2. Basics
Playing ones best does not requirethat the performer beawareof the many
contortions and acrobatics that the face and breathing mechanisms are
performing. Actually, it is a great hindrance to performance in almost every
parameter of good horn playing. This is not to say that one should not focus on
good technical habits in the early stages of learning. That is of coursea critical point
for developing the basicframeworkthatwill guide usand allow usto freeourselves
later. Itis analogousto a composerunderstandingtherules of counterpointto later
free themselves from the rules and to truly create.
Here I will delve into the ways in which I find most helpful in getting the physical
thoughtsoutof the wayand concentratingon proper forward,flowingairconcepts,
combined with the ear or aural component and how to hear with intensity and
intention. In short, making music through hearing music, clearly defined in our
mind. This elevates the most important part of performing. It is a part of what I
refer to as the “musical I.Q.”
3. AIR
Air as it relates to wind instrumentperformancehas been taught and discussed in
many different ways and in great length, but largely to the exclusion of the
exhalation of the air. To fill up to our lungs capacity or not is the usual beginning
and end of the discussion. The way in which one exhales determines how the
phrase moves forward, the tone of the first note, intonational aspects, and much
more that deserves attention.
It is my belief that while in the lowest of ranges taking in large amounts of air is
essential, it is not necessaryto do soin the middle and high ranges.Itis actually the
cause of tension in playing. As the player continues to fill to capacity through a
piece of music they grow more and more tense because they are overinflated in
the same way that a tire becomes overinflated with too much air. This tension
results in strained playing, and is communicated to the listener as uncomfortable
or awkward.
To begin simply breathe in and breathe out without holding the air. I tell students
to think of the inhaleas theair descending onto a trampolineand thepoint atwhich
you have taken in your air is when the rebound occurs from the trampoline.
Envision a trampoline. It is an immediate return, or bounce. This is the same way
our air needs to function to create free, musical playing. Once this feels free and
normalto you pick up your mouthpiece and turn your metronomeon 60 beats per
quarter note in common time. On beat four breathe in, set your embouchure, and
blow the notes of a scale in one breath. This can be any scale that you like. Also
remember that while you have air in your abdomen, there are regions of the body
that can be called upon to pushmore air out when yourmind is telling you that you
are on empty. These are in your sternum, sides, and back should you need a little
extra. For this exercise you will probably do not need these reserveregions of the
body, but if you do its fine. Also be aware that the buzz that you create should be
in the center of each tone. This comes from good ear awareness and musical
4. intention. Oncethe exhale begins turn the process over to your ears. Your musical
mind is the master that mustcontrolall aspects of playing. Our body will changein
varying temperatures, post meal reactions, and many medical factors. Our mind
can be the constantsince it is essentially a wonderfulcomputer that wehaveat our
disposal. Putin good data, and reap the rewards. Good data may be in the formof
clearly hearing a beautiful entranceto theslow movementof Mozart’ssecondhorn
concerto.
After one feels comfortable with this ear and air exercise, and can perform it to
perfection with a feeling of floating moveon. Place the mouthpiece in the horn for
the next step, but do notthink of it as a horn,think of it asa voicesinging and being
carried through the tubing by your air. Go through the same air return process as
used with the mouthpiece. Take your time and sing through the horn on an easy
amountofair while playingthe firstfourmeasuresofthe slowmovementofMozart
horn concerto No. 3. How did you feel? How was the sound? If it was similar to
floating through or on the air, then you did well. If not, then blow this motif into
your palm. It should have forward and free air. Never forced. Try it on the
instrument again with less physical work, and HEAR each note as it is occurring. It
should bethe mostimportant thing in your life. Actually, it shouldbe the only thing
in your life at this moment if done correctly. The next step is to sing the first note
of the phrasebeforebeginning. Ifit waswrongcontinue tryingwith yourmind. This
will lead to wonderful accuracy that is dependable, and not luck.
The next step is to sing only in our mind before and during play. Choose any piece
that you feel comfortablewith, and practice hearing only the music as you prepare
to play until the last tone has ended. Once a word enters your mind, it is time to
take a break. Continue with this exercise daily. It leads to being in the “zone”. The
zone is that special place where we are not awareof our surrounding and perform
at our highest level.
5. We are used to hearing of phrases as being linear, which makes a certain amount
of sensein a music theory class. However, to play a beautiful phrasewith driveand
momentum, a circle makes for a better visual to me. Itis unbroken, the air is taken
in justatthe top of the circle (12 O’clock) and immediately flows outand continues
through the phrase. Depending on the length the, Inner Diameter of the circle
changes, butthe idea of an unbroken, flowing grouping never ceases. Consider the
solo from the slow movement of Brahms’ third symphony. This would be a series
of phrase circles. Give this a try especially in romantic era works.
