TRUMPET LESSONS WITH DAVID HICKMAN VOLUME I TONE PRODUCION JROMBA 4 2053 Bellare Street * Denver, Colorado 80207 + (303) 222-8608Breathing, Posture, and Relaxation ‘Tone production is governed by the efficiency of the embouchure as set into vibration by the air stream, As the air passes through the lip’s aperture, its velocity and to some extent aperture size and embouchure tension will govern the speed of vibration, thus determining irequency of pitch. In order to maintain embouchure control and strength it is vital that the breathing mechanisms operate in a relaxed and effortless manner. Beginning wind instrument players often produce strained or pinched tones due to the imbalance of embouchure tension and air flow. The root of this problem is usually improper breathing, It has been an age old philosophy (that has been scientifically proven as correct) that, in general, the greater the air flow in exhalation, the more embouchure tension needed to produce a centered tone. ‘The interactions of embouchure tension, aperture size, and air compression will determine the quality of sound, volume, and pitch that the trumpet produces. Differences in instrument brand and model, tore, and mouthpiece size can only be contrasted aurally if a relaxed, well centered tone is produced by the player. ‘An important point to remember is that in correct playing, embouchure tension should bbe "in sympathy" with the amount of air compression passing through the lips. The greater the air compression, the greater the embouchure tension required to maintain a focused tone. Also, mouthpiece pressure will increase “in sympathy" with greater air ‘compression and embouchure tension. This equilibrium between the air compression, tension of the fips, and mouthpiece determines efficiency, A quick test of this efficiency principle can be shown without the instrument as follows. 1, Inhale fully and exhale air quickly with a very open and relaxed air stream (as if saying the word "hoe”). 2. Now, inhale fully and exhale quickly with a highly compressed air stream (as if saying the word "he" at your highest pitch). Notice the differences in embouchure tension between the two types of air streams, Although the embouchure tension, aperture size, tongue level, etc. were drastically different, these changes were done automatically and in sympathy with the types of ait compression desired. It would be ludicrous to try to attain these two types of air streams by thinking about embouchure and not the air itself. Tone production problems begin when the player tries to control the pitch, volume, and tone quality solely with tie embouchure. Remember, although a great deal of practice is always required, you will attain the best and quickest results by striving for the desired sound, letting your natural talent control minute muscle adjustments,‘There are many misconceptions about breathing and tone production. Here are a few: Misconception: The air should be forcefully squeezed from the lungs during exhalation, Reality: The air should be released from the lungs by merely relaxing and "letting the air go". The diaphragm is a large dome-shaped muscle which runs horizontally just below the lungs. It is in a concave (up) position when relaxed and is pulled downward into a flat position during inhalation. Also, during inhalation the chest cavity expands to help draw air into the Jungs. ‘The relaxation of the diaphragm and costal muscles will expel much of the air in the lungs as these muscles return to their relaxed position. So, exhalation is really more of a collapsing of the chest and stomach area. With physical conditioning and breathing exercises, breath control can be developed to phenomenal limits, both in quantity of air and in quickness of full inhalation, (Please refer to TRUMPET LESSONS WITH DAVID HICKMAN, Vol. 3, "Embouchure Development - Upper Register" for high range breathing techniques.) | Misconception: The shoulders should rise to aid inhalation. Reality: The shoulders should remain relaxed at all times, A slight rising of the j Miscon Reality: shoulders during full inhalation due to expansion will occur, but intentionally pulling the shoulders up with the neck muscles will only cause undesired neck tension. ion: As the air is expelled into the mouthpiece, it goes directly into the throat of the backbore, The airstream enters the mouthpiece at a downward angle (even in “upstream” players) and is reflected one or more times within the cup before entering the throat, In fact, if the ait were to enter the mouthpiece directly, no impedance vibration would form in the cup of the mouthpiece and the trumpet would sound like a "sick cow". Although Proven in studies, a quick experiment showing that the air travels downward may be illustrated by buzzing the lips (without