I have just recently checked back onto the list and have found these
interesting discussions regarding low range playing and loud playing.
Though, we should use caution when referring to 'blasting' or
'shouting', I believe that a further clarification should be in order,
especially for younger students.
The development of the low range on the horn is essential. As stated
by Richard Smith, this not only aids in the development of tone, but
power as well. I had received a copy of the Kopprasch I book with
annotations made by a student that studied with Mr. Chambers.
For one summer, I religeously did the exercises according to the
annotations. I later expanded on these and now have incorporated an
extended version of this with my most advanced students. I have had
very good success with these procedures and recommend them to almost
all my students.
Playing loud, intense, low notes (I dislike the term 'blasting') will
produce many benefits:
1. Complete use of air - one will have to become a windbag, taking
in enough air to
sufficiently make it through passages
2. Plyability of the lips - playing strongly in the low range creates
maximum lip vibration
which, in turn, makes the lips more supple. This will make the
lip tissue more
respoonsive when activated by a steady wind column. Not only will
the hornist be able to
play softer, but also the increased stamina of the corner muscles
will keep the
embouchure intact in high intensity playing. Thus, strong and
soft playing will be helped.
Another added benefit is the increased plyability of the lips
which result in a more
focused and resonant buzz which will generate into a rounder tone.
3, The use of vocal analogies are extrtemely beneficial for projection
of tone.
Often when I hear younger players playing loud, I hear the sound
being produced as if one is shouting. I sometimes equate this with
playing "angry." Whether you are playing the softest pianissimo or the
strongest fortissimo, the tone should always sing.
If I ask someone to imitate an opera singer, almost all will
correctly use their abdominal muscles correctly, keep the throat open
and project a nice vocal note. If the person is self conscious about
singing, I will ask them to recite a written passage. In doing so, I
will have them imagine that they are in a very large auditorium without
any sound reinforcement. Again, usually the student will correctly
project their voice without vocal/throat strain. As a last resort, I
may have them project their voice in a forceful "HEY" exclamation, as
if they are trying to get someone's attention at a distance. Once this
is accomplished, I'll have them extend the syllable for 1 - 2 seconds
so they can feel the control of the abdominal muscles and the relaxed
sensation of the throat.
Once the concept is understood, I have the student get back to the
instrument and then have them use this concept when performing. This
has always been successful. For those who do marching brass
sectionals, this concept will work wonders for your entire brass
section.
Sincerely,
Eldon Matlick
Dr. Eldon Matlick, Horn Professor, University of Oklahoma
Principal Hornist, OK City Philharmonic
500 W Boyd
Norman, OK 73019
(405) 325-4093 off. (405) 325-7574 fax
Conn-Selmer Educational Artist
http://ouhorns.com
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Dr. Eldon Matlick, Horn Professor, University of Oklahoma
Principal Hornist, OK City Philharmonic
500 W Boyd
Norman, OK 73019
(405) 325-4093 off. (405) 325-7574 fax
Conn-Selmer Educational Artist
http://ouhorns.com
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