Archive for the 'Cornet' Category

Improving from Start to “Finish”

Tuesday, October 3rd, 2006

At Getzen, we pride ourselves on our industry leading quality and we are constantly striving to find ways to improve our products even more. In that effort, we have made two key advancements in our production.

First is a new, cutting edge, aqueous ultra sonic cleaning system. This process uses a combination of special cleaning solutions and ultrasonic tanks to remove oils and other surface contaminates left behind during manufacturing. The process leaves the surface clean and prepared for lacquering or plating. A clean surface is key to bright plating as well as preventing acid bleeds and other lacquer defects.

The second advancement is an all new silver plating system. Our constant strives for improvement led us to create a new solution and implement new plating methods. Together, this provides a stronger, more durable bond with a brighter, richer silver finish.

Nickel vs. Monel: The Battle Rages On

Saturday, March 4th, 2006

by Brett Getzen

I suppose a better title would be “Us vs. Them”. Regardless, one of our proudest accomplishments is the reputation we’ve earned for having such great valves. Still, we’re asked why we use nickel plated pistons. Why not follow everyone else and use monel? The answer’s pretty simple. We use nickel plated pistons because they’re the best.

Are they cheaper to make? Nope. You could make a cheap plated piston, and some do, but that’s not how we do it. Are they faster to build? Not a chance. Over the years we’ve made both plated and monel pistons and the extra steps needed to properly make a plated piston almost double the labor time. In a business where labor is the biggest cost, that’s significant. So again, why do we use a more expensive and time intensive product? As I said, they’re the best.

When considering the quality of a valve section there are three factors to look at. First is overall build quality. No matter what material is used, poor construction will doom any valves. Second is the surface condition of the pistons. Ideally, a trumpet piston needs to be both smooth and hard. This determines how fluid the action is, how well it will wear, and even how much affect corrosion will have. The third factor is overall lifespan, which is generally determined by a combination of the first two. A well built valve section made from low quality materials won’t last nearly as long as one built with high grade metals.

I developed three tests to determine the quality of trumpet valve sections. The Getzen trumpet tested was a 390 student horn with nickel pistons I took right off the shelf. The second trumpet was a competitor’s student horn with monel pistons. For obvious reasons, I won’t name names and will just refer to this horn as Trumpet X. I will say many of you have probably had some experience with the manufacturer and leave it at that.

Test No. 1: Build Quality

Simply measuring key points of the valve section gave me a fairly good indication of the build quality. The three benchmarks I used were the outside diameter of the pistons, inside diameter of valve casing number three, and the amount of air pressure each trumpet held.

While the overall sizes were different, the gap on both horns was the same. However, Trumpet X held almost 1/3 lb less air, coming in below our standard for new horns. The low air pressure was caused by the lack of consistency in the piston diameters. Each piston on Trumpet X was narrower at the top than at the bottom. This allowed air in the valve section to escape from the top of each valve resulting in poor compression.

Initial Measurements
  390 Trumpet X
Air Test 1.2105 lbs .8947 lbs
Piston #1 O.D. .6485″ .6695″
Piston #2 O.D. .6485″ .6695″
Piston #3 O.D. .6485″ .6695″
#3 Casing I.D. .6520″ .6730″

Test No. 1 Winner: Tighter fit and higher compression put the 390 on top.

Test No. 2: Surface Condition

The most important factor of piston quality is the surface condition. Valve action depends on how smooth the pistons are, durability is dependent on how hard the metal is, and corrosion resistance is reliant on both factors. Let’s take a closer look at the three.

Smoothness
First, it’s important to note that nickel plating is very dense which creates a lubricious surface. In plain English, that means the piston surface is so smooth that it feels wet even when completely dry. Now that’s smooth. Monel on the other hand has a very grainy surface once annealed. This graininess causes pistons to drag and provides a place for acids and dirt to take hold, which can cause rapid corrosion.

Second, one of the most time consuming steps in piston construction is the final lapping. This process of working pistons into the valve casings can make or break any trumpet. In an effort to save time and money, many of our competitors cut corners when it comes to lapping. In some cases, student and intermediate level instruments aren’t lapped at all. Proper fit and valve action are sacrificed to cost cutting. Another common trick is to use a low grit lapping compound. The benefit to the manufacturer is that the pistons can be lapped to size very quickly. However, the coarse grit leaves a surface covered with tiny intersecting scratches known as cross hatching. Cross hatching can cause uneven wear, sluggish valve action, and pistons depressed off center to actually bite into the casing wall. Cross hatching can also hold dirt and saliva, again speeding up the corrosion process. To prevent that from happening, we lap our pistons with a fine grit compound. This not only creates a smooth, even surface, but also a tighter fit. While it takes longer to lap this way, the finished product can’t be beat.

