At the end of the day, all of these valve designs achieve slightly different sound concepts, but the most notable differences will be evident to the player in feel and response. Individual players will have options to select for their preferred resistance, ergonomics, comfort, and consistency. Come visit us at the shop and see what works for you!
]]>Instrument maintenance is one of the most important responsibilities we have as musicians. Proper maintenance of one's instrument ensures its longevity, and makes it easier to play. In this article, we'll cover a basic cleaning and maintenance routine that you can do at home to care for your trombone. For the sake of simplicity, we won't be disassembling any valves.
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Here's how it works:
1. Purchase a qualifying new and in-stock Yamaha instrument between October 2, 2023 and January 2, 2024.
2. Visit Yamaha.io/REBATE2023 and click ‘Get My Rebate' before January 31, 2024.
See the link above for qualifying models and more information.
]]>Bach trumpets have been around since 1925, when Vincent Bach sold his first trumpet in New York City, and for many years it has been the top choice brand of instrument for many students and professionals. Today, Bach trumpets are made by the Conn-Selmer company using the same quality standards that were used by Vincent Bach himself. If you have a Bach trumpet, you may have wondered what the engravings on the bell indicate.
All of Bach's professional level trumpets are named "Stradivarius," but specifically each series begins with a three-digit number. The most popular series is currently the 180, but you may have a premium-model 190 Strad. These 190s are a step up from 180 and include a specialized bead in the bell and two-piece valve construction for improved resonance and response.
This description can be a bit confusing, because the model number is usually etched onto the bell (e.g. Model 37), but it refers to the model of the bell, which is labeled according to its shape--which in turn affects the tone. Here are the most common bell models:
37 - The most commonly used bell on Bach Stradivarius trumpets, this bell allows the player the most versatility of sound.
43 - The second most common bell, it is a bit brighter than the 37.
72 - This bell gives the player a stronger, darker sound than the 37.
If you currently play on a 180 or a 190, it's likely that you have a #25 leadpipe (sometimes called mouthpipe). Bach has found this design to be the best for all-around trumpet playing. You may also see 25R, which indicates a (R)eversed leadpipe. Other leadpipes can be requested for custom-built trumpets.
You may come across additional letters or number in the name. These indicate special options that are available by special order, or at some retailers.
LT indicates lightweight construction.
Non-standard bore sizes are indicated with M, L, or XL (standard bore size is ML, medium large).
Non-standard bell material is indicated with a letter after the bell number (B for bronze).
Bach trumpet naming conventions make it simple to identify the features on new trumpets. The series number is the first number, and the bell model is the last. A letter in between (S) will usually indicate whether or not the trumpet is silver plated. Here are some examples:
18037 means you have a Bach Stradivarius 180 with a 37 bell.
180S37R means you have a Bach Stradivarius 180, (S)ilver plated with a 37 bell and (R)eversed leadpipe.
190S43 means you have a Bach Stradivarius 190, (S)ilver plated, with a 43 bell.
If your trumpet's bell says "Mt. Vernon," or even "New York," lucky you! You have a classic version of the Strad! Before Elkhart, Indiana, Vincent Bach built trumpets in Mt. Vernon, New York, and before that, New York City. These trumpets were built in the 1950s and 1960s and are coveted by professionals and collectors. If you have one of these sought-after models, you may have a different bell or leadpipe than what was mentioned above, as they do not follow today's naming conventions.
As mentioned at the top of the article, Bach is introducing a brand new lineup of Stradivarius trumpets. We will be reporting on these new trumpets very soon, but in the meantime, stop by Houghton Horns and try out one of our awesome Strads today!
]]>Tip #1: Getting Started
Be proactive! Reach out to band or program directors in your area. You never know if there is a need in your area for someone with your knowledge and skills. You also need to know your availability before scheduling students or schools. You need to decide if you only want to teach private lessons or are open to masterclasses and sectionals. Are you willing or able to work before or after school? Weekends? These are all good things to establish before you have even one student.
