musculature playing farkas

8182019 Musculature Playing Farkas

httpslidepdfcomreaderfullmusculature-playing-farkas 137

ANGLIA POLYTECHNIC UNIVERSITY

MUSCULATURE ndash ITS IMPORTANCE IN THE PLAYING OF BRASS

INSTRUMENTS

David John Notley

A Dissertation submitted in partial fulfilment ofthe requirements for the degree of Master of Arts

Submitted August 2002



Approved by ____________________________________________________

Chairperson of Supervisory Committee

__________________________________________________ __________________________________________________

__________________________________________________

Programme Authorized to Offer Degree_______________________________

Date __________________________________________________________

ii



ACKNOWLEDGMENTS

I would like to express sincere thanks firstly to my supervisor Charles Hine and George

Reynolds my trumpet tutor at Colchester Institute

I would also like to thank the internet list members of the ldquoTrumpet Players

International Networkrdquo (TPIN) and ldquoTasteebros usergrouprdquo for their assistance in

freely giving their advice and experiences as brass players

Thanks to the members of the Young Ambassadors Brass Band of Great Britain whodiscussed the theories used in this dissertation with me during our long tour of Canada

and the United States of America (2001)

Many thanks also to the pupils and friends used to gain the required information for the

questionnaires and lecture Finally to my family and friends who have supported me

throughout my period of study

iii



ABSTRACT

This thesis presents a study on brass instrumentalists and their bodies It focuses on

physiological psychological perceptual habits learned either from books teachers or

the playerrsquos own experiences

The study concentrates on the way that each player breathes and blows using muscles

in their body to make a sound It looks at the way that air is blown through the aperture

and the manipulation of the aperture with embouchure and mouthpiece

The variation in embouchure manipulation tongue level air speed space between teeth

and awareness of the body were also studied Many players and teachers have their own

knowledge of methods and were very protective of them thinking that their way was

the only way

The study tries to prove that all brass instrumentalists and people in general are

different and that not all people should or in fact can use the same method

I studied six individual brass players of differing ages abilities backgrounds and

perceived knowledge

Results of my studies showed that individual people had individual problems

as each of us is entirely different It is not possible to derive a technique which is

equally useful for everyone I have also presented some evidences to prove that

different teachers and performers used a certain method and advocated that every

player should play the same way

iv



Some players have little knowledge of what they do or how they play This has never

been of interest to them as they have never had any obstacles to their playing This

study has perhaps made them think about their technique and the way that they play

their instrument

v



OUTLINE

In the first chapter I have given a background to my own interest in this

subject I have studied the mechanics of my own bodyrsquos musculature and the methods

required playing a note within four positions of the harmonic series

From the Chapters II to V I have presented the case studies of different brass

instrumentalists I asked about their backgrounds in what manner they began to learn

to play and which tutor books they had used I asked about their attitudes to playing

their instruments in each range and whether any obstacle or obstacles to their playing

had shown themselves

In Chapter VI I have tried to find out what different experts say about it I have

presented some evidences to prove that different teachers and performers used a certain

method and advocated that every player should play the same way

In Chapter VII I have summarized my discussion and give the conclusion

vi



CONTENTS

Abstract ivOutlinehelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellipvi

Introduction 1

Chapter I Case Study ndash David Notley 3Chapter II Case Study ndash Players still at school

Christopher Pannell 11

Jackson Mathod 13Robert Domingue 14

Chapter III Case Study ndash David and Sarah Minchin16

Chapter IV Case Study ndash Tim London 18

Chapter V Case Study ndash John Malam and Stan Cooper 20Chapter VI What the experts say 21

Chapter VII Conclusions 24

Glossary 26Bibliography 27

Appendix 1 Case study David Notley pre 1991 (3 pages)

Appendix 2 Internet discussions (29 pages)

Appendix 3 Photographs and diagrams (51 pages)

Appendix 4 Internet web pages (129 pages)

Appendix 5 Questionnaire1 (16 pages)

Appendix 6 Questionnaire 2 (5 pages)

vii



LIST OF FIGURES

Number Page1 3

2 4

3 4

4 4

5 4

6 5

7 5

8 5

9 6

10 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip8




14 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip1115 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip13



18 helliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphelliphellip18



viii



INTRODUCTION

Brass players have been around for a long time Many hundreds of years ago players

would have learnt in groups or from each other Improved communications in travel ndash

to hear others play ndash and recordings available have meant that theories are developed

