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.

Kiku is currently performing trumpet exclusively on a Getzen 3001MV Artist Model Mike Vax trumpet

Think of some great American trumpet players. I’m sure everyone can come up with an impressive list of players both past and present. Now, go back through that list and pick out the women. What’s that you say? There aren’t any? Hmmm. Now take a look at your local band programs. How many females occupy the seats in the junior high, high school, or college trumpet sections? I’m guessing not too many. These are exactly the trends Kiku Collins is hoping to bring to an end.

Kiku started her trumpet career in a small, New Jersey town following in the footsteps of her older, trumpet playing brother. By the age of 12 her skills were becoming apparent despite being one of the only females in her school band. At age 16, after spending two summers in their National Music Camp, she earned herself a scholarship and a place in the prestigious Interlochen Arts Academy in Michigan. From there, Kiku went on to study classical performance at the Manhattan School of Music under the tutelage of her mentor, Dr. Mel Broiles. He constantly encouraged her, as one of his few female students, to fight on and pursue her dreams. His words have stuck with her and have helped shape the successful career she has now.

In 2006, Kiku’s career took the biggest jump to date. After years of playing with her own group, sitting in with other artists, and countless studio sessions, she landed the role of Beyonce Knowles’ trumpet player. The next year was a whirlwind. Performing with Beyonce and her band for numerous television appearances, multiple music videos, and a world tour befitting a pop superstar.

Somehow, through it all, she was able to write, arrange, and record her own jazz album. Here With Me is an instrumental album featuring Kiku on flugelhorn and also her multi-tracking on trumpet and trombone. The album debuted to rave reviews, opening doors for the trumpeter including an invite to headline two brass festivals in Europe. First with The Brass Group in Palermo, Italy and second the Durham Brass Festival in Durham, England. Even more impressive is the fact that, despite performing with Beyonce and promoting her own album, Kiku still found the time and energy to continue with her hectic NYC schedule. Playing gigs around the city, sitting in on recording sessions with other artists, and most importantly raising her six year old daughter.

What does the future hold for Ms. Collins? She’s continuing to promote Here With Me while working on album number two. As usual, she can be found performing her solo work all over NYC. You can also catch her playing around town with other artists/groups like Psycho the Clown and Voltaire to name a few. Biggest of all is that she is joining Michael Bolton as the lead trumpet for his current American tour. Pretty good for a girl in a supposedly all boys club. A fact Kiku expects isn’t lost on her young fans. She hopes that her talent, style, and success can inspire the next generation of female trumpet players.

You can learn more about Kiku Collins by visiting her at www.myspace.com/kikucollins or at www.kikucollins.com. Her site includes a bio, blog, schedule, photo album, music samples, and more. Her album, Here With Me, is available from www.innova.mu, www.cdbaby.com, and for download via iTunes.

By Dr. Maury Deutsch
(reprinted and edited from the September 1979 Getzen Gazette)

There is nothing more crucial for a successful trumpet or cornet career than a proper fitting mouthpiece. This clearly points out the importance of a qualified instructor for the beginning student. A pitfall that faces many young trumpeters is an orgy of mouthpiece changes. This is frequently the result of an unwarranted belief that qualities such as range, tone, endurance, flexibility, etc… can be magically improved by a mouthpiece change. This articles aims to clarify the functions and interactions of the dimensional mouthpiece characteristics and is not intended to encourage a self-induced mouthpiece change. Basic criteria for judging the efficiency of a mouthpiece are: 1) The tone possible in the lower register, 2) The ease of playing in the legitimate upper register, and 3) The lip flexibility obtainable in the middle register.

Cup Diameter (1): The component most frequently mentioned when seeking a new mouthpiece is cup diameter. A large cup diameter favors both amplitude (tonal volume) and lower register play. The resulting tone has a mellow quality because the energy principally resides in the fundamental and lower to middle partials. With a medium cup diameter, the air pressure forces more of the energy into the upper partials with a corresponding increase of brilliance. A small cup diameter favors the highest partials. The tone then acquires an almost metallic quality.

Cup Depth (2): Playing in the lower and middle registers is easier with a deep cup. The deep cupped mouthpiece, with its more mellow tone and greater volume, is frequently recommended for playing hymns. A shallow cup provides a greater rebound of vibratory energy. This energy return interacts with the lip vibrations resulting in an increase of vibratory intensity. High notes of metallic quality are consistent with a very shallow cup. A popular innovation used by many jazz artists is the double cup mouthpiece, i.e. a shallow cup progressing into a deeper cup. The shallow portion subtly aids the upper register and the deeper segment helps volume. A negative consequence of this is the loss of acoustical energy due to the greater number of reflective surfaces. Higher pitched trumpets (relative to the standard Bb trumpet) naturally require a narrower diameter and a shallower cup for maximum playing efficiency. On the contrary, lower pitched trumpets require both a wider diameter and a deeper cup.

