Back to Basics...
In my third and final paper dealing with basic aspects of playing a brass instrument, I would like to put forward my ideas and suggestions regarding improving flexibility and range. Regular practice and flexibility throughout the full harmonic series of the instrument is of utmost importance if you are to be competent and facile in performance. I often find that due to the laborious and boring approach to flexibility exercises they are practised in a deficient manner or are neglected altogether. If harmonic practice is omitted from your daily routine than your personal playing hygiene is put at risk.
Improve your Flexibility and RangeAs I outlined in my first paper control of the air stream is the most important aspect of playing any brass instrument. Not only is it important regarding tone quality and production, it is also an essential element in improving range and flexibility.
We are all aware that the airstream differs greatly in velocity depending on which register with play in. The column of air travels at a much greater speed in the upper register than in the lower tones where the stream is far wider and travels slower. This is an important factor to remember when approaching flexibility exercises. Often too much emphasis is placed on differing embouchure positions to help increase register whereas an equal amount of thought and time needs to be put into gaining awareness of how the airstream works.
Unfortunately, space limits detailed discussion on the following subject. However, I would briefly like to mention the successful pivot system which can be used to great effect in increasing range and reducing excess mouthpiece pressure.
The airstream causes the lips to vibrate as it passes through the mouth cavity and between our teeth. However, depending on jaw position, the lips will vibrate in different areas; the low register vibrates the inner red membrane of the lower lip whereas a more central vibration of both lips comes into effect in the mid to upper range. To be aware of this vibration change I suggest carrying out one simple exercise; play low B flat and slowly lip slur down to low F - valves and slides should not be used to obtain the low F! concentration should be given to the jaw projection and steady air stream. While slurring down to the F pivot the instrument fractionally upwards, this enables the jaw to drop down and forward, giving the airstream a more direct route through the instrument. With a strong supporting column of air you will be able to play the false F effectively. Once this initial interval has been mastered you can begin to move down the scale and in semitones, again ensuring that the low tones are pitched correctly and in tune.
The same principle can be reversed for the upper register. Experiment with taking pressure off the top lip by concentrating more on the speed of the air stream, tilting the instrument fractionally at a downward angle. The slight change will take any excess pressure off the top lip and, as the airstream is travelling at a far quicker rate will enable the lips to vibrate more freely and the jet of air to ricochet off the mouthpiece cup at greater speed.
Finally, I wish to mention one more point which is vital to any success with your instrument.
Mouthpiece buzzing as a relatively new idea brought to our attention by our American colleagues and should be given careful attention as great rewards can be gleaned from using this method of practice.
As I frequently teach players ranging from elementary to advanced ability, I try to approach what can be sometimes hazardous and complicated subjects in a simple a way as possible. Taking this into account I try to explain that the instrument is no more than an amplify the mouthpiece.
Often I quote the phrase so frequently used in computer terminology "garbage in, garbage out" which helps bring the importance of mouthpiece buzzing into perspective.
As part of their daily practice routine I make all my students buzz long tones and simple slurring exercises, maintaining a good sound and a centered tone at all times. This makes a remarkable improvement to sound quality, intonation and production, ensuring quicker and more thorough progress.
Experiment with a mouthpiece alone, play simple scales on the piano and then test out your intonation and buzzing skills by repeating them. If necessary, play the scales on the instrument and immediately buzz them back. You will find initially that this is a real eye-opener!
It's amazing how many players rely on their instruments to turn their approximate vibrations into sound. We must approach our instrument by telling it what to play, not by asking it!
In conclusion, my brief papers have tried to cover important basic elements of brass playing and I hope that they may have given you the inspiration and awareness to keep a constant check on these aspects of your playing. The exercises and suggestions I have made need careful and thorough attention and results won't come overnight. However, attention to detail and perseverance in your approach to practice will help pay dividends.