Operations and Balance

Often I hear the question: “Will doubling on other brass instruments ruin my embouchure?”

This one is easy…

The answer is emphatically:

NO.

The human body is an amazingly adaptable machine.


The embouchure is largely and singularly made up of the orbicularis oris muscle which is the sphincter muscle around the mouth. It is however, not a simple single sphincter muscle, rather it is a convergence of a multitutde of other facial muscles that are interwoven and interwined into and through the orbicularis oris.

The muscles in the embouchure are directly attached to the brain through a single cranial nerve, nerve number VII, which runs down the left side of the head and face.

Now, the specificity of the musculature is not necessarily important for the brass player to know. However it IS imperative to know is that they are indeed JUST muscles. It is most important we understand the basics of how muscles in our body are controlled and respond.


Being the tech geek I am, let’s put it in techie terms:

Muscles themselves are OUTPUT peripherals -- nothing more than tools that are controlled by the main CPU, for a specific function, to create motion energy. They have no thought or control of their own.

Nerves are our INPUT mechanisms. Many different kinds of nerves are interspersed throughout the entire body and are the only way we get any type of information.

Our brain, obviously, is our CPU. It processes the input information and determines, based on protocols, how to manipulate the output peripherals.


As a brass player, it’s crucial to know what nerves we should or should not use to get “accurate” feedback.

The major question becomes What do nerves (or input) do we use ABOVE ALL to evaluate the ENTIRE process of music?

Answer: The ears! ...the nerves that process sound.


Practically ALL feedback while playing should come from the ears and the ears ONLY! …as the ears are where it counts. Much brass teaching over-employs the use of the facial, mouth, skin, and other "physical" nerves to get the feedback needed govern the process of music making. This is absolutely an inefficient method and this "feel" type of nerve feedback should be considered “secondary” to the music making process.
(it does not matter how it "feels"!)


Our EARS and our hearing are FAR FAR more sensitive and accurate than the "feel" nerves in our skin and muscles. Therefore it makes most sense to use our ears as the PRIMARY method of feedback to the brain.

So, in a way, let the EARS control the EMBOUCHURE!!

Don't play by "feel", rather play by what YOU want the music to sound like!

----

Result ALWAYS rules Process!!

In this case, the result is the music, and a singular aspect of our process is embouchure, which is governed by our brain. NEVER vice versa.


How does this apply to our original question of switching brass instrument sizes?

Playing different of instruments will be dependent on slightly different process and manipulation of the embouchure.

As we go through a singular process, the brain “gets used” to it. Obviously, the more we go through something, the more natural (habitual) it becomes.

When we switch instruments, the facial muscles may argue a bit at first. This is normal… but is important to understand it is not really about the facial muscles themselves, it is about the brain being less used to controlling them in a certain manner.

So, what you need to do is give the brain TIME to make the adjustment. Switching may take time, as in weeks… to reestablish habits from the other instrument.


We are creatures of habit. Our brain likes it that way, ESPECIALLY as it relates to mechanical / motor functions.


You are never going to “ruin” your embouchure. You may make it awkward for a short temporary amount of time, but that’s ok.


Above all, remember that motor skills take time. And, time takes patience. And musical intent must govern the actions of our body, not the other way around.

Vox Profundae #1

For music it to exist in physical space (outside of our bodies), it must first reside in our heads.

Musical opinion.

Fortunately, there is a very natural way of communicating this musical opinion; simple and organic.

Sing it.

Singing directly connects and communicates musical opinion from inside the head to outside the head. It makes that connection instantly and in a fail-safe manner. There is no room for error, it is either there or it is not. No variables.

It’s imperative that we SING as a primary step of learning to play a brass instrument, at any level, as singing is the physical result of that development of musical opinion, at its essence. It can lead execution (and is the most efficient path!)

I often consult with groups, and when they don’t know my methods yet, they are confused at first when I spend a lot of the time having the group sing. (wait, that’s not my show music??)

For some reason, in this country, singing is seen as nerdy; as weak. It becomes something to hide… it becomes secondary... which is truly unfortunate.

Singing (and all performance) has to be primary, organic, and have reckless abandon!!


One of the most dynamic people I've ever known was my first tuba teacher in college, Jack Robinson -- a true basso profundo. He loved to sing as much as he loved to play the tuba – and everything had to be in a romantic, profoundly singing style. His powerful singing voice had a huge impact on me.

