Next in my list of edifying brass texts is Essentials of Brass Playing by Fred Fox. I like this book. Fox’s method might be summed up in his teaching slogan, “Eternal Vigilance.” He stresses that attention to details is what makes for excellent performance on a brass instrument, and likens mastery of these details to knowing a correct safe combination. Fox explains that the right way is the easiest way and eliminates the need for brute force (like blowing up the safe).
While there are few picture-illustrations in Essentials of Brass Playing, Fox uses his strong grasp of simile and metaphor to get his ideas across, and he uses his own descriptive names like “Accordion Effect,” “Hydraulic Effect,” or “Fourth Gear” to illustrate many of his concepts. When it comes to the production of brass sounds, these comparisons encourage the reader to think about cause and effect. Here, for example, is part of Fox’s discussion of the air column from early in the book:
Brass players usually believe, quite mistakenly, that they must literally blow the sounds out of the instrument. This is natural and very common misconception.
The purpose of the air is to pass between the tensed lips and make them vibrate. It is similar to a bow that passes across the string of a violin to make the string vibrate. True, more air is used to get a larger lip vibration, and thus play louder. In the same manner, more bow pressure is used on a string to produce a louder sound. But it should be observed that even when the violin sounds louder there is no rush of air past the strings. Similarly, with any other non-wind instrument, such as piano, tympani, or even loud speaker (which can reproduce recorded brass sounds), the rush of air is no factor in the volume of the speaker sounds.
Interestingly, Fox defines “diaphragm” in his own way:
For our purposes I consider the upper abdominal area the upper diaphragm and the lower abdominal area the lower diaphragm.
For firm, full-bodied notes, whether played loud or soft, the upper diaphragm must remain under tension as long as a note or phrase is played …
While Fox isn’t incredibly explicit about forming an embouchure, these main points come through strongly throughout the text:
The buzz of the embouchure should be possible without using the mouthpiece as a crutch.
The embouchure corners should be firm, more-or-less pinned in the same position throughout the range of the instrument.
Most, if not all, of the embouchure tension changes should occur within the mouthpiece.
Essentials of Brass Playing covers every technical aspect of brass performance and a few non-technical aspects as well; it’s highly recommended.
Because it’s mostly true, it has often been said that when it comes to playing a brass instrument, there’s no substitute for a good one-on-one teacher. But it’s also true that people have been playing brass instruments for hundreds of years, and that, consequently, some great teachers have been able to collect their best insights and teaching methods into books. In a series of posts, I’m going to write about some books on brass playing I think are well worth your while. Is all the information you’ll find in these books perfectly consistent? Can you guess what the answer to that question is? I can say you’ll find common threads of wisdom throughout these books. First up, it’s Carmine Caruso’s Musical Calisthenics for Brass.
When I was in high school, I studied with a teacher who was studying with Carmine Caruso [broken link removed] at the time [Warning: clicking on the previous link will cause you to return to the golden glory days of the World Wide Web, back when it was full of stars]. In turn, my teacher taught me many of Caruso’s brass calisthenics. To over-simplify somewhat, Caruso’s teaching and exercises revolve around three things:
The exposure of embouchure muscles to the actions they need to perform in order to play a brass instrument.
The consistency of airflow, or “blow.”
The timing of 1 and 2 (accomplished by tapping the foot during exercises).
In the book, Carmine says this about timing:
It takes over 200 muscles to play a note. It’s important to remember that before you play music you must train your muscles to work together. The key factor is timing: it will determine when the muscles start and stop a certain movement. The type of time is established by tapping the foot to a regular, recurring beat.
You expose the muscles to a physical activity by repetition and timing until the muscles synchronize into a conditioned reflex response …
Caruso’s method also specifies a single setting of the embouchure on the mouthpiece for the duration of each exercise. During rests, the player breathes through the nose in order not to disturb the embouchure setting. The aim is to minimize the unnecessary movement of the muscles so that they can learn what to do. Caruso stresses that these are, after all, calisthenics, and not musical exercises.
What Carmine doesn’t discuss is how to create a embouchure specifically. Here, an embouchure that works — at least to a degree — is a given. This does not preclude the idea that, for a given brass player, a certain embouchure formation may be most efficient and simply “work better.” In my own experience, once I identified embouchure formation that worked well for me, Caruso’s exercises became that much more valuable.
