{"id":3487,"date":"2012-03-30T22:11:58","date_gmt":"2012-03-31T05:11:58","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=3487"},"modified":"2012-04-03T16:12:04","modified_gmt":"2012-04-03T23:12:04","slug":"correspondence-mutes","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2012\/03\/correspondence-mutes\/","title":{"rendered":"Correspondence: Mutes"},"content":{"rendered":"<p>Following the recent <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2012\/03\/taking-the-plunge.html\"target=\"_blank\">post about plunger mutes<\/a>, <em>Rifftides<\/em> reader Deborah Hendrick sent a reqest:<\/p>\n<blockquote><p>Would you give us a history lesson sometime, on the origin of mutes. \u00e2\u20ac\u0153Jazz\u00e2\u20ac\u009d seems to be played with muted brass more often than not. I\u00e2\u20ac\u2122ve always wondered why, and how the practice began.<\/p><\/blockquote>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2012\/03\/Harmon-mute.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2012\/03\/Harmon-mute.jpg\" alt=\"\" title=\"Harmon mute\" width=\"80\" height=\"80\" class=\"alignleft size-full wp-image-3489\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2012\/03\/Harmon-mute.jpg 80w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2012\/03\/Harmon-mute-70x70.jpg 70w\" sizes=\"auto, (max-width: 80px) 100vw, 80px\" \/><\/a>Aside from the plunger, mutes for brass instruments are not primarily specific to jazz, and they go back much further. I can give you no better history of mutes than <a href=\"http:\/\/www.vintagemutes.com\/vm_history.html\"target=\"_blank\">this brief one<\/a> on a website devoted to them. <\/p>\n<p>As an appendix to that document, here is the brilliant cornetist Warren Vach\u00c3\u00a9 demonstrating a raft of mutes to his student Laura Telman.<\/p>\n<div style=\"text-align: center;\"><object width=\"440\" height=355\"><param name=\"movie\" value=\"http:\/\/www.artistshousemusic.org\/player\/flvplayershare.swf?file=http:\/\/www.artistshousemusic.com\/video\/warrenvache\/mutes.flv\"><\/param><param name=\"allowfullscreen\" value=\"true\"><\/param><embed src=\"http:\/\/www.artistshousemusic.org\/player\/flvplayershare.swf?file=http:\/\/www.artistshousemusic.com\/video\/warrenvache\/mutes.flv\" type=\"application\/x-shockwave-flash\"  width=\"440\" height=\"355\" allowfullscreen=\"true\"><\/embed><\/object><br \/>\n<\/iframe><\/div>\n<p><p>For more of Vach\u00c3\u00a9  on the cornet and trumpet, go to <a href=\"http:\/\/www.artistshousemusic.org\/node\/5369\/79\"target=\"_blank\">his ArtistHouse page<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Following the recent post about plunger mutes, Rifftides reader Deborah Hendrick sent a reqest: Would you give us a history lesson sometime, on the origin of mutes. \u00e2\u20ac\u0153Jazz\u00e2\u20ac\u009d seems to be played with muted brass more often than not. I\u00e2\u20ac\u2122ve always wondered why, and how the practice began. Aside from the plunger, mutes for brass [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-3487","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/3487","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=3487"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/3487\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=3487"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=3487"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=3487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}