Hardness
Surface hardness is key to long lasting valve action. No matter how tight your tolerances are or how smooth the surface is, if the piston is soft it will quickly wear out. Most importantly, the surface needs to be consistently hard. Varying areas of hardness will cause uneven wear which not only slows the pistons, but can also damage the inside of the valve casings.

The common argument in favor of monel is that it’s harder than nickel. This may come as a shock, but that’s true. Monel is harder… in its original state. However, monel is very susceptible to annealing. That is softening due to exposure to high temperatures. High temperatures like those needed to braze in piston liners. That’s right, a process used to turn a piece of monel into a piston is the very thing that ruins it. You’re left with a surface that’s hard in some spots and soft in others, mainly around the ports. The soft spots wear faster than the rest of the piston resulting in a poor fit and slow, sluggish action along with air leaks and compression loss. Not exactly what you want from a trumpet piston.

Nickel on the other hand is much less susceptible to annealing. The temperatures required are much higher. What little annealing may occur is negated by the extremely hard nickel plating which creates a consistently hard surface. This provides you with even wear throughout the life of the piston. Not only that, but the hardness makes nickel plating an ideal bearing surface and allows it to be honed to amazingly tight tolerances. All ideal attributes for building trumpet pistons.

I had a local metal treater test ssome tubing for me. They tested the surface hardness of raw and annealed monel as well as raw and plated nickel. In the chart below, the higher the number the harder the metal surface. I think the results speak for themselves.

Metal Hardness
Metal Hardness Rank
Raw Monel 64 Second Hardest
Annealed Monel 59 Softest
Raw Nickel 60 Second Softest
Plated Nickel 75 Hardest

Now you may be asking yourself why not just nickel plate monel. Those of you that asked, pat yourselves on the back. That’s the only way to build a decent monel piston. However, nickel plating over monel is not as durable as plating over nickel. Starting with nickel tubing provides a stronger bond between the layers as well as a piston with a built in safety. That is, if and the nickel plating does wear, you’re left with an exposed section of nickel tubing. While it’s not as hard as the plating, the nickel tubing is harder than an exposed piece of monel would be. That means your pistons will still perform and hold up well until you can have them replated.

Corrosion
Any and all pistons can corrode. It’s just a fact. If they aren’t cared for, this corrosion happens sooner rather than later. The key is to prevent corrosion as long as possible, therefore extending the life of your trumpet.

So what causes corrosion? Basically, the answer is your spit. Acids in your saliva combine with dirt in your valve section to form a piston killing mixture of sorts. This mixture most aggressively attacks soft or worn areas on the piston’s surface. As the surface corrodes it becomes rough. The problem grows exponentially as more dirt builds up in these rough spots and causes more corrosion, which makes the surface rougher and so on. This corrosion and roughness can get so bad that, left unchecked, brass from the valve casings will actually begin to deposit on the pistons. Once this happens, the valve section is, for all intensive purposes, ruined.

Our pistons are built with this in mind. The hard, smooth surface created by the nickel plating protects the piston. The extreme density and corrosion resistance of nickel plating offers no place on the surface for acids and dirt to attach themselves. Think of the plating as a force field of sorts repelling the piston’s attackers.

Monel on the other hand doesn’t offer this protection. Not only the failings of the metal itself, but also the corner cutting of other manufacturers creates pistons that might as well be sponges. The soft areas caused by brazing quickly wear creating microscopic pits. These pits act as tiny little hooks grabbing on to acid and dirt causing corrosion to spread quickly over the piston. In the end, you’re left with a piston surface that’s more like sandpaper than a bearing. Not exactly what you want from such a crucial part of your trumpet.

Test No. 2 Winner: With harder, smoother, and therefore more corrosion resistant pistons, the 390 is obviously the winner again.

Test No. 3: Life Span

Finally, the most telling test of all was how long monel pistons lasted in head to head competition with our nickel plated pistons. After all, that’s the true mark of quality.

Pre-Test
The first thing I did was have both valve sections disassembled and cleaned. Each piston was oiled using standard Getzen valve oil, reassembled, and air tested. The whole point of this was to ensure that each horn was treated the same way and entered the test in the same condition.