These theories due to the physical or mental attributes of the player may work for some

and not for others

From the very beginning brass players teachers and educators have been divided into

two groups They have either struggled with their embouchure or found it very easy to

play their instrument The latter group have found it very natural to play while the

former group have met with obstacles to their development Those obstacles come in

many shapes and sizes

Many players are termed ldquonatural playersrdquo The natural players picked up an instrument

when they began to play and found their instrument to be quite easy On the other handothers have had to think about and look into the way in which they play and try to find

different ways to develop range stamina articulation and sound Some professional

players it seems from my research learnt a particular way and advocate that everyone

should learn that way Some ldquoprofessionalrdquo players and teachers are very protective of

the methods with which they learned and are quite forthright in their statements

Also I would like to prove that ldquoif it ainrsquot broke ndash donrsquot fix itrdquo This old saying holds

true for many brass players who may play in unorthodox fashions but make a

wonderful sound and are technically brilliant Others may ldquolook goodrdquo with ldquotext bookrdquo

embouchures but have other problems which are involved in the mechanics of their set

up

1



Many players play well but are musically stretched whilst others do everything right but

do not have the correct attitude to be any better Others have rushes of adrenalin and

have a physical ldquohighrdquo whilst playing

This study does not delve into the instrumentrsquos manufacture mouthpiece size

backbores (size of mouthpipe diameter) or any other outside influence Instead it tries to

show that with a correct ldquobuzz-ablerdquo embouchure ldquoproperrdquo breathing and use of air a

fine working model of a brass player will be evident Training the body to break habits

is extremely difficult but with perseverance great things are possible

2



CHAPTER I CASE STUDY ndash DAVID NOTLEY

The background to this chapter and the build up to my change in embouchure can be

found in appendix 1

In June of 1991 I was forced to stop playing for some eight months I had my teeth

rebuilt 18 stitches in my lower lip ribs and thumb broken and a cracked jaw This was

due to a road traffic accident (see appendix 1)

Reading books and seeing diagrams about ldquoHow brass players do itrdquo (by John Ridgeon)

and thinking about my playing I had to make sure that I wouldnrsquot go back to my old

ways of using pressure first I started to practise buzzing first This was difficult as I to

this day have no feeling in the front of my lower lip I persevered and could buzz many

tunes ndash the buzzing meant that I was able to control the pitch of my playing better and

could move around the ranges easier The buzzing meant also that all of my

embouchure muscles were even and radiated out from the aperture

I noticed that my upper teeth were a little long and came into contact with my lower lip

also that my left lateral incisor tooth was twisted so I asked my dentist to file the edges

down My lower lip also had a stitch or thread added inside anchored at the top down to

my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8

I then had to think about my embouchure and why my aperture was closing when I

went for higher notes My aperture vibrated on the fleshy part of my top lip back about

two millimetres from where it was supposed to be I had read that I was meant to ldquoroll

my lips inrdquo to strengthen them and vibrate the aperture on the actual lip and not the

fleshy part My sound was more controlled and the control over my lips was greatly

increased

Previously when I vibrated my lips the Orbicularis Oris around my mouth had tightened

unevenly my top lip closed over my bottom lip The Levator Labii Inferioris and

Depressor Labii Inferioris pushed upwards from below and Depressor Alae Nasi

pressed downwards from above The Depressor Anguli Oris pulled downwards so that

the muscles were pulling against each other

5



One final observation of my previous embouchure was that the tongue would

constantly be touching my bottom lip so articulation was problematical

I had gained the embouchure through lack of knowledge and being told that there was

no problem by teachers and that practice would ldquoput everything rightrdquo I sounded ok but

I wanted to be better than OK In my head I could hear what I wanted to do but my

embouchure would do otherwise I played trombone French horn and euphonium for

long periods but wanted to play the higher brass instruments

Fig9

My new embouchure was much different The Obicularis oris rolled in evenly around

my lips The Depressor labii inferioris Depressor anguli oris and Mentalis all pulled

6



backwards easily The Dilator and Compressor nasi of the nose and the facial muscles

detailed above all pulled outwards

When playing in the higher register these muscles pulled further outwards and gave the

embouchure room to move My Orbicularis palpebrarum around my eyes and the

temporal fascia muscles around my ears also pull back

Now I had control over my range and playing became a joy

A quote from the great Herbert L Clarke the top soloist with the John Philip Sousa

