” mouthpiece can sell for a lot money in China. For example, some teachers and shops ordered stock Bach 1 1/2, drilled to #25 hole and sell to students for over $200USD. I was shocked, and I started to think about how to create a line of high quality product, and sell for a reasonable price. By the way, I still don’t understand why people are so obsessed with “modification”!.
It was Jeff Lang who finally encouraged me to get into this business, we would run into each other in the school lobby. Somehow we started to have a chat about mouthpieces, and he described how he felt about his current set up, and where he thought things could be improve. Then I started to experiment and finally created the Jeff Lang signature model for him.
Who or what were your inspirations?
Every mouthpiece maker I have ever encountered, every teacher I have studied with, and everyone I have collaborated with inspired me in some level, there are always things that I could learn from other people.
Did you set out with ideas of how manufacture could be improved?
Yes, I have a lot ideas, and I am always experimenting with new things – although sometimes the experiment can be expensive!
How do you bring other players into the design process?
I start with sit down with them for a coffee, a nice chat, learn about their personality; listen to their recordings, and recordings of their orchestra, in order to learn the sound concept. Then usually we start with a model from current product line, and tweak it to fit to the players needs.
Are there any unexpected challenges that you have met along the way?
This is a tough question. I am Chinese, and when we first started to promote Ultimate Brass products, some customers automatically connected our products with cheap price and lower quality… which is not true. And I remember when the first time at an exhibition, a customer came to our booth, asked : “What are these copied from?”, I said: “Excuse me? what do you mean?”. He said: ”You are Chinese, right? Everything from Chinese makers is a copy of something.” Then he pointed at another booth of a Chinese “Trombone Maker” and said: ”Look at their beautiful knock off.”
We have closely collaborated with many great brass musicians over the past few years, some of the models took over 2 years of R&D, just to get the product perfect. I wish I could just snap my finger and copy something, and make our artist happy. I could save a lot of time and money in the process!
Running a successful manufacture business takes a lot of time and commitment. How do you balance this with having a life outside of the workshop?
I work on other projects to rest from one project, always keep everything fresh. The most important thing is that you need to know when and where to stop.
Plans and ambitions for the future?
I have a lot other interests, mainly because I want to try out as interesting stuff as possible in a limited life time!
What are you looking forward to post-COVID?
I love to eat, the first thing I do when I arrive in a new place, is to open the local gourmet app, of course I’ll do my homework before arrival.
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I speak to trumpet players regularly who are looking for are looking for a slightly shallower than standard cup in their mouthpiece. Perhaps they are playing a variety of different styles and need the extra brightness and flexibility. Some are symphonic players looking for that additional ‘utility’ mouthpiece that they can switch to when required. Others are commercial and jazz players who are looking for great slotting in the higher registers without a big compromise on sound quality. Or maybe they are looking for a mouthpiece that they can play comfortably on E-flat or Piccolo trumpet.
The best solution that I have found that can work for many of these players is the HM cup/rim range from Frate Precision. They are designed and made in Lombardy, Italy by Dario Frate – you may be interested to read this interview with Dario here.
The range of HM cup mouthpieces from Frate Precision
The striking thing about these high cup mouthpieces is that you do not feel a compromise in sound quality and sonority. The ‘H’ refers to the High (or medium shallow) cup, and the M is the code for the rim shape. Combined with the slightly more open 106 backbore, it is easy to get a ‘sizzle’ to the sound while still keeping a lovely rich tonal core. The slotting and flexibility on them is also fantastic.
On piccolo trumpet, they are available with cornet shank. The standard shank/backbore seems to work best for most players on these.
Here is a list of my most popular and recommended models:
3HM, 106 : This has the number 3 rim (16.62mm), medium shallow HM cup, 3.66mm throat and a medium large backbore. Rim and cup combination and very approximately equivalent to a Bach 3D.
5HM, 106 : Similar to the 3HM, 106 but with a slightly narrower (16.35mm) inside rim.
