Brass Mouthpieces – General Info / Advice

August 28th, 2010

Many brass players will tell you that you can search for that elusive perfect mouthpiece, but never find it. Truer words have probably never been spoken but the benefits of trying to find a good compromise can be enormous. If you are looking to improve the squeakiest of lead trumpet parts, the mellowest of flugel tones or the meatiest bass trombone pedals, the chances are we have something to suit!

All instruments are sold with a mouthpiece included, but this is often a student size and can sometimes be completely inappropriate for the style of music you like to play.

A mouthpiece is the part of the instrument that communicates the sounds and expressions from you to the instrument – even the smallest change can alter your whole sound.

General rules to observe…
• Mouthpiece cup diameter: increasing this will make more of your lips vibrate inside the cup and give a richer sound, but may also compromise endurance.
• Cup depth: a deeper cup gives a fuller sound but makes playing higher more difficult. Shallower cups make high playing much easier but will produce a harsher tone.
• Rim width/ sharpness: a wide rim will make playing for long periods of time very comfortable but will make lip slurring harder. A thinner, sharper rim will vastly improve lip slurring and flexibility but will become very uncomfortable for endurance playing.
• Backbore: this is possibly the most complicated measurement. A wider backbore will make the whole instrument feel and play more openly but this will affect your breathing and endurance. A narrow backbore increases resistance, which can make higher notes easier to hit but gives a very thin sound.

This is just a brief glimpse into the science behind mouthpiece selection. Selecting one is all about compromising and, of course, working hard! This writer is lucky enough to have stumbled upon his “perfect” mouthpiece… until the next one comes along!

Of course, every player is different and this is why we suggest trying out several until you find one that fits you. Any brass player can come to us and try out mouthpieces in store or we can simply offer some friendly advice. Dawkes Music offer a 1 week trial period on any brass mouthpiece as often the only way to test a mouthpiece accurately is in situ – at band or with your teacher. We charge a £3.00 “hygiene” fee to cover the cost of cleaning the mouthpiece should you decide to return it.

See our range of: Trumpet Mouthpices, Cornet Mouthpieces, Trombone Mouthpieces, Tenor Horn Mouthpieces, Flugel Horn Mouthpieces, Baritone Horn MouthpiecesEuphonium Mouthpieces, Tuba Mouthpieces.

Matt – Brass Dept 28/8/10

British Flute Society Convention – Day 4 FINAL

August 23rd, 2010

YouTube Preview ImageDay 4:
I must say that despite barely playing a note over the past few days I am totally fluted out! Today started with a brilliant beatboxing session with Greg Pattillo (SEE VIDEO ABOVE – COURTESY OF YOUTUBE). He’s a really good teacher and if you can’t get to see him live I would definetely recomend checking him out further on you tube.
This was followed by recitals by Unji Chung, Elzbieta Wolenska and a class on how to play Irish music with Eimear Mcgeown. I decided to have a break after this to visit the trade stands but I went back after spending far too much money on music to see a recital of contemporary Celtic fusion with Philipe Barnes and finally a recital by the scottish flute trio featuring Japanese percussionist Joji Hirota. Anyway, I’ve had a fantastic if exhausting time over the past few days and I’m really looking forward to getting home and fitting a bit of practice in before baby Dawkes arrives.