Some years later I made the pilgrimage to Chicago to study a bit with the Jedi Master of windplaying, tubist Arnold Jacobs. And guess what we did just about the whole first lesson…? you got it, we SANG!! The aged Mr. Jacobs, too weak to open the lock on his studio door, would powerfully wave his arm and sing with all the grandeur of Ezio Pinza!! He was just brimming with music… and it all flowed directly from within. It was so obvious that his most elemental musical essence dictated absolutely everything.

It took a while for that to sink in through my thick skull – eventually realizing that it was not a theatric thing, it was a specific training regimen and pipline to musical mastery -- making things work in the right order.

Part of Mr. Jacobs monumental approach to things was also to (re)learn to see things as a child would… as children (from any part of the world) sing ALL the time! Kids love to sing simplisticly - it is completely inherent and instinctual... at its purest and most elemental level.

Inherent melody, Inherent pitch, Inherent idea, Inherent concept, Inherent VIBE. Yes. Singing is the “musical carpe diem”.

When taking a singing approach to things, there is no question as to what the specific mechanics regarding ideas should be, they are just there practically automatically. It is really that simple. Lead with an idea, lead with an opinion.

If you can sing it, it is easy(er) to play it. The converse is also true, if you can’t sing it, chances are you can’t play it.

Lead EVERYTHING with a singing approach… let it be your guide, and let it dictate ALL other aspects!!

Gadget freaks

In many online forums I see a common thread:
"Which (new-fangled) mouthpiece should I use??”

Way too many players are pushed into thinking that the newest development in this-or-that equipment is going to correct certain issues in playing. (oops, there went my lucrative endoresment deal...)

All of the time I hear and read quotes like: “this mouthpiece really increased my power up high” or "I play too loud for such a small backbore!"

What's the deal? Are we on a race here?
Is this artistry or NASCAR?
(…so many common erroneous mouthpiece comments and decisions are usually related to range and /or volume)

True, a mouthpiece is a factor in your sound, and certain shapes and sizes do impact performance, but the reality with mouthpieces is that they are NOT that big a of factor in playing a brass instrument. It's a much smaller factor in the equasion than most folks think, and it is CERTAINLY a smaller factor than the player themself.

Let's be honest, a milimeter in cup depth does not affect range more than good basics, foundation, and development. Not even close. (Nor does it put hair on your chest.)
Make sure you are not putting the cart before the horse.


Take these things into consideration when looking for a mouthpiece:

1. Does it feel comfortable on my face? The rim of the mouthpiece should not pinch or go way outside or inside what you feel your embouchure should be. Look for rims that are medium sized (for most types of playing) not too thick and not too thin. Keep cup depth to a medium-large size.

2. Does it match my horn? If the mouthpiece is too large it may cause intonation issues on a medium or smaller bore horn. A mouthpiece that is too small will give you a tinny sound.

3. Does the mouthpiece match your role in the ensemble / the music you play? There is a difference between chamber playing and orchestral playing, lead playing and section playing, etc. Which are you, realistically? Is your mouthpiece an aid or a crutch? You should be able to do EVERYTHING on a standard mouthpiece. Don't adjust to extremes until you can do that, and only adjust for efficiency of what you can already do. A mouthpiece is not going to give you anything.

4. Is it approximately a standard mouthpiece? (aka not too extreme) Younger / amateur players tend to OFTEN use mouthpieces that are too extreme – high brass players use pieces that are too small and lower brass players sometimes use pieces that are too big.

5. Determine the purpose. Am I trying to compensate for playing differences with this mouthpiece? Am I trying to cure boredom / satiating the need to buy something new? Am I trying to separate myself from my peers by altering my equipment?
Realize that almost all new fancy model mouthpieces are copies of old standard models.
Keep in mind, if it aint broke… don’t make yourself that way by buying unneeded new mouthpieces. (stick with standards…)

6. Above all, does it help to create the TONE I want? As a brass player TONE is law and is our MOST IMPORTANT aspect and priority. Too often we sacrifice tone for range, volume etc. Tone is where it’s at folks, before you even get to range, technique or style.



I always think of the greatest players in history whenever I get the urge for a new mouthpiece...

As a rule, their greatness is NEVER because of the equipment they used, as they could sound AMAZING on anything. The equipment they used did NOT define how they played, it merely enhanced it or made the job more efficient… equipment is never an enabler, deterrent, or crutch.