7HM, 106 : As above but with a 16.22mm inner rim, roughly equivalent to Bach 7D.
All of these combinations are also available and in stock with cornet shank – please do send me a message if you are interested in one of these, or would like any advice on finding the right mouthpiece for you.
When you talk about getting your trumpets adjusted so that they respond perfectly to you or matching and adjusting a mouthpiece so that it works perfectly with your horn, you are probably already thinking about Bob Reeves!
I was able to meet up with Bob at ITG 2018 for a coffee and a chat about his career. In 2018, Bob was celebrating a staggering 50 years in the industry. I am sure that he has some pretty special stories to tell, but in this interview, we mainly stuck to the technical stuff and the fascinating challenges that he faces in helping us all to be better players.
One of the topics that readers would like to hear about is matching the right equipment to players. What can you tell us?!
When I started in Hollywood it was the capital of music. There was so much recording going on there. There were great players already in Los Angeles but also lots of touring orchestras from the US and around the world would visit. I used to work with whatever they brought in for me to look at. My philosophy is to service. I am not a salesman; I don’t sell things. I listened to players to work out what will make their life easier.
Take one great Hollywood trumpet player, Tony Terran. I saw him 3 times a week looking at adjusting mouthpieces. I had pretty well perfected the process for valve alignment – I call that the foundation. If that is not right, you can forget the rest of it. So, one day I took his trumpet, took it in the back, cleaned it and did a valve alignment on it, and brought it back. He then came back 3 days later with all of his trumpets and his son’s, had them aligned, and never needed to have another mouthpiece adjusted in all his career.
I stayed in touch with his son who now still uses those same trumpets in Las Vegas and says that he doesn’t ever need anything else from a horn. I like to hear that. Like I said, I am not a salesman, I don’t care what people come in for. I hear them play, and that gives me most of the answers to where their problems lie. If I can fix that by looking at the player and their equipment, that is great. I don’t have to sell them something.
So, if you are listening to a player, can you confidently diagnose their technical deficiencies just from the sound?
Yes. I won’t mention any names, but there is a particular trumpet soloist who makes me crazy. I can hear on recordings that they are a very fine musician, but there are some technical problems that I would be able to fix given a chance. I can hear that the instrument is very badly out of alignment, so every note sounds different. And you can see looking at their face while playing that it is a battle and is having to overcompensate. Maybe one day I will reach out to them!
I built trumpets at Benge back in the 60s. I was the worst guy in the place because I always wanted to try to improve things. After 3 years, I didn’t have a friend in the place! I am not sorry about that at all. It started me on the process of making trumpets to be as good as they can be. And I still keep working on it today.
Trumpets built today by a number of manufacturers are very poorly made and adjustment is essential. Many instruments are designed alongside great players, but the problem is that at the mouthpiece end of the instrument, you can’t really hear yourself clearly while playing. I will always listen to the sound coming from the bell. That is what matters. You have to be able to tell where the note actually starts. I can tell you whether the note is starting inside the bell, at the edge or even outside of the bell. You cannot tell this when you are playing.
All the time that I am working with a player, I am listening carefully to their sound and how they describe what they are not satisfied with, but I am also slowly teaching them to listen too, as they have often never thought about it before. You are busy in your head when you are playing so you tend to ignore things. Maybe you are just glad to get the note!
So, doing the valve alignment is the foundation to figuring out any other problems. Higher register is where I see the biggest problems occurring, often with very fine and strong players. People reach a point where they change from what they can do instinctively with their good technique and change to try to ’muscle’ the next note out. This is an area that I often work on both in trumpet and mouthpiece adjustment but also in that player’s own technique.
I have a good friend and talented trumpet player. He could play solos with double C and triple C, just like songs. He had that upper register so figured out that he could just ‘play’ the thing without thought. He never looked like he was working hard. And he did that on a standard mouthpiece. There are very few people who have figured that out!