Tip #2: Scheduling
Scheduling your students is one of the most difficult and important tasks that takes place before you start. You should try to set up your schedule in a way that is most beneficial to you. If you plan on being on multiple campuses daily, you need to be aware of the drive time and differing bell schedules. There is generally no help available when setting up your schedule. If you have found yourself with many students, ask if they are willing to have before or after-school lessons.
Tip #3: Managing Money
You are solely responsible for getting paid. You will need to decide if you want to use an invoicing system or if you will just keep track on your own. Most of the time, you will need to plan for tax season. Are you subject to state income taxes and or/federal income taxes? You do not want to be blindsided in April. In my experience, I had about an 85% attendance rate that I could count on, so I based my budgeting on those numbers. You may want to set up an LLC (I never did this, but I considered it multiple times). If your school or district offers lessons with a scholarship, you will likely be responsible for some paperwork. If you want to get paid, keep track of every lesson! It is good to establish expectations for payment. Some teachers like to be paid in advance, some paid weekly, and some paid at the end of a month. Decide what works best for you, but be aware that some families may need flexible payment options.
Tip #4: “Curriculum”
Some programs may have some guidelines in place for what the expectations of their private teachers will be. Some will not. It is a good idea to communicate with directors about what they want from you and their students. You are an “expert”. You should teach things you know are important while also understanding that programs have objectives their students are responsible for upholding. Band directors often have limited knowledge of instruments that are not their primary (especially horn). Use your knowledge and expertise to your advantage! Be useful! I try to have my students at the same school working on similar things (fundamentals, warm-ups, etudes, etc.) so they can work together outside of lessons.
Tip #5: Time Management
Time management is crucial! If you only have 22 minutes (or whatever amount of time) a week with a student, you must make that time count! Be sure to schedule time for your own practice and development, to eat lunch, to use the restroom, etc. You will likely not have the luxury of time. You will need to be quick with your assessments and comments.
Tip #6: Student Relations
Know your audience! Students enroll in lessons for a multitude of reasons. The sooner you know their goals, the more effective your time together will be. If you are teaching almost every student in one section, you have a direct impact on the culture of that section. You likely will not “click” with all your students, which is okay.
Tip #7: Parent Relations
Communication is key! You must be able to communicate effectively with the parents/guardians of your students. It will be crucial for rescheduling lessons, setting expectations, and getting paid. Professionalism is a must. All correspondence should be appropriate and professional (especially if you bring up concerns). Some parents will be very hands-on, and some might only pay when you send them an invoice without any other communication.
Tip #8: Director Relations
Remember: you are a valuable asset to any program! Keep the lines of communication open with directors. They often like to be informed of what is going on with their students. Try to find the right balance of keeping them in the loop without being “annoying.” We are all on the same side!
Tip #9: Being a Musician
You are first a musician, then a teacher. You should lead by example. Your expectations for your students should be reasonable and obtainable. If you can’t do it, you shouldn’t require it of a middle or high-school-aged student. Remember that you are helping shape and form the next generation of musicians and teachers; your role is very important!
Tip #10: Being a Teacher
You still play your instrument for a reason. Consider sharing that reason with your students. You are a direct role model for them. What do you want to demonstrate? Try to remember what it was like for you when you were your students’ age. Be the sort of teacher that you would have needed. Most musicians have a season in which they are teaching others. You get to decide the depth and the length that you teach. You also get to decide the quality of what you are putting out into the world. What kind of impact do you want to leave on a student?
Disclaimer: This is by no means a definitive or exhaustive list of tips for teaching. Each teacher/student/program is unique and what worked for one person may not work for you.
]]>The name "French Horn" is pretty misleading, but it is the most common name for the instrument in the United States. Why is it that, to most of the world, it's just called "horn"?
The horn has a long history, but let's fast forward to the 16th century and the hunting horn. The hunting horn was widely used in both Germany and France for sport. With the development of opera in the mid-16th century, the hunting horn had its premier as an on-stage, diegetic* music source. This eventually led to the horn being used in the pit as a regular instrument, not just as a prop or an extension of the plot.
