Welcome On Board: Jim Stella

Posted by Getzen on May 8th, 2007

Jim Stella
Jim Stella

In September, 2006 the Getzen team proudly added another member. Jim Stella joined the company as the new Assistant Plant Manager. Prior to coming to Getzen, Jim gained decades of experience in the design, manufacture, and sales of brass instruments while working for Martin, LeBlanc, and most recently Conn-Selmer. As Tom Getzen put it, “Jim brings with him an invaluable level of experience that will help us move forward for many years to come.

The All New Eterna Proteus

Posted by Getzen on May 3rd, 2007

Eterna ProteusEterna Proteus

In 1962, the Getzen Company set the trumpet world abuzz with the introduction of the first 900 Eterna trumpet. In 2001, after decades of design changes, that legendary trumpet was returned in the form of the 900 Eterna Classic. Then, in 2004, the Eterna line was enhanced yet again with the introduction of the 900SB Eterna Sterling trumpet. Now the historic Eterna trumpet line is being expanded further with the exciting addition of the 907S Eterna Proteus Bb trumpet.

So what is the Proteus? Just like the name implies, it’s a versatile, all around trumpet. After nearly fifty years at the top of the Eterna line, the 900 Classic doesn’t meet the needs of some of today’s players. Many are seeking a more centered, flexible trumpet rather than the bright, lead style of the Eterna Classic. That is exactly what the Proteus was designed to deliver.

Design aspects such as the heat treated, two piece, #137 yellow brass bell and custom gold brass mouthpipe combine to make the Proteus better suited for chamber and orchestral work than its well know predecessor. Meanwhile, standard features like bright silver plate, fixed third slide ring, and lever waterkeys establish the Proteus as an outstanding value. A true upper level trumpet at a mid-grade price.

My Experience Learning to Be a Teacher

Posted by Getzen on May 3rd, 2007

Nicole SasserNicole Sasser

By Nicole Sasser

They say teaching isn’t for everyone and I always thought it wasn’t for me. That is, until I started to teach. Since graduating from college, I’ve created my own studio with twelve students. The biggest thing I’ve learned is that, to my surprise, I’ve become very attached to my students! True, I would rather perform than teach. After all, there is an amazing rush of adrenaline when I’m on stage in front of an audience. But with teaching, I’ve discovered that there’s great joy in watching a student grow as a musician. I love the challenge of motivating my students to be better trumpet players. In this last year, my skill as their teacher has developed along with their skill as musicians.

When I first went to Indiana University I wavered between classical and jazz performing, but one thing was always certain: I wanted to be a performer not a teacher. Naturally, I worked toward and earned my degree in performance. My friends tried to convince me that, with an education degree, I would always have teaching to fall back on. However, an education degree had different requirements that would limit my time and opportunities for practicing and performing so that option was out. My performance degree did require one pedagogy class that I took towards the end of my college career. In that class I learned how to set a studio policy and guidelines for teaching and I started to get excited about it. When I moved to Florida I decided to establish my own trumpet studio. Now, half of my living is earned performing while the other half comes from teaching private lessons. Who would have guessed?

My first rule for teaching is to have a solid studio policy, which I give to both my students and their parents in writing from the beginning to prevent any issues. One thing I have learned about studio policies is that once I set them, I need to stick to them, but doing that can be a challenge. For example, I offer a discount to students who pay for the month of lessons in advance. Most of my students do this, but it can be difficult to get that check once a month. When the time comes for a lesson and you haven’t been paid for it yet you face a difficult decision. Having the lesson means you might get paid for it later, but you might not. At the same time, skipping the lesson all together means that you definitely won’t get paid and the student misses out. Even though my rules say that the lesson won’t be held, I usually give in and teach the lesson, hoping to see a check the following week. If I don’t, I then skip the next lesson. Of course, all of the rules are given to my students in writing to prevent any problems if this happens. I also make sure that if I have to cancel or switch days, I give the students a printed note for their parents. You have to remember, kids forget.