Julia Bentley Dawkes
www.suzukiflute.co.uk

British Flute Society Convention – Day 3

August 22nd, 2010

After a good nights sleep I managed to make it to Trevor Wyes early 
session on practising efficiently followed by the brilliant Alexandra 
Grot, the hong kong flute centre flute orchestra, another piccolo 
recital and the fantastic Katherine Bryan who has inspired me to dig 
out the Hue fantasie when I get home. This was followed by the ultra 
contemporary Ayre flute octet and a baroque recital with Rachel Brown. 
I’m not sure which I prefered but I’m pretty sure I fell asleep in the 
later. Anyway I was soon woken up by ‘Jazz’ with Gareth Lockrane. 
Gareth played at our wedding in 2008 so It was really good to hear him 
again.
Next up was a brilliant flute quintet from Germany called Quintessenz 
which was followed by Trevor Wyes infamous Flute spectacular which is 
still hilarious even after 35 years. After tea we all rushed to get 
the best seats for Emanual Pahuds recital. This was preceeded by the 
Russian flautist Alena Lugovkina and another chance to hear the 
fabolous Magnum trio. Needless to say Pahuds recital was brilliant and 
it was really amusing to see all the women (and most of the men) 
swooning over him infact it got so hot in the concert hall that my 
ankles swelled up to twice thier normal size. ( pregnancy 
hormones!) So after a spot of Irish music with Eimer MgGeown  I went to 
cool down in the bar with beat boxing sensation Greg Patillo. Anyway 
I’m off to bed now. You never know i might actually get up in time to 
do some playing tomorrow.
PS - quote of the day has to be Trevor Wye describing how to practise 
scales expresively ‘if you’re going to kiss someone don’t worry about 
standing on thier feet’

Julia Bentley Dawkes
www.suzukiflute.co.uk

British Flute Society Convention – DAY 2

August 21st, 2010

Well, needless to say I didn’t make it to the warm up this morning at 7am but I did manage to catch an early lecture on performance anxiety with Mary lee Cochran from the psychology department of Kansas State University. This was followed by a recital by two horribly attractive and talented flautists, Kayoko Minamino and Zsuzsa Vamosi-Nagy, titled fresh faces – fresh music.

Next up I had to decide between watching Mike Mower perform a selection of his compositions or a talk on basic flute maintainance by the resident repairer Arthur Haswell. The later was probably a bit of a mistake as obviously Arthur didn’t want to encourage a bunch of flute teachers to start fiddling around with their students instruments! However i did learn that cleaning your teeth prior to playing the flute is just as bad as drinking a can of coke. The afternoon consisted of a recital by the flautist Silvia Careddu and a fantastic performance by a flute choir from Italy called Joueurs de flute which consisted of all types of flutes including the contra bass. This was followed by two flute trios. The first were an English trio who played works by Boismortier and Gary Shocker. The second were three young men from japan who dressed up as monkeys 
complete with bright red backsides and proceeded to run around the concert hall playing thier flutes through their noses. Brilliant! I’m sure you can guess which one I prefered. Seriously though the Japanese trio who call themselves the Magnum trio were awesome. They used various 
flutes and special remodelled instruments and headjoints and had composed all the pieces themselves which contained loads of unusual 
techniques. Personally I liked it when they stuck kazoos in the end of thier flutes. It made them all sound like Sweep!

After this I went to hear Andy Findon talk about playing the flute in the comercial world, which proved to be a very informative and entertaining chat about his life as a session musician and doubler in the west end. Anyway since then i have listened to a piccolo recital (ouch!) another piece by Gary Shocker for flute and piano (played at the same time) and another recital by the amazing Marco Grando. I’m  going to have a break now but Ill go back in a bit to see some more Andy Findon, a recital by William Bennett, a talk about the Dopplers and their musical effects and not forgetting late night yoga!
JBD

Julia Bentley Dawkes
www.suzukiflute.co.uk

British Flute Society Convention – Day 1

August 20th, 2010

Julia Bentley Dawkes is a local flautist and flute teacher specialising in the suzuki method of teaching music. She is attending the British Flute Societys seventh international convention at the Royal Northern College of Music in Manchester.

Julias Blog: Well here I am at the RNCM in Manchester for what has so far been an inspiring day of lectures, master classes, recitals and demonstrations. I have listened to a talk about Suzuki and the flute by Cristina Crespo, a recital by Gareth McClearnon, a talk about the French flautist and composer Gaubert, and a fascinating recital of new flute repertoire played on the bass contrabass and sub-contrabass flute by Peter Sheridan. I am currently listening to ‘a look at the past’, a concert of early music played on authentic period instruments (yawn!). This is followed by another recital by the venezuelan flautist Marco Granados with the Orquesta Nacional de Flautas de Venezuela and if I’m still awake after that I’m off to late night yoga ( which should be interesting at seven months pregnant!)

Really looking forward to learning how to flute beat box tommorow with You Yube sensation Greg Patillo (look him up if you don’t know him!). I’ll let you know how I get on!