The horn continued to develop and be utilized as a serious musical instrument, leading to advancements in how they were made. By the 18th century, the Germans had introduced moveable slides and crooks that could alter the pitch of the instrument, allowing the horn to be used more frequently.
The 19th century saw another leap for the horn with the creation of pistons and valves. Ask any horn player, and they will tell you what a miracle this advancement was! The inclusion of valves in the design of the horn allowed for chromatic pitches to be accessed without the use of the right hand. The invention also eliminated the need for a player to own or carry around a bunch of keyed crooks. A real game changer for technical (as well as lyrical) playing!
German makers made these advancements that led to the modern horn possible. A majority of horn players around Europe played instruments that were designed and built in Germany. British horn players in the 19th and 20th centuries broke away from this tradition, utilizing horns made in France. This is where the name "French horn" originated. The British used this name to distinguish themselves from "other" horn players.
The term "French horn" is not widely used in the UK today, but it did travel across the pond and is still the most common term for the instrument in the US.
The International Horn Society officially set the name of the horn to "horn" in 1971, just one year after the institution's founding. One of the reasons that "French" is still so common here in the US is the adoption of the term "horn" by several other instruments. This was brought on by the rise of Jazz as a genre, where any wind instrument was often called "horn." As a young player, I (like many others) called it a "French Horn."
Now, I say, "Actually, it's German" anytime anyone asks!
*Diegetic: occurring within the context of the story and able to be heard by the characters.
]]>Nearly all beginners in the US start on Bb trumpets. Most bands have students playing Bb trumpet parts and not C trumpet parts. Students generally pick up the C trumpet when they hit the intermediate level, at the earliest.
If you want to play in a professional orchestra, you will need both a Bb and a C trumpet and you will need to be familiar with both. High school students who are planning to major in trumpet at university and pursue performance as a career: it might be time to talk to your teacher about investing in a C trumpet and becoming comfortable switching back and forth between Bb and C.
...yes!
And we are happy to help you find an Eb trumpet, piccolo trumpet, or other equipment to further refine your sound.
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Your teacher will probably be your first and most valuable resource when beginning your search. The internet can be helpful, but the misinformation probably outweighs the useful advice 2 to 1, so be careful which sources you are relying on. Always confirm what you read with a trusted expert.
University professors will sometimes have very firm preferences about what horn they want their students playing on. If you are close to making a decision on a university, definitely schedule a lesson with the professor and ask which make and model their students use.
To win playing gigs, you will need to buy equipment whose sound blends well with the rest of the trumpet section and the symphony's desired sound as a whole. As of the date this article was written, most orchestra trumpet players played piston C trumpets, but rotary C trumpets were growing in popularity. Bachs were most popular, with Yamahas experiencing a meteoric rise in popularity over the past decade. But today, you have more brands and options available than ever before. Research what the prominent U.S. orchestras are playing when you begin your search, because that might be where the sound is trending for the U.S. as a whole.
Still have questions? Don't hesitate to schedule a virtual or in-person appointment to discuss the matter with one of our professional musicians. Or contact us at sales@houghtonhorns.com or 817-993-6400 ex 1.
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WHAT’S WRONG WITH THE TRUMPET I HAVE NOW?
Maybe your instrument is in perfect shape, and if so, that’s awesome! However, many student-model trumpets begin to show signs of wear after 2-3 years. If your lacquer is looking less shiny, or has completely come off in some places, or if your valves or slides get stuck more often than you think they should, it may be time to retire “Old Faithful.” Student trumpets are built for short-term durability, while professional-level trumpets are made for longevity.
HAVE I PHYSICALLY GROWN SINCE I GOT MY TRUMPET?
Much like your shoes start to feel tight as your feet grow, when your body grows your trumpet may not “fit” the same way it used to when you were a beginner. Maybe you are having to adjust your tuning slides more than you used to. These signs may be telling you that you are outgrowing your student model trumpet. While all trumpets are similar in size, there are subtle differences that will make a professional trumpet easier to play.