Bandfrom his autobiography ldquoHow I became a great cornetistrdquo

ldquoOne day I picked up the instrument for the usual practice and imagine if you can my surprise and almos

was out only there really wasnt any secret about it I had used only a little pressure of

the mouthpiece on my lips and so allowed them to vibrate naturally instead of pressing

against them with so great force that all lip vibration was stopped and tone would not

come from the cornet It then dawned upon my mind that always when trying to reach

a high note I had been pressing the mouthpiece so hard on the lips that it kept themfrom vibrating at all I had been like a man trying to walk with his legs bound firmly

togetherrdquo

Increasing my ability and being able to play what I heard in my head made me so much

more confident Although later two other problems surfaced whilst playing with Black

Dyke

1 I developed in New Zealand a lung disease condition called Sarcoidosis which

affects the lungs and immune system It is non-contagious but restricts

breathing

2 My tonguing had been learnt with restriction on the space available in my

mouth due to the position of my teeth Double tonguing (ta-ka) and triple

tonguing (ta-ta-ka) were easier but needed to happen at the back of my mouth

7



instead of forward This is now rectified but the schedule of such a great band

meant that I could not devote the time to it then My sound was too hard whilst

multiple tonguing

Next I needed to think about my tongue and breathing correctly Knowing that my

buzzing and whistling were regulated by the up and down movement of my tongue I

experimented and after a short period was able to buzz long tunes

The flow of air through the body to the instrument should be a smooth Any obstacles

should be removed An open throat is needed for the air to flow through slowly for

lower notes and lower dynamics For louder and higher notes the airflow is accelerated

The channel for the air to travel through is narrowed depending on the range or

dynamic required

fig10

8



fig11

The above diagram shows the movement of the tongue through different vowel sounds this is the

same for both whistling and brass playing

Fig12 fig13

When playing in the upper range on my brass instrument the sides of my tongue ndash at the

back of my mouth ndash push against my upper molar teeth (fig13) This helps to create the

smaller channel for my air to flow through faster thus forcing the lips to vibrate faster

9



When relaxed to play throughout the normal range of the instrument there is still a

considerable amount of tension in my body Firstly in my embouchure and secondly in

my diaphragm region Pre-1991 I would have tensed my arms and pushed my

mouthpiece against my teeth to gain increased range

Now I buzz the notes and tense my stomach muscles downwards through my groin area

all the way to my ldquobacksiderdquo then past to my upper leg muscles ndash so as to ldquoanchorrdquo my

body This proves that the higher the pitch of the note the greater the tension in the

muscles

10



CHAPTER II CASE STUDIES ndash PLAYERS STILL AT SCHOOL

CHRISTOPHER PANNELL

fig14

Chris Pannell 17 has grown up in a very musical family His brother Tim last year

gained a place at the Royal Academy of Music London as a trumpet student His

mother and father have played in most of the top brass bands of East Anglia Chris has

for the past three years been the solo horn player of the National Youth Brass Band of

Great Britain

Chris gained grade 8 on his tenor horn and also learns the French horn He started

playing at the age of 4 and was taught by his parents using mostly the tutor book ldquoTune

A Dayrdquo (Belwyn Mills) Chris is very confident in his playing style but attributes that to

the fact that he doesnrsquot think ldquotoo muchrdquo about his playing

Whilst on the latest (July 2001) National Youth Brass Band course the horn players

were rehearsing a particularly difficult passage with much interval jumping Afterwards

the other players were asking Chris about tongue positioning and what he thought about

11



whilst playing Chris answered that he doesnrsquot think about things like that and that he

prefers to think about tone quality and style The other players looking for answers to

their problems but Chris didnrsquot know how to help as he didnrsquot perceive any problem

Chris has an ldquounorthodoxrdquo embouchure whereas his embouchure is to the side of his

mouth but he buzzes his lips in the centre of his mouth His tongue articulates towards

his aperture which is also to the side of his mouth This should mean that he and many

other players should have problems due to the angle that the air flows into the

mouthpiece and aperture but it seems not to in Chrisrsquo case (see photographs page Chris

Pannell)

During my observations I noticed that Chris often is not secure in his upper range he

can play well and high he can play all the technically difficult pieces but does not

always give the impression that his embouchure works all of the time

Despite this Chris is a wonderful player very musical beyond his years He proves that

his embouchure works for him even though he is aware that others may tell him

otherwise

12



JACKSON MATHOD

fig15

Jackson Mathod is a new trumpet pupil of mine from Stretham in Cambridgeshire He

is 11 years old and has been playing the trumpet since the age of 8

Jackson was taught using the method book ldquoTeam Brassrdquo (R Duckett Pub IMP)

