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ANGLIA POLYTECHNIC UNIVERSITY
MUSCULATURE ndash ITS IMPORTANCE IN THE PLAYING OF BRASS
INSTRUMENTS
David John Notley
A Dissertation submitted in partial fulfilment ofthe requirements for the degree of Master of Arts
Submitted August 2002
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Approved by ____________________________________________________
Chairperson of Supervisory Committee
__________________________________________________ __________________________________________________
__________________________________________________
Programme Authorized to Offer Degree_______________________________
Date __________________________________________________________
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ACKNOWLEDGMENTS
I would like to express sincere thanks firstly to my supervisor Charles Hine and George
Reynolds my trumpet tutor at Colchester Institute
I would also like to thank the internet list members of the ldquoTrumpet Players
International Networkrdquo (TPIN) and ldquoTasteebros usergrouprdquo for their assistance in
freely giving their advice and experiences as brass players
Thanks to the members of the Young Ambassadors Brass Band of Great Britain whodiscussed the theories used in this dissertation with me during our long tour of Canada
and the United States of America (2001)
Many thanks also to the pupils and friends used to gain the required information for the
questionnaires and lecture Finally to my family and friends who have supported me
throughout my period of study
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ABSTRACT
This thesis presents a study on brass instrumentalists and their bodies It focuses on
physiological psychological perceptual habits learned either from books teachers or
the playerrsquos own experiences
The study concentrates on the way that each player breathes and blows using muscles
in their body to make a sound It looks at the way that air is blown through the aperture
and the manipulation of the aperture with embouchure and mouthpiece
The variation in embouchure manipulation tongue level air speed space between teeth
and awareness of the body were also studied Many players and teachers have their own
knowledge of methods and were very protective of them thinking that their way was
the only way
The study tries to prove that all brass instrumentalists and people in general are
different and that not all people should or in fact can use the same method
I studied six individual brass players of differing ages abilities backgrounds and
perceived knowledge
Results of my studies showed that individual people had individual problems
as each of us is entirely different It is not possible to derive a technique which is
equally useful for everyone I have also presented some evidences to prove that
different teachers and performers used a certain method and advocated that every
player should play the same way
iv
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Some players have little knowledge of what they do or how they play This has never
been of interest to them as they have never had any obstacles to their playing This
study has perhaps made them think about their technique and the way that they play
their instrument
v
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OUTLINE
In the first chapter I have given a background to my own interest in this
subject I have studied the mechanics of my own bodyrsquos musculature and the methods
required playing a note within four positions of the harmonic series
From the Chapters II to V I have presented the case studies of different brass
instrumentalists I asked about their backgrounds in what manner they began to learn
to play and which tutor books they had used I asked about their attitudes to playing
their instruments in each range and whether any obstacle or obstacles to their playing
had shown themselves
In Chapter VI I have tried to find out what different experts say about it I have
presented some evidences to prove that different teachers and performers used a certain
method and advocated that every player should play the same way
In Chapter VII I have summarized my discussion and give the conclusion
vi
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CONTENTS
Abstract ivOutlinehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellipvi
Introduction 1
Chapter I Case Study ndash David Notley 3Chapter II Case Study ndash Players still at school
Christopher Pannell 11
Jackson Mathod 13Robert Domingue 14
Chapter III Case Study ndash David and Sarah Minchin16
Chapter IV Case Study ndash Tim London 18
Chapter V Case Study ndash John Malam and Stan Cooper 20Chapter VI What the experts say 21
Chapter VII Conclusions 24
Glossary 26Bibliography 27
Appendix 1 Case study David Notley pre 1991 (3 pages)
Appendix 2 Internet discussions (29 pages)
Appendix 3 Photographs and diagrams (51 pages)
Appendix 4 Internet web pages (129 pages)
Appendix 5 Questionnaire1 (16 pages)
Appendix 6 Questionnaire 2 (5 pages)
vii
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LIST OF FIGURES
Number Page1 3
2 4
3 4
4 4
5 4
6 5
7 5
8 5
9 6
10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8
11 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
12 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
13 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13
16 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip14
17 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16
18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18
19 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
20 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
viii
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
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fig2 fig3
fig4 fig5
4
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
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httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
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Approved by ____________________________________________________
Chairperson of Supervisory Committee
__________________________________________________ __________________________________________________
__________________________________________________
Programme Authorized to Offer Degree_______________________________
Date __________________________________________________________
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ACKNOWLEDGMENTS
I would like to express sincere thanks firstly to my supervisor Charles Hine and George
Reynolds my trumpet tutor at Colchester Institute
I would also like to thank the internet list members of the ldquoTrumpet Players
International Networkrdquo (TPIN) and ldquoTasteebros usergrouprdquo for their assistance in
freely giving their advice and experiences as brass players
Thanks to the members of the Young Ambassadors Brass Band of Great Britain whodiscussed the theories used in this dissertation with me during our long tour of Canada
and the United States of America (2001)
Many thanks also to the pupils and friends used to gain the required information for the
questionnaires and lecture Finally to my family and friends who have supported me
throughout my period of study
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ABSTRACT
This thesis presents a study on brass instrumentalists and their bodies It focuses on
physiological psychological perceptual habits learned either from books teachers or
the playerrsquos own experiences
The study concentrates on the way that each player breathes and blows using muscles
in their body to make a sound It looks at the way that air is blown through the aperture
and the manipulation of the aperture with embouchure and mouthpiece
The variation in embouchure manipulation tongue level air speed space between teeth
and awareness of the body were also studied Many players and teachers have their own
knowledge of methods and were very protective of them thinking that their way was
the only way
The study tries to prove that all brass instrumentalists and people in general are
different and that not all people should or in fact can use the same method
I studied six individual brass players of differing ages abilities backgrounds and
perceived knowledge
Results of my studies showed that individual people had individual problems
as each of us is entirely different It is not possible to derive a technique which is
