Something Great Gets Even Better! May 2007, Vol. XI

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May 2007, Vol. XI
Something Great Gets Even Better!
Since their introduction, Getzen
Custom Series trombones have led
the industry in performance,
quality, and unmatched value. With
such overwhelming acceptance and
outstanding designs, it is tough to
find ways to improve each model.
One can only take perfection so far.
Rather than scratching their heads
in a vain search for improvements,
Getzen decided to elevate the
overall package. To achieve this
goal, Getzen has partnered with
Christan Griego, Director of
Research & Development for Edwards Instrument
Company. Both are eager to announce the exciting
addition of custom Griego Mouthpieces to the full
line up of Getzen Custom Series trombones.
Griego Mouthpieces is a family owned company
founded in 2001 by Christan Griego. A lifetime of
playing trombone and a decade with Edwards has
allowed Christan to study under and work with
some of the world's finest players. In that time, he
realized that many players were facing the same
problems he was. Problems that weren't being
solved by practice alone. After some research,
Christan found that the true cause for many
trombone players' headaches were shortcomings in
the design and manufacturing techniques of many
mouthpiece makers. His experience allowed
Inside This Issue...
The All New Eterna Proteus
From The Mailbag
News From the Factory
Learning to Be a Teacher
Hints for Building Range
News From the Road
Christan to gain a unique insight
into the wants and needs of players
from all corners of the world. He
took that knowledge and translated
it into a superior mouthpiece
design that is conceived and
manufactured by/for trombone
players. Seeing this success led
Getzen to enlist Christan to utilize
his skill and experience in
designing a mouthpiece tailor
made for the Getzen Custom Series
After months of
mouthpiece is here.
Beginning in 2007, all newly ordered Custom
Series 3508 Jazz, 3047 Tenor, and 3062 Bass
trombones will come standard with a Griego
mouthpiece. Years of experience with the Custom
Series line have enabled Christan to create a
mouthpiece specifically designed for each of the
three trombone models. Each of the mouthpieces
are precisely machined and expertly finished
creating the perfect compliment to the unparalleled
Custom Series trombone line.
Best of all, the mouthpieces are included with the
new trombones at no cost. Mouthpieces can also be
added to existing orders for a nominal charge.
Additionally, each can be purchased separately
from local Getzen dealers. Not only will it improve
the performance of the trombones, but also add an
outstanding value to the overall package. While
others in the industry are offering only "throw away" mouthpieces, Getzen is
including a premium mouthpiece with a $130 retail value. Increased
performance and overall value; the great does indeed get better!
For more information on Getzen trombones visit
To learn more about Griego Mouthpieces visit
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The All New 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.
907S Eterna Proteus
Hand lapped nickel silver
Custom gold brass
#137 two piece, yellow brass
with special heat treatment
Intonation Aids Fixed first and third slide rings
Finish Options Bright silver plate only
Gold Five Year Warranty
Bore Size
Inside Slides
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 known
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.
From the Mailbag...
Hello Getzen,
gh School and our band
I go to Wauwatosa East Hi
p to England. Our
ert bands performed at
ensemble and two conc
ndon New Year's Day
Gala concerts for the Lo
rade and the Jazz Ensemb
ards reception.
performed during an aw
and myself play on Getze
Two members of the band
The included pictur
3051 Custom trumpets.
the Thames River in front
oud Getzen customer (I
the MI6 building. As a pr
just wanted to let yo
own a Custom cornet) I
g the pack in our band.
llently, regardless of if I
Custom 3051 works exce
et for our top concert
playing principle trump
ensemble, or screaming
lead trumpet in our jazz
the street.
the top when marching on
solid horn. Keep up
Thanks for such a rock
phenomenal work!!
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.
Dave Baker,
Wauwatosa, WI
Proudly Made In America Since 1939
To contribute to the Mailbag, send letters
and photos to [email protected]
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News From the Factory
Welcome On Board: 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
sale 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."
As Good As Gold
Once again, we have made a sizable investment into our quality.
