Category: Euphonium

Fingering For Brass Players

~ wilktone ~ Leave a comment

While trombone is my primary instrument and it’s been a while since I’ve seriously doubled on any other brass, I’ve been thinking lately about fingering issues after doing a “guess the embouchure type” post of trumpet player Giuliano Sommerhalder.  One of the things I noted about the video I used for that post was that Sommerhalder doesn’t place his finger tips on the valves, but instead places the second digit of his fingers over the valves.  Even though this isn’t what is traditionally taught for fingering technique Sommerhalder is obviously not slowed down by this.

Coincidentally, I’ve recently come across a couple of articles online about fingering that comment on these things.  A friend of mine from grad school at Ball State University, Dr. Adam Gaines, wrote a short article for Blessing Brass called There Are Only Three Valves.  In it, Adam notes: Continue reading “Fingering For Brass Players” →

Brass Embouchures: A Guide For Teachers and Players Take 2

~ wilktone ~ 10 Comments

Here is a cleaned up version of my 50 minute video presentation called Brass Embouchures: A Guide For Teachers and Players.  While I’ve had this presentation up on YouTube already, I had to split it into 6 parts when I initially posted it.  Later I tried to post it in a single video, but the audio and video didn’t sync up towards the end.  This time I believe it should work just fine all the way through.

The Double Buzz

~ wilktone ~ 11 Comments

It’s a common enough experience. You’re happily playing away when suddenly your tone splits into two different pitches. Usually it’s only a simple missed attack and you can instantly correct and hold the pitch stable. Sometimes this happens around a particular note and starts to get impossible to hold the the pitch without the tone splitting. It might even get to the point where you’re so worried about this that every time you get to that pitch you mentally or even physically flinch, which just makes the problem worse.

Having had this problem myself a couple of different times I can really empathize with brass players who are having this trouble. Not understanding what exactly is going on can make it challenging to figure out what to do. Sometimes the solution that seems obvious only makes things worse and sometimes it goes away on its own, only to come back later.

While I’m sure there are many possible culprits, in my experience a double buzz is likely to be caused by one of the following scenarios.

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Rebooting Your Breath

~ wilktone ~ 1 Comment

Have you ever felt nervous just before a very important performance?  Have you ever felt so anxious that you literally couldn’t catch your breath as you started to play?  It’s so tough to stop that “fight or flight” breathing once it’s started, because it’s a natural biological response.  It also makes it harder to play a brass instrument.

Sometimes taking a few deep breaths can do the trick, but it can help to “trick” your body into resetting your breathing patterns.  I’ll sometimes do this short exercise just before stepping out on stage and have given it to a lot of my students who get nervous just before performances or juries.  

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A Euphonium Embouchure

~ wilktone ~ 3 Comments

YouTube user “Suiram1” has uploaded a video of his embouchure.

Suiram1 asked if I had any comments for him.  It’s a pretty short video, and it’s very difficult to diagnose or suggest anything without being there in person, but I thought I’d point out some things I notice.

First, his embouchure is definitely one of the downstream types.  If you look closely at the lips when he’s playing in the transparent mouthpiece you can see this.  There’s more upper lip inside so that lip predominates and the air strikes the bottom of the cup.  This is more common than the upstream embouchure type.  

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Embouchure Misconceptions – Five Myths About Brass Embouchures

~ wilktone ~ 21 Comments

If you look around at a number of different resources for brass players and teachers you will notice that while there is a general consensus on topics such as breathing, there is a lot of contradictory advice on brass embouchures.  In the above video I look at five commonly held myths about brass embouchures.

1.  If you want to sound like a famous player you should use the same embouchure as that player.  If you want your students to have a well functioning embouchure, they should use the same embouchure as you.

Most players and teachers seem to feel that the embouchure that works well for them personally must be the correct one, so they instruct others to play similarly.  Sometimes students who emulate a famous player believe the key to sounding that good is to adopt the same embouchure as that player.

The trouble with this logic is that everyone has a different face and what works well for one player doesn’t for another.  There are examples of successful brass players with very different looking embouchures.  A one-size-fits-all approach to embouchure development will be successful if you or your student happens to have the anatomy suited to that instruction, but others will fail.

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A Brief History of Brass Instruments

~ wilktone ~ 11 Comments

What is a brass instrument?
Before getting into the history of how brass instruments and brass music originated and developed it is necessary to be clear on what a brass instrument actually is. A brass instrument is defined as an “aerophone,” which means it is an instrument where the musician must blow air into the instrument. The musician produces the tone by buzzing the lips into what is generally a cup-shaped mouthpiece. It doesn’t mean that the instrument is necessarily made of brass, since instruments that are made of other metals, wood, horn, or even animal bone are included in the family of brass instruments. Likewise, other instruments that are made of brass or metals, such as the flute or saxophone, do not constitute members of the brass family of instruments.

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Embouchure Dysfunction: An examination of brass embouchure troubleshooting

~ wilktone ~ 39 Comments

In the above 2 part video I discuss five unique case studies.  Each of these five brass players has some issues in their embouchure which correlate with some noticeable embouchure features.  I try to show how making corrections in their embouchure form, using basic embouchure types as a guide, may lead to improvements in their abilities to play.

There are a few points I wanted to address with this video. The first was to show that the embouchure is an important part of any brass player’s technique, and is not something to be ignored.  Even very successful performers at the peak of their career can suddenly develop embouchure dysfunction.  Traditionally, brass pedagogy takes the approach that it’s best to disregard the embouchure and focus instead on breathing and musical communication.  Since all of the subjects in my video, and most likely in all the other research I’ve read about the topic, were ignorant of their basic embouchure characteristics they were unprepared to accurately determine what precisely was causing their troubles.

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The Three Basic Embouchure Types

~ wilktone ~ 26 Comments

When looking closely at a large number of brass player’s embouchures certain patterns emerge, irrespective of the player’s instrument or practice approach.  Using two universal features of all brass embouchures, the air stream direction as it pass the lips into the mouthpiece and the pushing and pulling of the lips and mouthpiece together up and down along the teeth, it’s possible to classify all brass embouchures into three basic types.

Since each of these three basic embouchure types function quite differently from each other it’s important for brass teachers to understand them, as different types respond to the same instruction in different ways.  Understanding what proper embouchure form is for each type will help teachers guide their students more efficiently and also understand when a player is playing on an embouchure that isn’t appropriate for his or her anatomy.  When confronted with a serious embouchure dysfunction it can help teachers discover the real cause of the troubles and how to best go about correcting them.

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