equally useful for everyone I have also presented some evidences to prove that
different teachers and performers used a certain method and advocated that every
player should play the same way
iv
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Some players have little knowledge of what they do or how they play This has never
been of interest to them as they have never had any obstacles to their playing This
study has perhaps made them think about their technique and the way that they play
their instrument
v
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OUTLINE
In the first chapter I have given a background to my own interest in this
subject I have studied the mechanics of my own bodyrsquos musculature and the methods
required playing a note within four positions of the harmonic series
From the Chapters II to V I have presented the case studies of different brass
instrumentalists I asked about their backgrounds in what manner they began to learn
to play and which tutor books they had used I asked about their attitudes to playing
their instruments in each range and whether any obstacle or obstacles to their playing
had shown themselves
In Chapter VI I have tried to find out what different experts say about it I have
presented some evidences to prove that different teachers and performers used a certain
method and advocated that every player should play the same way
In Chapter VII I have summarized my discussion and give the conclusion
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CONTENTS
Abstract ivOutlinehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellipvi
Introduction 1
Chapter I Case Study ndash David Notley 3Chapter II Case Study ndash Players still at school
Christopher Pannell 11
Jackson Mathod 13Robert Domingue 14
Chapter III Case Study ndash David and Sarah Minchin16
Chapter IV Case Study ndash Tim London 18
Chapter V Case Study ndash John Malam and Stan Cooper 20Chapter VI What the experts say 21
Chapter VII Conclusions 24
Glossary 26Bibliography 27
Appendix 1 Case study David Notley pre 1991 (3 pages)
Appendix 2 Internet discussions (29 pages)
Appendix 3 Photographs and diagrams (51 pages)
Appendix 4 Internet web pages (129 pages)
Appendix 5 Questionnaire1 (16 pages)
Appendix 6 Questionnaire 2 (5 pages)
vii
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LIST OF FIGURES
Number Page1 3
2 4
3 4
4 4
5 4
6 5
7 5
8 5
9 6
10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8
11 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
12 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
13 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13
16 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip14
17 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16
18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18
19 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
20 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
viii
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
8182019 Musculature Playing Farkas
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fig2 fig3
fig4 fig5
4
8182019 Musculature Playing Farkas
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
8182019 Musculature Playing Farkas
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
8182019 Musculature Playing Farkas
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
8182019 Musculature Playing Farkas
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
8182019 Musculature Playing Farkas
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
8182019 Musculature Playing Farkas
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
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httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
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ACKNOWLEDGMENTS
I would like to express sincere thanks firstly to my supervisor Charles Hine and George
Reynolds my trumpet tutor at Colchester Institute
I would also like to thank the internet list members of the ldquoTrumpet Players
International Networkrdquo (TPIN) and ldquoTasteebros usergrouprdquo for their assistance in
freely giving their advice and experiences as brass players
Thanks to the members of the Young Ambassadors Brass Band of Great Britain whodiscussed the theories used in this dissertation with me during our long tour of Canada
and the United States of America (2001)
Many thanks also to the pupils and friends used to gain the required information for the
questionnaires and lecture Finally to my family and friends who have supported me
throughout my period of study
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ABSTRACT
This thesis presents a study on brass instrumentalists and their bodies It focuses on
physiological psychological perceptual habits learned either from books teachers or
the playerrsquos own experiences
The study concentrates on the way that each player breathes and blows using muscles
in their body to make a sound It looks at the way that air is blown through the aperture
and the manipulation of the aperture with embouchure and mouthpiece
The variation in embouchure manipulation tongue level air speed space between teeth
and awareness of the body were also studied Many players and teachers have their own
knowledge of methods and were very protective of them thinking that their way was
the only way
The study tries to prove that all brass instrumentalists and people in general are
different and that not all people should or in fact can use the same method
I studied six individual brass players of differing ages abilities backgrounds and
perceived knowledge
Results of my studies showed that individual people had individual problems
as each of us is entirely different It is not possible to derive a technique which is
equally useful for everyone I have also presented some evidences to prove that
different teachers and performers used a certain method and advocated that every
player should play the same way
iv
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Some players have little knowledge of what they do or how they play This has never
been of interest to them as they have never had any obstacles to their playing This
study has perhaps made them think about their technique and the way that they play
their instrument
v
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OUTLINE
In the first chapter I have given a background to my own interest in this
subject I have studied the mechanics of my own bodyrsquos musculature and the methods
required playing a note within four positions of the harmonic series
From the Chapters II to V I have presented the case studies of different brass
instrumentalists I asked about their backgrounds in what manner they began to learn
to play and which tutor books they had used I asked about their attitudes to playing
their instruments in each range and whether any obstacle or obstacles to their playing
had shown themselves
In Chapter VI I have tried to find out what different experts say about it I have
presented some evidences to prove that different teachers and performers used a certain
method and advocated that every player should play the same way
In Chapter VII I have summarized my discussion and give the conclusion
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CONTENTS
Abstract ivOutlinehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellipvi
Introduction 1
Chapter I Case Study ndash David Notley 3Chapter II Case Study ndash Players still at school
Christopher Pannell 11
Jackson Mathod 13Robert Domingue 14
Chapter III Case Study ndash David and Sarah Minchin16
Chapter IV Case Study ndash Tim London 18
Chapter V Case Study ndash John Malam and Stan Cooper 20Chapter VI What the experts say 21
Chapter VII Conclusions 24
Glossary 26Bibliography 27
Appendix 1 Case study David Notley pre 1991 (3 pages)
Appendix 2 Internet discussions (29 pages)
Appendix 3 Photographs and diagrams (51 pages)
Appendix 4 Internet web pages (129 pages)
Appendix 5 Questionnaire1 (16 pages)
Appendix 6 Questionnaire 2 (5 pages)
vii
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LIST OF FIGURES
Number Page1 3
2 4
3 4
4 4
5 4
6 5
7 5
8 5
9 6
10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8
11 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
12 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
13 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13
