Stand or Sit?

Having recently competed at the Grand Shield, where "Red Priest" requires the entire cornet section and the trombones to stand throughout the performance, and with Whit Friday less than a week away, I have become more conscious of the important differences between standing and sitting during playing. The effect of the differences in standing and sitting to posture, breathing and therefore playing in general can be quite dramatic.

The upright, standing position is naturally the best. A position we should try to emulate when sitting. We should never slouch. The back should be straight and free from tension. An easy way to ensure good posture when standing is to think of a string pulling the top of the head upwards, almost causing you to stand on your tip toes, the neck stretching up off the shoulders. In a sitting position, the only difference should be in the legs - which should bend to allow you to sit over your bones (i.e. the spine).

I often see people playing with poor posture, whether standing or sitting. They would sound so much better if they followed the simple trick above. When I'm teaching, I always demonstrate and work on players' posture. I believe a good posture ensures good breathing, which ensures good sound - the key to all good playing.

As with anything in brass playing, like embouchure for example, there is a universally recognised "right way", but there are as many exceptions to the rule as there are examples. Some players can slouch over, almost as twisted as a contortionist, and be one of the best players in the world. However, if you stand/sit with good posture, as outlined above, and your playing improves - why wouldn't you maintain this posture?

More on Breathing

As has probably become clear by now, breathing and air is my main focus to playing.  If you breathe correctly, all other apects tend to become easier.  Transversely, bad breathing hinders good playing.  My opinion on good breathing and good support has been previously posted.  This is a quick summary, for those too busy to read through everything:

• Always fill up by taking a "big breath"
• Get the "chest up", which engages good support
• Put the shoulders back to encourage good posture

To help all of this, here is a different thought process that achieves the same goals:

• Push the belly button towards the spine
• Take a big breath, raising the chest
• Sit as though about to stand up (back straight)

Of course, the key is to experiment for yourself.  But the two approaches above achieve the same outcome - good posture and good support for good breathing.

The following YouTube video is of Canadian Jazz Trumpet Player (and pedagogue) Chase Sanborn discussing his approach to breathing, which is almost identical to what I have said:

http://youtu.be/94UK5pBria4

It is a short, but concise video.  He references Bobby Shew and his "Wedge" breathing, which I have already discussed in a previous post is similar to the Claude Gordon approach I favour.

Hopefully, this might be useful to some of you.

Happy sopping.
John

Pedal Notes

Even as far back as Arban and Saint-Jacome, the pedal range has been recognised as usable notes on the Trumpet and, of course, the Cornet. In fact, the lowest note on original Baroque Trumpets was always recognised as the equivalent to pedal C, known as "The Fundamental Pitch". Due to the fact that on the Baroque Trumpet it was common place for notes to be missing between pitches it was not deemed unusual for there to be a big gap between notes on this ancient instrument.

The modern valved instrument, the invention of Adolphe Sax, allows for complete diatonic and chromatic pitches from low F-sharp to high C (and beyond for advanced players). This means that anything more than a semitone gap between notes has been ignored. The Fundamental still exists. A four-valved instrument, such as a Euphonium or French Horn, can play the notes between low F-sharp and pedal C quite easily, but on a three-valved instrument, such as trumpet, cornet, flugelhorn or soprano cornet, such notes are difficult - though not impossible!  Below pedal C, on the other hand, is relatively easy. Relaxed lips and plenty of air. Controlling them takes more skill, but the underlying principle remains the same.

Louis Maggio was one of the first to publish a method book discussing proper use of the pedal range and his work was superseded by Claude Gordon and James Stamp. Both of these well-known trumpet teachers used and advocated the use of pedal notes as one of the main aspects of their methods. Their objectives varied slightly, but their recognition of the importance of working in this range is important to note. Gordon was all about what he called "Wind Power" and Stamp was all about a relaxed approach.

