AIR PIVOTING: A Learning Process.

 
The subject of air pivoting seems to be rarely known and understood by
a great majority of players and teachers whom I have encountered over
so many decades of performing and “teaching”. I never heard a word
mentioned about it until I saw the great trumpeter Bud Brisbois do a
clinic where he mentioned it briefly and demonstrated how it applied
to playing. I initially thought it to be just another one of those so-called
“opinionated systems”. But because Bud and I did a lot of playing
together in the LA studios as well as my playing with his band BUTANE, I
couldn’t help but take an interest in air pivoting. Many people are
aware that it was Bud who showed me how to use the Yoga Complete
Breath from the Ramacharaka book given to me in 1974 by Maynard
Ferguson. That was a life-changing experience to learn a more efficient
way of breathing especially when applied to wind instrument playing.
When he eventually gave me the materials regarding the air pivoting, it
was yet another mind-blowing event that had an equally vital effect on
my playing. It had the immediate effect of explaining to me some of the
science of acoustical physics, called fluid dynamics, and how it was
exactly HOW  the airstream determined the register that was desired
by the player.
 
This article is my personal idea of a process that enables a person to
learn and gain decent control of the science of air pivoting when
playing a brass instrument. It applies to ALL brass instruments that use
a cup mouthpiece. Historically, William Costello wrote a booklet on this
subject in 1932. I’m not sure if it is still in print but it can be found
online or by contacting me. And also another book was later written by
Dr. Reinhardt called “The Encyclopedia Of The Pivot System”. Air
pivoting IS a science, therefore a fact, not an opinion. Every player does
it but more often without knowing that they are doing it. The majority
of us have “learned” it by intuition, by instinct, by “trial and error”
when we are just learning to play. The physical actions that are
required become subliminal in our sub-conscious minds and function
more on “auto-pilot ” without our being aware that we ARE doing the
pivoting when we play. As I started showing this system to my students
in 1974, I didn’t have a good process developed so I tried to teach it as
one movement.  And then much later while studying some books on
Neuroscience, I became aware of a brilliant process called
“Neuroplasticity”. This was apparently discovered by a German
Neurologist in 1937 but it typically took many years for its value to be
realized and accepted by the international medical profession.
Neuroplasticity simply defined requires certain elements, precise
actions in order to stabilize the process in the mind / brain. The first
item is the diagnosis of the problematic habit that requires being
replaced by a more accurate and properly functional pattern. Without
going too deeply here, a simple look at our brain tells us that we have a
huge number of dormant neurons , all available for learning. Once the
problem is defined, we need to do a series of drills with a lot of
repetition. This process creates a form of  “imprint” on selected
neurons in the brain. Repetition adds a substance called myelin that
strengthens the  “imprint”. When sufficient work has been done with
this process, the new patterns replace the older ones that were
problematic.

The attached illustration below attempts to show in a simplistic way the

differences in the changing targeted locations of the airstream inside of
the mouthpiece cup. These locations as seen on the illustration are NOT
to be taken literally but rather to help you grasp the general idea of the
changes required. This is merely an illustration. We are all a bit
different and those variables occur when developing this skill. Since the
inner shape of the cups of mouthpieces vary so much, these differences
greatly affect the degree of pivoting necessary to find the centered slot
of each note payed. If a player uses more than one mouthpiece ( which
many do ), the drills need to be done eventually on each mouthpiece.
The Process:

1. Look at the circle above LOW C. These circles represent the

mouthpiece. The smaller dot in the middle represents the
throat drill. The lower larger dot represents approximately
where your airstream needs to be aimed. As mentioned above,
there will be slight variables based upon the shape of your cup.
With the mouthpiece in your horn, and on your embouchure,
visualize that lower dot location in the cup with your eyes
closed. Then using the tip of the tongue as in the “spitting rice”
drill to open the aperture, play a series of staccato low C’s,
about one second apart. You’ll find that your jaw will need to
lower and be drawn back inward to aim the airstream
downward. I recommend doing them at a mezzo forte dynamic
to conserve energy. If you do this repetitively for one minute ,
and taking necessary breaths, you should be able to do around
50 articulations in one minute. When done with this, OK to do a
little fluttering to replenish the blood just used.
2. Look at the circle above the G a fifth higher. Doing the same as
above, and on the mouthpiece and horn, visualize the location
of the larger dot that represents the G. Eyes closed as before.
Then do the same staccato articulations as before, tip of the
tongue and for one minute, all G’s. You’ll notice that your jaw
will move slightly forward , closer to its normal position. When
done, same as before, a little fluttering for blood supply.
3. With eyes closed, play a sequence of LOW C-G, LOW C-G, etc.,
and doing this sequence for about one minute as before. Doing
this pattern will enable you to clearly sense the directional
change of the airstream. And as you do this, your jaw will be
moving between the two previous positions to enable you to
do this drill. Rest again, flutter a bit for blood.
4. Look at the circle that says C ( 3rd space, middle of the mpiece ).
Once again eyes closed, do the same as before , same
 articulation and dynamic for one minute. You’ll notice a slight
lift forward and upward to aim the airstream to the throat area
of the cup. Rest, flutter.
5. With eyes closed, play a sequence of LOW C-G—middle C-G-
LOW C, and repeat this sequence several times. When you feel
a secure control of these three, alternate between eliminating
the G, i.e., LOW C-G-C-G-LOW C, LOW C-C-LOW C, i.e., an
octave interval. Every few steps re-insert the G, doing all three,
and then back to eliminating the G. In this drill , your
awareness of the pivoting airstream is heightened even more
so. Rest, flutter.
6. Look at the circle that represents the fourth space E. Once
again eyes closed, play the same one minute sequence of only
E’s. Rest and flutter.
7. With eyes closed, play a sequence of LOW C-G-C-E-C-G-LOW C.
Repeat this sequence as before and then when a bit secure,
gradually eliminate the inner notes, i.e., LOW C-G-C-E-C-G -
LOW C, LOW C-G-E-G-LOW C, LOW C-C-E-G-LOW C, and then
any and all combinations, eventually to LOW C-E-LOW C. Rest
flutter.
8. Look at the circle representing the G above the staff. Once
again eyes closed , play a series of staccato G’s, still mezzo
forte. One minute if possible. Rest flutter.
9. With eyes closed, play a sequence to include all 5 notes as
before. LOW C-G-C-E-G-E-C-G-LOW C. After a secure feeling on
these , do the same as above, i.e., LOW C-G-C-E-G-E-C-G-LOW
C. Then LOW C, C-G-C-LOW C, LOW C-G-E-C-G-C-LOW C, and
eventually LOW C-G-LOW C, and then every alternating
combination that you can think of. Once again, repetition is the
key to success. If you find any interval difficult, focus directly
on only that one interval, repetitively as always until find a
sense of security and better awareness. One minute, rest
flutter.
10. Look at the circle representing high C. If possible and
comfortable, play the normal sequence of high C’s for one
minute. Since this can be a bit more physically challenging for
many, do less than one minute, perhaps even only 10
articulations or more but not absolutely necessary to do the
normal 50 or so in one minute. Rest A LOT, flutter.
11. With eyes closed as always, play the sequence as before.
Low C-G-C-E-G-HIGH C-G-E-C-G-LOW C. Do this several times
until fairly secure and targeted slots pretty good. Then as
before, LOW C-C-G-HIGH C-G-E-G-LOW C, and then all various
versions of interval jumps, each series eliminating various of
the inner notes until you are doing LOW C-C-HIGH C-C-LOW C,
then LOW C-HIGH C-LOW C.

Granted, this might seem like a bit of drudgery and somewhat

boring, not so musical but what you are doing as described
above regarding using neuroplasticity to establish a well-
founded set of imprinted neuromuscular patterns in your brain
that will eventually become subliminally “auto-pilot”, allowing
you to gain confidence in your ability to know where those
notes are, eliminating some of the normal worrisome fear
about missing. If at any time when you are doing these
sequences, you feel tired, please stop and take a rest. The
same suggestion if you are not enjoying becoming aware of the
control of the horn. Negative feelings are the enemy so stop,
take a rest and do something that’s nicer, more enjoyable. If at
all possible and without over-tiring you as well as without
keeping you away from playing other MUSIC that you enjoy
and / or require practicing, try to do at least SOME of the
process a couple of times daily. As you feel more comfortable
with this new level of awareness and control, be sure to apply
it to pieces of music that you are working on.
Just when you think you have accomplished something great
and you can play ANYTHING…guess again! What you
accomplished is invaluable but moving on, here’s a suggestion.
Using the exact some processes as above, do them all as
before but starting on LOW B, then when secure, LOW Bb.
Then when you feel good about these, start the process on
LOW C# (Db) . When you go to these you’ll find it wiser and
more successful to use the natural fingerings.
C# (1-2-3), G# (2-3), C# (1-2), E# (1), G# (2-3), C3 (1-2).
After secure, then to LOW D, then Eb, then E, then F. Rest
assured that this will take time and sensible effort but keep
your ego (self-importance) away from the process. We all learn
at different speeds and what usually happens is what is called
a “snow-balling” effect. In other words, it goes slow at first
stages but as the brain patterns stabilize, they transfer to the
next steps and the assimilations occur more quickly. Trying to
force rush through them impatiently will work against your
internalization of these materials. AND also of importance, if
doing any of these repetitions for a full minute seems a bit too
challenging, suggest you start with fewer repetitions, i.e., even
as few as 10 on each step. As you gain skill as well as
endurance, you can gradually increase the number to maybe
20, then 30, and so on. The science of neuroplasticity requires
repetitions in order to set up the new skill levels so doing more,
even gradually, increases the speed of accomplishment.

I hope this greatly helps you gain awareness, control,

confidence, and enjoyment in being able to play with greater
ease.

Bobby Shew
2022