Outer Rim (3): The outer rim cushions the instrument’s impact on the lips and teeth. A narrow rim will subtly increase lip flexibility (less of the lip is demobilized). However, there is the danger of lip irritation from impact over a relatively narrow area. A wider outer rim (cushion rim) acts to aid the play of the upper register by increasing the overall lip tension. However, the vice like effect of the broad rim is a detriment to flexibility.

Inner Rim Edge (4): The principal function of the inner rim edge is to provide termination points for vibrating lips. This is analogous to the opposite terminal points of a vibrating string. A moderately sharp inner rim makes for greater playing precision and accuracy of attacks. Too sharp an edge can cause lip discomfort and also interferes with lip flexibility. Too rounded of an inner edge has a negative influence on clean attacks and accurate intonation. However, greater flexibility is possible.

Throat (5): Although a large throat favors a greater volume of tone, there is difficulty in playing pianissimo, especially in the upper register. The greater air pressure required to play the upper register frequently causes these tones to be slightly sharp. A narrow throat opening makes the high notes easier, but can weaken the lower register. The backwash of vibrations interacting with lip tension results in a nasal quality at lower dynamics and a metallic quality at louder dynamics. Some trumpet players extend the throat opening (without increasing the diameter) in order to obtain still greater resistance. The upper register is made easier, but there are negative consequences. The overcompensation required of the embouchure makes low notes slightly sharp and high notes slightly flat.

Backbore (6): The back bore is encased within the shank. Too small a backbore does not permit sufficient energy to reside in the fundamentals. The result is a nasal quality as energy falls in the middle partials. In addition, the upper register has a tendency to be flat. Too large a backbore makes playing precision more difficult. Also, the upper register has a tendency to be sharp.

Remember that the ideal mouthpiece for you cannot be determined without playing it. The choice must be based on your lip, mouth, teeth, and facial characteristics. A cardinal rule is to avoid extremes in each of the constituent parts of a mouthpiece. One must choose a mouthpiece that not only meets the specific needs of the player at the time, but one that also provides the versatility to meet future needs. It is important for us all to realize that choosing a mouthpiece is more of an art than a science.

As an aside, not all mouthpieces are made of metal. Louis Armstrong carved a mouthpiece out of wood when he was a youth. Plastic mouthpieces have some advantages. The softer plastic material has a subtle positive effect on flexibility. However, intonation and clarity of attack is slightly inferior due to the lack of the firmer support from a metal mouthpiece. The greatest advantage of a plastic mouthpiece is the added comfort they provide when performing outdoors during cold weather.

After working with well known trumpet maker Cliff Blackburn, Getzen is eager to announce an exciting addition to the 940 Eterna piccolo trumpet.  Beginning in late 2007, all 940 Eterna short model piccolos will come standard with a set of Blackburn leadpipes.  This is a response to the overwhelming number of comments we have received from players expressing their belief that using Blackburn leadpipes with the 940 elevates the overall quality and playability of the 940 piccolo.

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.

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.

Hello Getzen,

I go to Wauwatosa East High School and our band has just returned from a trip to England. Our Jazz Ensemble and two concert bands performed at the Gala concerts for the London New Year’s Day Parade. We also marched in the parade and the Jazz Ensemble performed during an awards reception.

Two members of the band and myself play on Getzen 3051 Custom trumpets. The included picture is of the three of us in uniform on the Thames River in front of the MI6 building. As a proud Getzen customer (I also own a Custom cornet) I just wanted to let you know that your horns are leading the pack in our band. My Custom 3051 works excellently, regardless of if I am playing principle trumpet of our top concert band, lead trumpet in our jazz ensemble, or screaming over the top when marching on the street.

Thanks for such a rock solid horn. Keep up the phenomenal work!!

Dave Baker,
Wauwatosa, WI

Zach Ovanin (left), Dave Baker (center), and Jared Schulz (right) proudly pose in their Wauwatosa East High School Marching Band uniforms in London, England. All three play 3051 Custom Series Bb trumpets in silver plate.

Eterna 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.

Nicole 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.