Pedal F to Pedal C-sharp
As discussed earlier, this range is difficult on a three-valved. In fact, it is the most difficult of all pedal ranges. All methods recommend the use of standard fingering in this range, which essentially means that we have to bend each note down a fourth. To learn this feeling, bend low C by a semitone. Check it against a true, 2nd valve B. Do the same bending a tone (B-flat), a minor third (low A), a major third (low A-flat) and then a perfect fourth (low G). If possible, bend further (I am comfortable bending to low F, though I have been doing this for c.10 years)

This range is less about air and more about suppleness of the embouchure, in particular the corners. James Stamp spends a lot of time here, as well as doing a lot of lip bends. However, Claude Gordon works through this range. Personally, I think this range is excellent at the very start of warm-up to secure good co-ordination of the lips, tongue and air.

Pedal C
This note, the fundamental (as we know), is the first, natural harmonic on all brass instruments. In almost all cases, this note is flat. On most instruments in the trumpet family, unadjusted, this note will sound as low as pedal A. Lots of players play pedal C on valves 1-2-3. I think this is counterproductive. It is the balance of embouchure, tongue and air that makes pedal C sound properly. Gordon and Stamp both recommend working with open pedal C. CG even says to let the C stay flat, eventually it will come. He is, of course, correct. When your embouchure, tongue and air find the perfect balnce, pedal C sounds fully.  As well as playing open, the important thing to do with pedal C is to use the exact  same embouchure setting as for low C.

Pedal C to "Double" Pedal C
This range is all about air. In fact, volume of air. Relaxed lips, blowing hard is the key. Doing this in a controlled manner is the key. Use the same fingering as you would for C in the stave to low C. CG is an advocate of this range. His approach focusses on this range, but his pedal practice is to hold the lowest note of each exercise for as long as possible and longer, fully engaging and isometrically developing the abdominal support musculature.  This range is of most benefit to this development, but also it is a great way to disperse the build up of lactic acid in the lips from playing - this makes it very useful to warm-up.

"Double" Pedal C to "Triple" Pedal C and below...
Just like the range above, this range serves the same purpose - developing "Wind Power"; dispersing build up of lactic acid in the lips; isometric development of abdominal support musculature. If you think "Double" Pedal C is tough, "Triple" Pedal C is even tougher. A great development of "Wind Power" and proper balance of the embouchure is required, but the benefits then transcend to all registers on the instrument.

Further Study
Claude Gordon has probably written the most comprehensive material on pedal note practice in his Systematic Approach. He also discusses the benefit in his book on breathing. For further discussion on Claude Gordon's teaching, visit the dedicated forum at The Trumpet Herald.

James Stamp's teaching is outlined in his Warm-up book. Stamp also has a dedicated forum at The Trumpet Herald.

A quick Google search of either of these teachers also brings up a wealth of information.  Happy reading!

Should you have any questions about what I have written,  feel free to leave a comment.

My Approach: "Air is King!"

As I have mentioned in my last post, the air, the tongue and the lips are all the main factors in development on a brass instrument.  If they are working in perfect balance, then playing feels easy – I’m sure we can all think of those very occasional days, that seem ‘mystical’ in some way, where everything just feels easy, effortless.  This is because, unconsciously, everything is in balance.  Making this happen consciously is the difficult part.  We often focus too much on different aspects of our playing, sometimes our lips feel tired, so we focus on them; or we think about the fact that the tongue affects pitch and we haphazardly alter things, experimenting, and this doesn’t work; or we worry about our breathing and we end up over-analysing (Arnold Jacobs used to say that we can cause “paralysis by analysis”).  Whatever it is, we must find that balance.

To find the balance in our playing, we must step back and return to our Fundamentals – air and sound (or as Arnold Jacobs used to call them “Song and Wind”).  There are many resources, articles, books and videos that talk about the development of each of these.  Most of them share similar themes and all have their merits.  However, it is the simpler approach that we must take.  Breathe well and we play well, it really is that simple.  Good breathing means less effort and less effort means better sound and better sound means good music.

I start each day by revisiting my fundamentals.  Craig Morris (one time principal trumpet of the Chicago Symphony Orchestra) wrote an article on his own blog (livmusic.com) about his daily routine.  He had names for his different types of practice, he called his Maintenance or Technical practice his “Skill Set” (quite an accurate name) and his warm-up he referred to as his “Foundation” practice.  I think this is very appropriate – we start with the very foundation of our playing (the air and the sound) and get this right, then we can build on everything else.