16 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip14
17 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16
18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18
19 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
20 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
viii
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
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fig2 fig3
fig4 fig5
4
8182019 Musculature Playing Farkas
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
8182019 Musculature Playing Farkas
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 437
ABSTRACT
This thesis presents a study on brass instrumentalists and their bodies It focuses on
physiological psychological perceptual habits learned either from books teachers or
the playerrsquos own experiences
The study concentrates on the way that each player breathes and blows using muscles
in their body to make a sound It looks at the way that air is blown through the aperture
and the manipulation of the aperture with embouchure and mouthpiece
The variation in embouchure manipulation tongue level air speed space between teeth
and awareness of the body were also studied Many players and teachers have their own
knowledge of methods and were very protective of them thinking that their way was
the only way
The study tries to prove that all brass instrumentalists and people in general are
different and that not all people should or in fact can use the same method
I studied six individual brass players of differing ages abilities backgrounds and
perceived knowledge
Results of my studies showed that individual people had individual problems
as each of us is entirely different It is not possible to derive a technique which is
equally useful for everyone I have also presented some evidences to prove that
different teachers and performers used a certain method and advocated that every
player should play the same way
iv
8182019 Musculature Playing Farkas
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Some players have little knowledge of what they do or how they play This has never
been of interest to them as they have never had any obstacles to their playing This
study has perhaps made them think about their technique and the way that they play
their instrument
v
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OUTLINE
In the first chapter I have given a background to my own interest in this
subject I have studied the mechanics of my own bodyrsquos musculature and the methods
required playing a note within four positions of the harmonic series
From the Chapters II to V I have presented the case studies of different brass
instrumentalists I asked about their backgrounds in what manner they began to learn
to play and which tutor books they had used I asked about their attitudes to playing
their instruments in each range and whether any obstacle or obstacles to their playing
had shown themselves
In Chapter VI I have tried to find out what different experts say about it I have
presented some evidences to prove that different teachers and performers used a certain
method and advocated that every player should play the same way
In Chapter VII I have summarized my discussion and give the conclusion
vi
8182019 Musculature Playing Farkas
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CONTENTS
Abstract ivOutlinehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellipvi
Introduction 1
Chapter I Case Study ndash David Notley 3Chapter II Case Study ndash Players still at school
Christopher Pannell 11
Jackson Mathod 13Robert Domingue 14
Chapter III Case Study ndash David and Sarah Minchin16
Chapter IV Case Study ndash Tim London 18
Chapter V Case Study ndash John Malam and Stan Cooper 20Chapter VI What the experts say 21
Chapter VII Conclusions 24
Glossary 26Bibliography 27
Appendix 1 Case study David Notley pre 1991 (3 pages)
Appendix 2 Internet discussions (29 pages)
Appendix 3 Photographs and diagrams (51 pages)
Appendix 4 Internet web pages (129 pages)
Appendix 5 Questionnaire1 (16 pages)
Appendix 6 Questionnaire 2 (5 pages)
vii
8182019 Musculature Playing Farkas
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LIST OF FIGURES
Number Page1 3
2 4
3 4
4 4
5 4
6 5
7 5
8 5
9 6
10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8
11 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
12 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
13 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13
16 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip14
17 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16
18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18
19 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
20 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
viii
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
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fig2 fig3
fig4 fig5
4
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
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8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
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httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
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Some players have little knowledge of what they do or how they play This has never
been of interest to them as they have never had any obstacles to their playing This
study has perhaps made them think about their technique and the way that they play
their instrument
v
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OUTLINE
In the first chapter I have given a background to my own interest in this
subject I have studied the mechanics of my own bodyrsquos musculature and the methods
required playing a note within four positions of the harmonic series
From the Chapters II to V I have presented the case studies of different brass
instrumentalists I asked about their backgrounds in what manner they began to learn
to play and which tutor books they had used I asked about their attitudes to playing
their instruments in each range and whether any obstacle or obstacles to their playing
had shown themselves
In Chapter VI I have tried to find out what different experts say about it I have
presented some evidences to prove that different teachers and performers used a certain
method and advocated that every player should play the same way
In Chapter VII I have summarized my discussion and give the conclusion
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CONTENTS
Abstract ivOutlinehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellipvi
Introduction 1
Chapter I Case Study ndash David Notley 3Chapter II Case Study ndash Players still at school
Christopher Pannell 11
Jackson Mathod 13Robert Domingue 14
Chapter III Case Study ndash David and Sarah Minchin16
Chapter IV Case Study ndash Tim London 18
Chapter V Case Study ndash John Malam and Stan Cooper 20Chapter VI What the experts say 21
Chapter VII Conclusions 24
Glossary 26Bibliography 27
Appendix 1 Case study David Notley pre 1991 (3 pages)
Appendix 2 Internet discussions (29 pages)
Appendix 3 Photographs and diagrams (51 pages)
Appendix 4 Internet web pages (129 pages)
Appendix 5 Questionnaire1 (16 pages)
Appendix 6 Questionnaire 2 (5 pages)
vii
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LIST OF FIGURES
Number Page1 3
2 4
3 4
4 4
5 4
6 5
7 5
8 5
9 6
10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8
11 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
12 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
13 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13
16 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip14
17 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16
18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18
19 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
20 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
viii
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
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fig2 fig3
fig4 fig5
4
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
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httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
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OUTLINE
In the first chapter I have given a background to my own interest in this
subject I have studied the mechanics of my own bodyrsquos musculature and the methods
required playing a note within four positions of the harmonic series
