Christan Griego recently designed an new trombone for Getzen. He shares his thoughts about it below.

A while back, I had this idea. As always, it started as the most innocent of thoughts. It was “There’s this mythical ‘Bach’ style of trombone that, while some are great, most are inconsistent. Let’s try to build on this ‘Bach’ style while maintaining what we’ve always done best”. As you are probably aware, we’re known for making the most consistent resonating instruments in the world. So we should be able to make this work.

I knew where to start and I knew where I wanted to end up. That was the easy part. I also knew I didn’t want to re-invent the wheel, but I didn’t want to just rehash the same old things either. And so, by combining time tested ideas with a few new design approaches, I started the journey of creating this dream instrument that ultimately turned into the 4047DS Custom Reserve. Here’s a little insight into the how and why the 4047DS came to be.

The Handslide

This was the easiest part for me, since I knew what I wanted. A large, .547” bore hand slide with yellow brass outer tubes, nickel silver over sleeves, and a yellow brass end crook. The end crook gives us the width of sound needed to offset what is happening a bit later in the bell section. Prior research into end crook bore selection had given me the knowledge needed and the choice was made. The entire design is balanced and offset to each component so that it all works together to achieve the final outcome we are after.

The Bell

The design of the bell took us to the machine shop. The bell shape had to be correct in order for the 4047DS to give us the enveloping quality we were after. This is always the scary part of design as you hope your initial shape concepts are right due to the high cost of bell mandrels. I study history and what has been done in the past to make sure we don’t repeat the mistakes of others. As luck would have it, we hit a winner with our bell mandrel. With the bell shape nailed we moved on to the material choice, yellow brass and that’s all I can say. We have to keep some secrets, but I can tell you it’s not a light bell nor is it a hernia maker. My whole goal was to make an instrument that will fit most professional players without them making the journey to Elkhorn, Wisconsin to work with me on fitting a trombone. It’s okay, no offense taken.

The Rotor

This is possibly the most “oversold” part of any instrument manufacturer’s claims. While I’m not refuting anybody’s self proclaimed valve supremacy, my goal was to make a professional trombone that used a conventional rotor not of a higher deity or bloodline. Listening to vinyl recordings late in the evening, I have heard players from the 1950’s through today that sound incredible on good old, conventional rotor trombones. There are many musicians that I’ve studied with that still play on standard conventional rotors that aren’t at all hampered by the rotor’s design. I did play around with port diameters and rotor passageways to come up with our final design, but with design simplicity I think we have found a great combination.

The Wrap

It’s possible to make an instrument play great with a conventional rotor by making sure the overall wrap design is correct. I used my knowledge of wraps and bracing concepts in this area. The “DS” double edge brace design is born of the Edwards B454-D-E bass and it works just as well here on the 4047DS. In addition to the “DS” bracing, the 4047DS utilizes the concept of Asymmetrical Bracing with both yellow brass and nickel silver bracing. This innovative bracing design frees both the F attachment and the bell from diminished resonance and response caused by invasive bracing systems.

And Finally… The Leadpipe

I’m fortunate to be friends with lots of trombone players with a wide variety of equipment both new and old. One such friend knew about the 4047DS project and offered me a decades old leadpipe to test on the horn. Man did that pipe play well. The second the brass leadpipe slid into the slide, it was an “Aha!” moment. This was the final piece of the puzzle that made the 4047DS something special.

When developing a new instrument, we test things on a daily basis and get to see the improvements made slowly over time. Moving toward a goal only to have the destination cut short is a real drag and I think that many companies do just that. Rushing to launch model after model just hoping to get one to “hit”. That is exactly the approach I wanted to avoid. We have worked on this trombone for a few years and not once was I pressured to get the horn to market. I wanted, and was encouraged, to take my time. Only when it felt right every time I came back to the horn and after hearing the 4047DS played by countless players in house did I feel right taking this new trombone public. Crafting new trombones is fun. Crafting one that plays this well is something else all together. I am extremely proud to finally provide other players with the ability to play and perform on the all new, Getzen 4047DS Custom Reserve. Enjoy!