JBD

Julia Bentley Dawkes – www.suzukiflute.co.uk

Marlborough International Jazz Festival

July 17th, 2010

The weekend of the 10/11th of July saw the Marlborough International Jazz Festival lift off with a great card of performers. We had been invited to attend by main sponsors UK Jazz Radio. The Sunday Telegraph wrote “each year the excuisite market town of Marlborough becomes a mini New Orleans!”…We couldn’t agree more, the whole town seemed captured by the event.

MJF had over 20 locations where listeners were able to enjoy a huge variety of different jazz genres. There were well over 100 groups, bands and performers ranging from famous touring stars to up and coming youngsters, including the Saxophonist Alec Harper who won the DAWKES Best Solo Performer award. 

Alec, a third year student at Guildhall, is pictured here with Brian Soundy from UK Jazz Radio and our very own Lizzie Sambrook. The panel of judges included famous jazz cornetist Digby Fairweather and the overall level of performers was incredible. Thanks to UK Jazz Radio the performers were given an excellent opportunity to perform which will consequently lead on to further gigs and exposure.

We took a nice selection of Yanagisawa, Selmer, Mauriat and others to the show and were pleased to see some of our current customers both performing and dropping by for a chat.

Lizzie & Matt – Dawkes Sales Team

Wynton Marsalis & Jazz at Lincoln Center Orchestra

June 18th, 2010

THURSDAY JUNE 17th Review (Fri 18th review below)

I was lucky enough to get tickets for Wynton Marsalis & JLCO last night (17th June 2010) at the Barbican Theatre, London. I’ve seen this outfit now on 3 occassions and am constantly wowed by their skills and panache. Last nights gig was entitled ‘Swinging Beginnings’ and was part of a series of concerts and events with the JLCO in London.

They have been given a residency at the Barbican Theatre and have used the oppurtunity to roll out a series of workshops in London to help kids with Jazz programs and education. Performing before the main event last night were a youth jazz orchestra from East London who had been given the ‘JLCO treatment’, it was clear to see the expert help had inspired the players and they will have grown in confidence from the chance to play on such a great night. It’s this kind of outreach from Marsalis and co. that sets apart their contribution to the jazz scene and total adaptability within it.

The ‘Swinging Beginnings’ concert was as I mentioned part of a host of concerts including ‘BeBop and Beyond’ and ‘Big Band Brittania’ nights in the next few days. As the title implies the ‘Swinging Beginnings’ session was a musical trip and reference back to the 20′s, 30′s and early 40′s. The band played through some well known and also lesser known numbers from such names as Jelly Roll Morton, Don Redman, Eddie Durham, Fletcher Henderson, Duke Ellington and pleasingly (for the author!) even a nod in Count Basies direction with a nice arrangement of Blue and Sentimental. The more well versed readers out there will probably start to feel this has all the signs of just another Big Band playing dated music that bares no interest to us modern jazz cats…this is a dangerous assumption and mis-understands the quality of the musicians on show. Whilst this was the closest I will have got to hearing Ellingtons band in person, it was also unmistakeably Marsalis and his JLCO and their sound. This ability to blend, adapt and yet keep the bands unique style and sound is in my belief one of Marsalis’ greatest achievements. The sound was not dated but still in keeping with the style as it was written and intended to be performed.

This adaptive quality of the JLCO is probably strengthened due to the consistency of their lineup. Since I first saw them around 8 years ago, only 3 or possibly 4 of the members have changed. Happily one of the changes for us Brits is the inclusion of Elliot Mason on Trombone, originally from Norwich, this accomplished Trombonist has made a name for himself on the scene and is now seemingly an ever present in the JLCO. Also representing the UK was the great Joe Temperley on Bass Clt / Bari Sax, also an ever present in JLCO he is also the only member to have played with the great Ellington himself. The ‘front line’ sax section is annoyingly good (speaking as a middle of the road reed player) and voices itself as one coherent section, noteably Victor Goines got a good workout on the Tenor / Clt chair.