From the Chapters II to V I have presented the case studies of different brass
instrumentalists I asked about their backgrounds in what manner they began to learn
to play and which tutor books they had used I asked about their attitudes to playing
their instruments in each range and whether any obstacle or obstacles to their playing
had shown themselves
In Chapter VI I have tried to find out what different experts say about it I have
presented some evidences to prove that different teachers and performers used a certain
method and advocated that every player should play the same way
In Chapter VII I have summarized my discussion and give the conclusion
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CONTENTS
Abstract ivOutlinehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellipvi
Introduction 1
Chapter I Case Study ndash David Notley 3Chapter II Case Study ndash Players still at school
Christopher Pannell 11
Jackson Mathod 13Robert Domingue 14
Chapter III Case Study ndash David and Sarah Minchin16
Chapter IV Case Study ndash Tim London 18
Chapter V Case Study ndash John Malam and Stan Cooper 20Chapter VI What the experts say 21
Chapter VII Conclusions 24
Glossary 26Bibliography 27
Appendix 1 Case study David Notley pre 1991 (3 pages)
Appendix 2 Internet discussions (29 pages)
Appendix 3 Photographs and diagrams (51 pages)
Appendix 4 Internet web pages (129 pages)
Appendix 5 Questionnaire1 (16 pages)
Appendix 6 Questionnaire 2 (5 pages)
vii
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LIST OF FIGURES
Number Page1 3
2 4
3 4
4 4
5 4
6 5
7 5
8 5
9 6
10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8
11 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
12 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
13 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13
16 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip14
17 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16
18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18
19 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
20 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
viii
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
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fig2 fig3
fig4 fig5
4
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
8182019 Musculature Playing Farkas
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
8182019 Musculature Playing Farkas
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
8182019 Musculature Playing Farkas
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
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httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
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CONTENTS
Abstract ivOutlinehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellipvi
Introduction 1
Chapter I Case Study ndash David Notley 3Chapter II Case Study ndash Players still at school
Christopher Pannell 11
Jackson Mathod 13Robert Domingue 14
Chapter III Case Study ndash David and Sarah Minchin16
Chapter IV Case Study ndash Tim London 18
Chapter V Case Study ndash John Malam and Stan Cooper 20Chapter VI What the experts say 21
Chapter VII Conclusions 24
Glossary 26Bibliography 27
Appendix 1 Case study David Notley pre 1991 (3 pages)
Appendix 2 Internet discussions (29 pages)
Appendix 3 Photographs and diagrams (51 pages)
Appendix 4 Internet web pages (129 pages)
Appendix 5 Questionnaire1 (16 pages)
Appendix 6 Questionnaire 2 (5 pages)
vii
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LIST OF FIGURES
Number Page1 3
2 4
3 4
4 4
5 4
6 5
7 5
8 5
9 6
10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8
11 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
12 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
13 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13
16 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip14
17 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16
18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18
19 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
20 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
viii
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
8182019 Musculature Playing Farkas
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fig2 fig3
fig4 fig5
4
8182019 Musculature Playing Farkas
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
8182019 Musculature Playing Farkas
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
8182019 Musculature Playing Farkas
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
8182019 Musculature Playing Farkas
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
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httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
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LIST OF FIGURES
Number Page1 3
2 4
3 4
4 4
5 4
6 5
7 5
8 5
9 6
10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8
11 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
12 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
13 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip9
14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13
16 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip14
17 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip16
18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18
19 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
20 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip19
viii
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
8182019 Musculature Playing Farkas
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fig2 fig3
fig4 fig5
4
8182019 Musculature Playing Farkas
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
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INTRODUCTION
Brass players have been around for a long time Many hundreds of years ago players
would have learnt in groups or from each other Improved communications in travel ndash
to hear others play ndash and recordings available have meant that theories are developed
These theories due to the physical or mental attributes of the player may work for some
and not for others
From the very beginning brass players teachers and educators have been divided into
two groups They have either struggled with their embouchure or found it very easy to
play their instrument The latter group have found it very natural to play while the
former group have met with obstacles to their development Those obstacles come in
many shapes and sizes
Many players are termed ldquonatural playersrdquo The natural players picked up an instrument
when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find
different ways to develop range stamina articulation and sound Some professional
players it seems from my research learnt a particular way and advocate that everyone
should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of
the methods with which they learned and are quite forthright in their statements
Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds
true for many brass players who may play in unorthodox fashions but make a
wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo
embouchures but have other problems which are involved in the mechanics of their set
up
1
8182019 Musculature Playing Farkas
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
8182019 Musculature Playing Farkas
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
8182019 Musculature Playing Farkas
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fig2 fig3
fig4 fig5
4
8182019 Musculature Playing Farkas
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
8182019 Musculature Playing Farkas
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
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Many players play well but are musically stretched whilst others do everything right but
do not have the correct attitude to be any better Others have rushes of adrenalin and
have a physical ldquohighrdquo whilst playing
This study does not delve into the instrumentrsquos manufacture mouthpiece size
backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to
show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a
fine working model of a brass player will be evident Training the body to break habits
is extremely difficult but with perseverance great things are possible
2
8182019 Musculature Playing Farkas