DO I STILL LOVE THE TRUMPET AND AM I GOING TO KEEP PLAYING?
If you are all in on band and can’t imagine doing anything else, a new instrument may be a good investment. If you’re not sure about this band thing yet, and may want to try something different in the next year or so, maybe wait to upgrade until you are sure you want to stick with it.
AM I READY TO TAKE CARE OF A NEW TRUMPET?
Having a new instrument is a big responsibility. While a professional model trumpet is built to have the best possible sound, it is also more fragile than your student trumpet. It will need to be polished and cleaned often to keep it in tip-top condition. However, it will last years or decades if it is cared for properly. If you still tend to be rough with things, you may want to be sure you are ready for a new trumpet.
When you are ready, Houghton Horns has many trumpets in the store that you can try out for yourself.
Click here to browse our current selection of new and pre-owned trumpets.
Click here to schedule an appointment!
One last thing: don’t get rid of your beginner trumpet just yet. If it still plays reasonably well it will be great to use for marching band–and you won’t have to worry about damaging your new trumpet on the marching field!
]]>Woohoo! They did it! Your student has persevered through years of essays and standardized testing to snag that priceless diploma. Here are some suggestions for colorful and practical gifts that show your pride in their remarkable achievements.
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As musicians we must be able to play ALL the orchestral excerpts, but some we don’t practice nearly enough. The ExcerptUp brings some fun and play to the daily practice grind. [Link]
"Band is life, and sometimes that sucks. Let’s play cards." Your graduate and their friends will get hours of laughs out of this relatable and witty game. Collect the whole series:
These earrings are hand-made by our horn specialist Katie Evans! You can choose French horn, trumpet, or trombone, and she is happy to build you a pair in the colors of your choice. [Link]
This product is the first of its kind made for all types of brass instruments, allowing you to remove and attach a pencil quickly. The innovative design won’t scratch or mark up the instrument like the other hard plastic options. [Link]
I mean, who doesn't need a plastic mustache that attaches to their leadpipe? Great for themed shows, cosplay, or just goofing around, the Brasstache reminds hardworking musicians not to take themselves too seriously. [Link]
Yup, it's a kazoo in the shape of a French horn. [Link]
Everything your French horn player needs to maintain their instrument in tip-top condition, all in one convenient carry pouch. [Link]
Your student can display their love of both the French horn and puns with this colorful, breezy soccer jersey. The jersey is of a loose, lightweight fabric that wicks away sweat to keep you cool even on a scorching hot Texas summer day. [Link]
Your trombone player will love this light, breathable soccer jersey that reps a mainstay of the trombone literature. [Link]
Show off your style with this colorful nylon mute bag! Options for French horn, tenor trombone, or bass trombone mutes. [Link]
A staff member will individually select a fun assortment of sheet music, accessories, and maintenance products for your musician. Each mystery bag is unique and will save you 25% or more over retail prices. You can choose between:
Transporting music is a breeze with this sheet music portfolio bag. Protec's portfolios feature 3 storage sleeves, accommodate paper sizes up to 10.5 x 15", and include a removable shoulder strap and ID tag. They offer a variety of colors to match any personal style. [Link]
A leading irritation for brass musicians is sore, cracked lips. Give your graduate the gift of comfort with these all-natural lip balms formulated specifically for musicians. [Link]
Your student will tell you that stuff leaking out of their instrument is just water, but I hate to break it to you - they're lying. Keep that gross stuff off the carpet with a Spit Catcher. [Link]
The Verus Horn Strap is designed to relieve left-hand tension, keep the left fingers properly aligned with the valves, and reduce pinky strain. It fits every French horn on the market and is a great accessory for any level of horn player, especially off-the-leg players. [Link]
Each Verus hand guard is hand-made by our repair technician Chris Wright out of genuine leather. [Link]
Give your student the gift of choice with a merchandise gift card, so they can pick out the colors, sizes, and styles that suit them best. Or cover their next annual cleaning with a repair gift card, so their beloved instrument plays as smooth as silk.
