What are your thoughts about breathing and breath control for hornplayers? Try summarising them to an imaginary class of gullible horn students. What do you hear yourself saying?
Now, let me ask you how your thoughts about breathing and breath control might change if (in an imaginary world) you found it was possible to play the horn not just by blowing it but also by sucking? Would it change your ideas about breath support and the use of the diaphragm or any other bits?
A few years ago I became interested in the similarity between what happens at the the lips of a hornplayer and what happens when a violin bow moves across a string. Also, what happens when a flute player blows gently across the blowhole, or whatever it’s called…
One day I’d been doing some very quiet practise and found it interesting that a note could fade away to nothingness and then fade back in again. All that was needed to bring it back was a little air flowing through the horn making a faint wind noise, and for the lip aperture to be exactly right. For the ghost of a tone to emerge from nothing, out of a breathy wind sound, a bit of turbulence builds up inside the mouthpiece, or between the lips, and quickly falls into a stable pattern of vibration. It settles on a frequency – or a pitch – allowed by the mass of air inside the horn. It wobbles like a jelly in there – a very fast jelly. Any note produced will be from the harmonic series controlled by the length of the horn.
From this bit of experimentation I am convinced that you don’t have to “buzz your lips” to get a note going. It’s not the case that notes are produced by forcing air through your lips like “blowing a raspberry”. It seems to me that all you need is a flow of air and the right sort aperture, i.e. the right shape and the right muscle tone in the lips.
So, just as in playing a flute (not that I can) – the flow of air makes the air vibrate; and with a violin – the flow of the horsehairs across the catgut (or metal, or polyester or whatever) makes the air vibrate.
So, isn’t it perhaps a little strange that a violin bow can work in both directions – up and down – but the flowing air between a hornplayer’s lips can only do out – but not in. If the bow is the breath and the lip is the string, then why can we only make a sound by blowing, whereas a violin bow can work in both directions?
After a bit of personal research I discovered something amazing – that I can play the horn by sucking! Not only that – it’s almost exactly the same sound. How cool is that?
Tonguing during the suck is a bit tricky, as you might imagine, and the horn gets colder as I play it, which is weird – and my lungs slowly fill up with musty air from the depths of the horn, which is probably unhealthy, but apart from that it’s the same as blowing. Try it yourself.
Persevere until you can do it. Then go back to the first paragraph here and see what you now think about breathing and breath support for the hornplayer!
Okay. So you don’t believe me? Listen to this:
By the way, there’s much more about breathing and breath support to come in later posts.
Jul 21, 2008 | Categories: hornplaying, hornteaching | Tags: air, aperture, blowing, breath control, breath support, breathing, diaphragm, fade, fast jelly, flute, harmonic series, Horn, hornplayer, lungs, mass of air, mouthpiece, muscle tone, musty air, sucking, tonguing, turbulence, violin bow, wind noise | 1 Comment »