The development of superior tone quality depends upon two things: (1) performance on a fineLie flat on the back on a hard surface. In this position the shoulders cannot be moved and willremain in normal adjustment.1.
Inhale slowly through the lips until the lungs are filled with air.Exhale slowly through thelips, blowing the air out in a gentle, even stream.2.
Concentrate on controlling the activity of the abdominal muscular structure.
our points of ResistanceThere are four pressure points, two automatic; two controllable. The uncontrollables arethe mouthpiece and the lip aperture (opening). The controllables are the tongue (should beshaped as the letter ³k´ to enable the maximum flow of air; the other is control of thelarynx (voice box). By closing it, you keep the air from escaping into the esophagus.Exhalation
In normal exhalation, we relax our intercostalmuscles, diaphragm andabdomen, and the air is gently forcing the lungs by its rerun to its normalsize.However, in a brass instrument. Such exhalation requires even greater pressure in order to provide a slow, steady air pressure by exercising our diaphragms by keeping it taut by visualizing that the upside-down potneeds to remain µpotless.¶ The diaphragm returns to its normal sized.
See Phillip Farkas, The Art of French Horn Playing, Summy-Birchard Inc.,1956.Serous instrumentalists know about breathing for a long time. Indeed,Breathing has been an issue at least in writing since 1813, in VollständigeTheoretisch-pracktische Musikschule
omplete Theoretical-practical MusicMethod] of Joseph Fröhlich. The various instrument methods publishedinside this work are reasonably well known to scholars (they were alsopublished separately from the full
), but as described in the