The Terror & Thrill of Horn Playing

I think every horn player can identify with the sentiments my friend, Doug, recently shared with me in a spontaneous and unsolicited email.

Valerie,

Our Castle Rock Orchestra had a Christmas concert today. . . The concert was great fun, and if you recall, I was principal. What made that remarkable was that I stewed about it for several weeks. I practiced everything that mattered. I practiced fingerings, I thought about phrasing, dynamics, articulation, and intonation. And I psyched myself up, so determined to play as well as I could.

Today arrived, concert day. Yikes! I tried to avoid thinking about what it meant not to do this well, and I stayed just this side of being really nervous. I turned that wonderful corner where nerves turn into determination and concentration, and adrenalin is your friend. Of all the things I thought about, there was one thing I never thought about. The one thing that it most depends. I never gave a single thought to my chops.

After a year of BE, and weeks of practicing those parts, I never questioned whether or not I could slur up to a high A and hit it cleanly. I'm not saying I didn't chip any notes, but I hit all those high A's as clean as a whistle!

I had several thoughts occur to me as the concert went on. The first was, "What a fool I was to quit playing for all those years." The second was, "This is where I really belong, it doesn't get better than this." The third was about what a stretch it is for me to be playing these first part solos and that I had to bring everything I knew. And finally it cocurred to me that if you're lucky enough to be a horn player, then you're lucky enough.

I'm close to a year past discovering BE, corresponding with Jeff, and exchanging the first email with you. What a year of discovery it's been! I've never been bungee jumping, but I don't believe it could hold a candle to playing the horn, either for the terror or the thrill. I wouldn't trade any experience on earth for the thrill of playing the horn this afternoon. I don't think I have the words to describe it. It's that feeling deep down inside that something came into your life and made such a huge impact, that you wonder how you could have accomplished something so personally meaningful if you hadn't been touched in that way. . . I couldn't have risen to the challenge today without it.

Joyful Christmas to you and your family, and God bless you and yours for all that you do.

Doug
Doug's testimonial

Unconscious Control

Here's a new comment to an older post. Thanks, Kenny.

A lot of playing the trumpet is controlled by the subconscious. Think about it for a moment - if we had to have an aperture setting of .015 of an inch high by .015 of an inch in width with 4.7 psi of air pressure and lip compression of .0025 pounds to achieve note X - how could we possibly do this? We could not. It would be physically impossible. We do not posses the conscious control over our bodies in this extreme. Only the subconscious mind can control things on this level. It's like picking up a glass of water. You don't think about how much grip the fingers must exert or how much lift your arm must provide - it just happens because we let it happen. It is learned through feel as there was a time when you were a toddler that picking up a glass of water (or tying your shoes) was quite a challenge; yet we now perform these task on a subconscious level. Thus the reasoning behind Jeff's method - the exaggerated extremes of RO and RI kind of sets where the stops are. Once your mind conceives these stops it then tries to refine the whole range of motion to find ones particular balance point. Some people may have a natural balance that falls in the motion exerted in the RO, some will have it to fall within the RI, some it will be somewhere between. The old saying - get out of the way of the horn and let it play - has merit. Our body wants to achieve the sound concept that we have in our mind if only we will let it.

Kenny Clawson
By clawsonk on I don't get it. on 11/29/10

A Music Therapist's Perspective

From Lyle Sans, Music Therapist

Hi, Valerie - Since leaving that comment over on Horn Matters, it's dawned on me why Jeff's method is so appealing to me as a music therapist. All the neuroscience that's coming out points to how there's all kinds of things going on simultaneously when we make music, and Jeff's book does a way better job of addressing all the different things going on than any other method I've ever encountered. Plus, he respects the student enough to lay out the tools and approaches and let the student find their particular way. Here's a post I did when I first realized all this. http://registeredmusictherapist.blogspot.com/2010/10/jeff-smiley-neuroscience.html

Also, was delighted to see the note down below talking about the F horn. I spent most of the summer (when community band was on hiatus) just on the F horn, just trying to get the best tone I could on the octaves on either side of middle C. It's made all the difference in my playing. Sort of going back and making sure I was walking really well and naturally before returning to the leaping and running involved in 1st horn parts. And I discovered I prefer the tone of the F horn to that of the Bb, maybe because
somehow I think it resonates more in my upper body. So that note down below
was validating.

By Lyle Sanford, RMT on "Horn Matters" Linked My Blog - Wow!
10/24/10

testimonial

One Year on BE, a Cheery Update

I love getting emails like this:

Valerie!

Just wanted to give you a one year update on my progress. BE has truly changed my playing for the better and while I was also one of those "freaks" that saw immediate improvement, my playing continued to improve throughout the past year of doing the BE exercises. Even though I was able to perform at a relatively high level prior to BE, I always struggled with endurance issues and good and bad days and had to use separate embouchures for regular playing vs extreme upper register work. Now my playing is much more consistent and my balanced embouchure allows me to play low to high to extreme without changing my embouchure. My endurance is so much better that it almost feels like I'm cheating sometimes! haha.

I can just imagine if I had started BE earlier and think it's almost a crime that BE isn't taught to more beginners and students to maximize their potential faster. There would certainly be alot less brass players quitting out of frustration if they had only tried BE from the start!

Ron

In a few years, Ron will be even more pleased with his progress. The improvements will continue. BE is dynamic system that keeps on giving for years to come.

"Horn Matters" Linked My Blog - Wow!