The Test
The way I tested the piston life span was pretty simple. Each trumpet was mounted into a machine built for just this purpose. A small bench motor attached to an arm mechanism that moved up and down when turned on. The travel of the arm was set to the exact travel distance for the pistons being tested. When everything was set up, the machine ran the trumpet valves at 300 strokes per minute.

At this point, it’s important to keep in mind that the test was not intended to simulate actual playing conditions. It was more of an overall quality test. I equate it to automakers testing seat cushions. They repeatedly drop a 50 pound weight onto a seat to test its construction. That isn’t a real world test, but it does show the seat’s durability. That’s what this test was intended to do. Also keep in mind that, over the duration of the test, both trumpets were treated the same way. Both were only oiled once and each trumpet was exposed to breath and moisture after 100,000 strokes. As the machine ran, I blew through the horn for a few minutes to introduce saliva in order to test the pistons’ corrosion resistance.

Trumpet X Test Results
  Starting Numbers 128,800 Strokes Loss
Air Test .8947 lbs .7368 lbs .1579 lbs (17.6%)
Piston #1 O.D. .6695″ .6670″ .0025″
Piston #2 O.D. .6695″ .6675″ .0020″
Piston #3 O.D. .6695″ .6670″ .0025″
Casing #3 I.D. .6730″ .6740″ .0010″

At somewhat random points along the way, I stopped the test to take measurements of the pistons, casing, and compression. For the sake of space, the starting and finishing results are shown here.

Trumpet X was stopped after 128,800 strokes. At that point, the pistons were so corroded, that they locked in place while the machine was running. As soon as I pulled a piston, I could plainly see why. Corrosion covered the surface of all three pistons making it impossible to continue the test.

Monel Pistons Notice the wear and corrosion on Trumpet X’s pistons, especially the large amount on No. 2 and No. 3. Also note the yellow discoloration of the pistons. This is brass that has been deposited on the pistons from the valve casings. At this point, all three pistons were ruined and no longer functioned.

It’s very telling to see what kind of wear took place on Trumpet X. The wear not only destroyed the valve action, but it completely ruined the compression of the trumpet. While it wasn’t up to our standards to begin with, the compression was still enough that the trumpet could be played with some success. However, after losing over 17% of its air pressure, Trumpet X was left almost unplayable. At this point, the only thing that could save the horn would be a complete piston rebuild

As you can see, the 390 lasted much, much longer. At the 128,800 mark there was almost no change to the pistons, casings, or compression. In fact, the only measurable difference was .0005″ worth of wear to the valve casing. Where Trumpet X was ruined, the 390′s valve action was still smooth, fast, and showing no signs of slowing down.

Now fast forward to 1,000,000 strokes. At this point there was some wear to the valves. However, the valve action was still smooth and fast. Most importantly, the trumpet still tested at over one pound of air. This means that the 390 trumpet still had enough compression to meet our new horn standards. Also, while the pistons looked used, they were still corrosion free with all of their plating intact.

There are two key factors to note about the test results. First, the nickel plating stayed corrosion free during the entire test. This is important because corrosion is like cancer for trumpet pistons. The monel pistons in Trumpet X quickly failed once corrosion started. All it took was a small amount of acids via saliva to expose the weakness of the monel.

Nickel Pistons At first glance, the 390 pistons appear to show almost no wear at all. It wasn’t until the pistons were measured that the minimal amount of wear was shown. At this point, the 390 pistons had been run for just over 1,000,000 stokes on one oiling and still performed almost like new.

The second thing to note is where the wearing took place. With Trumpet X the vast majority of wear was seen on the pistons themselves. Each piston lost .002″ – .0025″ from their diameter, but Trumpet X only lost .001″ from the valve casing. The majority of wear on the 390 occurred on the casings themselves while the pistons stayed relatively intact due to the hardness of nickel plating compared to yellow brass. With a bearing surface, it’s ideal for one to be surface be much harder than the other. This leads to consistent wear of both pieces and longer overall life. Harder pistons are preferred because worn casings are easier to repair. In the case of nickel pistons, it’s relatively easy to replate them slightly oversized and relap them into the worn valve casings to repair the valve section. Repair would be more costly and time consuming with worn out pistons. Your only realistic option would be to start again with brand new pistons refit to the trumpet.

