All of us want better tone quality for ourselves or our students. Players and teachers are being judged constantly on the sound of their students or ensembles. Lets face it, TONE is the first thing people talk about after hearing someones playing. Its all about the sound! One can forgive some missed notes if the sound is amazing.

What is an easy way to see quick results?

That’s a trick question! There is no easy way. Everyone wants a quick fix. Just switch to this mouthpiece or change to this instrument. There are so many articles and posts about secrets to high notes and secrets to tonguing faster. There really is no substitue for individual time spent on the instrument, but while spending that time, students must know what to think about in order to improve their playing.

If there are no other thoughts running through the student’s brain when they are playing their instrument, they will sound like they always have sounded. Instead, we need to fill our minds with the thoughts and sounds of professional players that are playing and performing at the highest level. I consistently tell my students that the number one way to improve your sound is to intentionally listen to fantastic professional players. Why do we start talking with the same accent of the location we live? Why do we say certain phrases like our friends when we hang out together often? We just pick it up. More is caught than taught!

What are professional players thinking to play so well? 

These are five thoughts that I use consistently and have gained from professionals including but not limited to Philip Collins, Dan Zehringer, Charles Decker, Kurt Dupuis and Winston Morris. I have taken their advice and formed my own thoughts to help young musicians improve what they are thinking when they are playing.

Clear – Simply put, thinking the word CLEAR. I like to offer the thought of a very still placid lake, early in the morning with out a single ripple, standing on the bank seeing to the bottom. With that single thought in mind, I have them play. Clarity is a simple thought more than an analytical approach to embouchure. (in most cases)

Centered – This is always tough to get because the center of the brass sound is small. I usually draw a bullseye and show the students what happens when you miss slightly above or below the bullseye. I challenge them to think about nailing the bullseye in their mind. Not only that, but the center to the sound has a slight “buzz” running through it. We start by playing with a big volume against a wall to hear the buzz or lack thereof. Then, closing the eyes, we think about nailing the bullseye and hearing the buzz.

Bright/Colorful – This one is particularly tough for low brass players. Low brass players are constantly thinking “dark”. While this is not a negative thought, generally the darker the colors the less resonance or ring the sound has. Instead, think about bright/primary colors like red, blue,yellow, etc. This thought can change a person’s sound almost immediately. I have heard students with airy, closed, dull sounds turn it around immediately by thinking about a brighter color. There is a time and a place for dark tones, but the majority of the time bright primary colors are the most resonant.

Resonance – If a student can nail clarity and centered they will most certainly gain the resonance. Resonance is the ring that stays with the sound. The more colorful, clear and centered a sound, the more resonance it will have.

Projection – This is the effortless thought of pushing your sound easily and quickly through the instrument and immediately affecting the listener. In order to get the sound to project, I have the students think about blowing the instrument away from them. We start the sound with a breath attack and think about the air blowing freely from inside the body to the listener across the room. If a student is accomplishing clarity, centered and bright/colorful, projection and resonance happen naturally. One should not force, but think about being in a constant state of relaxation.

Having correct thoughts of the end result is generally better than flooding a players mind with analytical embouchure thoughts. Sure, there are times this is necessary, but if a student has a good fundamental “setup” try changing their brain instead of their embouchure. These thoughts can transform an individual coupled with daily listening of professional players.

Check out more information on the Brass Academy page if you are interested on this or other clinics for your high school brass musicians.

Can you tell the difference when listening to a student or an ensemble, or watching a winterguard that is well-trained vs. one that is well-rehearsed? Is there any difference in the end product?

Do the students get the same level of education with each philosophy?

When judging different events during the year, I always ask myself the question: “Is this group/student well-trained or well-rehearsed, or both?” There are many similarities but the differences are glaring to educators who have their philosophies wrapped up in the “main thing.” So, which one is right? Which one is the most beneficial for the student? Is one better than the other?

Well-rehearsed groups/musicians can play a piece of music very well and can perform and execute at a pretty high level. They have been rehearsing the music/routine for the performance for many months and “have it down” thanks to the instructor who has spent countless hours rehearsing them. They spend less time rehearsing basics and fundamentals and more time rehearsing pieces for performances. They go through the motions without thinking much as the rehearsals have become routine. The performance goes well, but not spectaular because of how performance based rehearsals were. When groups/musicians focus solely on being well-rehearsed, it puts more emphasis on the outcome instead of the experience. The performance can lack energy and emotion.

Well-trained groups/musicians spend more time learning basics and fundamentals and less time rehearsing pieces/routines. These groups/intructors spend more time discussing why and how the “what” operates instead of just the “what” itself. Each rehearsal is a new learning opportunity that keeps students engaged in the musical process placing emphasis solely on daily education instead of the final outcome. When groups/musicians focus solely on being well-trained, it puts less emphasis on the outcome and more on the experience. The audience in turn will feel more emotion and energy from these performances.

Is there a happy medium?

It is my belief the most beneficial option for the student is to be well-trained through expemplary teaching, and rehearse enough for the training to shine. Be confident in your ability as an educator and the students’ ability to learn and grow from what you have to offer. Try to put more responsibility on the student to take the education to the next level on their own, coupled with interactive, motivational, intentional and thoughtful education from YOU the educator.

Do you have thoughts about well-trained vs. well-rehearsed?