BRASS

FUNDAMENTALS
Rimando, Madel C.
9-Harmony
B rass instruments have at least two distinctive characteristics in common. They are:
(1) the sound is initiated by the vibration of the player’s lips; and (2) the instruments
themselves are constructed of brass (usually plated with nickel, silver or gold lacquer). These
facts are usually quite well known among young brass players.

Design Issues

Conical and Cylindrical Brasses

Perhaps the most convenient classification of brass instruments is according to the extent to
which they have a cylindrical or cone-shaped bore. The shape of the bore is important
because it affects the quality of the sound and the degree of flexibility that can be attained.
Cylindrical and conical brass instruments are produced in soprano, alto, tenor and bass
voicings.
Basic types of brass instruments

Register Cylindrical Conical

Soprano Trumpet Cornet
Alto Alto horn (sometimes called tenor horn) French Horn
Tenor Trombone Euphonium
Bass Sousaphone Tuba
 Cylindrical instruments do have some conical sections. The
difference is a matter of degree rather than kind. The trumpet – usually
regarded as a cylindrical instrument – consists of a coiled tube about six
feet length. Only about a third is really cylindrical, however. With most
brass instruments, the shape of the valves, the tuning slide and the
section of tubing where the mouthpiece is inserted are all cylindrical.
However, instruments such as cornets, euphoniums and tubas have a
sufficiently greater proportion of conical tubing to ensure a noticeable
difference in tone quality when compared to trumpets and trombones.

o A conical shaped standing wave tends to eliminate several upper partials,

resulting in a less brilliant sound.
o Cylindrical tubing requires a more constant airstream speed. In the case of
inexperienced players, this can result in intonation problems, particularly when
executing lip slurs.
 The latter point is perhaps the most important reason why primary and lower
secondary school concert bands are probably better off using cornets rather than
trumpets in their brass sections.
Cornets are more flexible and easier to play.
Bore size and flare
Having advocated the use of cornets rather than trumpets for young bands on the
grounds that they are somewhat easier to play.
The flare of the bell can also have an important impact on tone quality. A large
flare has the effect of dampening the upper partials, thus producing a “carker” tone.
Less flare fives a brighter tone by making the sound of the upper partials more
obvious. It is also important to remember that, while large and extra-large flares
often give the impression of a fuller sound at close range.
 Brass alloys and finishes

Brass instruments are made from up to four different materials: yellow brass,
gold brass, red brass and nickel silver. Each of these alloys is said to have an effect on
timbre, with those including a higher proportion of copper being associated with a
darker tone. Yellow brass (70% copper, 30% zinc) is perhaps the most widely used
material. Gold brass (85% copper, 15 % zinc) or red brass (90% copper, 10% zinc). Gold brass is
said to produce a broad, rich sound, while red brass is associated with soft mellow
tones. For many, nickel silver (70% copper, 20% zinc, 10% nickel) lacks the tonal richness of
other brass alloys.
Bracings are typically made of nickel silver. Lacquer coatings use an epoxy lacquer
that is sprayed onto a polished buffed brass surface to prevent it from tarnishing.
 Mouthpieces

Discussions among many young brass players regarding the virtues or

otherwise of the various brands and models of mouthpieces currently on the market
often seems prefaced by the assumption that there is such a thing as the perfect
mouthpiece. Every type of mouthpiece has both advantages and disadvantages.
Moreover, every player is different, and a mouthpiece that is most appropriate for
one player will not necessarily be so for another. A brass player needs to select a
mouthpiece that not only meets his or her performance needs but is also consistent
with the anatomy of his or her.
 The cup depth and diameter
The diameter of the cup (as measured from the inner edges of the rim) is
important because it determines the area in which the lips will vibrate. Larger cup
diameters result in a greater proportion of the lips vibrating inside the mouthpiece
and will thus result in a larger volume. Smaller diameters, on the other hand, tend to
impede the airflow and thus produce a smaller sound.

The latter is common embouchure fault that results in the inside surface of
the lips becoming the vibratory surface, producing a hazy sound devoid of
resonance.

The most appropriate depth of a mouthpiece cup depends to some extent on

its bore as well as its pitch. For the average tenor trombone, for example, a medium-
deep mouthpiece cup is probably best. For the symphonic bore tenor trombone,
however, a larger cup is preferable. Euphonium players should use even deeper
cups in order to gain a more mellow sound.
Cup shape
The shape of the cup is also important. U-shaped cups have a brighter sound
and are easier to play in the high register. V-shaped cups on the other hand,
produce a darker sound and are easier to play in the lower register.
The throat
The diameter of the throat shoulder or edge has an important influence on the
timbre or tonal characteristics of a brass instrument. Large throats darken the tone
and give it body, but they also require lots of air from the player.
The backbore
According to experts such as Renold Schilke, it is not unusual to find
mouthpieces that are superior in every respect except for the backbore. If the
backbore expands rapidly, the tone will tend to be larger in volume.
The shank
The shank is intended to fit the backbore into the instrument in such a way that
continuous taper is formed with the leadpipe.

Material, weight and thickness

Most mouthpieces are made of brass, with silver or gold plating added. Silver
or gold plating added. Silver is durable and will not flake or peel. Gold plated
mouthpieces, al through more expensive, provide the smoothest feel and enhance
lip flexibility. Some manufacturers such as Yamaha also produce mouthpieces made
of solid silver. The latter are said to have a darker, more powerful tone.
 Numbering system

Unfortunately, there is no standard numbering system indicating mouthpiece

size, so it is important to understand the system used by each manufacturer when
ordering or making comparisons between different brands.
Selecting a Mouthpiece
When ordering cornet mouthpieces it is important to specify whether the
instrument has been designed to accept large or small shanks. Trombones and
Euphoniums also differ, with some using large shank mouthpieces and some using
small shank mouthpieces. Large bore instruments take large shanks while small and
medium bore instruments take small ones.

The Player
Physical requirements
Some textbooks on teaching brass go into considerable detail about the physical
characteristics that need to be considered before a teacher accepts a student.
These include shape of the lower and upper jaw, the appearance and alignment of
the teeth, and general lip construction.
Initiating the sound
As in the case of other wind instruments, the sounds produced by trumpets,
trombones, French horns and the like are the result of a vibrating column of air
within the instrument. The lips are indeed important, but more for their role in
setting in motion a sound wave within the instrument itself than for any sound they
may produce on their own. The opening thus produced is called the lip aperture.

Embouchure formation
While there are almost as many legitimate embouchure settings as there are
successful players, it is nevertheless possible lay down some general principles
about the subject that should prove helpful.