So how do you approach it with a customer when you know that there are things as much about their own trumpet technique that need to be fixed, as well as the trumpet and mouthpiece? That must be tricky!
Everybody who comes in has their own opinion. If it is correct, I say nothing. For most players, it takes more time to adjust their thinking than it does to adjust the horn. The mouthpiece is David and their own mind is Goliath! Through our conversation I need to slowly get them to give up a little – as my suggestions gradually become more successful, they become easier and easier to work with. The next time they come back it is much easier.
What are the most common adjustments to mouthpieces that you make?
The rim is the most important to most players. Most people come in with a rim that they like, so I just cut the rim off and work with that if it is already comfortable for the player. Then we work on finding something that matches the sound that he wants and also with the kind of resistance that he wants to match that horn. I don’t tell anybody what to do, I don’t make choices for people. I advise, but you’ve got to make the choice that is right for you. You’ve got to be happy. That’s the only way that I am going to be happy.
Is there ever a battle where perhaps people don’t like to hear what you have to say?
Absolutely. A few people have packed up their stuff on me. You know what, sometimes they don’t come back for years. And then all of a sudden, they come back because someone else has eventually convinced them.
Which of your customers over the years have given you the most pride in the changes that you have been able to help with?
There are so many and don’t want to leave anyone out! One example would be the 8 hours that I spent with Hakan Hardenberger and changed everything that he came in with! He did a concert the next night and sounded great. Doc Severinsen has been a great guy to work with. Sometimes it is difficult as he always has his own opinions and you have to work with that. He is a great trumpet player and a terrific person. There really are too many great players that it has been a pleasure to work with!
Are there common preconceptions that players come to you with?
We talk about the gap between the end of the mouthpiece and start of the leadpipe. People have opinions about that, professors have opinions about that. The player tells you that they must have a gap of precisely X. Nobody can tell you that, it is very personal. For you, that gap might be 2 hairs’ width too big or small, but some people will remain adamant until you have proved it to them. 6 thousands of an inch gap completely changes the way that the horn feels and sounds. Getting the gap right is matching the mouthpiece to the trumpet. That gap cannot be taken to the next trumpet. You have to discover it all over again. That is what got me started thinking about building sleeves, because the player wants to have one mouthpiece in a number of different horns. I think of mouthpieces as tools – I probably have 25,000 different ‘tools’ in my shop, all with different purposes.
If you are playing the horn in a small room, you may want a different gap than you may want in a larger room. The reflected sound coming off a wall in a smaller room is going to be very different to what a listener will hear when you are playing in a concert hall. This is one important thing that I have to teach players when they come in. If I convert a player’s mouthpiece to the sleeves system, I suggest 3 sleeves. At first, the player wants the one that works there and then. It may not be perfect in the next venue. So, small variations may sit easier for different performance settings.
The important thing for me is not to have a plan for a particular player until I have heard them properly. Then, I will have a number of options in mind for us to experiment with. I have been doing this a lot of years now, but I will never presume to know exactly what will be perfect for each player that I hear. It is really important to try the things that your instincts tell you may not be right too!
‘Service’ always needs to come first, certainly before ‘sales’. I hope that this is something that continues in our industry, but it is hard to predict what is to come for different companies in the future. The thing that I think about at the end of each day is the person that I have helped and whether or not their life is a little easier. Not, whether I have made money or not.
Are there any new developments or tools that you are looking at for the future?
We are always looking to see what we can improve both in the products and services we offer, and in our manufacturing processes. For trumpet, our latest thing is a project of mine that I had wanted to do for several years. I took good examples of popular rims and cups — 3C, 1-1/2C, and some others – and designed a backbore to go with them that keeps their classical sound but improves their intonation and efficiency.