Dr. John Ericson has posted an article, "Joy on The Balanced Embouchure," featuring Andrew Joy. He's also linked my humble blog. And please note Lyle's excellent comments. http://hornmatters.com/2010/09/joy-on-the-balanced-embouchure/

It's thrilling to know that I'm part of a movement that's helping hornplayers get more satisfaction from playing their instruments. It is also thrilling to see BE recognized by a respected horn professor with a very popular blog. (Wow!)

Back in March of 2007, when I made my first awkward attempts to introduce BE to the horn world, I was met by a surprizing amount of opposition. I'm glad to see hornists from all over the globe embracing BE in spite of my awkward publicity efforts.

Congratulations to all of you who bravely went where few hornplayers had gone before! (I'm hearing the Star Trek them in my mind!) Thanks to Dr. John Ericson, Andrew Joy, Lyle Sanford, and Steve Park and all my BE friends for your contributions and continued support to the BE movement. But, most of all, my heart felt gratitude goes to Jeff Smiley for developing and publishing The Balanced Embouchure.

The progress of The Balanced Embouchure in the horn community demonstrates the power of the BE message.

Warm regards, Valerie Wells

BE for French horn Poster Child!

I just received this email from Keren in Sydney. Keren's experience in her first two weeks with BE is as close as can be to being text book perfect. Keren could be the BE for French horn poster child! Here is her testimonial:

Hi Valerie

Just thought you might like an update on how things are progressing.

It's been just over two weeks since I received the BE book - I've been practising pedal notes & lip clamps/squeaks every day and all of a sudden just now I've noticed some progress - When I picked up my horn today I suddenly found I could hit a high c - not just one - but over and over and without all the mouthpiece pressure. So I am thrilled! I just hope that it works tomorrow too!

I could already play the pedal notes quite easily - but the roll in embouchure was a
challenge - For two weeks I've been making primitive airy erratic squeaks (Goodness knows what the neighbours think) Very occasionally, out of the blue, I would hit a high note which felt good - but I could never repeat it. I kept re reading the book and the BE info on the internet was very helpful too. Anyway the persistence seems to be paying off. I've noticed that air pockets seem to make the big difference for me - it was helpful to see the youtube videos on the trumpet teacher website of players with big air pockets.

So now that I can hit the high notes I need to try and tame them - also my head has to get used to all of this - I get very lightheaded and headachey when I play the high
notes. Lip clamps are a good exercise to do while driving - but lip squeaks make me too giddy - so I thought I better be careful with those!

Anyway - now that I can play high notes with the roll in embouchure I'm looking forward to working on the exercises properly.

I'm so glad I stumbled across BE on the internet. I'm very impressed with how well the book is written - How precisely it describes the mechanics of working out your own effective personalised embouchure - I'll certainly be recommending it to any brass players I know.

Thanks for your help - I'm enjoying the feeling that high notes don't have to be a no go zone anymore!

Kind regards

Keren

Love Stories

Most of the comments I post on this blog are related to honists' success in overcoming the technical aspects of horn playing. The following two messages are little different. These unsolicited comments were sent me in emails expressing tender feelings of why the writers study the horn.

The first is from Doug Wagner who has a professional background in low brass, but now pursues the illusive horn tone with passion.

I think it was Barry Tuckwell that wrote that the F side is very inefficient in terms of the way the instrument is built. Somehow the physics of the instrument make it more difficult to create a centered tone that can be played without danger of splitting and chipping, BUT --- that's what gives the instrument its great sound. I'm working more and more on the F side because the sound is so much better in the low and middle ranges. In some cases, I play on the F side even into the higher register, because there is a subtle but very real difference in the tone quality. For many years, I wrote arrangements that featured the horn because I loved the sound so much. As a player, I'm constantly striving for that great horn sound. When I make it, it is such a thrill!

The horn is the greatest instrument ever. It stands to reason that it would be more difficult than all the others, otherwise anyone could play it. And even though I know I'll never be the master of it, the joy is in the pursuit. And every once in a while, it's just pure magic. When I create that gorgeous sound, even for a moment, it's what keeps me going.

Last Sunday [my two children] and I played an arrangement I wrote at a recital. What a great time we had! The piece was well received and we had fun. It was such a thrill to play with my kids! What fine young persons they are. My proud Poppa buttons were bursting! It was worth every agonizing minute I have spent wrestling with the horn, all the times of self doubt and discouragement just to be able to play competently along with my kids. There is a tremendous thrill at seeing my children grow into young adults and excel at something I have loved so much.

I let music go for a long time because I burned out. Now that I've re-kindled, it's even more fun. I'm listening to music again and finding more enjoyment than ever. What a marvelous thing to experience. I loved [my daughter's]answer when I asked her if she wanted to major in music. Her reply was, "What else would I do?"

Indeed.

Doug

The second quotation is from Larry Jellison, a retired engineer who returned to his childhood sweetheart, the horn, a little over 10 years ago.

Hi Val,

Just checking horn playing on Youtube, came across this performance. ... I could guess the shape of the horn bell by listening. It is a medium belled horn. The recording is enhanced with some reverb. He is able to play high without becoming shrill. I admire this recording, because it focuses on what horn playing should be-- total beauty of the sound of the horn. I'm encouraged that one thing musicians like us can do is achieve an incredibly beautiful horn tone. I had just finished listening to Mason Jones on the Internet play Chabrier, using a large belled horn. Much
different sound, yet still total beauty. I think Mason played an 8D.
Articulation becomes different with a large belled horn, more difficult, but the
challenge is to find an articulation that stays true to the characteristics of the horn without sounding sluggish.
Titanic:http://www.youtube.com/watch?v=Wek4b4pfPjI&feature=related
Mason
Jones:http://www.youtube.com/watch?v=O-36ynieLPw

Larry