– Christan Griego

Instrument Specs

• Bell: 8 ½” Yellow brass unsoldered rim; B Mandrel *
• Tuning Slide: Yellow brass; Single radius taper *
• Bell & Tuning Slide Braces: Nickel silver construction *
• “DS” Edge Bracing: Yellow brass construction *
• Neckpipe: Taper evens intonation tendencies within the harmonic series. *
• Inner Handslide: Solid nickel silver construction cork barrel assembly *
• Leadpipe: Retro brass leadpipe born of historically proven bloodlines *
• Over Sleeves: Nickel silver providing longer wear points *
• End Crook: Yellow brass with large inner diameter providing a width of sound & consistent feel *

All in an optional fiberglass shell case with adjustable padding and backpack straps. It is the smallest large bore, tenor case on the market today. Providing more protection than a traditional gig bag while remaining lightweight without the use of expensive carbon fiber. *

* = Designed exclusively for the 4047DS Custom Reserve

Only instruments newly ordered and shipped from the Getzen Company will include the new Blackburn leadpipes or Griego Custom mouthpieces. Those instruments already in dealer inventory may not include these items. It is recommended that retail customers confirm that any 940 Eterna Piccolo (Blackburn) or Custom Series trombone (Griego) in question is indeed a new instrument with these items and not old stock. Getzen is not responsible for furnishing Blackburn leadpipes or Griego mouthpieces to players purchasing instruments sold to dealers prior to the introduction of these items.

By Bobby Herriot
(edited and reprinted from September 1972 Getzen Gazette)

1. With the Lips Only

Try to make a buzzing sound by forcing the air through the lips. To do this, put your mouth in the same position needed when you put the trumpet up to your lips. Grip the muscles in the corner of the mouth FIRMLY, but not tight. Now put your tongue behind the TOP teeth and release the air and sound between the lips. Don’t worry about producing any particular note. Just be happy if a sound comes out. Do this approximately 6 times to get the lips loose and vibrating properly.

2. With the Mouthpiece

Take the mouthpiece in your left hand and place it on your lips in the NORMAL playing position. Take a deep breath and play the following exercises. If you need help finding the notes, you may use your trumpet to play the first note to get it into your ear. A piano would be better though. Just be sure to play through all three exercises with just your mouthpiece.

Please note that frequent rests are needed during the initial stages of playing. It is extremely important that these rests are observed during the warm up period and during all practice sessions.

3. With the Trumpet

Hold the trumpet in your left hand and place your right hand in playing position. With your three playing fingers perfectly on TOP of the finger buttons and your pinky OUT of the pinky ring repeat exercises A, B, and C.

This warm up should be done every day before attempting to play any other exercises or tunes. If it becomes a habit, which it should, then the rest of your playing will be made much easier resulting in better control over the trumpet.

By Dr. Leonard A. Candelaria
(Professor of Trumpet & Artist in Residence, University of Alabama at Birmingham)

Many players seem unaware of the fundamental concept that must remain foremost in the minds of all wind musicians. The concept is that, no matter the style, tempo, volume, or range of music being played, the sounds we produce on our instruments must always possess a vibrant and rich quality of tone that is the product of blowing air in a smooth, flexible, and continuous manner. The following ideas may be of benefit to most brass players.

Air Control

1. Always inhale air deeply, calmly and silently.
2. Be sure to inhale in time with the tempo of the music.
3. Think to yourself as you do the following; 1, 2, 3…Breathe…Play
4. Make playing feel as though you were sighing through the horn.
5. Always blow firmly or gently as needed with positive energy!