Personally, I like to make physical equipment as much as a non-factor as possible... therefore making the player the ONLY variable (as much as possible.) It's easier to isolate, tear down, and build back up that way. The less variables I need to worry about, the better.


So, next time you think about buying that new, overpriced, space-age mouthpiece, spend that money on a lesson or CDs of your favorite player.

Multiplicity

There is a prevailing thought that the larger the brass ensemble, the more the ultimate focus of technique is needed - making it the singular, ultimate focus - taking priority over musicality, phrase, even intonation.

I don't necessarily agree. Be it one player, or multiple players, 1, 5, or 64, the overall goal is still and always should be RESULT based. The goal then becomes unifying and synchronizing that result.

The most successful instructors/situations I’ve studied or encountered are where the players all THINK alike, more importantly than just executing alike. Getting people to think alike is a matter of having them have the same "song" in their heads – and making that "song" unified and identical from player to player gives you the best chance to transpire boundaries and differences of experience, age etc.

We already do this with the idea of tempo – spending much time with a metronome piped through a PA system (some of you know what I am talking about!) We transpire experience with this method – we expect all players of the ensemble to internalize this and make it their own, regardless of experience or level.

Why not apply that philosophy to all aspects? (and the overall aspect?!)

A practical way to apply this is to SING. Get the music together before the horn. Pretty much any level of player can learn to sing the music (including correct articulations, dynamics, rhythms etc) even if they don’t yet have the chops to execute it. Going about it this way will give the ones with the least experience the best chance of coming up to the level of the stronger players – simply because they understand the MUSIC, rather than the other way around where technique is taught to the lowest common denominator.

The technique is incorporated into the music – but is only a singular facet of it (being just a manner of execution)

Technique in Multiplicity

Do we work on technique? Sure, you bet. And we do try to unify the basics, of course. It’s part of a healthy diet for all brass players. It’s a tool and it gives us strength. BUT, you have to keep technique in a musical context – ALWAYS.

Technique for technique’s sake does not create music, even if the arrangements are wonderful. Simply making things line up mathematically is not going to equal or magically create a meaningful musical moment. Musicality is not an afterthought or singular aspect (like technique) to be added on after the execution is mastered... rather the exact opposite is true – musicality is the overall foundation and the technique is simply a tool. It is imperative that technique be governed by the musicality, not the other way around!

In practical application:

A less successful (and perhaps more common) approach might be:

"Baritones, the D in that phrase is sharp. That is a sharp note on the horn, be sure to lip it down."

A more successful approach would be:

"Baritones, that D was sharp. We are in Bb major there, so the D is the third of the chord, which sometimes might be lower than you think if you are moving scalewise. Now, lets build that chord and put the third into it. [then take the ensemble play that part where the D is flat so they can hear it for themselves]
...and, maybe have them sing it (depending on rehearsal context)

In "certain" large brass ensemble contexts, execution becomes priority. Because of this many people think that the way to get to clean execution is through micro-defining technique and constant repitition of musicless drills.

You can only get so far with having technique be the main and overall priority. Overdefining and micromanaging technique as well as trying to create music singularly or primarily through definition and execution of technique will undoubtedly cause barriers, ceilings, and frustration.

Technique and execution are in no way synonymous.

It is impossible to completely control the human condition - it is too fluid; always in flux.

We can, however, come together working towards a single goal, as long as that single goal is... well.... the goal that governs our process.

There is and always will be a human aspect of music – which is what people identify with - and that’s what people pay to experience.

Human anomalies and differences need not be an obstacle to unified execution as long as all can visualize a unfied result.

Our goal in becoming a "clean" ensemble is not to eradicate the human condition, rather we want to unify it.

Newton's Third Law

Sir Issac Newton’s Third Law of Motion states that for every action, there is an equal but opposite reaction.

I feel that this law is very profound and applies to much more than just physics… it applies to music. (and the physics of brass playing!)

Newton’s law is extraordinarily relevant when speaking of exhalation while/for playing a brass instrument. The type of energy you put into the horn directly governs what sound comes out of the horn.

I always chuckle at brass players who love to talk about backpressure.

The psuedo-phenomenon of backpressure is created by the player using wind inefficiently... not by the horn, nor by the mouthpiece. (1mm of a backbore difference is not going to effect your exhalation all that much…)

Lets examine the term backpressure and apply Newton’s Third Law.