Our biggest developments have been for trombone. I’ve done custom work for trombone players since the beginning, but for the first time we released a line of stock mouthpieces in collaboration with Noah Gladstone of the Brass Ark. We have models for small and large bore tenor and bass trombone. It’s been great to see players like Jay Friedman and Charlie Vernon of the Chicago Symphony and David Rejano Cantero of the L.A. Philharmonic using our pieces. Besides the stock and custom mouthpieces we make, we now also offer our Reeves Sleeve system for large bore tenor and bass trombone.
I have a hard time sleeping at night because I’m always thinking of new things. The next project will likely be a new trumpet backbore I’ve been working on. We’ll see!
Do you still have any ambitions to fulfil or are you there yet?!
One thing I would love to do is to spend more time travelling to different countries, listening to and working with lots more players. Although the fundamentals are the same for great trumpet players around the world, there are so many subtleties and small differences of tone and style that I want to explore more.
After visiting the Arena in the beautiful city of Verona some 20 years ago, I have been fascinated by not only its history but its use today as one of the most spectacular opera venues that you will ever visit. Built nearly 2,000 years ago, this outdoor amphitheatre could accommodate over 30,000 spectators, attracting audiences from across the Roman Empire.
What would it be like to work here as Principal Trumpet with its resident orchestra? Well Massimo Longhi knows! He has held this position for 25 years now and has kindly shared his thoughts with us.
What got you started on trumpet?
The trumpet came into my life at 10, my grandfather and my uncle played in my family in the village band.
Who and what were your biggest early musical influences?
Certainly, Maurice Andre was decisive, and then the opera, which still fascinates me and stimulates me, and has opened me up to an incredible world and has influenced my way of playing.
Which trumpeters today do you enjoy listening to?
The one and only… Wynton Marsalis
How did joining the ‘Arena di Verona Orchestra’ come about?
The Verona Arena Orchestra is a full-time orchestra that carries out the summer festival in the Arena from May to September and the rest of the year is produced in the beautiful Teatro Filarmonico of the city (18th century theatre) with operas, concerts and ballets.
In 1993 I won the competition for the position of the first trumpet, and have been there ever since.
The Arena in Verona is one of my favourite places to visit! Was it difficult to adjust to playing outdoors instead of a traditional concert hall environment? Are there any things that you do different technically on the trumpet when playing outdoors?
Every year when we start work in the Arena we need a little bit of acoustic adjustment, the ear has to get used to it. Technically we think we are playing better, rather than stronger, the best thing is to imitate the voice of the singers and to think of projecting the sound. The less force use, the more the sound projects and sings. I do not need use any different equipment for playing in this environment.
Are there any favourite memories or highlights from your time so far in the orchestra, that you would like to share?
Today, just as 24 years ago, when I started working in the Arena, the most incredible thing is the moment of silence that precedes the director’s gesture that starts the show and I can assure you that the silence of 15,000 people is magical!
What projects have you got going on at the moment?
In addition to the orchestra, I have been a conductor for some time. Here is an association that organises my master class concerts and competitions – www.associazionemusicalepozzoli.com
What are the most important things for young aspiring trumpet players to remember?
That the study and the continuous work on the instrument will give the best results, playing an instrument on a professional level means dedicating oneself to it every day. It’s a bit like trying to fill a bucket with a hole in it!
What gear are you playing on?
I am a Yamaha artist and I use their trumpets but the mouthpiece for the trumpet player is incredibly important! I play Frate Precision mouthpieces.
What are the benefits that you have found after changing to your Frate Precision mouthpieces?
The first time I tried them I was struck by how they responded to my ideal sound. It may seem strange but since I use it I have not had any problems with my lips. I also liked having the opportunity to develop some ideas with Dario and I must say that today I am extremely pleased!
Can you tell us a little about the process involved with selecting your mouthpiece?
Choosing a mouthpiece is not simple but if we base the choice mainly on the sound we want, it is easier to achieve. Personally, I have to be satisfied with the sound first, and then later I looked for variations on the edge of the rim and the throat that help me to smooth out any imperfections.
