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davewerden

For Advanced Brass Instruction... Sing a Hymn

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Sometimes I quiz a group of players in a master class or studio and ask them why they are "here" (at the university, event, whatever). Typically the first answers have to do with learning to play euphonium or tuba better. Then I try to lead them to my preferred answer - we want to learn how to play music better.


My own teaching style sometimes relies on having students listen to other instruments or vocalists. This is critical to improving our skills. Euphonium artists, even the best of the best, don't have all the answers about making music. We will benefit from broader listening.


In a discussion with Brian Bowman many years ago, he said, "It's a funny thing - a euphonium sounds really nice at middle volumes, but it is quite difficult to play very softly and quite difficult to play very loudly." That nicely sums up one of the barriers to making fine music on the euphonium. We have to work and work to widen our dynamic range so we can respond to the needs of the music we wish to play. But there are other barriers. The non-directional characteristic of the euphonium can make clarity difficult, for example.


In my opinion, the largest barrier we have to making the best music we can is that we limit our concept of music if we listen carefully to only euphonium or even to only brass instruments. So I have my students listen to string players and vocalists. String players have a very long tradition of technical prowess and musical beauty. A violin is much more facile than a brass instrument and is capable of a few other expressive "techniques" that are not convenient on brass. In addition, string players just plain think differently than most brass players. When they start to learn a piece, they play will full musical expression right from the start and gradually work out tough passages. When most brass players start to learn a piece, they do a cursory run-through and then begin to woodshed the tough passages. For brass players, the musical expression comes along more gradually. (These are general observations - you mileage may vary!)


An even more interesting lesson can be learned when listening to vocalists. In addition to not having the constraints of a more-or-less fixed 12-tone chromatic scale, they also have a natural focus on making the lyrics work. Some of their expression comes not from the shape of the notes, but rather from the "needs" of the words. They emphasize certain syllables or change the tempo subtly in order to let a syllable fully sound. We don't have the same reason to do that on brass instruments... or do we? We often play vocal music, although this sense that some notes need more emphasis is not limited to vocal music.


First, consider the case where you are playing a song that is well-known, such as Danny Boy. Chances are most of the audience will know the words and will be thinking them as you play. Wouldn't you want to play in a that makes the "mental-singing" experience of your audience more natural and enjoyable? Even when performing a vocal work that the audience doesn't know, you may find that following the words (and meaning!) in your mind will enhance your playing. And there is a good chance that the composer integrated the words and the flow of the line as one entity.


Recently I have realized that I was not singing the hymns at church with much value. I was mostly focused on the notes (especially when trying to sing the bass line) and making sure my pitches were correct. But then I started trying to actually sound good! I pronounced the words in the same way I would try to say them if I were reading scripture that day, with the proper emphasis and care of syllables, and with the proper shape of the words, not just the notes. It did amazing things for my awareness and has carried over to some extent into the rest of my playing. (And it helps me appreciate some of the great words and meaning in some of these hymns!)


Ah, but the lesson does not stop at just musical expression. I learned there is a parallel between singing and euphonium construction. That's an odd statement, isn't it?


Many of us have heard choir directors scold their singers to keep their mouths open wider. This creates a larger chamber for the sound to resonate (for better tone) and lets the sound project better. So I am trying to do that. Much to my surprise and dismay, I learned that controlling the pitch is more difficult when I open my mouth wider. Or maybe it's not more difficult, but just needs a different approach. I need to support the tone enabled by my open mouth and "feel" the tone. Then I let the pitch ride within that tone, which seems to do the trick. In any case, I have to focus on pitch more carefully. I think many brass players run across a similar thing when switching to a larger-bore instrument. If they don't properly support the larger horn with more air, they will have more trouble controlling the pitch. Playing a smaller horn is just easier, even though it is harder to really project with a quality tone. Similarly, singing with my mouth less open is easier, as long as I don't care greatly about good tone and projection.


So the next time you sing in church or other worship service, or even when you sing in the shower or car, treat the words the same way a good singer would. Go for a quality tone. Get some resonance and projection. You may be surprised at some of the side benefits!

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