When I start teaching new students, I tell them and their parents my expectations and goals for them at the start. I highlight my attendance policy and make it clear just how important regularly scheduled lessons are. I also request that every student buys a metronome and a notebook. The metronome is a must have, especially when the players are young and just starting out. The notebook is for me to write their assignments in. That way they can take it home with them and there is no confusion as to what they are supposed to practice all week. It’s very important for students to know what’s expected of them and what they want to accomplish. I ask them to write out their own goals as a player. I want my students to think about why they are practicing. They need to know that they aren’t practicing for me; they’re practicing for themselves. When they realize this, their practicing will be more focused. Even though they are taking private lessons and I can guide them along, their individual practicing at home is the key to the whole process. Students must understand that the lessons alone will not guarantee success. They must be dedicated, to the amount they practice, but also to the way they practice. I discovered that, although many students spend the right amount of time practicing, they don’t always spend the time wisely. The best thing I can teach my students is how to be their own teacher when practicing. To help them out, I wrote the handout How to Practice Properly consisting of 10 guidelines for them to follow. I thought, if they just focused their practicing in the appropriate manner, they would become much better players overall. I give the handout to my students and go over the guidelines with them. After a few lessons, I highlight the top three items that pertain directly to each student. This way they know what they’re good at and what they need to spend more time on.

After a student plays an etude or excerpt for me, I like to ask him/her questions. I ask if the student was happy with the way he/she played. What does he/she think could be done better? It’s interesting how many times students play without even really listening to themselves and instead just go through the motions. So I will ask them to play it again and then tell me what they think. I’m not just going to give them all of the answers. I want to guide them to finding out how to become a better a player for themselves. Eventually, the student will point out a few things he/she did wrong and then I can elaborate on those issues. From there, I can give tips on how to improve these areas. I also point out what I liked. It’s just as important to tell the students what they have done right as what they have done wrong. This positive affirmation of their success will further motivate them to work harder and achieve more.

Not only does this approach motivate students to work harder, it also helps them to open to their minds to other areas that need improvement. One student of mine inspired me to write a short guide on sight reading. Since I encourage that self-inspection, he found that he was having trouble with sight reading and told me he wanted a way to get better. After working with him, I was able to put what he and I learned together down on paper so that it could help my other students as well.

As a new teacher, I am always learning just as much from my students as they are from me. The more I teach, the more tools I develop and the more I fine tune my technique. If you are a teacher, I hope you find these handouts useful and pass them on to your students. If you are a student, I hope they help you to further your playing. I’m a firm believer that, no matter how long we have been doing something, we all have more to learn. I know that I learn something new everyday that I continue to teach. And, while this is good for my students, it is great for me, too.

How To Practice Properly

  1. Write down goals. Do you want to learn all of your scales, or improve your range, double tonguing, triple tonguing, jazz improvisation, etc…? Write a practice schedule and what you will do to achieve these goals.
  2. Realize that you are your own teacher. Analyze your playing. What do and don’t you like about it? How can you make it better?
  3. Isolate tricky sections. Play them tongued if they are supposed to be slurred, and slurred if they are to be tongued. Play them down an octave. This will help you hear the sections rather than focusing on hitting the high notes.
  4. Play slowly. You will accomplish your goals much faster if you learn to play a piece slowly and then speed up. Playing too fast will result in sloppy play and it will take you much longer to perfect.
  5. Use your ear. Listen carefully. Did you pay attention to what you played or did you just play through it without thinking or using your ear?
  6. Try working on one measure at a time and adding to it. Don’t continue until you can play without stopping and without making any mistakes. Yes, that means going back to the top each and every time you stop.
  7. Record yourself. Listen to your playing from a different perspective and take notes on what you like, don’t like, mistakes you can fix, and areas you can improve.
  8. Perform for your family. Get used to your nerves by having someone listen to you play a piece straight through from beginning to end.
  9. Get a recording of what you are playing and study it. Listen to it over and over until you have it memorized.
  10. Listen to various trumpet repertoires and players (classical, jazz, etc…). Each has his or her own unique sound. For example: Phil Smith, Bud Herseth, Sergei Nakariokov, Wynton Marsalis, Alison Balsom, Wayne Bergeron, Arturo Sandoval, Doc Severinsen, Allen Vizutti, Chet Baker, Freddy Hubbard, Louis Armstrong, Lee Morgan, Rafael Mendez, Harry James, Marcus Printup, Bobby Shew, Clark Terry, Maynard Ferguson, Miles Davis, Nicholas Payton, Donald Byrd, Clifford Brown, Dizzy Gillespie, and Chris Botti.