Finally, I was amazed by the performance of our pistons. I knew they’d win, but I had no idea just how much longer they would last. The actual count on the machine was 1,009,100 strokes, which is no small feat. It’s difficult to put that into real world terms, but the fact that the nickel pistons lasted 10 times longer than the monel is very telling. In fact, the 390 could be run even longer. I only stopped the test because my point was made and it had to stop some time. Based on the amount of wear between 500,000 and 1,000,000 strokes I have a good feeling the 390 has at least another 500,000 strokes in it and that’s still with only one oiling.

390 Trumpet Test Results
  Starting Numbers 128,800 Strokes 1,000,000 Strokes Loss
Air Test 1.2105 lbs 1.2105 lbs 1.1579 lbs .0526 lbs (8.7%)
Piston #1 O.D. .6485″ .6485″ .6475″ .0010″
Piston #2 O.D. .6485″ .6485″ .6470″ .0015″
Piston #3 O.D. .6485″ .6485″ .6475″ .0010″
Casing #3 I.D. .6520″ .6525″ .6545″ .0025″

Test No. 3 Winner: Obviously, without a doubt, the clear winner is the 390.

So what does this mean to you as a player? One million strokes on a piston may not be regularly achieved, but it’s nice to know that you could do it. The real lesson is that, despite what the “big boys” tell you, monel is not the superior piston material. It may function well for some manufacturers in the short term, but the overall quality is sub par in comparison to nickel plated pistons. In the case of some trumpets, you’re faced with low quality materials built with little or no craftsmanship leaving you with slow valves that may corrode in place overnight.

Another lesson to take away from this is that nickel plating is not the end all answer for piston performance. It’s possible to build cheap, inferior nickel plated pistons. Generally speaking, these pistons are made from monel and covered with a very thin or “flash” layer of nickel plating. As with anything, time and care must be taken to ensure the right materials are used and worked in the right way to create a superior finished product.

That’s the kind of quality and craftsmanship you’ll find in every Getzen trumpet. From student cornets to professional trumpets, every Getzen valve section is built from the same quality materials, using the same skilled techniques, and tested to the same high standards. After all, there’s a reason why we have the courage to cover our horns with a lifetime valve warranty while other companies only feel comfortable with a year.

Here We Go Again

Sunday, July 11th, 2004

Almost 40 years to the day after setting the cornet world a buzz with the introduction of the first 800 Eterna cornets and just a few years after unveiling the 3850 Custom cornet, Getzen is proud to announce that “We’re doing it again.” This time, however, it’s not a new Bb cornet that’s being released. Instead, we are introducing the new 3810 Custom Series C and the 3892 Custom Series Eb cornets.

The 3810 and 3892 Custom Series cornets have many of the great features found on all Getzen Custom Series cornets and trumpets. Both feature hand spun bells, nickel silver balusters, world famous Getzen pistons, and both are covered by the Getzen Lifetime Platinum Warranty. The 3892 comes standard with a seamless copper bell similar to the standard bell found on the 3850 Bb. As with the 3850 Bb, the 3810 C and 3892 Eb cornets are built around the concept of being free blowing instruments with excellent intonation while maintaining the traditional “cornet” sound.

With the wide spread acceptance and popularity of the 3850 Custom Bb cornet, players began approaching us to fill a void in the industry. That void was the absence of a high quality, orchestral grade C cornet and a fine Eb suited for British style brass band players. Now, after months of design work and consultation with professional musicians and music professors, we are confident in saying that the void is no more.

The 1893 Chicago World’s Fair – A Shining Time For Cornet Soloists

Friday, July 2nd, 2004

by Patricia Backhaus

In 1893 the world came to Chicago to party. Why? It was time for the World’s Fair, or more correctly, the World Columbian Exposition to celebrate Christopher Columbus’s arrival in the Americas. The people of Chicago did everything possible to get the fair in their city. The bragged so much that the selection committee started to refer to the board members as coming from “the windy city” and that nickname has stuck to Chicago to this day. By all accounts, it was an incredible fair that included extraordinary architecture and a railway system that dropped people right at the front gates. Chicago proved to all of those in attendance that the bragging of the city was more than justified.

Now, if you were going to throw a party for the world, you would need to have the very best of entertainment and in 1893 that meant brass bands. It was a much simpler time then. After all, this World’s Fair gave many people their first look at things like electric lights. There was new technology on display everywhere including wireless telegraphy, kinetiscopes, telephones, new fangled phonographs, cameras and (could it be true?) flying machines! Even with all of these new and exciting items there was yet to be developed what we would call today a sound system. Musicians needed to be heard outside over all the commotion and, naturally, brass band music was perfect for the job.

