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Exceptions Of course, there are the remaining ten percent who actually benefit from opening things up or adding to the overall volume of the equipment set up. These are the exceptions rather than the rule. There are 2 cases where the player may legitimately look to add onto the volume of their current set up. The most reliable indicator is the pitch in the upper register. If a player has no apparent embouchure flaws and plays comfortably into the upper register, but the intonation flattens off, in spite of the tone being clear and open, and with no audible drop in the speed of the air, the chances are that not enough air is moving fast enough and that the bore of the mouthpiece needs to be opened. Case number two is the player who feels that no matter how hard they are blowing, they just do not get enough volume (decibels). This is a situation that will absolutely be corrected by going to a larger set up. In both cases, the verifiable evidence that going larger was the right thing to do is that the tone will brighten. This means that the air is moving faster! This is also the reason that certain players, going to a larger back bore, that has been described as offering a "Dark, Symphonic Sound" will actually experience a brightening in their sound. They are able to put more air through faster in a larger space. The larger area did not slow the air for them (producing a darker sound). Instead, the greater volume released the air, quickening the velocity and brightening the sound. The Rehabilitation Process...or Back from the Brink! The biggest problem I face when attempting to rehabilitate a player who has fallen prey to continually adding to the internal volume of their equipment is that a change to the mouthpiece alone is not enough. The maxim that "the mouthpiece forms the player" is too true for good and for bad. In the case of the player who has been working with equipment that does not offer him enough resistance, the poor and counter productive habits that he has "reped" into the body over many years of practice must be dealt with, not only with new equipment that will shift the balance of the resistance, but also with new and powerful concepts that will allow him to use his internal mechanisms in a proper and constructive manner. The old playing techniques will not work on more efficient equipment. In fact, as we have shown, the old playing techniques have been working their way towards undermining solid performance foundations over time. The "short term fix' that the player experienced every time he went larger was simply allowing him to get away with increasingly counter productive habits. Long term he has no where left to go because the tongue and chords are so completely crushed down that he has very little left in terms of usable register in which to play. The upper register has collapsed as has the bottom register. In the upper register it is painfully obvious that there is no air coming out. No velocity, no vibration, no sound, no range! In the bottom range the tongue has become so accustomed to being placed so high up that it acts as a kind of bulwark in stopping the flow of air. If you ask this player to play any low note loudly, the problem is magnified to a ridiculous extreme. Nothing will come out! They are often extremely proud of themselves, thinking that their inability to get even low notes from a tighter mouthpiece demonstrates what "hard core animals" they are. The problem with this thinking is that the players who are doing the loudest and highest playing with the most extreme endurance rarely use anything near what these poor victims have been lead into using. Doing the Work
Retraining the tongue to funnel the air towards the front of the mouth can be a difficult process. For players who have large, beautiful tones, but experience difficulty going into the upper register, the solution can be as simple as correcting any wild imbalances and misfits in terms of the inner diameter they may present in their equipment and then introducing them to more positive air flow techniques. Raising the tongue in the front of the mouth acts to compress the air, creating the velocity to vibrate the lip and go easily into the upper register. The player with a good sound simply needs to use the new technique to extend that sound into the upper register.
Fig. C The tongue bring raised in the front of the mouth I have seen many a player who knows, intellectually, that this is the way that they should be playing, but because they have been using a mouthpiece with an overall internal volume that was too great for them to manipulate, just going through these motions yielded no results at all for them. They may have already spent years in the struggle between the tongue moving back on them without the ability to gain control over it. Without ever having the experience of how it feels when things work properly, they have no way to practice proper technique. Instead, they have to believe that what they are doing is all there is. "Bumping" these players into the experience of how easy it can be to accelerate the air in an efficient manner is one of the most gratifying aspects of the work I do. On the other hand are those players who, because they have had to crush down the inside of their mouth so severely all the time, have never really produced a full and vibrant tone in their entire playing life. They have never actually heard the natural ring of the instrument. When this is the case, the player loses out on having one of the most valuable tools any brass player can have in trying to master the instrument. Staying in the center of a resonant, full sound is the most self correcting mechanism and very best teacher a player can have. The player with a "crushed sound" has no natural pitch center of the instrument to help guide them. Instead, every other note is twisted and manipulated to the point where what comes out is usually some curious affectation of what the instrument should sound like. In these cases, problems are greatly magnified as one first needs to take the player through the steps that will allow them, for the first time, to hear and feel what proper tone production is like. In these cases, just getting the player to recognize the feeling and the sound enough to know where to go back to is a major "bump." All this can be pretty tough work, but the satisfaction of seeing a player performing with ease and comfort for the first time in their lives is fair compensation. They never knew it was supposed to be fun! Fine Tuning For the player who has consistent tone production and is adept at properly manipulating the air, the various elements of the mouthpiece can be tweaked to either speed or slow the air to produce different qualities in sound and response. Everyone works with compromises between efficiency and artistic goals in sound production. How far one can go towards darkening the sound should be restricted by how well one is able to balance the other aspects of fine playing, (ie., attack, tone color, ability to play long phrases, intonation, response) not just treated as an end unto itself that throws every other aspect over board to gain supremacy. Likewise, players with especially brittle, edgy or small, bright sounds usually can afford to take on a bit more in terms of volume to help ease some of these undesirable characteristics. Intelligent use of integral equipment...what a concept!
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