Jackson says that in his almost three years of playing he has never heard of or thought

about his embouchure he doesnrsquot think about his tongue or his diaphragm Sometimes

he thinks of his ldquotummyrdquo but usually he ldquojust playsrdquo his trumpet

Jackson enjoys playing tunes and does so at home most of the time with backing tracks

Because of his enthusiasm to play these tunes he often plays (incorrect) alternative

fingering in the higher register This is easy to do because in the upper register the

harmonic series are closer together

My observations of Jackson are that he has taught himself to play the trumpet even

though he has had a teacher Jackson enjoys playing the tunes so he has to pitch each

note even if they are too high for his ability He therefore has squeezed each high note

out of his embouchure using the pressure of his mouthpiece against his lips From the

13



photographs on the ldquoJackson photosrdquo page this is evident as he squeezes the higher

notes to the side of his embouchure

ROBERT DOMINGUE

fig 16

Robert is a member of the ldquoHatfields of Colchester Bandrdquo and Colchester Area Music

School Band He is 15 years old at the time of this dissertation and has been playing the

cornet and trumpet for approximately eight years Robert studied the tutor book ldquoLearn

as you play trumpetrdquo by P Wastall (pub Boosey and Hawkes) but learned to play by

listening to his teacher and playing along with him

Robert learned to play on the mouthpiece first progressing to the instrument after a

couple of weeks He is aware that he touches the mouthpiece first between his lips in

order to feel the aperture and he breathes in at the sides of his mouth Robert rolls in his

top lip and smiles at the corner of his mouth

14



Robert does not think about his tongue and tongue levels when he plays and says that

his teacher has not told him about it He doesnrsquot play higher lip slurs to increase his

range but uses lip slurs of a third for lip flexibilty

Like many brass band players Robert uses only the Arban tutor book (Boosey amp

Hawkes) This book gives a thorough grounding to any brass player and is extremely

difficult but it doesnrsquot help the player who wishes to increase his or her range Some of

my teachers have played only exercises from this book in my lessons but that was

before my embouchure began to work

Robertrsquos brother Philip Domingue tried to find a smaller aperture for his lips to work on

the cornet so he moved the mouthpiece to the sides of his lips He plays the cornet to

the left hand side because he couldnrsquot see the music If a player finds it hard to play a

note in the centre then they will try to play to the side Perhaps they should be on a

larger mouthpiece for a larger instrument as some people have embouchures which just

donrsquot suit the smaller aperture required for trumpet or cornet playing

15



CHAPTER III CASE STUDIES ndash DAVID amp SARAH MINCHIN

fig17

David and Sarah Minchin are brother and sister they are 30 and 31 respectively and

play the bass trombone tuba (David) and trombone (Sarah) Both of them have studied

at the Royal Northern College of Music in Manchester and been section leaders of the

National Youth Brass Band

Whereas David has played the cornet tuba and now bass trombone due to changes in

his embouchure and repetitive strain injury Sarah has always played the trombone

Sarah has not had any major problems with any aspect of her playing

Sarah learned about embouchures and her muscles only at music college She is aware

that her embouchure works well and that she rocks her stomach muscles up for higher

notes and down for lower notes (ldquotippingrdquo) and thinks of ldquogiving birthrdquo using her pelvicfloor muscles when playing higher notes She says that brass teaching is much more

difficult to do than string or piano ndash which she also teaches because ldquoyou canrsquot see the

insides of your pupilsrdquo You ldquoneed to treat yourself as an athlete as stamina is critical

for playing at a good levelrdquo

16



David is a brass teacher for the county of Cambridgeshire He began at the age of seven

with a local brass band on the cornet After realising that high his technique was

stopping his progress he moved on to the tuba at the age of 15 This was despite the fact

that he had gained Grade 8 at the age of 13 He felt that his face shape had changed and

his lips were too thick for the cornet

Even throughout Music College David says that he was not told about his embouchure

or his body The college was more interested in music and sound although brass players

on smaller instruments were often discussing embouchure changes

Since he has been teaching brass pupils David has thought more and more about player

problems He feels that beginner players need to think more about the adjustment of