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The photo doesn't do these gorgeous music stands justice. The perfect accent to a practice room! Choose between:
The UpMute is a great practice mute that allows you to “feel” when you’re using too much effort. The idea is to play your instrument with the UpMute and use the least amount of effort to produce the tone. In other words, be extremely relaxed and don’t use too much air. Then remove the mute and play your instrument with the same amount of effort and you will be amazed at how much easier it is to play and how full and resonant your sound is. Choose between:
UpSound is a warm-up and practice device for use with brass instrument mouthpieces. It's great for practicing or warming up in situations where using the instrument is impractical, working on ear training and pitch control, and focusing on embouchure and breath control. [Link]
For that horn player on the road who needs to get in their practice without disturbing the people around them. Once the player puts in the headphones, the Brass Resonance Modeling system will make it sound to them as if they aren't using a mute at all, even though the noise their instrument is producing is greatly reduced. Choose between:
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These delightfully colorful cases are hand-made in Spain. Some of our favorite models include:
An expandable backpack that also functions as a horn case, with a plethora of pockets and storage options! Our best-selling case. [Link]
Our staff's top pick for light and easy travel. The bell section of the case unzips from the body, so it fits easily under your seat on an airplane. [Link]
Save yourself a trip and carry two trombones at once with this double trombone case. It has two wheels to assist with transportation and provides that famed Marcus Bonna safety and protection. [Link]
These elegant and distinguished cases are CRAZY protective - check out this video of them being dropped down stairs and thrown into ponds. Your options include:
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Note: We recommend against buying anything labeled "Pre-Order" or "Out of Stock" before confirming with us that we will be able to ship you your product before graduation.
Need personalized advice? Contact us at 817-993-6400 ex. 1 or sales@houghtonhorns.com and we’ll be happy to offer individualized suggestions.
]]>It's essential to teach beginner students basic slide positions (1-7) and where they are on the horn. Over time, students should begin to understand that slide positions are not concrete placements--like frets on a guitar or keys on a piano--but rather should be treated as fluid areas that can be adjusted based on what they hear, and the context of a given note or passage. Accurate tuning slide settings also become more critical for developing players at this stage. Encourage the student to use their ears as well as a tuner to help them figure out how to adjust the slide for intonation. They should move their slide, as opposed to bending the pitch with their lips.
Good slide technique allows the player to be dexterous on their instrument. It is vital that we not only teach the student how to hold the slide, but how our arms ergonomically work to move the slide fluidly and efficiently.
This varies from player to player, but I generally teach my students that the outside of their embouchure (corners, above their top lip, and chin) should facilitate security, while the inner part (aperture) should be soft and malleable to free the lips up for vibration.
Regarding the embouchure, make sure that the student understands the "corners" should serve to provide stability, much like an athlete using their core to stabilize their athletic movements. I like encouraging security instead of tension. On the other hand, the lips should be soft and gentle, allowing the air to pass through them.
Good posture plays an important role, as it allows the player to open up their lungs. Make sure students aren't slouching into their chair, as this makes the lungs collapse. A player shouldn't over-arch their back either. Most people overlook the angle of the player's head/neck. Rather than going to the instrument, communicate with the student that they should bring the instrument to them and not force it into their lips but gently place it on their embouchure, just enough to create a seal with the lips.
One of the cornerstones of brass playing is sound concept. The sound that comes out the instrument should be a direct reflection of the idea of how we want to sound in our head. Listening to the best players in the world on our instrument as well as other artists can give us a larger color palette and inspiration to experiment with our sound.
For trombonists, vowel shape can have a direct impact on sound quality. I typically teach "Toh" or "Doh" for low register, "Tah" or "Dah" for mid register, and "Tee" or "Dee" for upper register.
Legato tonguing requires good slide timing with the rhythm of the piece. It is important to remember that on trombone, notes on the same partial (or floor, as I explain them) must be articulated no matter what, but with a softer "Th" or "D". Moving the slide in rhythm will prevent the student from smearing or glissing the notes. When crossing partials, encourage the student to take advantage of natural slurs to make the phrases as smooth as possible.