For me, then, my Fundamental, Foundation, Warm-up is more about approach than material.  I focus on getting the air moving, in as relaxed a manner as I possibly can.  This is important for all brass players, but I feel that due to the nature of soprano writing in modern literature, being relaxed is absolutely essential.  Tension will cause us to lose control, which is a disaster on a seat where every note is heard and we stick out like a sore thumb, whether we like it or not.

I always start with some breathing work.  This could be explicit exercises (off the instrument) or blowing through the instrument (not playing) or playing something easy on the instrument, such as long notes, flow studies and/or air attacks, or a combination of all of this.  The inhalation must be relaxed and the exhalation should be equally relaxed.  Inhale so that the chest fills up and exhale from the front of the mouth (this will naturally engage support musculature), keeping the chest up (a la Claude Gordon).  I focus on this during all of this work.  I will spend 5 minutes on this, sometimes less, sometimes more, depending on how long it takes to get things co-ordinated.  There are days, and periods of time, when this takes a while to initiate, especially earlier in the morning.

Following this I will do some pedal work.  I have developed a good pedal range over the years (since I started seriously exploring it c.10 years ago) and can now reach triple pedal G on soprano cornet (the equivalent to triple pedal C on trumpet) which is where I work down to, steadily, in warm-up.  I use semi-Claude Gordon-style exercises.  For me, the blowing the last note part is important so that the support muscles, used for the high notes, can be developed.  I do this, EVERY day, and have done, on and off, for the best part of ten years.  The benefits are second to none.

I then work upwards.  I have used a variety of material over the years to do this.  I have explored scales, chromatic exercises, arpeggios, James Stamp, Chicowicz and Claude Gordon material.  I always seem to find the Chicowicz Flow Studies (also Pierre Thibaud’s material) and Claude Gordon’s material (and similar) to be of the most benefit.  I tend to switch between the two.  Claude Gordon is great for developing power of the air (or Wind Power as CG himself calls it).  Flow Studies (a la Chicowicz) are great for ensuring the air is relaxed.  This is important.  I choose the material, and stick with it for a period of time, depending on the current focus – i.e. developing power/stamina or developing maintaining a relaxed approach.  Whatever material I use, I always work up as high as I can, focussing on the same quality of sound, same movement of air, same relaxation.  Usually I get to around E above high C (I often stop at high C if I have a rehearsal or a performance to concentrate on).

I am always modifying my warm-up, and main practice routines, but do tend to follow a trend of this pattern – air moving, pedals, working upwards.  However, my approach is always the same – use the air to ensure a full, warm, relaxed sound.  During warm-up, I am also conscious of the effect of the tongue.  As I work higher, I develop the feeling of where the tongue goes.  I then use the feeling I have learnt throughout the playing day, whether that is in private practice or performance.  The feeling of the tongue is also continuously developed in private practice through lip flexibility exercises and any material that moves up and down the range, such as Herbert L Clarke’s Technical Studies.

I hope I have explained my approach well enough that others may get some benefit, I always find that reading someone else’s approach helps me with mine, even if it is just a minute detail.  If this offers a little help to just one person, then it will be worth the effort to write it down and publish it.

Feel free to leave a comment and look at the other articles on my blog.

Happy Sopping,

John.

Air vs Lip... vs tongue?

It's been a while since my last post, so I thought I would discuss a few things inspired by a few posts in the Soprano Cornet group on Facebook. I have always felt that people focus too much on the lips. When we get tired it is our lips that hurt. Thats is probably where the obsession comes from. There are three areas that are important in playing a brass instrument:

1. The air
2. The tongue
3. The lips

I believe that their importance is in that order. The air is most important because it is our engine. The tongue affects so much more than articulation, though a lot of people seem to forget about it. The lips are a vibrating set of flesh reeds that transfer the air into the instrument to produce sound.  In a previous post I have mentioned Claude Gordon's book "Brass Playing is No Harder Than Deep Breathing". I highly recommend it for those interested in becoming a good player. He has seven areas of focus, including fingers, hands etc... but he also emphasises the importance of the three elements I mention above.