their jaw and should open the space between the teeth more He tells his pupils to use

vowel sounds and to listen to the note that they are producing

David relaxes the back of his rib cage when inhaling and tries to open it forwards

backwards and sideways He uses a pivot technique for his jaw and uses lots of air He

advocates using the lip slurs of J B Arban ldquoCornet Methodrdquo (Boosey and Hawkes)

and reading James Stamp Warm-ups amp Studies published by BIM and John Ridgeonrsquos

ldquoThe Physiology of Brass Playingrdquo

17



CHAPTER IV CASE STUDY ndash TIM LONDON

fig18

Mr London is Head of Music at City of Ely Community School in Cambridgeshire and

studied the French horn at Huddersfield College of Music and at the London College of

Music Mr London is 49 years old and started playing the French horn at the age of 17

He began playing the cornet with the school brass band with a maths teacher who was

an ldquoenthusiast but not an expertrdquo He learnt within a section of the band Embouchures

were never discussed even at Music College (only by the trumpet players)

Breathing is the most important part of playing a brass instrument says Mr London he

also states that there are many pitfalls in French horn playing The horn is left - handed

whereas most people are right ndash handed the horn is a long instrument and is played in

itrsquos high part also horns are seated in the middle of each ensemble with bells facing

away from the audience These facts can be added to a larger list of factors that mean a

brass player has to build up their musculature to compensate

The seating position of a hornist is hampered by the left hand being held out from the

body this changes when the player is required to move their hand inside the bell called

ldquostoppingrdquo The left hand is used for fingering because before valves the right hand was

used in order to fill in the harmonies

18



Mr London says that the bottoms of the lungs have to expand greatly and that the

speed of the breath is more important than a smaller aperture for the higher notes

Bigger mouthpieces are used for a bigger sound in orchestras and horn players have to

play loud in order to be heard - the Schostakovich 5th Symphony is ldquoall breathrdquo Finally

he says that a change in embouchure is needed to get the lower notes combined with

power ndash something that horn players do but say that they donrsquot

CHAPTER V CASE STUDIES ndash JOHN MALAM amp STAN COOPER

fig19 fig20

Both John Malam and Stan Cooper both have much experience as trumpet players whilst

John has had embouchure and teeth problems Stan has had many years away from

trumpet playing They both have a sound technique on their instruments and understand

the theories behind brass playing

Stan is 71 at the time of this dissertation and played with the RAF Fighter Command

Band He started playing at the age of 14 using a silver band method He was not told how

to play and was given no books He has only in the last few years begun to take it seriously

19



He has told me of email lessons with Roddy Lewis of the TPIN and other Internet groups

from which he has learnt much

Stan says that Claude Gordon in his book ldquoLip Flexibilitiesrdquo states that the diaphragm and

not the stomach muscles are used as bellows Stan feels that this is wrong as he uses his

stomach muscles in order to play He feels that different methods are used by different

people with different bodies

John Malam Stan and myself play in the same ldquobig bandrdquo we hold similar views on brass

playing which helps this study immensely John is brass co-ordinator for the Thurrock

Music Service and former trumpet player with the Pasadena Roof Orchestra He is 43

years old and began playing at the age of 12

John started playing the cornet using the ldquoTune a dayrdquo book (Belwyn Mills ) He had no

real tuition and played in a downward fashion with a ldquobunchedrdquo embouchure but had no

major problems

At the age of 19 John says he became more serious and read about the pivot system This

means that the angle of the embouchure directs the air to the top and bottom of the

mouthpiece and manipulates the lips to find the different ranges He soon found that his

sound was full and relaxed

Whilst studying at the Leeds College of Music he was first chair in every group that he

could play in then he read Roger Spaldingrsquos book ldquoDouble High C in 37 Weeksrdquo and

increased his range

In 1991 John had 12 teeth capped whilst at Colchester Institute He now thinks about his

embouchure but lets his breathing do the work

20



CHAPTER VI WHAT THE EXPERTS SAY

Many books and theories have been written and studies made on and studies have been

made on the ldquoright wayrdquo to play brass instruments Some use technical exercises to

build up player deficiencies others use photographs and diagrams to describe their

theories

Most writers of books on muscles think that we should treat our bodies as athletes do