Utilizing Breathing Gym and various tools such as a spirometer, or even just breathing tubes in the classroom will place a priority on air, the primary mover of sound for wind instruments. Also, if the player has issues with the beginning of their notes it's almost always air efficiency--though sometimes it can be tongue placement.
There are many resources for directors and young students to develop a healthy routine. I would strongly encourage directors to guide their students toward a simple but effective daily routine that the student can commit to for 15-20 minutes. It's not necessarily the AMOUNT of time students spend practicing their instrument, but rather the QUALITY of time that is most important. Young students should be encouraged to focus primarily on tone, while addressing articulation, flexibility, dynamics, etc. These elements are all beyond a warmup routine in my pedagogical approach. The warmup routine should be treated as a mission to get the player's mind and body ready for daily playing.
Understanding that the articulation and slide have to arrive at the same time can free up the student for expressiveness in their music. A telltale sign of this issue is audible slide noise in their sound (unless they're not articulating at all). It's either one of two problems: the slide arrives to the destination before the tongue or vice versa. To fix this, have the student play long tones with the focus of arriving as late as possible with the slide and releasing the air with their tongue at the precise moment the slide arrives. Practicing glissandos may also help with coordinating air and efficient slide movement, as the student need only focus on timing the articulation with their arm.
When I hear students play, I strongly encourage them to play to the left of their stand so their sound will carry. Playing with the bell into the stand has a muting effect and won't allow the player to sound as full. Often this small fix can make a huge difference in the sound of your trombone section.
In addition to the information above, below are some videos by James Markey, bass trombonist of the Boston Symphony Orchestra. I regularly show my beginners these videos to help them resolve some of the problems I listed above:
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Here are some tips and reminders for your upcoming auditions:
Be sure you are warming up adequately before your practice sessions. Often students become impatient and proceed directly to the region etudes. A brief, yet balanced warmup is essential to producing positive results during practice. Fundamentals will help you build a strong embouchure for the task at hand. When you do practice the region etudes, start in different places and play in smaller chunks, rather than playing through the entire piece each time.
If possible, practice at the same time every day so that you can establish routine and accountability. Choose a quiet room away from interruptions and turn off your devices. All your focus must be on the music and if you are distracted while you work you will not improve as rapidly.
This means you need to repeat passages correctly over and over and over and over, slowly and methodically. If a section is written slurred, practice it tongued and vice-versa. Or try playing a chunk of music in a different rhythm. I’ve even had my students play part of an etude backwards, giving new meaning to the phrase, “I know this piece backwards and forwards!”
If there are fast, technical passages in your music, break them apart into smaller sections. Start with the metronome at a playable tempo and perform a section three times accurately. Then increase the bpm, keeping track of your progress. It is so encouraging to look back and actually see how far you have come. But remember: accuracy and tone are always more important than speed and the judges will grade accordingly.
Take every opportunity to play for others: your high school band directors, middle school director, parents, grandparents, peers, your dog or cat…
Not only does a simple recording done on your phone add an element of pressure (wishing to get a great recording) but it also gives you the chance to listen objectively to your performance.
Music is an art. Even though region auditions are competitions, we all have the opportunity to share our feelings and emotions through the music we perform. Playing an instrument is a talent and gift but it comes with responsibility. You must be willing to discover what the composer is wanting to convey and then do your best to tell the “story”.
I hope this article has provided you with some helpful information as you continue preparing for the upcoming auditions. Practice, prepare and have fun!
The leadpipe is the first point of contact with the trombone, so it's very important to discover which leadpipe works best for you. Today we are very lucky to have all kinds of modular trombones that allow us to interchange various parts on the instrument to suit our playing needs and help us bring the sound inside our head to life. In this regard, dethachable leadpipes have a big role to play.
There are three main feaurues that determine which leadpipe a player needs for their instrument: the venturi, the length, and the material of the leadpipe.