mouthpiece) and feeling the air stream with the back of the hand. Notice that the majority of air moves downward across the chin.Misconception: As the lip’s aperture gets smaller the pitch rises. Reality: Misconception: When playing Reality: Aperture size, embouchure tension, and air compression, i.e. velocity, together comprise the factors which determine pitch. A small aperture does not necessarily mean a rise in pitch. As an example, place a tea kettle of water on a hot stove, As the air compression within the kettle becomes greater the whistling sound emitted becomes higher and higher even though the aperture stays the same size. Using a clear mouthpiece, high speed cameras have been used to film the vibrations of the lips and have shown that the aperture is always extremely narrow. In fact, in filming several high note specialists the aperture stayed virtually the same size from G above high C to triple high C! igher and higher, the lip’s aperture eventually closes, blocking the air and thus cutting off the tone production. ‘The pulsation of the lips when vibrating, even in the extreme high regis- ter, is caused by the opening and closing of the lips. No player would have enough lip strength to keep the aperture completely closed when attempting to play without biting the lips together with the teeth. In fact, as the sound volume increases past mezzoforte, the lips become uncontrollably pushed apart by the airstream, therefore making the performer less and less efficient due to the increasing amount of air entering the instrument that is not actually vibrating. (Notice how effortless it is to crescendo from ppp to mf, as opposed to mf to ff.) ‘Tone production efficiency is vital in professional level trumpet performance. Due to the small bore and high tessitura of the trumpet, the physical resistance requires the player to be as relaxed as possible if strength is to be maintained. Breath control are as follows: Step 1. Step 2. Step 3. 1 is the key to tone production effi ney. Easy steps to relaxed playing Sit or stand in a relaxed manner with good posture. The spinal column should be straight, with the head in proper alignment, Do not tuck the chin into the chest or allow the head to lean forward Elbows should be slightly away from the body to allow full breathing expansion. Arms must remain relaxed. Inhale as if yawning, Do not ‘sip" the air or make high pitched air noises when inhaling. A deep, yawning sound should be produced to ensure a relaxed and open throat. (Tongue lies very low in the mouth).Step 4. Allow air to release (exhale) as if "sighing". Do not hold of lock air before exhaling as this will cause chest and neck tension which will hamper tone production and accuracy. Practice releasing the air through the instrument without the mouthpiece. Step 5. Now, with the mouthpiece in the trumpet, repeat exhalation routine with lips around mouthpiece rim. ' Strive for correct, balance of air flow versus body tension, Do not force air out too quickly, but don’t hold back either. Repeat until resistance with mouthpiece feels very similar to resistance without mouthpiece. (For proper mouthpiece resistance, please refer to TRUMPET LESSONS WITH DAVID HICKMAN, Volume 3, "Embouchure Development-Upper Register”) Steo 6. Begin playing full volume (not forced but not held back) tone on C below the staff. Do not tongue the note. Feel how easy it can be to play a full volume note with very little body tension. (Also notice how relaxed the embouchure is.) Step 7. Repeat routine on various pitches. Step 8. Repeat routine, incorporating all dynamics, At times, musical phrases seem to be a little longer than can be played in one breath, ‘The thing 10 remember is that even when you cannot expel any more air, there is still plenty of air left in your lungs. Although itis impossible to expel all of the air in your lungs (or you would have collapsed lungs), proper training can make it possible to expel much more than normal breathing usually allows. To extend the breath by approximately 10-15%, keep the front stomach muscles out (after full inhalation) as long as possible before allowing them to contract inward, Do ot the ly, but simply keep them out as long as is comfortable during exhalation. This will save plenty of breath power after all of the other breathing muscles have contracted fully. One last word about posture should be mentioned. It has been proven through scientific research that muscle reaction and coordination time is much quicker when body posture is correctly aligned. For further reading on the subject, please refer to the books concerning the “Alexander Technique” found in the selected list of recommended materials on the last page of this volume.THE ORAL CAVITY ‘The size and shape of the oral cavity when playing will greatly effect the