To train our muscles with repetitious rehearsal will ingrain in our memories the tasks

that our bodies have to cope with

Air it is agreed is the fuel for the engine of the brass player ldquoa car canrsquot run without

gasrdquo is one of Wynton Marsalisrsquo often used sayings

Arnold Jacobs the former tuba player with the Chicago Symphony Orchestra believed

that brass playing is 85 song and 15 wind and that we should hear the note and then

play it

ldquoWind is the energy source used to fuel the conceptual message of the song from the

brain His emphasis of Song and Wind shows how much importance Jacobs gave to

musical conception Study the product not the method Mentalize music by making

statements not by asking questions

(Freidrichsen 1996 p 138 ndash 139)

In his book ldquoSong and Windrdquo it is written that Jacobs thought that musicality can be

transferred to the listener with the air of our bodies He also thought that there was too

much written on the subject of playing

ldquoThe mind has the capability for a certain amount of information If the mind is flooded

with too many thoughts it will overload Concentration is lost and the note is missed ndash

caused by over-analyzing Jacobs simply calls this paralysis by analysis (Freidrichsen

1996 p 142)

21



The use of tongue vowel movements to change the air channel size and the diaphragm

or stomach muscle for support for the air the tutor book ldquoLearn As You Playrdquo states that

we should

ldquocheck that the tongue and diaphragm levels move slightly up when the notes ascend

and move slightly down when the notes descendrdquo (Wastall 1990 p21) also

ldquofor downward slurs use lsquoTEE-OOO-AAArsquo and upward slurs use lsquoTAA-OOO-EEErdquo

(Wastall 1990 p27)

Howard Snell in his book ldquoThe Trumpetrdquowrites

ldquoIn my view range and pitching on the trumpet are controlled by the modification of

the air stream as it passes through the mouthrdquo (Snell 1997 p75)

I like many other players and teachers have used both of John Ridgeonrsquos books ldquoHow

Brass Players Do Itrdquo and ldquoThe Physiology of Brass Playingrdquo He explains to us the way

in which muscles should be manipulated in order to work correctly He gives some

good advice

ldquoHigh notes if they are to be produced correctly are dependant on gradual muscular

developmentrdquo and ldquomake haste slowlyrdquo but warns that ldquo frustration and anxiety (after

rectifying an embouchure) symptoms more detrimental than the original physical

defectrdquo (Ridgeon 1975 foreword)

Warming up of the muscles is important before playing Ridgeon advocates a good

warm up for three reasons

ldquoCold muscles are inefficient

Embouchure and breathing muscle irregularities are instantly recognisable during the

lsquowarm-uprsquo

22



Correct muscle memories are developedrdquo Ridgeon 1986 p55)

Bobby Shew advocates teachers listening to their students and also to many other ideas

and schools of thought He also is of the opinion that ldquowe brass players are certainly

involved in a somewhat athletic-like activityrdquo in ldquoany kind of extended range playingrdquo

(Shew 1995 Windplayer)

Herbert Clarke states in his Technical Studies Book

ldquoRemember that a twenty story building requires a much firmer foundation than a

structure of only two storiesrdquo (sp) (Clarke 1934 p22)

The books ldquoThe Art of Brass Playing by Philip Farkas (Wind Music Inc 1962) and

ldquoThe Embouchurerdquo by Maurice M Porter (BampH 1967) both explore the physical ways

in which our embouchures should work The Farkas book uses as models people who

play at the highest levels whilst the Porter book looks in to difficulties and as an

example teeth problems

All of the books which I have studied show how the body should work Most students

however are in the hands of their teachers They need to be shown the ways in which

they can fix problems or should be made aware of all of the books and make up their

own minds

23



CHAPTER VII CONCLUSIONS

As a teacher I feel that I should make students aware of how their body works and what

their muscles are doing when playing a brass instrument In this way they can make

judgements themselves on the way that they and others play

I am careful though that I do not give my pupils information that will add to any

problem or in fact cause one I did not have any of this knowledge for many years of

my own playing Perhaps it would have helped me to think about myself and halt any

embouchure defects With so many experts on the subject of musculature in brass

playing it is hardly surprising that many brass players find themselves confused or

bewildered

Many players that I have interviewed tell of stories of good players going to music

colleges having to change their embouchures and ways of breathing This often results

in players getting ldquomessed uprdquo either physically or psychologically

The possessiveness of ldquoprofessionalrdquo players and teachers towards their perceived

notions that the method that they learned is a problem which I have encountered For

example I asked in a questionnaire about the use of the glottis to squeeze the air through

the air passage faster This was advocated by Scott Englebright who plays with the