Practicing Tips

1. Always begin each practice session by playing soft, slow, and sustained middle-register tones. Never begin by playing loud and high. Without being comfortable in your ability to play your very best tone on each and every note in the mid-range, you should refrain from playing high, fast, or loud.
2. It is better to practice for several short sessions (20 -30 minutes at a time) rather than practicing only once daily for an excessively long period. Rest frequently during each session.
3. While you play each exercise or study, keep one goal in mind the whole time. Do not be satisfied with your playing of the exercise until you achieve your goal on a consistent basis, then pick another goal. Primary goals should always be the relaxed and efficient use of the breath, the production of a rich and resonant tone quality, clear and consistent articulation, and precise fingering.
4. Other basic musical goals are accuracy of pitch and intonation, precise rhythm, following dynamic indications, consistent phrasing, and control of width and speed of vibrato.
5. Always strive to make everything you play sound like beautiful music. This even applies to scales, scale drills, arpeggios, lip slurs, and articulation studies.
6. Repetition is the key to fine playing and effective practice. In order to do the correct things in the correct manner every time we perform, we must do them correctly many times in our practice before they become correct and automatic habits.
7. Remember, both good and bad playing are a matter of habit!
8. We play like we practice and we practice like we play. So practice often and practice well!

The Tongue

1. The air always starts the tone, the tongue just cleans up the front of the note by knocking the “fluff” off the sound.
2. Use the pointed tip of the tongue to articulate in most cases.
3. Flick the tongue positively and quickly as you blow and think of saying “Too”. Think of saying “Too” and “Hoo” as though they were two parts of one word: “Too-Hoo” then becomes “T-hoooooo.”
4. Now say “T-hoo” several times in succession with no spaces between the individual articulations. This is the basic manner most repeated articulations should be played.
5. Use “Too” for rhythmic styles of articulation and “Doo” for most melodic styles.

Fingering

1. The fingers of the right hand should be slightly curved with the fleshy pads of the fingertips directly over or touching their respective valve buttons. The thumb should rest under the lead pipe with the tip of the thumb touching the space between the first and second valve casings. Overall finger dexterity will be enhanced if the little finger is free to move without using the finger hook.
2. The fingers manipulate the valves so that the valves move as quickly as possible from up to down, or down to up. The action of the fingers should be smooth, firm, and positive.
3. Coordination between the air, the tongue, the fingers, the lips, and the tempo/rhythm is the primary concern.
4. Practice all difficult technical passages slowly and carefully many, many, many times before attempting to play at a faster tempo. Use a metronome to ensure accurate rhythm.
5. In fast passages, think of “banging” the valves down with good rhythm to clean up the execution.

The Embouchure

1. The lips must always be together and touching before the tone starts.
2. Firm the corners of the mouth by making “dimples” or by “krinkling” the corners of the mouth.
3. Buzzing the lips alone without the mouthpiece is commonly termed “free buzzing.” One or two minutes of “free buzzing” is an excellent way to begin each practice session. With the center of the lips firm (not tight or rigid) and lightly touching, blow firmly and steadily as you silently say the word “POO”. With a little practice, the lips should vibrate or “buzz” freely. You should be able to sustain the vibration for a few seconds. The vibration that results could sound like “P-uzz”. Whether the resultant pitch is high or low is less important than producing and sustaining a free and vibrant “buzz”. Later, superimpose the consonant sound of the letter “T” over the “P”, changing “POO” to “TOO”. Now use “TOO” to start tones.
4. To buzz on the mouthpiece follow the same approach as outlined above, but do these things on the mouthpiece alone. You may have to blow more firmly with the mouthpiece than you did with the lips alone. Keep the corners of your mouth firm and the center of your lips (inside the cup of the mouthpiece where the sound is made) should be relaxed but touching.
5. Learn to sustain high and low sounds on the mouthpiece as well as slurring from low to high and back down. Sustain the mouthpiece tone by sustaining the movement of the wind (the blowing of air). Also practice articulating connected repeated tones without creating space between the notes.
6. The sound quality of the mouthpiece tone is important. It must be free blowing and vibrant with lots of ‘buzz” in the sound. Use lots of air and play at mezzo forte or forte.
7. Practicing problematic passages on the mouthpiece, regardless of their technical nature or musical style, is often the fastest way to improve the playing of the same passage on the horn.
8. An effective approach is to play a passage, buzz it, and play it again.

