Taking a relaxed approach to playing an instrument is always the correct way. That was a bold statement! It takes practice and diligence in your thoughts to remind yourself to stay comfortable and free of tension. Every professional player I know would agree and teach the same things to young musicians.

When teaching young players, we must keep in mind they see things a bit more black and white. Less experienced players are usually looking for an easy way or a faster way to excel. Younger players also have a harder time processing the “why” and “how” and need a bit more time and education to train the correct approach. One example of a breathing aid that exists is the “Breathing Gym,” a book that is widely respected by music educators. Some music educators use these ideas as the only consistent/daily ways for kids to breathe. The only problem with this is that it is a training/workout book for expanding the breathing capacity, and for thought process for using air at different volumes. It works out the body to prepare for correct breathing habits. I have seen students that are part of ensembles that use this approach regularly, and the students breathe tight and tense, because it is not coupled with the correct relaxed approaches after this training. Much more explanation is needed for young players to understand what this book is designed for, and “why” and “how” the exercises should be implemented.

Just a few simple thoughts are enough for students to excel at breathing. If you are using a book or series of exercises to “workout” the body and breathing capacity, remember to couple that with correct thoughts:

1. Stay Relaxed! Always relax your mind and body when you enter into playing a wind instrument. Just like doing any sport at a high level, the ones who are the most successful look like they are barely working. They have trained themselves to keep the mind at a confident consistent rest while still doing the hard work.
2. “OH” shaped breath If we are trying to convince and train young musicians to breathe tension free, it makes most sense to take a breath with an open mouth. When closing the mouth and breathing in, tension tends to sneak in. Use an open mouth and be as inaudible as possible.
3. Pendulum breath There are so many analytical philosophies about how the air comes in, where it goes and what expands. Simply put, and making it easier for young musicians, the air goes past the chest wraps around and comes back up through the chest on the way out. Relaxed stomach muscles and breathing the same in as you do out. Breathe for the dynamic you are playing. Relaxed in and relaxed out.
4. The red zone In order to stay relaxed on the breath out, don’t let yourself get to what I call the “red zone”. The redone is simply the area where you begin to tighten up and the stomach muscles are no longer relaxed. When this happens, it is time for another relaxed breath.

There is no substitute for the right way.

There are tools out there that can help train students in certain areas, but simple, diligent and correct thoughts over time will help young musicians develop the skills to be successful over a long period of time. Be conscious of the techniques you are implementing and the reasons you are implementing them.

Research, contemplate and make educated decisions from talking to successful professional musicians in the field. This topic is the first session of Brass Academy. I am passionate in bringing this instruction to young musicians to help them reach their full potential.

During a recent podcast with Lois Wiggins, Band Director at Edith J. Hayes Middle School, a quote stuck out to me. She said, “If you want it, Teach it!” She mentioned young students are not born with the capacity to sit still and quietly for even five minutes at a time. You have to teach them to behave correctly according to the expectations. What great advice as we prepare students to learn and grow as musicians and people.

This advice, while simple in nature, is very profound. How many times have educators said things like “I wish my students were more serious, or I wish my students would rehearse better? I know as a consultant during the fall many directors are concerned their students will not listen, or will not take things as serious as they wish they would. I have also heard the directors say students talk after every repetition or so much time is wasted in between takes. My response since talking to Lois has been, “Have you taken the time to teach them how to do those things that you expect? What should their thoughts be and how do they raise their expectations?” It may not be that they don’t want to, they may just not know how! It may take many days and much patience, but by teaching the student how to do something, instead of just telling them to do it, you will see a huge impact.

The training of the students’ mind, energy and thoughts should be just as important as the music itself if not more so. We as educators need to take the time and initiative to give our young musicians the chance to be mentally ready for what we expect them to handle. Some examples of this might be:

1. sitting still in class

2. not bringing phones to rehearsal

3. what to do when you finish a repetition

4. using a pencil to write things in the music (without being told when to do so)

5. how to stay focused when someone enters the room

These are just some small examples of things that can be taken for granted that students should be able to do, but no-one has ever taken the time to teach it just as you would the notes and dynamics. It may be different depending on what you teach and what the expectations are for your class.

I had a student ask me “How do I practice at home?” What a great question!

This is an example of a student coming to me and asking for me to teach them what I took for granted they already knew. This student was begging to be better. Some students may be this far along, but others may be longing for the training of just how to expect more from themselves. Whatever it is that you want out of your students, break down your thought process and then teach your young musicians to think the same way. Whatever it is, If you want it, Teach it.

Do you have an example of an “If you want it, teach it” moment?

You can check out the podcast episode here!