How do you form an embouchure for playing a brass instrument? We’ll undoubtedly come across ideas about that as we proceed through the books I’ll be discussing in the next installment.
In the Fall of 1981, I was a freshman at the University of Tennessee at Knoxville. It was an interesting time to be there, with the 1982 World’s Fair just about to break out in the city. Just look at the commemorative serving tray, pictured here. Yes, the future seemed within our collective grasp.
There must have been some aspect of marching that I enjoyed, and maybe I thought that membership in the marching band provided a kind of continuity from high school. In retrospect especially, this notion is crazy. As a naive freshman, I was simply not prepared for the gargantuan priority shift that was occurring all around me. Inebriating liquids would play a huge role. On campus, the Pride of the Southland Marching Band was no exception to this college drinking trend, and probably was its true standard-bearer.
The marching style, too, was very different from what I was used to. In contrast to the wannabe-drum-and-bugle-corps style of high school, the “Pride of the Southland” style of marching was a military style, involving circles, diamonds and straight lines up and down the field. While the pre-game show — featuring Rocky Top — was relatively fixed in execution, each half-time show was freshly envisioned for each game. To accomplish these new marching drills, each band member was issued a printed chart telling him or her where and when to move. Negotiating the formations could be tricky.
Many of the marching drills were charted by the long-suffering assistant band director, Walter McDaniel. During rehearsals on the field, McDaniel did his best to be civil, but not surprisingly, the half-crazed-college-kid-marchers could drive him to a level of exasperation that would be difficult for any sane man to handle. On one occasion, in a conflicted fit he famously uttered, “Damn it…Please…Damn it…Please…” It became a band catchphrase.
Then there was the band’s leader, Dr. W.J. Julian, who was simultaneously reviled and loved by those in the band. Although Dr. Julian, then the president of the American Bandmaster’s Association, had his genteel moments in which he spoke about sipping cognac by the fire, he was on the other hand a man who truly understood what it meant to be hell-bent. Undoubtedly, part of the reason for W.J’s disposition was something that happened many years earlier: three years to the day after the attack on Pearl Harbor, the ship he was on as a young man — LSM318 — was sunk by a Kamikaze pilot in the Philippines.
During parts of a show, Julian would conduct atop a ladder on the sidelines. His conducting style was deliberate and jerky, and often seemed to be an expression of his own frustrations with trying to get the band to perform as he wanted. During show run-throughs, he’d take to the field, run through the formations, and deliver in-face, generally non-positive reviews of how you were doing. These displays were almost always issued with the true histrionic furor common to tyrants and some who try to motivate those in post-secondary education. A favorite gesture was one in which Dr. Julian, his angry, beet-red face already apparent, would rip off his sunglasses, revealing furious eyes. After a dramatic pause, there would come the smack-down utterance, the coup de gras. Once, when I made a misstep during rehearsal, Julian got up in my face, performed the glasses rip, and quietly growled in my ear, “You don’t know shit about this show.”
After rehearsals on field, the whole band would get their notes on how we did. Dr. Julian would ascend his ladder, Douglas-MacArthur-like. We’d all gather around. He’d look out at the horizon, the sun gleaming off of his aviator sunglasses. Eventually, he’d say, “That was better, but it was still horrible.” Expanding a bit further, he’d say, “Some of you…” — his voice would trail off, then — “MOST OF YOU! — are INSOLENT and COMPLACENT!”
On one occasion, the band was handed a reprieve from learning a new and complicated halftime show: a tribute to the United Way. The band would forego its usual repertoire of constantly moving circles and diamonds. Instead, we’d simply form the United Way symbol, face the press box, and play a touching song meant to pull at the heartstrings of the assembled fans.
When halftime arrived, everything seemed to go well. On a crisp and clear Fall day, the Pride of the Southland Marching Band formed the United Way symbol in the middle of the field. We were almost ready to play “You’ll Never Walk Alone.” First, though, the sound of the announcer’s voice boomed through the PA and slapped around the stadium in that bigger-than-life-college-football way:
“Ladies and Gentlemen!…The United Way!…Thanks to you it’s working!…Listen as the University of Tennessee Pride of the Southland band plays…You’ll Never Walk Again.”
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