We must blow correctly, which means a supported airflow, with the air channeled towards the front of the mouth by the tongue and the lips vibrating without too much pressure.  The tongue position affects the pitch we play.  A high tongue ("EE") makes a high pitch, while a low tongue ("AW") makes a low pitch.  Whistling helps us to find this for ourselves. Lip Flexibility studies (which should be called Tongue Level studies) help us to experience this feeling on the instrument.

There is a lot of information out there to read and material to practice from that develops our understanding and awareness of the importance of the tongue and the air, so look around. This is an introduction to the idea that the lips are less important than we think, I woll hopefully post a more in depth discussion soon.

Happy sopping,

John

Breathing is the Key to Good Brass Playing

Because I haven’t changed anything in my routine this week, and I am trying to keep this blog regular, I thought I would post about what I feel is the most important aspect of brass playing, but that I feel is also neglected by a lot of players and is the root of most problems in people's playing.

Obviously, as a brass player I speak from my own experience, but as a teacher (in the classroom mostly, but also a teacher of brass to private pupils) I come across the same problems in others.  Players who have problems with playing loud, high or soft or with articulation or with tone, usually have inefficiencies or faults in their breathing.

There has been much discussion about this topic in the past, a quick ‘Google’ search for Arnold Jacobs yields hundreds of results, but still this is an issue for so many players – something many teachers and tutors also seem to neglect.  For me, the title of this post sums up how important awareness and understanding of breathing is.

Firstly, I would like to point out that for as many articles you will find online, or elsewhere, about the importance of good breathing for brass playing, you will most likely find just as many that contradict statements made in them.  One of Arnold Jacobs teachings is that over-thinking is just as bad, if not worse, than ignorance.  The detriment of over-thinking Jacobs labelled as ‘paralysis by analysis’ can have a negative on playing.  Instead of thinking about the music, we think about the science.  I feel that is you read too much about it you will do more harm than good.  What I am trying to do here is present an idea in a simple form that can be copied by a player, if they so desire, without too much thought.

My own approach to breathing is based on Claude Gordon’s technique.  His breathing mantra is quite simple – “Big Breath; Chest Up”.  Of course, the “chest up” is the antonym to much of the breathing techniques taught by those who say to use the ‘diaphragm’ to breathe properly.  Anatomically speaking, the diaphragm is an involuntary muscle and cannot control how we breathe.  For many years, in many circles, this has been the only approach to breath support that has been taught.  Although the statement is scientifically inaccurate, the sentiment is correct in that the support musculature for breathing is in the area around the diaphragm.

Claude Gordon acknowledged that this technique is inaccurate and so came up with his approach.  The muscles used to try to keep the chest up, are those around the diaphragm.  To begin to learn the “chest up” position, imagine puffing out the chest.  Develop this feeling by taking some relaxed breaths, keeping the chest in this position.  Now start adding force to the breath, during inhalation and exhalation, and learn how this feels.  For me, this “chest up” position feels like raising the abdomen towards the breastbone.

To develop the “big breath”, this is quite easy.  If you push the jaw forward slightly, which opens the oral cavity (a technique of Jacobs), and suck the air in until full you have taken a “big breath”.  Combining this with the “chest up” is the simplest form of Gordon’s breathing technique.  Gordon also has an exercise, that he easily extends, that develops this technique further and thus develops the players breathing efficiency.

Preliminary Exercise

This is a good way to begin learning the technique and can be a good exercise at the start of the day in which to ‘warm-up’ the breathing.

• 5 counts in – “Big Breath; Chest Up”
• 5 counts out – blow hard, completely empty
• Do this ten times in sequence

Developmental Exercise

• 5 counts in – “Big Breath; Chest Up”
• 5 counts full – keep the “chest up”
• 5 counts out – blow hard, keeping the “chest up”
• 5 counts empty – keep blowing, keeping the “chest up”
• Do this at least ten times in sequence

This exercise is developed by first increasing counts one at-a-time to ten, over a lengthy period of time.  Then do the exercise (from 5 to 10 counts) whilst walking, then jogging.

Application to the Instrument

When playing, the best way to use this technique is to replicate the inhalation (take a “big breath”, with the jaw forward, sucking the air in, filling up) and the exhalation (blowing hard, keeping the “chest up”).  Put simply, “Big Breath; Chest Up”.