The venturi is where the leadpipe narrows to its thinnest point directly below the mouthpiece receiver. On Shires trombones, the venturi is indicated by the number you see on the top of the leadpipe.
The smaller sizes will give you a compact blow through the leadpipe, allowing you to feel a bit more compression, whereas larger diameter leadpipes can help you open up your sound. If a venturi is too small for a player they may feel that their sound is too tight. If a venturi is too large, the player will have a diffuse, unfocused sound. This is one area where it would be very helpful to schedule a fitting to discover which venturi works best for you.
Leadpipe length is critical for proper depth and fit in the slide. On the top of Shires leadpipes you might see S for short or L for long. Unmarked leadpipes indicate standard length.
The longer your leadpipe is, the easier it will be to slot notes, whereas shorter leadpipes will give you a bit more room to shape musical lines.
There are several types of material that are used to make leadpipes. The most common alloys are yellow brass (which is the standard leadpipe material), gold brass, rose brass, sterling silver, or nickel silver. The various materials affect how the instrument resonates.
For example, a darker brass material such as rose or gold brass will resonate more easily at soft dynamics but may project less in a large hall. The opposite is true for harder material such as nickel silver or sterling silver. These make it easier to project and will help a player with clarity of articulation.
The bore of the trombone is the diameter of the tubing in the inner handslide. You most commonly see small bore (.480″-.508″), medium bore (.525"), or large bore (.547") trombones. Be sure to buy a leadpipe of the bore size that matches your handslide.
Threaded leadpipes have screw threads to screw into the handslide, and pressed leadpipes can just be pushed directly in. They are not interchangeable, so be careful to buy threaded or pressed leadpipes as appropriate to ensure the leadpipe fits tightly into your instrument.
If you're interested in purchasing a leadpipe or trying them out, don't hesitate to schedule a consultation with Houghton Horns!
]]>The utmost care and attention has been given in readying your instrument for shipping. However, even with the greatest preparation, occasionally an instrument may incur damage in the shipping process.
As a service to our customers, we've provided a guide on how to inspect your instrument when it arrives and how to deal with potential shipping damage.
Upon receiving your instrument please complete the following:
If damage has occurred in the shipping process:
This information is provided as a public resource. Houghton Horns LLC assumes no liability for damage incurred during shipping or damage claims denied by your carrier.
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First, determine whether your horn is lacquered or unlacquered. A new or freshly polished unlacquered horn can be quite difficult to discern from a lacquered horn. If your horn has been played a lot it’s usually easy to tell. Lacquered horns will still look shiny with fingerprints, while unlacquered horns will dull to a lovely patina as they react with the oils in your skin.
These horns are easier to keep shiny. You can use a microfiber polishing cloth on a regular basis with no damage to the lacquer. If you need a little extra shine, use a bit of Pledge to get the job done! Take note of any spots on your instrument where the lacquer may be damaged, peeling, or flaking so as not to exacerbate the issue. DO NOT use any abrasive agents on lacquer! It will scratch the finish, which cannot be fixed without stripping and relacquering the entire affected section.
Many trumpets are silver-plated. You can use a silver polishing cloth on your horn (and your mouthpiece!) to give it that lustrous shine. Silver plating may wear away, so you don’t need to polish aggressively or excessively. If you start to see darker spots where you’ve polished or where your skin touches the instrument, those are places where the silver plating has worn through.
Does your unlacquered instrument need polishing at all? Many brass players allow their unlacquered horns to naturally oxidize, creating a dull patina. Polishing your unlacquered horn repeatedly will eventually wear down the metal. Do not polish more than every few months at the maximum. To help protect the metal you may choose to use leather hand guards (ie. the new Verus Hand Guards) to cover and protect the parts of your instrument that come into contact with your skin the most often.
If you do wish to polish your unlacquered instrument, you’ll need to use a slightly abrasive metal polish such as Flitz. Use a towel or cloth to dab a small amount of the polish onto a section of your instrument. Spread in a circular motion. Once the surface is foggy and the towel is black, use a clean cloth to wipe the residue away. You should be left with a horn that looks shiny and new!