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Since their introduction, Getzen Custom Series trombones have led the industry in performance, quality, and unmatched value. With such overwhelming acceptance and outstanding designs, it is tough to find ways to improve each model. One can only take perfection so far. Rather than scratching their heads in a vain search for improvements, Getzen decided to elevate the overall package. To achieve this goal, Getzen has partnered with Christan Griego, Director of Research & Development for Edwards Instrument Company. Both are eager to announce the exciting addition of custom Griego Mouthpieces to the full line up of Getzen Custom Series trombones.

Griego Mouthpieces is a family owned company founded in 2001 by Christan Griego. A lifetime of playing trombone and a decade with Edwards has allowed Christan to study under and work with some of the world’s finest players. In that time, he realized that many players were facing the same problems he was. Problems that weren’t being solved by practice alone. After some research, Christan found that the true cause for many trombone players’ headaches were shortcomings in the design and manufacturing techniques of many mouthpiece makers. His experience allowed Christan to gain a unique insight into the wants and needs of players from all corners of the world. He took that knowledge and translated it into a superior mouthpiece design that is conceived and manufactured by/for trombone players. Seeing this success led Getzen to enlist Christan to utilize his skill and experience in designing a mouthpiece tailor made for the Getzen Custom Series trombones. After months of research and testing, that mouthpiece is here.

Beginning in 2007, all newly ordered Custom Series 3508 Jazz, 3047 Tenor, and 3062 Bass trombones will come standard with a Griego mouthpiece. Years of experience with the Custom Series line have enabled Christan to create a mouthpiece specifically designed for each of the three trombone models. Each of the mouthpieces are precisely machined and expertly finished creating the perfect compliment to the unparalleled Custom Series trombone line.

Best of all, the mouthpieces are included with the new trombones at no cost. Mouthpieces can also be added to existing orders for a nominal charge. Additionally, each can be purchased separately from local Getzen dealers. Not only will it improve the performance of the trombones, but also add an outstanding value to the overall package. While others in the industry are offering only “throw away” mouthpieces, Getzen is including a premium mouthpiece with a $130 retail value. Increased performance and overall value; the great does indeed get better!

For more information on Getzen trombones visit www.Getzen.com/trombone. To learn more about Griego Mouthpieces visit www.griegomouthpieces.com.

R.E.W. Music

R.E.W. Music is family owned and has been serving the greater Kansas City area for more than 20 years. Servicing all musicians from student to professional with the same level of service is their number one priority.

R.E.W. carries the full line of Custom Series instruments including an inventory of 3001 Artist Model trumpets. For store locations and contact information visit www.rewbandorch.com.

By Mike Vax

The proper way to build range is to increase it gradually over a number of years, always using as natural an embouchure as possible. Students need to learn to let the air do the work instead of the chops. And always, always, always avoid false or trick embouchures like the plague!

Always remember that range comes from endurance, not the other way around! After you gain the support and muscle control to play for longer periods of time, you begin to have the basic foundation to start increasing your range. Working to extend range by half step increments, over a long period of time, insures control, confidence, and consistency in the upper register that will last for years. There is no deep dark secret that will increase your range overnight. It takes hours of hard practice and concentration. There is no shortcut!

Young players trying to stretch into the upper register too quickly can face quite a few problems. Gaining the ability to reach up high should be thought of as a marathon rather than a sprint. A student can injure muscles in the embouchure as well as other parts of the body by trying too hard to hit the upper registers without first having the knowledge and physical stamina to play up there correctly. Rushing it can also be a detriment to other aspects of playing.

There was never a time in my life that I spent hours a day just trying to “honk out” high notes. The upper register was just one of the many facets that I worked on with regard to my overall playing. Instead of focusing only on high notes, I try to point out to students the importance of working on technique, articulation, flexibility, reading, and endurance. If all of those are mastered, the ability to hit high notes will follow. I also stress to students that the measure of a player is not how high he/she can play for one, forced note. The real measure is how high he/she can play both consistently and musically. I urge them to remember, that the main consideration of trumpet playing is to achieve pure musical sound in all registers of the horn.