Backpressure = pressure moving back.

So, to have the unfortunate effect of pressure moving back, what must be moving forward?

PRESSURE.


Ok. Lets go a step further.

Ask yourself this:

Is the word "pressure" what we would use to describe or create a great brass tone?
Is it akin to Fluidity? Grace? Agility? Artistry?

Nope.

So, to get a thick, dark, fluid, agile, graceful, artistic tone on the horn, guess what kind of wind you would want to use? (or NOT want to use??)


A truly great thing about playing a brass instrument is that the horn is so good at responding exactly how you tell it to. Our process directly dictates our result.

Learn to think more like an artist, rather than a firearms technician and your horn will repond better!

Keep the result, the goal, the prize in mind and worry less about the process. Your horn responds like a mirror - learn what to put into it based solely on what you want to get out of it. If what is coming out is any different than what is going in, look in "the mirror."

Dont worry about pressure, it will take care of itself, as naturally there is probably much more than you already need.

Concentrate on the musical goal (the "song") and air quantity (the "wind")

More on this to come…..

Types and keys of tubas

Tubas come in all shapes and sizes, and there is often some confusion as to what is what.
This information is already commonplace to most tubists, however it is info that possibly gets asked the most by folks on the "outside".


Keys of tubas:

Normally, tubas come in 4 different keys, and are separated into two classes:
"bass" and "contrabass"

The "key" of the tuba refers to its "open" note series. Most of the time, tuba music is not transposed (except for some European band music). Instead of playing differently transposed parts like different keyed woodwinds would do, tubas read bass clef concert pitched parts that sound exactly in the octave written. Rather than reading transposed parts for different keyed horns, tuba players use a different set of fingerings for each horn – the same normal brass instrument pattern, starting on what the open note / key of the horn may be. Often times selection of what horn to use is left up to the player, depending on the part, musical traditions of both the music and ensemble, and simple playability.


Tubas in the keys Bb (known as BBb) and C (known as CC) are considered "contrabass" tubas. These are your "standard", most common sized tubas.

BBb is probably the most common. This is usually what most players start on (in the USA anyway), and includes most modern sousaphones as well. This is the tuba of choice for many amateurs, as well as some European orchestral players. BBb tubas are easier / more in tune in flat keys, but more difficult in sharp keys.

CC tubas sound, for the most part, exactly like a BBb tuba. Though because of where the open series lays, CC tubas are a bit more flexible in all keys. The CC tuba is my personal tuba of choice, giving me the most level playing field and repertoire of sounds vs. key flexibility. It is pretty much generally accepted that the CC is the most flexible of all, and is the horn of choice for most orchestral players. For debatable reasons, most players do not start on CC until college.

Tubas in Eb and F are considered "bass tubas". These horns are pitched higher than the contrabass tubas, and are generally smaller in size and lighter in sound. It is easier to play higher notes on the bass tuba with more clarity and delicate sound, but bass tubas usually lack the girth and thickness of sound of a contrabass tuba.

Tubas in Eb are usually the tuba of choice for many British tuba players, but are also a favorite for many solo artists as well. The Eb tuba is most often (but not always) an upright, piston-valved horn. Some older sousaphones are in Eb. British brass bands pair up Eb and Bb tubas.

Tubas in F are becoming the most common horn for much solo playing, due to their fine clarity in the upper registers – some having more of a euphonium-like sound, more than a traditional tuba sound. F tubas are often (but not always) rotary-valved horns and are the smallest horns of the basic tuba family. F tubas are not usually suited well for large ensemble work as many F tubas have a weak low range. To compensate for this inefficiency, extra valves are added, so most professional F tubas now come with 6 valves to aid in the playing of these difficult lower notes. However, F tuba design has improved greatly over the last couple of decades and these inefficiencies are considerably less than they used to be.


Numbers of valves:

Most brass instruments have 3 valves, which is all that are needed for the basic chromatic scale (all brass instruments use the same pattern). Tubas however spend so much time on the low end of the scale, that extra valves are added for better intonation, as well as to activate some extreme low-end notes.

The 4th, 5th, and 6th valves are alternate valves.

The standard valves on a brass instrument are like this:

The second valve is the shortest (length of tubing) valve
The first valve is twice as long as the second valve.
The third valve is the same length as the first and second combined, but a tad longer (flatter).