fullness and color of tone. ‘The tongue arch (raising or lowering the back of the tongue) will determine the vowel sound used in playing which greatly helps produce various pitches and subtle intonation changes. Usual vowel tongue placements are as follows: low register;'00” = middle register; "ee" = high register. An infinite number of variations are produced, however, in musical performance. Regardless of the vowel placement used, the front of the tongue should remain low in the mouth so that the tip of the tongue is well below the lower teeth. The tip of the tongue should not move forward or backward in slurted passages and should remain in a natural position. As the vowel placement changes with the back of the tongue, care must be taken not to allow the front of the tongue to rise. If the front of the tongue rises, the back of the tongue may arch too high, causing a sharpness of pitch and a thinning of the tone. Extreme tongue arch can cause the air column to be completely choked, much in the same manner as coughing. For correct vowel/tongue placement, practice singing a medium pitch slurred to an upper range pitch using the syllables “ah-ee". Notice how the raising of the front of the tongue on the “ee” syllable will cause it to sound nasal and thin. Keeping the front of the tongue in a down position on both syllables will create a very pleasing "operatic’ tone quality of singing, Although some trumpet performers do not advocate the use of the various vowels (tongue levels), it has been proven through X-ray films of numerous trumpeters that the tongue does arch for various pitches to one degree or another. Perhaps some players do not notice this subtle movement by the back of the tongue. (For further reading on the subject please refer to the selected list of recommended materials at the end of this volume.) ‘The effective length of the trumpet begins at the larynx ("voice box") and extends a few inches beyond the bell. This explains in part why pitch may change slightly if the bell is played "in the stand’, or if various tongue placement vowels are used on the same pitch, Although the vocal chords should not vibrate while playing (except in the employment of “multiphonies") the oral cavity performs much in the same manner when playing a trumpet as when singing. Dozens of subtle muscle actions in the throat and oral cavity control vowel placement and articulation. It is therefore the oral cavity and throat that mostly govern tone production, The lips merely vibrate and adjust minutely in accordance with the compression in the air éolumn.Nature did not intend for us to notice the extremely complex muscle actions which control swallowing, talking, breathing through the mouth versus the nose, etc. Controlling these actions consciously is not only very difficult but also unnatural and mechanical. Since trumpet playing engages these same muscles, most of which we can’t feel, care should be taken not to try to over-control them. Besides, by the time we can actually feel a change in these muscles, we have probably overdone the intended action. At least ninety percent of the time, the embouchure is blamed for tone production problems which were actually caused (unnoticeably) in the throat or oral cavity. Usually, when something isn’t working correctly, excessive mouthpiece pressure is applied to the embouchure, causing great discomfort to the sensitive lips. Conscious attention is then drawn to the lips and the assumption is made that the lips are the real problem, Fatigue due 10 excessive talking, yelling, coughing, etc. can greatly hinder tone production, especially in the upper register. The small muscles which control the larynx, tongue, jaws, palate, valves, etc, when talking are the same muscles used in trumpet playing. An overly tired voice may become "hoarse" or "crackly’. It is not the vocal chords that are tired. After all, they are made of cartilage. ‘The muscles that control them may become exhausted and greatly impede trumpet tone production even though the embouchure is fresh and strong. ‘Trumpet players are required to produce a great deal of air compression in the oral cavity in order to produce high and/or loud tones. In certain instances, oral cavity muscle fatigue may cause grunting or hissing noises to escape the player’s nose or larynx. In these cases, rest is the best cure. However, certain players may experience constant air Teakage problem from the nasal passages when playing. This is sometimes caused by the leaking of air from a too small or weakened pharyngeal valve at the back of the oral cavity which allows air to enter the nasal passages uncontrollably when air compression becomes too great. Although upper register difficulties are seldom attributed to an incompetent palate, such conditions are usually surgically