Trumpets, horns and love : the creation of the brass instruments /Trompettes, clairons et cuivres : la naissance d'un instrument from Jean-Marc Paillous on Vimeo.
The birth of a brass instrument / A Jean-Marc Paillous film La création des instruments en cuivre / Réalisation : Jean Marc Paillous Pas besoin de piston, pour découvrir les coulisses d'un atelier de trompette et de trombones. Ce film vous présente les différentes étapes de la fabrication des instruments en cuivre. Le maître d'art Philippe Rault et son apprenti Naoya Miyake, fabriquent des trompettes, des bugles, des clairons, des cors et des trompes de chasse. Ces deux artisans passionnés créent des instruments sur mesure à l'ancienne. Ils entretiennent et restaurent des cuivres à pistons ou à coulisses, perpétuant une grande tradition française. Nul ne se doute de toutes les étapes de la fabrication d'un cuivre. La pointe trace, le compas dessine, la cisaille coupe, la flamme recuit, les mains plient, les paumes de mains rapprochent, les pouces ramènent, le maillet resserre, l'agrafe maintient, le marteau aplanit, la lime égalise. Les deux artisans façonnent des instruments sur mesure, en fonction de la morphologie de leurs clients et du son qu'ils souhaitent. Issu d'une grande lignée de facteurs de cuivre, Philippe Rault a été nommé maitre d'art en 2002. Tromboniste amateur, Naoya est venu spécialement d'Osaka pour apprendre son métier auprès de ce spécialiste réputé. En poussant la grande grille noire en fer forgé de son atelier, rue des côtes à Maisons Laffitte, ce japonais a découvert une "caverne d’Ali baba" avec des centaines d'outils étonnants. Et une profession passionnante. A tel point qu'aujourd'hui, il a repris la fabrique et perpétue ce savoir faire.
Philippe Rault is a brass wind-instrument maker. He is one of the last representatives of a trade put at evil by modernity. It is the only one to carry out the complete range of the instruments out of copper simple and natural by the means of traditional techniques. The diversity and the richness of its tools make of its workshop a true cave of Ali Baba. Its material corresponds to many trade associations: menuisiser, dinandier, ironmonger, painter, carriage-builder, welder, craftsman in wrought iron or jeweller... It readily admits to trust in its eye, its ear, its direction of the touch and the experiment of old to carry out its work and to satisfy the happiness of the musicians. Its ultimate ambition is to ensure the continuation of its art by transmitting its techniques to its pupil Nayoa Miyake from Japan. When we talk about musical instruments, we often talk about them as being part of a family. That's because, just like in human families, the instruments in a particular family are related to each other. They are often made of the same types of materials, usually look similar to one another, and produce sound in comparable ways. f you think the brass family got its name because the instruments are made of brass, you're right! This family of instruments can play louder than any other in the orchestra and can also be heard from far away. Brass players use their breath to produce sound, but instead of blowing into a reed, you vibrate your own lips by buzzing them against a metal cup-shaped mouthpiece. The mouthpiece helps to amplify the buzzing of the lips, which creates the sound. Most brass instruments have valves attached to their long pipes; the valves look like buttons. When you press down on the valves, they open and close different parts of the pipe. You change the pitch and sound by pressing different valves and buzzing your lips harder or softer. Natural brass instruments only play notes in the instrument's harmonic series. These include the bugle and older variants of the trumpet and horn. The trumpet was a natural brass instrument prior to about 1795, and the horn before about 1820. In the 18th century, makers developed interchangeable crooks of different lengths, which let players use a single instrument in more than one key. Natural instruments are still played for period performances and some ceremonial functions, and are occasionally found in more modern scores, such as those by Richard Wagner and Richard Strauss.