Fourth valves are the same as the first and third valves, but a little flatter.

Fifth valve can either be a flat first valve, or a flat second and third valve combination (and are interchangeable on many tubas)

The sixth valve is used when a player desires both options of the fifth valve.


BBb tubas usually have 3 or 4 valves, CC tubas usually have 4 or 5 valves, Eb tubas have 3 or 4 valves, and F tubas sometimes have 4, but usually have 5 or 6.



Sizes:

A standard tuba size is now known as 4/4. The smallest tubas are known as 3/4, and the larger tubas, (sometimes called a BAT – you figure out the acronym) used mainly for orchestral music, are called 5/4 or 6/4. This denotation has nothing to do with length or key, it has to do with pipe diameter (known as “bore size”) and bell size. Any key of tuba can come in pretty much any size.


Modern Valve styles:

Piston valves: These are like standard trumpet valves, with a button that is attached directly to the valve and lowers it, activating a second set of tubing.

Rotary valves: These are like standard French horn valves and consist of a paddle-like lever connected to a mechanical linkage which spins a round valve around, selecting the other set of tubing.

Preference is completely up to the player. Piston valves tend to have a bit more flexibility (between notes), and rotary valves tend to be a bit more "click" like in their transition between notes. Currently the trend is towards piston valves for many orchestral tubists, probably due to the sound of the late Arnold Jacobs, the most famous orchestral tubist and brass pedagogue of all time, and his famous monster York CC tuba.

Traditionally, Bb and Eb tubas have been "top-action" piston valved horns, which is an English style, while CC and F tubas have traditionally been "front-action" rotary valved, German style horns. HOWEVER, this is not the norm any more, and any tuba is available in any configuration, depending on the maker and player’s preference.


Other tuba-related horns:

Euphonium: Sometimes erroneously called known a "tenor tuba", this horn is pitched in Bb, this is the tuba’s smaller cousin and plays an octave above the tuba, the range of a trombone. It is often played by trombone players and is very similar to the baritone horn (same length, just different tubing diameter proportions) The euphonium is used primarily in band music, but has recently gained a great reputation as a dynamic solo instrument due to its superb lyric quality. Some early euphoniums would have two bells, one larger and upright, and a smaller bell facing forward, for a brighter, more baritone or trombone-like sound.   The Tenor Tuba is a similar, antiquated version, but has a more bass-tuba like bore and larger mouthpiece.

Sousaphone: Named for and developed by famous American bandmaster John Phillip Sousa, these horns are basically large Bb tubas that are wrapped in a circular shape to be worn over the body for mobility and use while standing or marching. With a greatly exaggerated bell, these horns are designed for outdoor use. Originally, Sousaphones had an upright bell (known as a "raincatcher") but now have a bell that faces forward. Sousaphones are most often seen in high school or college marching bands, but are also the horn of choice for many New Orleans style brass bands.

Helicon: This is the predecessor to the sousaphone and is also round to go around the body, but the bell is usually smaller and faces up at an angle. Helicons can come in pretty much any key or size, as to where Sousaphones are most often found only in Bb.

Recording bass: This is actually an older, standard tuba, usually in Bb, with an exaggerated, forward facing bell, much like the bell of a modern sousaphone. These were used in bands and orchestras in the earlier 20th century to aim the tuba sound directly at the microphone. These tubas often had an interchangeable upright bell for standard concerts. Some of these are still in use today by hobbyists and in school bands that have not updated their equipment. *addendum: I was just notified that a few college bands march an entire section of these on the field carrying them in front of the body with straps! Ouch!!

Cimbasso: This is an instrument that is sort of a hybrid tuba/bass trombone and is used primarily as the bass of the orchestral brass section in Italian opera music. This instrument is usually pitched in F and looks like a skinny, upright tuba with a downward facing trombone-like bell. The sound can be light, but also very harsh at times.

GG contrabass bugle: This instrument is pitched in G basso – below a standard tuba. These were primarily used in drum and bugle corps in the 1970’s through the 1990’s, and some are still in use today. They are shaped like standard upright tuba, but are played carried on the left shoulder with the bell facing forward. Through the 70’s they had two valves: one piston, one rotary. In the 80’s they had two piston valves, and in the 90’s they had 3 piston valves. . Plagued with intonation problems and difficulty to play, most corps have recently dropped their use in favor of Bb tubas, but some smaller and more traditionalist corps still use them.