Harry Connick Junior band Douglas Yeo of the Boston Symphony Orchestra replied

that ldquono professional player would ever do thatrdquo I later explained to him that many

professionals DID do just that and it worked for them

Air is the fuel of our playing our body is the car and the roads are the music If we

have a car which doesnrsquot work very well then we wonrsquot get very far or if we are short

of petrol then we also wonrsquot get very far

I feel that it is a teachers role to give their pupils all of the information available with

adjustments according to their needs Some of my colleagues think that a lot of the

material which is written on brass playing is ldquorubbish that sells booksrdquo Whilst others

24



embrace the theories and take from them the parts which could help them or their

pupils I am from the latter group

In my opinion we are all different and it is not possible that every method is equally

useful for every person Each of us has different physiological psychological and

perceptual habits This is why some methods only work for some people

25



GLOSSARY

Aperture The opening that surrounds the vibrations of the lip Rather like the aperture

of a camera

Bell The larger end of the brass instrument

Embouchure The position and use of the lips in playing a musical wind instrument

Diaphragm A thin muscular sheet separating the thorax from the abdomen It is

attached by the ribs at either side and the breastbone and backbone and a central tendon

Arching upwards against the heart and lungs the diaphragm is important in the mechanics

of breathing It contracts when inhaling moving downwards to increase the volume of the

chest cavity and relaxes at exhalation

Stopping The movement of the hand inside the bell of the French horn The hand fills in

the notes of the harmonic series by moving backwards and forwards

26



BIBLIOGRAPHY

Encyclopaedia Britannica (1999) DVD

Snell Howard (1997) The Trumpet Rakeway

Ridgeon John (1975) How Brass Players Do It Brass Wind Publications

Farkas Philip (1962)The Art of Brass Playing Wind Musc Inc

Freidrichsen Brian (1996) Song and Wind WindSong Press

Gray FRS Henry (2001) Grayrsquos Anatomy of the human body A Facsimile Taj Books

wwwbartelbycom (2002)

Porter Maurice M (1967) The Embouchure Boosey amp Hawkes

Wastall Peter (1990) Learn As You Play Trumpet amp Cornet B amp H

John Ridgeon - How Brass Players Do It (lip slurs)