This time, it is the addition of a brand new, state of the art gold
plating system. Rather than out sourcing our gold plate, as is
common in the industry, it has been brought in house where we
can have tighter controls over quality and costs. This means a finer,
richer finish at a more reasonable price.
An all new tank, electrical
system, rinse procedure,
chemical bath, and gold
combine to make our new
gold plating system a very
costly, but extremely worth
while endeavor.
Custom Series Small Brass Available Online
Getzen Custom Series Small Brass instruments (excluding 3001 Artist Models
& 3003 Genesis trumpets) are now available online from many Getzen
dealers. Previously, all Custom Series instruments were only available from
brick and mortar locations. In an effort to meet demand and better serve our
consumers, we have made this change making Custom Series Small Brass
more readily available to players across the country.
Fifty Years and Still Counting
Congratulations to George "Toby" Clauer for recently reaching a
tremendous milestone. This past November marked Toby's 50th
anniversary with the Getzen Company. In his fifty years, Toby has
worked in many areas of the plant including his current position as
our small parts fabrication supervisor. Fifty years and four
generations of Getzens, with hopefully many more to come.
Thank you Toby
Clauer on his fiftieth
anniversary after a
luncheon held in his
honor at the factory
All New Getzen Gazette Blog
We have two great tools to get information out to the consumer. The Getzen Gazette
and Now the two are coming together in a more user friendly,
informative, and interactive way. Introducing the all new Getzen Gazette Blog. All of
the great information found in the Getzen Gazette is there as well as extra articles,
additional photos, and player comments. Check it out today at
Proudly Made In America Since 1939
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My Experience Learning to Be a Teacher
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
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.
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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 the piece.
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
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.
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
Proudly Made In America Since 1939
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Hints for Building Range
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!
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)
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.
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
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
• Inability to center pitches
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.
Featured Custom Series Dealer
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Servicing all musicians from student to professional with
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R.E.W. carries the full line of Custom Series
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Proudly Made In America Since 1939
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News From the Road
Mike Vax (l) takes a break from
working the crowds during NAMM
to discuss all things trumpet
with Rick Braun (r).
Both are endorsing Getzen artists.
Mike with the 3001 MV Artist Model
Mike Vax trumpet and Rick with
the 3003 Genesis Custom.
Getzen’s Mary Rima welcomes Wayne
Cobham to the Getzen booth during the 2007
NAMM show. Wayne performs with a Getzen
flugelhorn and trumpet on his upcoming cd.
Getzen’s European distributor for the Benelux
countries, JT Music, stopped by during the NAMM
show taking time to meet with Rick Braun. Pictured
below (from left to right) are Ton Minnen and Joop
Wijnen, along with Rick Braun, and Tom Getzen.
Chief Petty Officer Jim
Miller sent in a picture of
him sounding his American
Heritage Field Trumpet
while serving with the
United States Navy in
In April, Getzen Trumpet Artist
Johnny Britt will add to his
discography with the long anticipated
release of his newest album Impromp2.
Johnny can also be heard on albums
such as The Total Experience and the
2006 American Idol album. He is also
a featured performer on the
soundtrack for the upcoming movie
“The Good German” starring
George Clooney and Cate Blanchett.
During a recent visit to the Getzen factory,
Byron Autrey (r) met Jim Stella (l) for the
first time. The two started working together
on some potential design improvements for
the Custom Series line of C trumpets.
In the "Extending a Helping Hand" article from the October 2007 issue, it was said
that the fund raising and efforts to help the Brandt Brass Band were accomplished
through the help of the International Trumpet Guild. While I.T.G. did help, the
article overlooked the outstanding work and generosity of the Trumpet Players
International Network. It was through T.P.I.N. and it's members that the issue was
first brought to Getzen's attention via Mike Vax. It was also through their network of
trumpet players around the world that the fund raising efforts were first organized.
Thank you T.P.I.N. and Michael Anderson for bringing this to our attention.
Proudly Made In America Since 1939
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