Things To Focus On To Extend Range

• Flexibility studies
• Long tones
• Pedal tones (with natural embouchure)
• Endurance builders (such as the characteristic studies in the back of the Arban’s Book and the Daily Set-Up drills of Herbert L. Clarke)
• Chords and scales that gradually go higher
• Breathing exercises. (AIR is your real “octave key”. When you SUPPORT your sound properly, playing high becomes much easier)
• Walking, running, biking, swimming, etc… (the better shape your body is in, the better chance you have with both endurance and high notes)

Warning Signs Young Players Are Rushing The Upper Register

• Loss of flexibility
• Airy tone
• Trouble with lower register
• Loss of control and consistency
• Loss of endurance
• Inability to center pitches

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.

Everyone knows that trombones have a bell and a handslide. What a lot of players don’t realize is that all trombones also have a leadpipe. However, the majority of leadpipes are fixed (soldered) into the handslide. This is because most manufacturers do not want to offer options to the customer. To the manufacturer, options mean building more complex components with additional parts. This adds time and money to the construction of the horn. On the contrary, at Getzen we believe in offering the player a wide variety of options. These options are all intended to better fit each instrument to each specific player.

Getzen offers a large number of trombones featuring three interchangeable leadpipes included as standard equipment with the instrument. In fact, every Getzen Custom Series trombone model is designed with the added flexibility of interchangeable leadpipes. This flexibility gives the player more control over response and timbre by custom fitting the leadpipe to their specific playing needs.

The Getzen Custom Series line of jazz, tenor, and bass trombones were derived from the industry leading Edwards Instrument line. Edwards trombones were the first to provide interchangeable leadpipes as a standard feature with their instruments nearly two decades ago. The interchangeable leadpipe system fit perfectly with the modular design of Edwards trombones. In essence, the Edwards design allowed players to custom build a trombone for themselves in an affordable and timely way by simply choosing the components that worked best for them. Over time, the Edwards technology made its way into the Getzen line. Now, three brass leadpipes are included with all Getzen Custom Series trombones as well as with Eterna bass trombones.

Many players do not understand the basics of the interchangeable leadpipe system. Why are they used? What are the differences between the three? How do players properly choose which leadpipe is right for their situation? To answer these questions, you must understand the physical characteristics of the leadpipe and why it is built the way it is. There are only three parts to a Getzen leadpipe, but each is crucial to the overall performance of the trombone.

1) Receiver
Simply put, the receiver accepts and connects the mouthpiece to the horn. Great care is taken to ensure the proper fit between the mouthpiece and receiver. The fit is crucial because it allows for proper vibration transfers into the instrument. An incorrect fit would result in not only an annoying “buzz”, but also in a less efficient blow caused by air leaks between the mouthpiece and receiver tube.

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The receiver also has an external portion known as the threaded nut. It serves two purposes. First, the threaded portion screws into the handslide and “fixes” the pipe to the horn eliminating any vibration or buzzing. The threaded nut is also used to denote the different sizes of the leadpipes. Each receiver nut has either one, two, or three decorative cut lines in the knurling. This tells the player if they are looking at the smallest, medium, or largest size pipe.

2) Venturi
The venturi is the smallest diameter section of tubing after the receiver section. Since the diameter at the end of the leadpipe is the same for all three sizes, the initial diameter of the venturi dictates the rate of taper over the length of the leadpipe. With a smaller venturi, the rate of taper will be faster from start to finish in order to match the bore of the instrument. On the flip side, a leadpipe with a larger venturi will have a slower rate of taper into the instrument. The venturi is what gives the player the feeling of compression or something to push against to start a note. Think of the venturi as acting like your mouthpiece throat. If the venturi is too large for a player the horn will feel woofy and lack clarity. If the leadpipe is too small the instrument can back up and feel tight. The three venturi sizes we have chosen to use are the result of many years of development and experience with thousands of players.