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CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
8182019 Musculature Playing Farkas
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fig2 fig3
fig4 fig5
4
8182019 Musculature Playing Farkas
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1137
CHAPTER I CASE STUDY ndash DAVID NOTLEY
The background to this chapter and the build up to my change in embouchure can be
found in appendix 1
In June of 1991 I was forced to stop playing for some eight months I had my teeth
rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was
due to a road traffic accident (see appendix 1)
Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)
and thinking about my playing I had to make sure that I wouldnrsquot go back to my old
ways of using pressure first I started to practise buzzing first This was difficult as I to
this day have no feeling in the front of my lower lip I persevered and could buzz many
tunes ndash the buzzing meant that I was able to control the pitch of my playing better and
could move around the ranges easier The buzzing meant also that all of my
embouchure muscles were even and radiated out from the aperture
I noticed that my upper teeth were a little long and came into contact with my lower lip
also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges
down My lower lip also had a stitch or thread added inside anchored at the top down to
my chin
fig1
3
8182019 Musculature Playing Farkas
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fig2 fig3
fig4 fig5
4
8182019 Musculature Playing Farkas
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
8182019 Musculature Playing Farkas
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
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httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
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fig2 fig3
fig4 fig5
4
8182019 Musculature Playing Farkas
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fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
8182019 Musculature Playing Farkas
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
8182019 Musculature Playing Farkas
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1337
fig6 fig7
fig8
I then had to think about my embouchure and why my aperture was closing when I
went for higher notes My aperture vibrated on the fleshy part of my top lip back about
two millimetres from where it was supposed to be I had read that I was meant to ldquoroll
my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the
fleshy part My sound was more controlled and the control over my lips was greatly
increased
Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened
unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and
Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi
pressed downwards from above The Depressor Anguli Oris pulled downwards so that
the muscles were pulling against each other
5
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
8182019 Musculature Playing Farkas
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
8182019 Musculature Playing Farkas
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
8182019 Musculature Playing Farkas
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
8182019 Musculature Playing Farkas
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
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8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
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8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
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One final observation of my previous embouchure was that the tongue would
constantly be touching my bottom lip so articulation was problematical
I had gained the embouchure through lack of knowledge and being told that there was
no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but
I wanted to be better than OK In my head I could hear what I wanted to do but my
embouchure would do otherwise I played trombone French horn and euphonium for
long periods but wanted to play the higher brass instruments
Fig9
My new embouchure was much different The Obicularis oris rolled in evenly around
my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled
6
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
8182019 Musculature Playing Farkas
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
8182019 Musculature Playing Farkas
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
8182019 Musculature Playing Farkas
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
8182019 Musculature Playing Farkas
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
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New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
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httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
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backwards easily The Dilator and Compressor nasi of the nose and the facial muscles
detailed above all pulled outwards
When playing in the higher register these muscles pulled further outwards and gave the
embouchure room to move My Orbicularis palpebrarum around my eyes and the
temporal fascia muscles around my ears also pull back
Now I had control over my range and playing became a joy
A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa
Bandfrom his autobiography ldquoHow I became a great cornetistrdquo
ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos
was out only there really wasnt any secret about it I had used only a little pressure of
the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing
against them with so great force that all lip vibration was stopped and tone would not
come from the cornet It then dawned upon my mind that always when trying to reach
a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly
togetherrdquo
Increasing my ability and being able to play what I heard in my head made me so much
more confident Although later two other problems surfaced whilst playing with Black
Dyke
1 I developed in New Zealand a lung disease condition called Sarcoidosis which
affects the lungs and immune system It is non-contagious but restricts
breathing
2 My tonguing had been learnt with restriction on the space available in my
mouth due to the position of my teeth Double tonguing (ta-ka) and triple
tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth
7
8182019 Musculature Playing Farkas
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instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
8182019 Musculature Playing Farkas
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fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
8182019 Musculature Playing Farkas
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
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whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
8182019 Musculature Playing Farkas
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
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httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
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embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1637
instead of forward This is now rectified but the schedule of such a great band
meant that I could not devote the time to it then My sound was too hard whilst
multiple tonguing
Next I needed to think about my tongue and breathing correctly Knowing that my
buzzing and whistling were regulated by the up and down movement of my tongue I
experimented and after a short period was able to buzz long tunes
The flow of air through the body to the instrument should be a smooth Any obstacles
should be removed An open throat is needed for the air to flow through slowly for
lower notes and lower dynamics For louder and higher notes the airflow is accelerated
The channel for the air to travel through is narrowed depending on the range or
dynamic required
fig10
8
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1737
fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
8182019 Musculature Playing Farkas
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When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2037
whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2137
JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2237
photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
8182019 Musculature Playing Farkas