Hundreds of bands performed at the fair. Leading the list was John Philip Sousa and his band. At the time, Sousa’s band was still a young group having only been organized about one year earlier, but they were an extraordinary musical ensemble and were fast becoming favorites of the crowds wherever they traveled. Of course at the fair though, they were just one of many.

All of the bands played for huge crowds and featured superstar soloists. There were trombone and euphonium soloists and the occasional piccolo player could be found, but it was the cornet soloists that captured the crowd. Why only these instruments? Why were the cornet soloists such a big deal? Since there were no microphones, the cornet was a natural leader. It could be heard above everything else going on during normal fair business. With their frequent performances, cornet soloists captured the hearts of the people. There is no single reason for this. Perhaps it was just because they were being featured so much or because their sound could cut through everything else. What ever it was, the cornet was the hit of the fair. And what about the trumpet players? Well, at this time in band history, the cornet was considered to be the artist’s instrument. Trumpet parts tended to be used for filling out harmonies or for playing fanfare figure. They weren’t seen as suitable for solo work.

We know many of the great soloists who appeared at the Chicago World’s Fair from newspaper accounts, concert bills, and programs. T.H. Rollinson will be remembered for Columbian Fantasia, a solo he wrote and played at the fair. The fair was centered around a huge fountain surrounded on all sides by the great, white exhibition buildings. This area was known as the Peristyle. Soloist W. Paris Chambers celebrated this central area with his Peristyle Polka. “The World’s Greatest Cornetist” Jules Levy appeared at the fair, as did P.G. Lowery, better known as “The Black Herbert L. Clarke”. The list of great players in attendance is endless and includes literally every great American cornet soloist of the day as well as quite a few outstanding European soloists.

Since buildings in 1893 didn’t have air conditioning, a good part of the performing sessions were spent outdoors in bandstands or park pavilions. That was just part of the life of a professional musician so they felt right at home during the fair. They appeared on bandstands and stages throughout the grounds. Hype was the watchword of the day and each small stage created glittering promotional prose to lure crowds in to hear and see the great soloists. The organizers of the events became very aware of the crowds coming to hear the musicians. Sometimes they would arrange to have two ‘rival’ performers appear at opposite ends of the exhibition buildings. Performances were scheduled in such a way that audiences would gather at one end of the hall to hear the first performer play after which the audience would have ample time to walk to the other end of the hall before the next performance began. This way, the people not only attended the concerts and had a chance to compare each band against the others, but they also had time to visit the exhibits throughout the hall.

Crowds loved this atmosphere of comparison. It was also an outstanding venue for the musicians giving them steady employment for weeks and a feeling of an “almost home” because they could stay in one hotel room or boarding house without having to pack up and move on every day. The fair also provided them with great exposure thanks to the huge crowds attending their concerts everyday. This was very important for their futures as professional musicians guaranteeing them more business after the fair ended. As I interviewed old timers who knew some of these great players, they were quick to point out that all of them were making their living performing. They performed for people anywhere and everywhere and did not have a “concert hall” mentality. If there was work somewhere, they would play. This is not to suggest that they were not great artists, but they were working artists in the truest sense.

Through their performances these musicians inspired many youngsters, and some adults, to practice hard in the hopes of becoming a celebrated cornet soloist themselves. Dreams to one day attain a high level of artistry associated with cornet playing at the 1893 Chicago World’s Fair were a common phenomenon among cornet players of the era. After all, the cornet soloists were the rock band guitar players of their day. As time went on though, the shine of the cornet player or brass band player in general, began to fade. Unfortunately, popular musical trends change quicker than the weather. However, we are in the midst of a renaissance of sorts today with the popularity of brass bands again beginning to climb. As this happens, the cornet soloist will undoubtedly be the leader of the pack once again.

A Little Piece About Little Mouthpieces

Friday, July 2nd, 2004

by Patricia Backhaus

The cornet – just a little trumpet? No, not at all. A real cornet is a conical bore instrument that is most similar to the F horn. Early versions of the instrument used a mouthpiece that was funnel shaped, like a horn mouthpiece. This helped to create the distinctive warm and throaty sound of the cornet. When you’re learning to play the cornet, it is important to remember this information. Many trumpet players try to make a cornet sound like a trumpet. However, it is a totally different instrument and worth of its own tone and color.

