Professional Documents
Culture Documents
by Will Sanders
1. Quantity – the quantity of the air is primarily responsible for the lengths of phrases one can play.
Lung volume or quantity of air ensures phrases are complete and the musical line is not broken.
2. Compression – the compression of the air, achieved with the embouchure and mouth is primarily
responsible for the register that one is playing in. It is important to note: a large volume of air does
not ensure a good high register.
3. Velocity or air speed – the velocity of the air is primarily responsible for dynamic control. The
faster the air the louder one plays.
The hand positon inside the bell also plays an important role. Everybody has a slightly different hand
form. The hand position is responsible for the cleanliness of the intervals. If the hand is stuffed too far
inside the bell the intervals will be too close together, whereas, if the hand is not far enough inside the
bell of the horn, the intervals will be too far apart. The cupping of the hand is responsible for the tone
colour. A straight hand position will create a brighter tone than a hand position that is slightly cupped. It
is, however, very important for airflow and resonance that the thumb is always connected to the index
finger and that the entire hand stays to the side of the bell and not in the middle. If there are gaps in the
hand this can also disturb the cleanliness of the intervals.
The position of the mouthpiece on the lips also plays a large role in the playing of the horn. The aim is to
achieve a basic positon that allows the player a flexible embouchure in all ranges. High and low registers
should be played with the least amount of lip movement, with range changes being made with the tongue
and cheek muscles. Vibration should be produced by both lips, upper and lower. Einsetzen is an
embouchure placed inside the pink of the lips and contrary to common belief a player that plays with this
method has less endurance resulting in less flexibility due to the fact that only one lip is swinging freely
rather than both lips. The Embouchure is at its strongest when the mouthpiece is place on the lips and
not in the lips, so to speak. From my own experience , having played both ways , after 5 years of “
Einsetzen” I´m convinced that my teacher Erich Penzel was absolutely correct. Good quality of sound is
produced by an open and free mouth cavity and the thorax.
The most natural embouchure is the one we develop as babies as a sucking reflex. Having said that
embouchure is only second in importance to air. Remember; without gas a car doesn’t go, no matter how
beautifully it is built!
contact / mission statment / about this site / email webmaster / privacy policy / Legal Information
This website uses cookies to enhance user experience, including login status. By using the
site you are accepting the use of cookies.
OK
Algunos aspectos importantes de tocar el cuerno
________________________________________
A lo largo de treinta años de enseñanza de la bocina, he desarrollado una filosofía única y una
rutina técnica para tocar y practicar la bocina. Los ejercicios que he creado o uso han sido bien
pensados y cada ejercicio está diseñado para entrenar y construir aspectos variados de tocar la
bocina de la manera más productiva posible. El elemento principal y más importante para
aprender y dominar con éxito la bocina es el aire que fluye libremente. Uno debe lograr la
sensación de liberar el aire en lugar de sostener, presionar o exprimir el aire. Intento evitar la
palabra "apoyo", porque tiende a implicar que el aire roza, se mantiene o está tenso.
Los métodos de cuerno de Farkas y Jacobs son buenas filosofías; sin embargo, una buena
enseñanza no es algo que realmente se pueda escribir porque hay casi tantas formas diferentes de
tocar el claxon como los que tocan el claxon. Las personas son muy diferentes y, por lo tanto, el
método de enseñanza debe cambiar de persona a persona.