Sight Reading Guide

  1. Know all of your scales (major and minor), arpeggios, scales in thirds, and key signatures. Then you are prepared for anything. If you know the key of the music, you can essentially “skim” sections that are scalar.
  2. Always check the key signature and time signature before playing. (This is a familiar and simple rule that’s often forgotten. Even I do it at times.)
  3. Don’t take it too fast. You don’t want to play sloppily and you don’t want too many starts and stops. Pick a comfortable tempo that allows you to be consistent.
  4. Be prepared and know before you play. Look for key words like a tempo, allegro, and adagio so you know when to expect tempo changes. Find and identify all key changes as well.
  5. Be as musical as possible. Anyone can play notes on a page. A musician brings the music to life.

About the Author
Nicole Sasser graduated from Indiana University in 2006 with a bachelor’s degree in trumpet performance. She is now a classical and jazz trumpeter as well as a jazz vocalist in the Orlando, FL area. Her professional experience includes being an adjunct trumpet teacher at the Osceola School for the Arts, a regular sub for the Brevard Symphony Orchestra and several different bands at Disneyworld, as well as performing as a trumpeter with Norwegian Cruise Lines. Prior to her professional career, Nicole made a name for herself with the Chicago Youth Symphony and by earning herself a place on the Honors All State Band (first chair) and Honors All State Orchestra (second chair) in Illinois. For more, visit www.nicolesasser.com.

Hints for Building Range

Posted by Getzen on May 3rd, 2007

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

Extending a Helping Hand

Posted by Getzen on October 4th, 2006

Brandt Brass Band Click image for larger view

In the fall of 2005, I was contacted by Mike Vax. Not a big surprise since Mike checks in with us at the factory quite a bit. This call was different. Mike was looking for our help. Some friends in I.T.G. had passed a story on to him that he thought we would be able to assist with. A group of musicians were having trouble getting instruments. Specifically a piccolo trumpet. The musicians were members of the Brandt Brass Band of Saratov, Russia. A very talented group rapidly making a name for themselves. Up until that point, the band was forced to borrow a piccolo trumpet from a neighboring town’s band. Not at all an ideal situation. In an effort to alleviate this, the members of the band were able to scrape together a few hundred dollars. By no means was that enough to purchase a new piccolo. They were hoping that through contacts in I.T.G. they would be able to find a used piccolo at a reasonable price. Enter Mike Vax.

Mike called us after he heard the tale and asked if there was anything we could do to help. Trumpet players around the U.S. had heard of the band’s troubles and were donating money to the cause hoping to boost the band’s buying power. Mike wanted to know if we had an old or seconds piccolo around that we could sell the band directly. We did not. After discussing the situation with my father Tom Getzen, we came up with a better solution. Rather than selling the band an old horn, we decided to give them, free of charge, a brand new 3916 Custom Series piccolo. From our standpoint, we had been fortunate in life and this was a perfect opportunity to pass that along. At the time, Tom relayed a lesson to me that my grandfather had taught him. At some point in life, you’ll have the chance to help someone else. While the time, effort, or dollar amount may not seem like much to you, to them it will mean the world. This was a perfect example of one of those situations.

Immediately, I got a hold of Mike and told him the good news. He was ecstatic and quickly passed the development on to his friends in I.T.G. The news spread fast and I was inundated with emails and phone calls thanking me for our donation. That’s not the reason we did it, but they were all appreciated. As word spread of our donation, trumpeters continued to donate money to the band. The new plan was that the band could use that money to help pay for a quality recording of the band with a CD to follow. I’m personally excited for that since I have heard nothing but praise for the band’s performances and I’m anxious to hear them for myself.

Soon after we decided to donate the horn, I was contacted by Mr. Gary Mortenson. He had great news. Gary had arranged for Steve Chenette, a former President of I.T.G, to deliver the horn and cash donations to the band during a visit to Russia. This was great, as it would ensure the horn made it to the band in good condition. Once the method of delivery had been established I had the piccolo prepped and shipped it to Steve. I also sent along several care kits (valve oil, cleaning cloths, etc…) for the band.

Once the piccolo was on the way to Steve and all the arrangements had been made, the members of the Brandt Brass Band emailed me to express their thanks. They asked me to pass on their “endless thankful words to all the people who some how took part in our life and help us to work better”. A few weeks later they also took the time to send me a nice Christmas greeting. I was honored that they would take the time and proud that they were so excited to get the instrument.

