It's Not All in the Air
The Physical Aspects of Brass Playing
Norman Bolter, second Trombone, Boston Symphony
New England Conservatory
October 2, 1991
Embouchure
- Embouchure- Condition of the lip and related facial area while playing the instrument.
- Movement- is natural for certain players with certain embouchures in certain registers. The degree of movement is related to the size of range of movement (not always a good thing) than a horn or trumpet mouthpiece. Progress from greatest possible to least is Tuba-Trombone-Trumpet-Horn
Aperture
- Big aperture does not equal BIG sound.
- Big aperture can cause- unfocused sound, range problems and inability to produce great contrasts in these areas.
- Not all settings work for all players. Take and make the best of natural physical characteristics.
Efficient Embouchure
- This what we should aim for, however you must first determine what efficient means to you.
- Don't practice too loud initially, this can produce serious consequences and loss of "Face". Inspite of what you my think. Your Chops are not indestructible!!
- Practice in mezzo register.
- Embouchure should be a finely tuned efficient working machine.
- Think flexibility: streamlined, lips together, very focused, compact.
- Maintain the proper balance between too loose and too tight.
Mouthpiece
- Don't practice mouthpiece buzzing, instead think about mouthpiece resonance.
- When practicing on mouthpiece use your natural placement setting.
- Contact is the key word. Lips must have contact with the mouthpiece.
- Problem #1: When you practice only on the mouthpiece you tend to forged about air, you take in and use less air than you need. Monitor and watch out for this condition.
- Problem #2: To take in a big breath of air you distort embouchure. Don't open mouth too wide, remember you must come back to set quickly.
- Play about mp (most of the time) don't push it , relax-Streamline!
- Exercise: Play slow, smooth, connected slurs at mp moving from half step to wider intervals. Practice descending then ascending. There should not be a break between the notes. This is a very good diagnostic exercise and can be valuable in streamlining and defining an efficient embouchure.
Air
- Air takes the stress off the embouchure and embouchure takes stress off the air.
- When the embouchure is working at its most efficient it takes less air to vibrate the lips. When air is efficient lips do not have to take the brunt of the punishment.
- Practice both air and tongue attacks into mouthpiece.
- Use different kinds of air. For instance, we are frequently taught to play with "warm air". This can lead to problems when we need to speed up the air as "warm air" is naturally slower than "cold air". "Cold air" is best for upper register and other areas where faster airis required. Alter the air type you use to fit the conditions needed.
- Always think rhythm. When you breath and play you should have a rhythm or tempo in mind. The lack of rhythmic thought is evident in the non-rhythmic breath.
- Legato playing is a good reference for air control.
- Natural slurs will unify air and embouchure you need the right amount of air to execute the slur smoothly and the embouchure needs to be focused and streamlined to make slur.
- Think style!
- The first inclination is very telling, but don't let it be a negative indicator for the total practice session.
- If you are feeling bad play it out of your system.
- Breath in/out- make an involuntary function voluntary.
- Sometimes you set mind, breath and embouchure for whole phrase and miss first note. Try thinking about smaller details rather than whole phrases. Reduce it to the lowest common denominator. Remember, phrases are started and created from one note.
- Start form a place that works. Not too soft, loud, low high, etc.
- Take yourself out of old practice habits when you don't seem to be making progress. Shake up the cage and your old thoughts about how it should be done!