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David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1737
fig11
The above diagram shows the movement of the tongue through different vowel sounds this is the
same for both whistling and brass playing
Fig12 fig13
When playing in the upper range on my brass instrument the sides of my tongue ndash at the
back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the
smaller channel for my air to flow through faster thus forcing the lips to vibrate faster
9
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1837
When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1937
CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2037
whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2137
JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2237
photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2337
Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2437
CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1837
When relaxed to play throughout the normal range of the instrument there is still a
considerable amount of tension in my body Firstly in my embouchure and secondly in
my diaphragm region Pre-1991 I would have tensed my arms and pushed my
mouthpiece against my teeth to gain increased range
Now I buzz the notes and tense my stomach muscles downwards through my groin area
all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my
body This proves that the higher the pitch of the note the greater the tension in the
muscles
10
8182019 Musculature Playing Farkas
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CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2037
whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
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JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
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photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
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Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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httpslidepdfcomreaderfullmusculature-playing-farkas 2437
CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
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httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
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Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
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He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
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BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 1937
CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL
CHRISTOPHER PANNELL
fig14
Chris Pannell 17 has grown up in a very musical family His brother Tim last year
gained a place at the Royal Academy of Music London as a trumpet student His
mother and father have played in most of the top brass bands of East Anglia Chris has
for the past three years been the solo horn player of the National Youth Brass Band of
Great Britain
Chris gained grade 8 on his tenor horn and also learns the French horn He started
playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune
A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to
the fact that he doesnrsquot think ldquotoo muchrdquo about his playing
Whilst on the latest (July 2001) National Youth Brass Band course the horn players
were rehearsing a particularly difficult passage with much interval jumping Afterwards
the other players were asking Chris about tongue positioning and what he thought about
11
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2037
whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2137
JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
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httpslidepdfcomreaderfullmusculature-playing-farkas 2237
photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2337
Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
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httpslidepdfcomreaderfullmusculature-playing-farkas 2437
CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
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httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
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CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
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The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
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Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
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CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
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GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2037
whilst playing Chris answered that he doesnrsquot think about things like that and that he
prefers to think about tone quality and style The other players looking for answers to
their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem
Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his
mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards
his aperture which is also to the side of his mouth This should mean that he and many
other players should have problems due to the angle that the air flows into the
mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris
Pannell)
During my observations I noticed that Chris often is not secure in his upper range he
can play well and high he can play all the technically difficult pieces but does not
always give the impression that his embouchure works all of the time
Despite this Chris is a wonderful player very musical beyond his years He proves that
his embouchure works for him even though he is aware that others may tell him
otherwise
12
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2137
JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2237
photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2337
Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2437
CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2137
JACKSON MATHOD
fig15
Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He
is 11 years old and has been playing the trumpet since the age of 8
Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)
Jackson says that in his almost three years of playing he has never heard of or thought
about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes
he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet
Jackson enjoys playing tunes and does so at home most of the time with backing tracks
Because of his enthusiasm to play these tunes he often plays (incorrect) alternative
fingering in the higher register This is easy to do because in the upper register the
harmonic series are closer together
My observations of Jackson are that he has taught himself to play the trumpet even
though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each
note even if they are too high for his ability He therefore has squeezed each high note
out of his embouchure using the pressure of his mouthpiece against his lips From the
13
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2237
photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2337
Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2437
CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2237
photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher
notes to the side of his embouchure
ROBERT DOMINGUE
fig 16
Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music
School Band He is 15 years old at the time of this dissertation and has been playing the
cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn
as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by
listening to his teacher and playing along with him
Robert learned to play on the mouthpiece first progressing to the instrument after a
couple of weeks He is aware that he touches the mouthpiece first between his lips in
order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his
top lip and smiles at the corner of his mouth
14
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2337
Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2437
CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2337
Robert does not think about his tongue and tongue levels when he plays and says that
his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his