Fast forward to March of this year. Steve Chenette made his way to Russia with the piccolo and donations in tow. He emailed me from Saratov to tell me how excited the members of the band were upon his arrival. In fact, they couldn’t wait to try the horn. Instead, they spent nearly a week playing and practicing on it so they could use it in a concert shortly after the “official” presentation. After having the 3916 for a few days, Oleg Abramov emailed me to pass on their feelings. “Our trumpeters now behave like children.” Oleg said. “Everyone is trying to play it and they are always discussing it.” He went on to say, “Thanks a lot for the wonderful gift! We haven’t had such a trumpet until this in Saratov! So I think now it’s the most beautiful treasure in musical Saratov.” When asked how the players felt about the horn Oleg said, “Our piccolo player, Nikolay Khudoshin, is very delighted with the instrument. It’s very beautiful, has reach and a wonderful sound. It reacts on every breath you put into it!” “As our guys are joking,” Oleg wrote, “we have a beautiful blond, but we haven’t chosen her name yet. An enormous huge Thank You! If you’ll need something someday you must remember that you have 3 friends in Saratov, Russia that have close relations with one of your girls.” You cannot imagine my sense of pride. Knowing that not only were we able to help, but that the piccolo was met with such high regard. That, after all, is the most important thing. In July, Oleg Abramov contacted me to say that Nikolay Khudoshin enjoys the piccolo more with each practice. He went on to say that they have chosen music for their upcoming recording. The band will be performing Mozart’s The Night Queen’s Aria from The Magic Flute. I’m sure I’m not the only one anxiously awaiting its release.

All in all, this was a very rewarding experience for the company as a whole and for me personally. It was great to see the trumpet world come together to help their brothers in need. I am just glad that we could have a small part in the effort. Hopefully the piccolo will serve the band for years to come. I wish them and everyone who helped them continued success in all of their future endeavors.

News Coverage Videos: Channel IST | Channel Russia

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A Visit From Bugles Across America

Posted by Getzen on October 4th, 2006

Bugles Across America visits the Getzen Company
As a part of their 2006 convention near Chicago, several members of Bugles Across America visited the Getzen Company for a tour and a luncheon. B.A.A. is an organization dedicated to providing volunteer buglers to sound Taps at military funerals. Several of their members were instrumental in the development of the Getzen American Heritage Field Trumpet. For more information on Bugles Across America visit www.BuglesAcrossAmerica.org.

Improving from Start to “Finish”

Posted by Getzen on 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.

Matching the Outside with the Inside

Posted by Getzen on October 2nd, 2006

Field Trumpet Case Click image for larger view

The American Heritage Field Trumpet has served to show the proper respect to American’s veterans. Now a new case will also reflect those strong feelings of patriotism. The case features the same great protection in a lightweight package as before, but in red, white, and blue colors. Contact your local Getzen dealer or Bugles Across America for more information.

What Does a Trombone Leadpipe Do For You?

Posted by Getzen on October 2nd, 2006

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.

Leadpipes Click image for larger view

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.

Leadpipes Click image for larger view

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.

Photo Album

Posted by Getzen on October 2nd, 2006

Getzen Display 2006 Musik Messe
Once again, Getzen proudly displayed the full line during the 2006 Musik Messe in Frankfurt, Germany. Long time fans and first time Getzen buyers visited the booth during the 4 day event.
Mike Lekrone and Mike Vax
University of Wisconsin marching band director Mike Lekrone visits with Mike Vax after a jazz performance in Madison, WI this past May.
Music Messe Dinner
Tom Getzen (front left) treated Swiss distributor Peter Marcandella (far right) along with Getzen’s Dave Surber (rear center) and Brett Getzen (far left) to dinner at Claudia’s in Sachsenhausen, Frankfurt. All four were sure to thank owner, Eisa-Mohammed Solaimaukehel (front right) for another fantastic dinner.
Dave Allison
Dave Allison worked with the Brea High School Marching Band during a clinic sponsored by Getzen and Pecknel Music. Dave is a well regarded player/clinician and has worked closely with Pecknel all over South Carolina.
Jack Long and his Getzen 900 Eterna Classic
Jack Long shows off his new custom made 900 Eterna Classic. The trumpet was presented to Mr. Long to celebrate the 50th anniversary of Long & McQuade Musical Instruments in Canada. The trumpet featured hand engraving, custom etchings, and a gold trim kit. As Mr. Long put it, “I can’t think of a gift I would have appreciated as much.”
Tom Getzen and Haim Attias
In Frankfurt, Tom Getzen gladly welcomed Haim Attias from Getzen’s Israeli distributor Hamusica Musical Instruments. Haim wanted to learn more about Custom Series trumpets to meet the growing demand in Israel for quality instruments.