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3) Tapered Tube
The tapered section of tubing within the leadpipe determines the sound characteristics of the leadpipe. Generally speaking, a faster taper will produce a more compact sound. A slower taper will create a broader sound and resonate with more width near the player’s face. As previously mentioned, it is easy to distinguish which leadpipe is which based on the cut lines in the receiver’s threaded nut.

When selecting an instrument, it is very important to find a compression level in your instrument that is right for you. When testing an instrument or trying to find the right leadpipe, you should be thinking of this compression. Compression within the instrument should be right at the chops. If compression develops too far into the instrument, you will have to correct it by tensing your chops in an effort to get clarity back into your sound. This will make any articulations much more difficult as you battle against yourself and the horn. If there is too much compression, it will begin to back up into your throat. You may feel a tightening in your throat because of this, which can/will cause tightness in your sound.

When testing leadpipes you should play a lyrical etude that covers most registers. This allows you to get a better feel for the leadpipe across a wide spectrum. It also gives you the chance to better study the sound differences between each pipe. You will also want to try a scale and a more articulate work that covers most registers. This is a great way to study how the leadpipe effects the articulation. All the while, you should be paying close attention to what you are experiencing with each leadpipe. Some differences are dramatic while others may be more minor and hard to notice right away. It is important to note that every player is different. The best sounding and most comfortable leadpipe should always be chosen, regardless the specifications of the leadpipe or what size one’s colleagues may prefer. Allowing a player’s preconceived notions to come into play may prevent him/her from choosing the leadpipe that fits best. Therefore, it is imperative that an individual “blind test” each leadpipe in the beginning. This creates an open mind and prevents a biased opinion from the start. It can also be very helpful to do a blind play test for someone else. Let them listen to an etude and scale on each leadpipe without knowing which is which. Get their input and opinions from the bell end.

Once all of this is done, you can put the information together to find the leadpipe that gives you the best compression, tone, and feel. Keep that leadpipe in the instrument. While experimentation is never a bad thing, you will generally not need to retest or change leadpipes unless you make a change to your mouthpiece. If that is the case, the same technique should be used to find the right pipe again.

The purpose of these leadpipes is to properly match the instrument to you as the player. While working with musicians as I have over the years, I have found that making a small change close to the face will result in a large change to both sound and overall response. Each person has his/her own resonating characteristics that make the matching of the horn to the player necessary. Everything from oral cavity, chest cavity, dental structure, and overall height/weight will determine how much air volume each player has and how that air works for them. An individual may be over 6 feet tall, but if they are not efficient with their air they may need a smaller diameter venturi on their personal leadpipe in order to give them the best compression, articulation, and sound.

At Getzen and Edwards, we know it is important to find the perfect instrument for you. An instrument that not only matches your playing style, expectations, and needs, but one that matches you physically. Matching your mouthpiece and personal playing characteristics to the leadpipe can give you a much better overall playing experience. Getzen has made the conscious decision to let you decide what is best for you. We want to help you find the perfect instrument for your playing style.

So what does all of this mean to you? It means that you now have the knowledge and tools to find a better instrument. One that can work with you instead of against. Finding a great instrument is not only important to you, it is also important to us at Getzen. We strive daily to provide you with that instrument. Why limit yourself musically? Give yourself the tool to do the job and find the enjoyment of a great instrument resonating with you.

About the Author
Christan Griego studied music performance at Texas Tech. under the tutelage of Don Lucas. He has worked as the Director of Development & Marketing at Edwards Instrument Company for the past 8 years. In that time he has fit thousands of trumpet and trombone players to their instruments. Some of which are: Joe Alessi, Dave Taylor, Mark Lawrence, Leonard Candelaria, and Christian Scott. Christan also owns Griego Mouthpieces which produces trombone and tuba mouthpieces.