The last time I saw JLCO they dazzled with  a Latin Suite that had just been written and they were premiering in London before taking it to a Spanish Jazz Festival. They had Chano Dominguez  the great Latin pianist guesting with them on that night and the whole band swerved and swayed through some fiendish sounding section work. My point being, these guys can really do a bit of everything, but always with authority, they don’t dabble! Jack of no trades, Masters of all…

It’s well worth keeping an eye out for Marsalis & JLCO on the web and Barbican website. They have various stints planned over the next couple of years. Barbican / Marsalis Site Reference

Sam 18/6/10

FRIDAY 18th JUNE Review:

Simon Carr, Head of Wind & Brass @ Radley College:

I popped into Dawkes with a couple of instruments for routine repair last Tuesday. As always I got chatting with Sam about this and that when he suddenly asked me if I followed the football? I said yes, but not particularly seriously (cricket, however is a different matter!) Sam then offered me 2 tickets for Friday nights concert at the Barbican with the LCJO & Wynton Marsalis, I practically bit his hand off and in view of what happened in the football I definitely got the better deal.

The concert was entitled Bebop & Beyond, charting the course of Big Band music from the mid 1940′s onwards. I was blown away by the quality of playing throughout the gig & was struck by the way they were able to capture the essence of different bands & yet retain their own identity. In particular Joe Temperley managed to sound earily like Gerry Mulligan without being simply a pastiche. They were joined at various times by among others Pete King, Soweto Kinch & Alex Wilson. They covered a range of music from Dizzy Gillespies arrangement of ‘Round Midnight, through Havanna Blues & a beautiful Ellington tune Sunset & the Mocking Bird. All in all the perfect football antidote…

Yamaha Flugel Horns – YFH8310Z & YFH8315G – New Model Info

May 19th, 2010

A tale of two Flugels: New in Summer 2010, at a music shop near you (well, at Dawkes anyway!!) Yamaha have been busy working on two new Flugel horns in their professional range. The YFH-8310Z and YFH-8315G each offer different options for all players.

The YFH-8310Z is a natural arrival, the successor to the YFH-6310Z which proved popular in the USA and UK especially. The 8310Z trumpet was introduced some time ago so it wasn’t long before Yamaha introduced its Flugel version. The Z range of Trumpets and Flugels have been designed in conjuction with Bobby Shew, surely one of the most recognised and decorated players of his generation. A list of bands and artists that Shew has played with could include Buddy Rich, Woody Herman, Tommy Dorset, Horace Silver, Bill Holman, Art Pepper…and you get the idea! Often manufacturers like to link players with instruments but Yamaha have genuienly great links with their artists and the players views and ideas are welcomed with open arms in the development process. This partnership at the production stage rather than an endorsment gained after the event still makes Yamaha unique and different in todays manufacturing.

So, to the actual instrument: The YFH-8310Z  has a light weight ethos and this is to promote an immediate and flexible sound. Benefiting from a Bob Malone (more on him later) leadpipe with new connection brace and outer step shape, Bobby Shew says “I can make it darker or brighter, more airy or smoky, whatever I want to do…The slots are well defined but not too narrow…The upper register is freer than ever”.  Most people will agree that Yamaha instruments are easy to play and this is really what the Z brass is all about. That ease of tone production should leave players to express themselves more easily and fully.

The other new boy is the YFH-8315G, designed with the help of  Wayne Bergeron and Jeremy Pelt. Both great players, these guys represent a modern, versatile type of musician with the need of a versatile instrument. The differences in the 8310Z and 8315G are subtle but definite in terms of how they will change the feel and tone.

The YFH-8315G has a Bob Malone designed leadpipe, this has a little more weight than the 8310Z version. Malone is widely regarded as one of the top Brass Instrument consultants and designers in the USA. His ability to understand the requirements of pro players and implement it to a production stage has made him the man to ask for new advances. This leadpipe added to the two piece gold brass bell give the 8315G more weight of sound and a bigger, wider core tone. Also benefiting from a newly sculpted trigger arm this 8315G could be used in all manner of musical environments from Concert Band to Big Band and Jazz.

Both new Flugels are due to us in Summer 2010. Please see here for our Flugel listings, and feel free to contact us to pre-order or receive delivery information. Supply may be limited at first so first come first served! 