BBb Marching tuba: These horns look much like the GG contrabass but are in the key of Bb. Usually 3/4, 4/4 or 5/4 in size, having 3 or 4 valves. Used in modern drum and bugle corps and many high school marching bands. Many of these horns are convertible British-style upright valved concert horns with an exchangable leadpipe.

C French tuba: Having 6 piston valves and playing an octave above modern tubas, the French tuba was very first actual tuba and was designed to replace the ophecleide as the bass of the orchestral brass section. Felix Mendelssohn was the first composer known to write for this instrument in A Midsummer Night’s Dream. Hector Berlioz heard a performance of this and then rescored his famous Symphonie Fantastique for (French) tubas. French tubas are rarely seen today.

Ophecleide: This is the predecessor to the tuba and looks like combination of a baritone saxophone and a bassoon, but is played with a brass mouthpiece. Prior to tuba times, in early romantic orchestral composition, this was the bottom of the brass section. It was a very inefficient instrument, only sounding good in certain keys. Due to this, several players were employed, playing various keys of ophecleides at the same time to therefore cover the complete chromatic range when needed. Ophecleides are not used much anymore, but are around in historical circles and are sometimes used on recordings of "period" instruments.

Serpent: This was the original bass horn of the cornet family (when they were still made of wood and/or leather) and was put into use in the late sixteenth century. The predecessor of the ophecleide, this horn was shaped like a big "S", had holes like a recorder and was very difficult to play. The serpent still shows up in period / historic music ensembles.

Laquer:

Silver vs. Brass

All tubas are made of brass, but they come in different types of finishes. Most tubas have a thin coat of laquer, usually silver, brass, or clearcoat. Some (like my tuba) have no laquer at all and sport the raw brass.

Does it affect the sound? Hard to say... some say it does, but in reality, physics says it probably does not. There is much debate on this subject. Tradition probably has as much to do with this as anything, as do aesthetics. Personally I do think that the raw brass on my horn does affect the sound a bit (the person I bought it from, who had removed the laquer, said it made a big difference to remove it).

Obviously the gauge (thickness) of the brass has an impact on the sound.

Another debated factor is the age of the brass. Some claim that the chemical makeup of the brass changes slightly over time. Again, always referring back to Mr. Jacobs prized old York (now owned by the Chicago Symphony and played by Gene Pokorny) as the "gold (silver?) standard" in tuba composition. It has been copied my many tuba makers - the "stradivarius" of tubas.

There is also a trend of players cryogenically freezing newer horns to try to accelerate the aging process. ...another debated technique that is up to the preference of the player.

No other wind instrument comes in as many sizes and shapes as the tuba, and no other wind instrument is as often misunderstood.

What is a pedal tone?

What exactly is a pedal tone?

This question comes up a lot, especially from younger players.

Some believe that "pedal tones" on a brass instrument are just really low notes -- like notes on the organ controlled by the pedals. That's only partially true...

Pedagogically, "pedal tones" refer to notes that exist in the fundamental partial of a brass instrument. They are the "real" notes corresponding to the actual length of tubing.

For instance, my CC tuba is 16 feet long -- exactly the same as a low C on a pipe organ, and my fundamental a.k.a."pedal" C sounds the exact same pitch as a 16ft organ pipe would play. Its fundamental is known as C1, which is 32.7Hz.

A "French tuba" pitched in C -- that plays one octave above a modern tuba (it plays in the same octave as a euphonium or trombone) is 8 feet long and its fundamental is C2 which is twice the Hz of the octave below, approx 65.4Hz.

Going up another octave is the C trumpet (the trumpet used in most orchestras in the US and Canada)… yes, its fundamental is at C3 (an octave below "middle C" on the piano) which is 130.8Hz

…and so on.


[click here for a short clip of me playing a "pedal C" on Bravo! TV]


Why do we use pedal tones?

Yes, they sound funny, and kind of flatulent… but, they are an essential tool in developing brass instrument technique. Playing pedal tones not only has therapeutic qualities for the "chops" (embouchure), more importantly, knowing how to play them opens up the entire low range of the horn. Suddenly (and subconsciously!) your brain knows that there are more notes down there, and the muddy low register is no longer mysterious and you are actually playing the "real" notes of the horn. And perhaps most importantly, the pedal tones are a great model of playing with maximum wind quantity and minimum pressure... as it is impossible to play a pedal with pressure. It is a model of how to maximize low-pressure playing throughout the horn.