In my years as a cornet player, I have tried many different mouthpieces including the British Brass Band style. This was an interesting experiment for me and I still use that design for some solos. It does have a decidedly British coloring and sound. It is the mouthpiece I would choose for British or Australian style solos such as Percy Code repertoire or the solos of Harry Mortimer. Once at a conference I was playing a British style mouthpiece and a friend who was listening asked if I were trying to sound like a Salvation Army musician. Unfortunately, at the time I was not. This helped me realize just how much the sound depended on my mouthpiece and just how distinctive a sound that particular style had. I also showed me how important it is to focus on the “voice” I wanted out of my cornet at any particular time.

Since then, I have experimented with different ideas to find different sounds. I have experimented with turning down flugelhorn mouthpieces on a lathe to bring the shank down to a proper cornet size. The sound they produce is great, but forget any thoughts of performing solos requiring any kind of range. This mouthpiece just doesn’t provide it. However, this style of mouthpiece could be utilized on some of the very oldest of repertories where range is seldom an issue. Again, this is an issue of the desired “voice”.

For many, chances are pretty good that if you own a cornet mouthpiece, it is really a trumpet mouthpiece on a cornet shank. I believe that sometime in the 1920′s mouthpiece manufacturers were going toward this combination. Many cornet soloists were also playing trumpets and it was common to see ads for dual cases that allowed performers to carry both their trumpets and cornets. Switching back and forth between instruments was made much easier if both had similar mouthpieces. Because of this, by the 1930′s the true cornet mouthpiece was out of fashion in the United States. That meant that the traditional sounding cornet was also disappearing. However, the present day trend is to return to the old style of cornet mouthpieces and to return the cornet to the roots where it began.

There are many manufacturers that offer traditional cornet mouthpieces as either an aftermarket product or right along with a new cornet. Recently when I opened a new cornet from Getzen there was, or course, a mouthpiece in the case. Out of respect and curiosity, I tried the mouthpiece and it absolutely blew me away. It was exactly what I had been searching for for nearly 15 years. For me, it was the perfect combination of a funnel shaped cup and rounded rim. Finally, a mouthpiece that gave me the voice I had been searching. Granted, it may or may not be perfect for every situation, but it is the closest I have come to an “overall” cornet mouthpiece. This is just one example of a modern manufacturer realizing that the cornet is much more than just a little trumpet, so much more.

World Class Brass Band Joins Getzen

Friday, April 12th, 2002

Doc Severinsen
Göteborg Brass Band with their new 3850 Custom Series Cornets
Click image for larger view

When the Göteborg Brass Band stepped off the bus in Eau Claire, Wisconsin for their Midwest USA Tour, they were attempting something that many groups would not think of trying. They were receiving an entire new set of Getzen Cornets. This in itself is not so daring but deciding to leave their old cornets back in Sweden was. After spending time testing the instrument, principal cornetist Victor Kisnitchenko decided that the Getzen cornet significantly outperformed their current cornets and wanted the band to play them as soon as possible. Göteborg’s Brass Band Director, Bengt Eklund, also believed “the quality of sound in the new Getzen would greatly improve the concept of sound for the entire ensemble.”

The Göteborg Brass Band recently won the 2001 Swedish National Championship. Mostly made up of professional musicians and very highly skilled amateurs, the brass band has been in existence since 1982. Founded by its director Bengt Eklund, the brass band quickly gained an international reputation by participating in orchestral festivals and contests. These successes paved the way for new concert tours, which have encompassed four continents. Göteborg Brass Band has held the position as Swedish Champions for many years (as recently as 2001) but the band’s greatest success came in 1988 when it won the World Brass Band Championship and Entertainment Titles in Australia.

Doc Severinsen
Bengt Eklund

With a wide variety of musical genres (from Mozart’s Magic Flute to Thelonious Monk’s ‘Round Midnight) the brass band dazzles all who listens. Their Midwest tour took them through most of the state of Wisconsin and Minnesota. They were one of the spotlight performances at the Wisconsin Music Educators Convention in Madison where they amazed the audience. There were countless comments about their performance during the remainder of the conference. Most felt it was the highlight of the conference. Getzen is proud to be associated with such a world class organization. In Summer of 2002 the brass band will be receiving a set of Custom Series Trombones which they are awaiting anxiously.

Bengt Eklund, former trumpeter of the Göteborg Orchestra, and currently Professor at the School of Music and Musicology, Göteborg University and Professor of Trumpet at the Norwegian State Academy of Music in Oslo. He held the position of President of the European International Trumpet Guild from 1994-2000. His inspiration has lead the brass band to four CD’s – World Champions, The Magic Flute, Versatile Reality, and Ambassadors of Brass.