Arbans Complete Conservatory Method for Trumpet Arban

Daily Drills and Technical Studies Max Schlossberg

Clarkes Technical Studies for the Cornet Herbert Clarke

Clarkes Characteristic Studies for the Cornet Herbert Clarke

Trumpet Isometrics Leon Merian

The Allen Vizzutti Trumpet Method Book 1 Technical Studies Allen Vizzutti

The Allen Vizzutti Trumpet Method Book 2 Harmonic Studies Allen Vizzutti

The Allen Vizzutti Trumpet Method Book 3 Melodic Studies Allen Vizzutti

27



New Directions in Tonguing James Burke

Transcendental Etudes Theo Charlier

First Book of Practical Studies for Cornet and Trumpet Getchell

Second Book of Practical Studies for Cornet and Trumpet Getchell

The Next Level Clint Pops McLaughlin

Trumpet FAQs Clint Pops McLaughlin

The No Nonsense Trumpet from A - Z Clint Pops McLaughlin

Advanced Lip Flexibilities Charles Colin

Courting the Upper Register - An approach to High Trumpet Playing

through Melody Michael Stewart

Total Range Charles S Peters

INTERNET LINKS

httpabelhivenotrumpetgordoncgordonhtml

httphomeflashnet~screechtrumpet3html

httphomeflashnet~screecht6scotthtml

httpwwwkanstulnetmpcJNComparehtm

httpcommunitiesmsncomTragerTrumpetTalk

wwwtexasbrasscom

httprousesnettrumpettrumpet_weightshtml

wwwtrumpetsoloistcom

28



httpcgiebaycomaw-cgieBayISAPIdllViewItemampitem=1401590893

wwwtrentaustincom

httpwwwflashnet~tigerlewinformationhtm

httpwwwjamesmorrisoncom

httpwwwgeocitiescomBourbonStreetDelta8357

httpwwwmp3comEricBolvin

wwwsuper8filmmakingcommaynardhtm

wwwMusicRommcom

httpwwwemichedupublicmusicwptrumpet97html

httpwwwmcnaughtancom

httpwwwtrumpetguildorgitgyouth

httpwwwtrumpetplayernetfs

httpwwwgeocitiescomBourbonStreet3319trumpethtm

httpwwwBbTrumpetcom

wwwgeocitiescommauricios26

wwwtwohornscom

wwwboptismcom

wwwR-o-d-d-y-T-r-u-m-p-e-tcC

wwwgeocitiescomViennaStrasse7826hayniehtml

wwwdescargacouk

wwwgeocitiescomcblock7

wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom

httpabelhivenotrumpettpinMessage_from_Bobby_Shewhtml



Approved by ____________________________________________________

Chairperson of Supervisory Committee

__________________________________________________ __________________________________________________

__________________________________________________

Programme Authorized to Offer Degree_______________________________

Date __________________________________________________________

ii



ACKNOWLEDGMENTS











iii



ABSTRACT










the only way




perceived knowledge






iv






their instrument

v



OUTLINE













vi



CONTENTS


Introduction 1















vii



LIST OF FIGURES

Number Page1 3

2 4

3 4

4 4

5 4

6 5

7 5

8 5

9 6











viii



INTRODUCTION





and not for others
















up

1











2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




ACKNOWLEDGMENTS











iii



ABSTRACT










the only way




perceived knowledge






iv






their instrument

v



OUTLINE













vi



CONTENTS


Introduction 1















vii



LIST OF FIGURES

Number Page1 3

2 4

3 4

4 4

5 4

6 5

7 5

8 5

9 6











viii



INTRODUCTION





and not for others
















up

1











2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




ABSTRACT










the only way




perceived knowledge






iv






their instrument

v



OUTLINE













vi



CONTENTS


Introduction 1















vii



LIST OF FIGURES

Number Page1 3

2 4

3 4

4 4

5 4

6 5

7 5

8 5

9 6











viii



INTRODUCTION





and not for others
















up

1











2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom







their instrument

v



OUTLINE













vi



CONTENTS


Introduction 1















vii



LIST OF FIGURES

Number Page1 3

2 4

3 4

4 4

5 4

6 5

7 5

8 5

9 6











viii



INTRODUCTION





and not for others
















up

1











2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




OUTLINE













vi



CONTENTS


Introduction 1















vii



LIST OF FIGURES

Number Page1 3

2 4

3 4

4 4

5 4

6 5

7 5

8 5

9 6











viii



INTRODUCTION





and not for others
















up

1











2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




CONTENTS


Introduction 1















vii



LIST OF FIGURES

Number Page1 3

2 4

3 4

4 4

5 4

6 5

7 5

8 5

9 6











viii



INTRODUCTION





and not for others
















up

1











2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




LIST OF FIGURES

Number Page1 3

2 4

3 4

4 4

5 4

6 5

7 5

8 5

9 6











viii



INTRODUCTION





and not for others
















up

1











2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




INTRODUCTION





and not for others
















up

1











2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom












2





found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom






found in appendix 1














my chin

fig1

3



fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




fig2 fig3

fig4 fig5

4



fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




fig6 fig7

fig8






increased






5










Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom











Fig9



6

















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom


















togetherrdquo



Dyke



breathing




7





multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom






multiple tonguing








dynamic required

fig10

8



fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




fig11



Fig12 fig13




9










muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom











muscles

10




CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom





CHRISTOPHER PANNELL

fig14





Great Britain








11











Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom












Pannell)






otherwise

12



JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




JACKSON MATHOD

fig15















13





ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom






ROBERT DOMINGUE

fig 16










14

















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom


















15




fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom





fig17














16




















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom





















17




fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom





fig18

















18










fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom











fig19 fig20








19















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom
















major problems







increased his range



20







theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom








theories








play it












1996 p 142)

21





we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom






we should




(Wastall 1990 p27)







good advice









lsquowarm-uprsquo

22



















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




















own minds

23












bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom













bewildered

















24








25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom









25



GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




GLOSSARY


of a camera










26



BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom




BIBLIOGRAPHY



















27














INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom















INTERNET LINKS






wwwtexasbrasscom



28




wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom





wwwtrentaustincom






wwwMusicRommcom






httpwwwBbTrumpetcom


wwwtwohornscom

wwwboptismcom



wwwdescargacouk


wwwbrasstacticsnet

wwwjazztacticscom

wwwchasesanborncom

Brassrxaolcom

wwwthebrassbowcom

wwwtrumpetgeorgecom

wwwkindadixiecom


musculature playing farkas

Documents