6. Along with phrasecircles comes the question of silence in music, possibly themost
important aspect in creating stress to our art form. Yes, there must be silence at
key points in the music. A wonderfulexample of this is found in the opening to the
Beethoven Sonata for Horn. Without the silence there is no stress to be relieved,
and thus no calm after the storm. In this case we simply picture a circle with slight
breaksin its perfect circle, yet the air continues,which keeps the momentum going
by way of constantvibration of the air. This is similar to the way thata string player
continues with non- bow vibrato after the bow has ceased to move.
In the final phase of our ear development we move to the piano. This has been
crucialin helping so many in vertical hearing. Play a simpleMajor triad and sing the
third of the chord, then do this with both inversions. Once this is comfortable for
you, then expand it to seventh, ninth, and more complex chords in inversions.
Challenge your ears to find different members of these advanced chord structures.
Sing what you hear as the 11th
, 13th
,etc., and then play them on the piano to check
your accuracy. Now transfer it to your ensemble work. This is of course more
challenging because we add different tonal colors. Keep practicing this and the
rewards will be great!
Notes for Young Players
Before the young player can free themselves from physicalthoughtthey must
firstmaster the physicalactions required of the instrument. This is not to imply
that we EVER truly master all of the elements of the horn. However, onemust be
on solid footing, and not be playing a game of guesswork. This is helped greatly in
the early stages by reinforcing the setting of the embouchure before exhaling into
the horn. This can be done by understanding and demonstrating the process of
inhaling, setting the embouchure, and then exhaling in a very methodical manner.
After this is mastered and reinforced over a period of weeks or longer, then it is to
7. be made into a fluid motion with the aid of a metronome and a mirror. A mirror
can provideexcellent feedback when a teacher is not present.
The upper left, and upper rightsides of this inverted triangle representthe
corners of our embouchure, and the bottom is our long flat chin. The embouchure
functions best as a triangle, and at its absolute bestas a long one. This gives the
player stability of the jaw, and stability of tone.
Memorize the sensation associated with each range of the horn. The low, middle,
and the high ranges all feel quite different, yet few changes need to be made. In
the mid range think of making your face longer from back to front as you pucker.
In the low range think of flattening the chin and having slow and thick air flowing
into the horn. In the high range we encounter more resistance and must be
prepared to have our air defeat the resistance. Think of one hand pressing against
another in an isometric fashion. One hand is the resistance from the horn, while
the other is your air being pushed out to defeat the resistance. With fast, small
circles of air you can blow freely.
One item that seems minor, but is actually of great importance is the position of
the righthand. Keep the righthand in a steadyposition. Itis importantnotto adjust
it for intonation or comfort. This will change the sound or tonal color of the
instrument. Divide the bell into four sections of an old fashioned clock. The
knuckles and outside of the hand should be at 3:00 O’clock. On the modern hornI
feel thatthe handis notmeant to move,except forchangesin stylesuchas Baroque
8. to Romantic era works. Good intonation comes from the ear, and proper slide
adjustments. Pitch bending is a Very valuableexercise to begin at an early stagefor
many masons. Asidefromflexibility, weare gaining the ability to place a pitch in its
slot. This is especially true if done with a tune on the Drone setting. One final
thoughtalong theselines is thateven the youngeststudentcan sing,and growtheir
musicalIQ fromsinging.Again,insistuponperfection, butkeep it enjoyable.I stress
the idea of “deferred gratification” with more mature students.
Stand more than you sit when you practice. This allows you to experience freedom
physically. Freedom is our goal, which translates into a flow of notes and phrases.
At our best we are using our air on expulsion as an open garden hose. Free flowing
and floating.
Memorizesomething every day!This is not only a good mental exercise, butallows
the student to be free of the notes on the page and to learn to create from the
early stages. Our goal should never be to merely produce correct notes and
rhythms, but to create phrases. Serve the composers intentions always!
Finally, there is no substitute for practicing perfection. Stop at your first mistake
and correct it immediately. This builds the expectation of perfection. Less is not
tolerated. Never settle for less than you are capable of in anything! There is a
solution for every problem in life, as there is for any challenge on the horn.
May you have rewarding music making always. Challenge the mind and immerse
your creative powers in our wonderful art form!
John Little II