repairable. (For more reading on the subject, please refer to the article by Dr. David Dibbeil listed in the back of this volume.) Neck expansion during playing is a common problem resulting from weakened neck muscles due to excessive loud playing without sufficient rest. This expansion is usually caused by arching the back of the tongue too high in the oral cavity which causes excessive restriction of the air column, Most players will experience a slight expansion of the neck when playing, especially in the upper register at loud volumes, However, if left unguarded, excessive neck expansion may become severe enough to cause a hernia in the frontal area of the neck.Herniated neck muscles may cause sudden and sharp pains as the tissue between muscle groups tears. This tearing is the result of muscles working against each other rather than working together. Neck or cheek hernias may not scem apparent when playing, but usually a “bubble” of skin will protrude visibly during performance. ‘This protrusion can be as small as a golf ball or as large as a grapefruit. In bizarre cases, numerous hernias are visible throughout the throat and cheeks area while playing. Unfortunately, hernias never heal, With rest and proper exercise, muscles may function well enough to eliminate the bubble in the weak area. Large hernias will likely always be visible, however, making surgery the only means of correction. Major surgery in the neck area is obviously very risky due to the large number of veins, arteries, and nerves. Such operations should be avoided except in life and death situations. Large neck hernias can sometimes be aided by the use of an elastic neck band which will help support the weakened area. VIBRATO ‘An important aspect of tone production is the color produced by an appropriate vibrato. Vibrato, the fast and subtle variance in pitch within a given tone, can enhance musicianship a great deal. The total absence of vibrato can make & tone sound mechanical and "dead". Seldom is it musically appropriate to eliminate all vibrato, except in certain contemporary settings, usually electronic or jazz. It is generally agreed that the modern orchestral concept of trumpets tone uses very little vibrato except for solo passages where well suited. Certainly, organ-like effects produced by the brass section do sound best with no noticeable vibrato. In this case, a player using a noticeable vibrato would clearly stick out from the section, thus destroying the desired blend. However, a vibrato can help a player to project a solo passage without having to increase volume, Generally, some vibrato should always be present in a good trumpet sound, although it may be'so subtle that it is unnoticed. A tone truly void of vibrato will sound bland and cold and should only be used as a special effect. ‘The greatest difficulty in teaching vibrato is that it is a constant variable and there are an infinite number of types required. Obviously, a slow ballad would require a slow and perhaps wider vibrato than would an exciting Spanish fanfare, There are several ways to produce a vibrato on the trumpet. Common methods include lip vibrato, the slight pulsating of the lips; tongue vibrato, a slight up and down quivering of the middle of the tongue; jaw vibrato, the almost imperceptible chewing motion of the lower jaw; diaphragm vibrato, the quick "tremolo" of the air column in a subtle oscillating effect; head vibrato, the slight vertical shaking of the head; and handvibrato, the rocking of the right hand in a slight horizontal fashion, Of these types, lip vibrato and hand vibrato are perhaps the most common. The best way to learn to use vibrato is by listening to good trumpet playing, both live and on recordings. By keenly perceiving the color of sound and then reproducing that sound by trial and error, vibrato will be produced naturally. Chances are you will sing your favorite song with vibrato even though you have not been taught to do so. A musically talented person will usually begin using vibrato automatically after a few years of playing. Certainly, a teacher can introduce it at an early age, but development must come from careful listening to musical performances, BREATH ATTACKS One of the most effective methods of developing correct tone production is through the use of breath attacks. Commencing the tone without the aid of the tongue will require the embouchure and throat to be relaxed and efficient. Care must be taken that the breath attack not be overly explosive as this will cause excess tension in the larynx and may also disguise faulty embouchure placement. Soft and effortless attacks should be produced without using the tongue. With practice, musical passages containing eighth notes and even medium speed sixteenth notes can be performed cleanly and easily, all with breath attacks. At this point, correct tone production is assured, It is suggested that beginning players develop breath attacks during their first few weeks. Often, a harsh and overly percussive articulation with the tongue will be used and may actually encourage tone production problems. Breath attacks will ensure a correct and effortless tone production which is vital to all facets of performance. Later, when the tongue is used to help articulation, clarity and speed of attack is improved even more. (Please refer to TRUMPET LESSONS WITH DAVID HICKMAN, Volume 4, *“Articulation",) WHISPER TONES Whisper tones are extremely soft tones produced by playing so softly that the tone can barely be heard in the bell. Indeed, when played correctly, whisper tones are so soft that the performer is physically unaware of the subtle air flow used when playing them. To play whisper tones, the embouchure is set normally but no tongue is used in articulation. After starting the tone without any attack, a subtle crescendo is made. The crescendo begins with a tiny bit of air (no sound) and is very gradually increased until the tone begins as a quiet whisper in the bell. Although the tone should be very pure, the volume will only be about ppppp.Whisper tones are the true test of effortless and correct tone production. By spending a few minutes each day on whisper tone exercises, control and a more pure sound can be greatly improved, Problems with poor response, fuzzy tone, and choppy releases can be eliminated. Whisper tones should be practiced in a quiet environment. Even room air ventilator noises or distant sounds can mask them. It is suggested that they not be practiced for more than a few minutes at a time, but be interspersed within daily practice sessions whenever response problems occur due to fatigue or tension ‘The following whisper tone routine should become an extremely important part of daily tone production and control maintenance or development. With consistent practice, entire etudes may be played all in whisper tones! Practical applications other than improved control and tone quality are many. Super finesse, especially on delicate attacks and releases, becomes easy and as musical as those produced by a fine viol or clarinetist.RECOMMENDED READINGS Amstutz, Keith, "A Videofluorographic Study of the Teeth Aperture, Instrument Pivot and Tongue Arch and Their Influence on Trumpet Performance.” International Guild Journal, Vol. Il, Oct, 1977, pp 25-26. Also: Journal of Band Research, Vol. XI, No. 2, Spring, 1975, pp 28-39, Barlow, Wilfred, The Alexander Technique. New York: Alfred A. Knopf, 1976. Bellamah, Joseph L. Brass Facts. San Antonio, TX: Southern Music Co., 1961 Benade, Arthur H. Fundamentals of Musical Acoustics. New York: Oxford University Press, 1976. Dibbell, David. "The Incompetent Palate: A Trumpeting Disaste ‘Trumpet Guild Journal, Vol. Il, Oct. 1977, pp 37-38. * International Endsley, Gerald. Volume I for Trumpet. Denver, CO: Tromba Publications, 1972, Farkas, Philip. The Art of Brass Playing. Bloomington, IN: Wind Music Pub,, 1966 Glassel, John. Relaxation Techniques. Vols. 1-3. Tenafly, NJ: Chamber Music Library, 1973. Grollmar, Sigmund: The Human Body, Its Structure and Physiology. New York: The Macmillian Co., 2nd Edition, 1969. Hall, Jody C._A Radiographic, Spectrographic, and Photographic Study of the Non- Labial Physical Changes Which Occur in the Transition from Middle to Low and Middle to High Registers During Trumpet Performance. Ph.D. Dissertation, Indiana University, 1954, Hall, Jody C. "To ’Ah-ee’ or not to ’Alvee’." The Instrumentalist, April, 19: 39, pp. 36- Hanson, Fay. Brass Playing. Mechanism and Technique. New York: Carl Fischer, Inc, 1968, Hole, John W., Jr. Human Anatomy and Physiology. Dubuque, IA: Wm. C. Brown Co,, 1978. Jones, Frank Pierce. Body Awareness In Action. New York: Schocken Books, Inc., 1976. 10Maisel, Edward & Dart, Raymond. The Alexander Technique: The Resurrection of the Body. New York: University Books, 1969, Malek, Vincent F. “The Closed Throat Shuts the Door on Musical Performance.” ‘The ‘Instrumentalist. May, 1957, pp 34-36. Mendez, Rafael. Prelude to Brass Playing. New York: Carl Fischer, Inc., 1961. Ramacharaka, Yogi. Science of Breath. Chicago: Yogi Publication Society, 1904. Schilke, Renold. Schilke Brass Clinic. Chicago: Schilke Music Products, Inc., 1960. Weast, Robert. Brass Performance, An Analytica) Text. New York: McGinnis Publ, 1965, & Marx, ulBreath Attack Exercises oa (simi) uf "An" “ANY mile)‘Dat (simile) sane AMT “De an °ART "Dat "Da "Dat "Ds" Gime)Whisper Tone Exercise i 1. Set embouchore normaly 2 Commence tone without tong. : 3 Rel ‘air raperceptabl. Pay “into cand to hear tome bet Practice mhisper tones in totaly quiet environment, aA a a a —=—=— PPPRP —=—_—