Plus, it’s really fun to play things down really low, adding octaves to support the sound of those above you. (but don’t tell your band director I told you that..!)


How to find them? Let your lips flap and just keep trying to play lower and lower. Once you find it (one octave below your "low C" or "low Bb" respectively) it will POP right out. Once you get it, try playing the pedal going down through the valve series… see how low you can go!

A funny thing about learning how to play pedals… It’s kind of like learning to ride a bicycle -- it might take a while to get the hang of it, but once you do get it, you never lose it.

Result vs. Process

As good-natured, hard-working folks, we believe that good things come from hard work. This is certainly true, but it also has a bad side effect: micromanagement of process. It is human nature, especially adult human nature to focus on "how" we do things.

Somewhere along the way we are taught the way to solve a problem is through a process like: Attempt, analyze, modify approach, re-attempt, re-analyze, modify approach further, and so on and so on -- always operating with the philosophy that if we keep trying, revising and honing our process, eventually we will get it right.

There is a serious flaw with this too-common method.
We don’t keep our eyes on the prize.

Using that inefficient common method, we are putting process before the result.
In reality, doing it that way, we are working hard ONLY on refining the process (and expending tons of energy doing it) and not focusing on what is most important: the result. We are literally training ourselves only how work hard, not how to achieve results.

Practice makes Perfect, right?

Wrong.

Practice makes PERMANENT.

Our brains are incredibly complex. To try to micromanage every step is folly. Instead of trying to control it, let your brain work for you. Keep the result in mind and ahead of the process.

What I mean is have a "model" in your head at all times. Have an "ideal", know what you what "it" to be and lead with that.

There is no human way possible to control the steps that our brain makes in creating music (or much of anything, for that matter).

So, focus on that ideal in your head, then do what you can to mimic and replicate that ideal in real life. It might take a while, but it is actually much quicker than you might think, and this way there are less "ceilings" or "batting slumps" involved.

The learning process is not a curve, it is a spiral. Let things happen. We are MUCH smarter than we give ourselves credit for.

"Sing" from that ideal and much of the process will take care of itself. Take a chance, take an educated guess on what that ideal just might be like. Trust in the natural built-in efficiency that we were blessed with and let nature and music take its course.

Defining that ideal, however is a completely different subject...
...but in the mean time, just take a chance with it.

Breathing post #1

There is so much bad teaching around regarding breathing and "breath control" for both singers and instrumentalists. If I had $1 for every time I have heard someone say: "breathe from your diaphragm" or "support" or "push" from the diaphragm, I think I’d be rich.

Any instrumentalist that hears that from a teacher should leave the room and find a new teacher - as what they are telling you is 100% incorrect and is physically impossible!

First of all, most people don’t even know where the diaphragm is. Ask a group of people to put their hand on their diaphragm and 95% of the time people put their hand right above their belly button on their small intestine. That’s about 6 inches too low. The actual location is at the bottom of your ribcage.

The diaphragm is one of the few "unopposed" muscles in your body and most of its use is only for inhalation, NOT exhalation. When the diaphragm muscle is upward (with the lungs empty) in it's RELAXED position. (see illustration) Conversely, when it is lower and flatter (lungs full) it is in its FLEXED position. This is opposite of what most people think. Most people think that the diaphragm actually flexes and pushes the air out -- this is incorrect.

Exhalation is done by a combination of things, least of which is actually "pushing from the diaphragm" which is physiologially impossible. More on exhalation soon...

Welcome.

This blog was created as a place to talk about pedagogy and methods of musical brasswind performance.

I am creating this in response to the large amount of misinformation and inefficient processes taught out there, as well as to answer the increasing amount of correspondence I get regarding this subject. This is in attempt to centralize the writing I've done and make it available to everyone.

Words certainly do not take the place of live, interactive teaching, but they can help.

This information is directed towards performers of any level, teachers, and students alike and is applicable in both group and individual settings. Many students, players, and teachers are in situations where this information is not readily available. I am here to help you.

The goal is to simplify; to make things more organic; for us all to learn though this process.


Feel free to email me with your questions, and I will answer them in this blog.
(be patient, sometimes it takes me a little while to reply)

joe@tubajoe.com