range but uses lip slurs of a third for lip flexibilty
Like many brass band players Robert uses only the Arban tutor book (Boosey amp
Hawkes) This book gives a thorough grounding to any brass player and is extremely
difficult but it doesnrsquot help the player who wishes to increase his or her range Some of
my teachers have played only exercises from this book in my lessons but that was
before my embouchure began to work
Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on
the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to
the left hand side because he couldnrsquot see the music If a player finds it hard to play a
note in the centre then they will try to play to the side Perhaps they should be on a
larger mouthpiece for a larger instrument as some people have embouchures which just
donrsquot suit the smaller aperture required for trumpet or cornet playing
15
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2437
CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2437
CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN
fig17
David and Sarah Minchin are brother and sister they are 30 and 31 respectively and
play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied
at the Royal Northern College of Music in Manchester and been section leaders of the
National Youth Brass Band
Whereas David has played the cornet tuba and now bass trombone due to changes in
his embouchure and repetitive strain injury Sarah has always played the trombone
Sarah has not had any major problems with any aspect of her playing
Sarah learned about embouchures and her muscles only at music college She is aware
that her embouchure works well and that she rocks her stomach muscles up for higher
notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more
difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the
insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical
for playing at a good levelrdquo
16
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2537
David is a brass teacher for the county of Cambridgeshire He began at the age of seven
with a local brass band on the cornet After realising that high his technique was
stopping his progress he moved on to the tuba at the age of 15 This was despite the fact
that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and
his lips were too thick for the cornet
Even throughout Music College David says that he was not told about his embouchure
or his body The college was more interested in music and sound although brass players
on smaller instruments were often discussing embouchure changes
Since he has been teaching brass pupils David has thought more and more about player
problems He feels that beginner players need to think more about the adjustment of
their jaw and should open the space between the teeth more He tells his pupils to use
vowel sounds and to listen to the note that they are producing
David relaxes the back of his rib cage when inhaling and tries to open it forwards
backwards and sideways He uses a pivot technique for his jaw and uses lots of air He
advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)
and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos
ldquoThe Physiology of Brass Playingrdquo
17
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2637
CHAPTER IV CASE STUDY ndash TIM LONDON
fig18
Mr London is Head of Music at City of Ely Community School in Cambridgeshire and
studied the French horn at Huddersfield College of Music and at the London College of
Music Mr London is 49 years old and started playing the French horn at the age of 17
He began playing the cornet with the school brass band with a maths teacher who was
an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures
were never discussed even at Music College (only by the trumpet players)
Breathing is the most important part of playing a brass instrument says Mr London he
also states that there are many pitfalls in French horn playing The horn is left - handed
whereas most people are right ndash handed the horn is a long instrument and is played in
itrsquos high part also horns are seated in the middle of each ensemble with bells facing
away from the audience These facts can be added to a larger list of factors that mean a
brass player has to build up their musculature to compensate
The seating position of a hornist is hampered by the left hand being held out from the
body this changes when the player is required to move their hand inside the bell called
ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was
used in order to fill in the harmonies
18
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2737
Mr London says that the bottoms of the lungs have to expand greatly and that the
speed of the breath is more important than a smaller aperture for the higher notes
Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to
play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally
he says that a change in embouchure is needed to get the lower notes combined with
power ndash something that horn players do but say that they donrsquot
CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER
fig19 fig20
Both John Malam and Stan Cooper both have much experience as trumpet players whilst
John has had embouchure and teeth problems Stan has had many years away from
trumpet playing They both have a sound technique on their instruments and understand
the theories behind brass playing
Stan is 71 at the time of this dissertation and played with the RAF Fighter Command
Band He started playing at the age of 14 using a silver band method He was not told how
to play and was given no books He has only in the last few years begun to take it seriously
19
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2837
He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups
from which he has learnt much
Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and
not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his
stomach muscles in order to play He feels that different methods are used by different
people with different bodies
John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass
playing which helps this study immensely John is brass co-ordinator for the Thurrock
Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43
years old and began playing at the age of 12
John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no
real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no
major problems
At the age of 19 John says he became more serious and read about the pivot system This
means that the angle of the embouchure directs the air to the top and bottom of the
mouthpiece and manipulates the lips to find the different ranges He soon found that his
sound was full and relaxed
Whilst studying at the Leeds College of Music he was first chair in every group that he
could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and
increased his range
In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his
embouchure but lets his breathing do the work
20
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 2937
CHAPTER VI WHAT THE EXPERTS SAY
Many books and theories have been written and studies made on and studies have been
made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to
build up player deficiencies others use photographs and diagrams to describe their
theories
Most writers of books on muscles think that we should treat our bodies as athletes do
To train our muscles with repetitious rehearsal will ingrain in our memories the tasks
that our bodies have to cope with
Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without
gasrdquo is one of Wynton Marsalisrsquo often used sayings
Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed
that brass playing is 85 song and 15 wind and that we should hear the note and then
play it
ldquoWind is the energy source used to fuel the conceptual message of the song from the
brain His emphasis of Song and Wind shows how much importance Jacobs gave to
musical conception Study the product not the method Mentalize music by making
statements not by asking questions
(Freidrichsen 1996 p 138 ndash 139)
In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be
transferred to the listener with the air of our bodies He also thought that there was too
much written on the subject of playing
ldquoThe mind has the capability for a certain amount of information If the mind is flooded
with too many thoughts it will overload Concentration is lost and the note is missed ndash
caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen
1996 p 142)
21
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3037
The use of tongue vowel movements to change the air channel size and the diaphragm
or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that
we should
ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend
and move slightly down when the notes descendrdquo (Wastall 1990 p21) also
ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo
(Wastall 1990 p27)
Howard Snell in his book ldquoThe Trumpetrdquowrites
ldquoIn my view range and pitching on the trumpet are controlled by the modification of
the air stream as it passes through the mouthrdquo (Snell 1997 p75)
I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow
Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way
in which muscles should be manipulated in order to work correctly He gives some
good advice
ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular
developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after
rectifying an embouchure) symptoms more detrimental than the original physical
defectrdquo (Ridgeon 1975 foreword)
Warming up of the muscles is important before playing Ridgeon advocates a good
warm up for three reasons
ldquoCold muscles are inefficient
Embouchure and breathing muscle irregularities are instantly recognisable during the
lsquowarm-uprsquo
22
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3137
Correct muscle memories are developedrdquo Ridgeon 1986 p55)
Bobby Shew advocates teachers listening to their students and also to many other ideas
and schools of thought He also is of the opinion that ldquowe brass players are certainly
involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo
(Shew 1995 Windplayer)
Herbert Clarke states in his Technical Studies Book
ldquoRemember that a twenty story building requires a much firmer foundation than a
structure of only two storiesrdquo (sp) (Clarke 1934 p22)
The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and
ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways
in which our embouchures should work The Farkas book uses as models people who
play at the highest levels whilst the Porter book looks in to difficulties and as an
example teeth problems
All of the books which I have studied show how the body should work Most students
however are in the hands of their teachers They need to be shown the ways in which
they can fix problems or should be made aware of all of the books and make up their
own minds
23
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3237
CHAPTER VII CONCLUSIONS
As a teacher I feel that I should make students aware of how their body works and what
their muscles are doing when playing a brass instrument In this way they can make
judgements themselves on the way that they and others play
I am careful though that I do not give my pupils information that will add to any
problem or in fact cause one I did not have any of this knowledge for many years of
my own playing Perhaps it would have helped me to think about myself and halt any
embouchure defects With so many experts on the subject of musculature in brass
playing it is hardly surprising that many brass players find themselves confused or
bewildered
Many players that I have interviewed tell of stories of good players going to music
colleges having to change their embouchures and ways of breathing This often results
in players getting ldquomessed uprdquo either physically or psychologically
The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived
notions that the method that they learned is a problem which I have encountered For
example I asked in a questionnaire about the use of the glottis to squeeze the air through
the air passage faster This was advocated by Scott Englebright who plays with the
Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied
that ldquono professional player would ever do thatrdquo I later explained to him that many
professionals DID do just that and it worked for them
Air is the fuel of our playing our body is the car and the roads are the music If we
have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short
of petrol then we also wonrsquot get very far
I feel that it is a teachers role to give their pupils all of the information available with
adjustments according to their needs Some of my colleagues think that a lot of the
material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others
24
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3337
embrace the theories and take from them the parts which could help them or their
pupils I am from the latter group
In my opinion we are all different and it is not possible that every method is equally
useful for every person Each of us has different physiological psychological and
perceptual habits This is why some methods only work for some people
25
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3437
GLOSSARY
Aperture The opening that surrounds the vibrations of the lip Rather like the aperture
of a camera
Bell The larger end of the brass instrument
Embouchure The position and use of the lips in playing a musical wind instrument
Diaphragm A thin muscular sheet separating the thorax from the abdomen It is
attached by the ribs at either side and the breastbone and backbone and a central tendon
Arching upwards against the heart and lungs the diaphragm is important in the mechanics
of breathing It contracts when inhaling moving downwards to increase the volume of the
chest cavity and relaxes at exhalation
Stopping The movement of the hand inside the bell of the French horn The hand fills in
the notes of the harmonic series by moving backwards and forwards
26
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3537
BIBLIOGRAPHY
Encyclopaedia Britannica (1999) DVD
Snell Howard (1997) The Trumpet Rakeway
Ridgeon John (1975) How Brass Players Do It Brass Wind Publications
Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc
Freidrichsen Brian (1996) Song and Wind WindSong Press
Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books
wwwbartelbycom (2002)
Porter Maurice M (1967) The Embouchure Boosey amp Hawkes
Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H
John Ridgeon - How Brass Players Do It (lip slurs)
Arbans Complete Conservatory Method for Trumpet Arban
Daily Drills and Technical Studies Max Schlossberg
Clarkes Technical Studies for the Cornet Herbert Clarke
Clarkes Characteristic Studies for the Cornet Herbert Clarke
Trumpet Isometrics Leon Merian
The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti
The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti
27
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3637
New Directions in Tonguing James Burke
Transcendental Etudes Theo Charlier
First Book of Practical Studies for Cornet and Trumpet Getchell
Second Book of Practical Studies for Cornet and Trumpet Getchell
The Next Level Clint Pops McLaughlin
Trumpet FAQs Clint Pops McLaughlin
The No Nonsense Trumpet from A - Z Clint Pops McLaughlin
Advanced Lip Flexibilities Charles Colin
Courting the Upper Register - An approach to High Trumpet Playing
through Melody Michael Stewart
Total Range Charles S Peters
INTERNET LINKS
httpabelhivenotrumpetgordoncgordonhtml
httphomeflashnet~screechtrumpet3html
httphomeflashnet~screecht6scotthtml
httpwwwkanstulnetmpcJNComparehtm
httpcommunitiesmsncomTragerTrumpetTalk
wwwtexasbrasscom
httprousesnettrumpettrumpet_weightshtml
wwwtrumpetsoloistcom
28
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml
8182019 Musculature Playing Farkas
httpslidepdfcomreaderfullmusculature-playing-farkas 3737
httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893
wwwtrentaustincom
httpwwwflashnet~tigerlewinformationhtm
httpwwwjamesmorrisoncom
httpwwwgeocitiescomBourbonStreetDelta8357
httpwwwmp3comEricBolvin
wwwsuper8filmmakingcommaynardhtm
wwwMusicRommcom
httpwwwemichedupublicmusicwptrumpet97html
httpwwwmcnaughtancom
httpwwwtrumpetguildorgitgyouth
httpwwwtrumpetplayernetfs
httpwwwgeocitiescomBourbonStreet3319trumpethtm
httpwwwBbTrumpetcom
wwwgeocitiescommauricios26
wwwtwohornscom
wwwboptismcom
wwwR-o-d-d-y-T-r-u-m-p-e-tcC
wwwgeocitiescomViennaStrasse7826hayniehtml
wwwdescargacouk
wwwgeocitiescomcblock7
wwwbrasstacticsnet
wwwjazztacticscom
wwwchasesanborncom
Brassrxaolcom
wwwthebrassbowcom
wwwtrumpetgeorgecom
wwwkindadixiecom
httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml