...on the Subject of Music
The word is, “Beauty.” Musical sound should be “beautiful.” There is something embedded in those sound waves which, when it reaches the ear, either produces a smile, a sign……..or a grimace. The mature listener hears it; the mature musician hears it first, and then reproduces it, and it enters the atmosphere as music. The more beautiful this sound, the more beneficent effect it will have on the listener -- and the more enjoyable.
On every instrument the potential for tonal beauty avails itself, and is the “same” quality of sound, whether it be produced on the piano, strings, brass, woodwinds, or, the voice.
Sample Audio Clips to come. . .
Embouchure 1
Starting with this article, I hope to, with more or less regularity, give you some of my thoughts on various subjects, should you be interested in partaking. All of this comes from me, and are my ideas and opinions, and no one else’s, unless otherwise indicated. I do not strive for a “consensus,” with others, but will talk with you from my mind. . .
from my experience. . .
and from my heart.
I invite you to respond. These pedagogilogical (what?) utterances are provided for, very hopefully, your benefit.
They are given freely, from a grateful musician, who has been the recipient of so much. My thanks, as always, is to my Heavenly Father, Who Gives Me Breath…….even at this moment.
Today I’m going to talk about the playing of brass instruments. Now, you may know me as a tuba, euphonium and contra-bass trombone player, but I also play the other brass instruments – even the saxophone! (Hey, it’s made of brass!) So, let’s apply my comments to all brass instruments (not the sax – at least for today!) Trumpets, tubas and everything in between all play the same way. For example, what applies to the trombone, also applies to the trumpet and the tuba.
Now, after good ol’ plain and innate musical talent, which simply is a gift which you either have or do not have, there are 2 supremely important and basic facets of brass pedagogy:
1. Air – the acquiring of, and use of.
2. Embouchure Development
These two basic foundational tasks are equally important. One is not more important than the other. Good music making is totally dependent on proper understanding and development of these two features of playing brass instruments. They are equally important! Please do not “major” on one over the other. They work together. There are some other points to make, but these are the two big “CLOUDS”, which will give you the much-needed rain you seek after.
Another thing. In my day, teachers used to tell us to “put on your thinking caps…” So, as we proceed, please put on your thinking cap. If you cannot find yours, just now, borrow a friend’s.
Air?
I have much to say about the acquiring of and use of air, but that is for another day. Stay tuned.
Embouchure Development? Okay, this is today’s subject. Here it is. . . .
“The embouchure is developed by slurring upwards…
with a continuous flow of air.”
There. That’s all there is to it, except for, of course, a few details. Think about it, experiment with it, and then get back to me, if you wish.
Longer version on Developing Embouchure to follow.
Hope all is well with you and yours.
Chester