Brass Dept 19/5/10

Yamaha Neo Tenor Horn YAH-803S – New Product

May 15th, 2010

YouTube Preview ImageIn a market place that has both a loyal and knowledgeable following any new Brass Band instruments are often poured over and scrutinized for any potential benefits. The new NEO range from Yamaha is launched with the arrival of the much anticipated YAH-803S Tenor Horn. Why Tenor Horn first? Well, you could argue the other manufacturers have somewhat overlooked this instrument and developments and releases haven’t been as common and talked about as Cornet or Euphonium for example. Also Yamaha had a partnership with Sheona White the great soloist and respected figure in the field, why not try and improve this often overlooked instrument.

Sheona White should be well known to all players in the Brass Band world, the former BBC Young Musician of the year (1996) has gone on to play with the YBS and Foden’s Richardson Band amongst many other top outfits, and taught Tenor Horn at the highest level. Sheona states in the partnership with Yamaha she was “looking for superb tonal quality, great projection and perfect intonation. An Instrument for today’s generation”, with the Yamaha UK & Europe research and development team that’s what they feel they have found.

So, what’s changed from the current YAH-602 top model Yamaha: Lots! Instead of tweaking what they already had Yamaha tried to start from the drawing board. A fresh approach, logical manufacturing changes and theories were explored, this resulted in various feature differences and improvements:

The new YAH803-S Neo  features a one piece yellow brass bell that is slightly larger than the previous YAH-602 model, this gives a slightly broader dynamic range and ability to produce more carrying volume. The instrument also benefits from a heavier valve casing design and heavier receiver. This added weight at important points on the instrument help give the instrument a bigger and richer core sound. All manufacturers bluster about certain things giving you x,y and z but the science behind heavier weighting in these areas and the results it produces is not in any doubt.

There is also a different leadpipe design, with the co-operation from Sheona this should give a more positive response and freer blowing feel. On another technical point the first branch has had a new design to improve tone and pitch, the development of a wider tuning slide has also been found to improve dynamic range and playability.

In summary, this is the most exciting new instrument for Tenor Horn players in quite some time. All aspects seem to have been considered and worked on. It looks like this could be the start of a sought after range of Neo Brass Band Instruments from Yamaha.

25th AUG 2010 – We have now taken delivery of our first YAH-803S…Very Nice!!

Brass Dept - 15/5/10

Selmer MkVI Alto Repair – Emergency!

May 5th, 2010

It’s Wednesday morning, the phone rang and I happened to pick it up to hear a somewhat distressed sounding musician friend, either he’d just missed out on the gig of a lifetime that paid huge £ (do they still exist?!)…OR, and as it turns out this was it, he had knackered his very expensive Selmer Saxophone! After suffering a tumble over some PA equipment he dusted himself off and took one look at his Selmer MarkVI Alto and doubtless had ‘kittens’…see for yourself:

I’m not sure the pics really cover the amount of damage this bell section had received. The low Bb guard area had been very severely battered in and the inside of the bell looked rather crumpled, importantly the low Bb tonehole was looking decidely worse for wear so my initial reaction when it arrived in the workshop was that it could be in trouble.

Anyway, after what can only be described as massive trauma surgery the Sax came out an hour later looking and playing like new! Adrian and Mark in the workshop worked their magic and not only was the dent not visible but the tonehole was back in a circular shape! The removal of the ‘dent’ was a particularly tricky procedure, one approach would have been to remove the guard to get a better approach at raising the body back but actually by choosing the correct dent removal tools and applying pressure in the correct area the guard being attached gave some strength to the area and aided the correct return to shape of the tonehole. Interestingly the brass on these vintage saxes responds differently to pressure so our approach may have been different on a modern sax. Check out the end results:

So Selmer Mark VI owners…don’t despair if you fall on your sax, we can probably sort it out! Our customer went away happy and is gigging the instrument tonight.

I should point out whilst we can offer ‘emergency repair’ facilities our miracle working skills can be dependant on other work throughout the day. Best bet, give the repair department a call on 01628 630 800 and they’ll book you in a slot.