For further reading into the Claude Gordon technique, refer to his book "Brass playing is no harder than deep breathing".

Also make sure to visit www.trumpetherald.com - a forum for trumpet players, with a dedicated forum to Claude Gordon.

Routine Progression from 25th June

There have been lots of subtle changes to the routine since June.  I will attempt to go through them as briefly as possible.

Up until I began my ten day break, the routine stayed exactly the same as it was at the 9^th June.  I stopped, completely on Sunday 15^th July, when we had a short march and hymn job.  In the few days leading up to this, I worked one-off-one-on in terms of practice.

On Wednesday 25^th July I began again.

WARM-UP (only)

1. C.G. Breathing (separate to practice, early in the day):

• Preliminary Exercise: 5 in; 5 out – ten times
• Developmental Exercise: 5 in; 5 full; 5 out; 5 empty – at least ten times

2. Initial Long Tones:

• Eight beat notes from low C down to low G, starting with air attacks (no tongue) focussing on airflow and quality of sound
• Vincent Chicowicz First Flow Study, in C down to low F major, again focussing on airflow and quality of sound

3. C.G. Long Holds + 5 at each 8ve:

• Low C, B, B-flat, B, C, G, E, pedal C, B, B-flat, B, C, G, E, double-pedal C, B, B-flat, C and C (holding last note as long as possible)
• The same in B-flat and G majors
• Middle F, E, E-flat, E, F, C, A, pedal F, E, E-flat, E F, C, A, double-pedal F, E, E-flat, E, F, C, A, triple-pedal F, E, E-flat, E, F, C, A, triple-pedal F, E, E-flat, E, F (holding last note as long as possible)
• The same in E-flat and C majors

4. C.G. Upward Arpeggios 2 octaves + 5:

• Pedal C, E, G, low C, E, G, upper C, C-sharp, D, C-sharp, C
• Then in E-flat, F and G major
• Continue up as high as possible (in this case to C major)

I then STOPPED!

Thursday 26^th July: As yesterday, this time working up to D major

Friday 27^th July: As yesterday – no change

Saturday 28^th July: Same warm-up, this time added Irons group 13 afterwards

Sunday 29^th July: The same, now with Irons groups 13 and 17

Monday 30^th July: As yesterday, adding Clarke Second Study in low G, B-flat, D-flat, E, middle G, B-flat, D-flat, E and high G.

Tuesday 31^st July: As yesterday, except Clarke Second Study now in low A-flat, B, D, F, middle A-flat, B, D, F and high A-flat

From Wednesday 1^st August, routine returned to normal (as above, alternating between diminished seventh key sequences in the Clarke), adding Repertoire work of varying degrees daily.

I developed a horrible and painful cold sore on my bottom lip, exactly where I place my mouthpiece, and changed my routine slightly on Wednesday 8^th August – only doing warm-up and stopping at High B-flat Major (because I couldn’t go any further)

From the 9^th August, because my lip was healed, I returned to the routine, this time adding “Franquin” type exercises at the end of the routine, played as softly as possible, firstly with air attack and then tongued.

From the 19^th August, the routine continued, this time removing the Chicowicz Flow Study and with the addition of Clarke Third (in place of Clarke Second), again working through diminished seventh key sequences and employing single, ‘k’ and double tonguing.  I also replaced Irons 17 with Irons 18 (just a little more complex).

From the 25^th August, the routine stayed the same, except the “Initial Long Tones” and C.G. Upward Arpeggios.  The Long Tones were now as long as possible on middle G/E/D-flat/B-flat/low G or A-flat/F/D/B/low A-flat or F-sharp/E-flat/C/A/low F-sharp (matching the Clarke key sequence).  The C.G. Upward Arpeggios were now pedal C, E, G, low C, E and G minims followed by middle C, chromatic down to middle F-sharp and back to C as quavers.  Working in the same manner as previous weeks.

The next change has occurred this week, from Friday 14^th September, where I removed the “Initial Long Tones” altogether and now replaced Irons Group 13 with Group 14.  Otherwise this is the same.

As you can see, this is a progressive development and has proven to be beneficial and essential to the development of control, tone, accuracy and stamina as well as range throughout this period.