]]>If you buy rotor string from Houghton Horns, you might receive one of two types of rotor string:
1. The bright yellow stuff. It has a more stiff feel, which some people don't like. But it's Yamaha brand, which means it's durable, quality stuff. Our repair shop finds it lasts 3-5 times longer than cheaper brands.
2. The beige stuff. It's more flexible, and most players appreciate the lighter feel. But there is a tradeoff in terms of durability. This variety lasts a decent while, but it doesn't have that famed Yamaha toughness.
In the end it comes down to preference. Band directors who prioritize durability should maybe ask for the yellow string. Professionals who need the quickest response should give the beige string a try. We are happy to give you either upon request.
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1. If you must change lubricant brands, try to remove as much of the old lubricant as possible from the instrument before applying the new brand. Although reactions between different brands are rare, it is a possibility and may cause the valves to get gummy. Should this occur, pull the slides out and flush the instrument with warm water before reapplying the new lubricant.
2. The higher the Hetman or Meinlschmidt number, the thicker the viscosity (with some exceptions). Substituting to a higher number will not harm your instrument in any way, but it may cause the horn to feel sluggish and “gunked up”. If it doesn’t work out for you, just wash the oil out and start again with a lighter formula. Substituting to a lower number will not harm your instrument, but you may need to apply more of the lubricant for maximum effectiveness.
Application | Hetman or Meinlschmidt | Yamaha | Superslick | Ultra-Pure |
Piston valves |
Normally, you'd use #1 on valves with little wear, #2 on valves with some wear, and #3 on valves with significant wear, but they are fairly interchangeable. |
Yamaha "Vintage" valve oil (YAC VVOX) | Superslick light valve oil (VO2Q) | Try ultra-light valve oil for #1, professional valve oil for #2, and black label "classic" valve oil for #3 |
Mobile slides on trumpets and flugelhorns |
Normally you'd use #4 on slides with little wear, #5 on slides with some wear, and #6 on slides with significant wear, but they are fairly interchangeable. |
Try 1-3 tuning slide oil for 1st and 3rd slides | ||
Tuning slides |
Normally you'd use #6.5 on slides with little wear, #7 on slides with some wear, and #8 on slides with significant wear, but they are fairly interchangeable. |
Yamaha synthetic gel slide grease (YAC SGG4) | Superslick tuning slide grease (TSG) | Try regular tuning slide lube |
Rotary valve interiors, down slides |
Normally, you’d use #11 on valves with little wear and #12 on valves with more wear, but they are fairly interchangeable, and #3 will work in a pinch. |
Superslick light valve oil (VO2Q) | Try ultra-light valve oil for #11 and professional valve oil for #12 | |
Rotary valves, on spindle bearing and under caps |
Normally, you'd use #13 on valves with little wear, #13.5 on valves with some wear, and #14 on valves with significant wear, but they are fairly interchangeable. #4 can be substituted in a pinch. |
Yamaha rotor spindle oil (YAC 1013P) | Superslick key and rotor oil (KRO) |
Try light bearing oil (closer to #13) OR Try linkage, lever, and key oil (closer to #14) |
Trombone slides | Yamaha trombone slide oil (YAC 1021P) |
Mailing list subscriber exclusive: We’re giving you first dibs on our instruments before the convention starts. Check your email for a coupon code which can be used on houghtonhorns.com through February 8, 2022, and grab that horn before it leaves for San Antonio!
Otherwise, come visit us at booths 830, 831, and 922 at the 2022 Texas Music Educators Association convention for 10% off new instruments February 9 – 12, 2022.
The following brands are excluded from the 2022 TMEA promotion: Antoine Courtois, Besson, C.G. Conn, Eastman Music, Hans Hoyer, Holton, King, S.E. Shires, Stomvi, Vincent Bach, Yamaha. Please contact us at 817-993-6400 ex 1 or sales@houghtonhorns.com if you have any questions regarding this promotion.
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