Pip Eastop, Horn player, Photographer, Trumpet player

Horn player, Photographer, Trumpet player

Pip Eastop, hornplayer, teacher, horn, trumpet, jazz, sessions, London, soloist, orchestral, improvisation etc....

Posts tagged “tuba

Owen Slade, tuba.

Andy Wood, Owen Slade and Annie Bielby with the John Wilson Orchestra in Leeds Town Hall, December 2011

Andy Wood, Owen Slade and Annie Bielby with the John Wilson Orchestra in Leeds Town Hall, December 2011


The cornet is going well

The cornet is going well. I think I have a useful range – fairly comfortable up to about top C – and the fingering is mostly sorted, although there’s usually a glitch around high E (same as top A on the horn) where I’m trying very hard to remember to play it with no valves pressed down, whereas it’s best on the horn with 1st and 2nd down.
I’m also gradually getting the register shift sorted in my mind. Although the fingering almost exactly matches that of the horn, if I think in horn pitch, I have decided to make the shift into thinking and reading in Bb as this will make reading music much easier in the long term. Thus I have to re-educate my pitch sense, when I am in cornet mode, to one fourth higher. I get lost sometimes – sort of a pitch whiteout where I have no idea what notes I am playing. My fingers and lips know but my conscious mind is nowhere. Granted, this has always happened when playing the horn, but now that I am formally learning jazz I really need always to know what notes I am playing, what chords, scales, etc… This is new for me. My previous improvisations have always been instinctive, with almost no role for the conscious mind. Jazz, however, needs the guiding keel of definite harmonic navigation. It’s a discipline I’m trying to learn – determined to learn.

Oren Marshall is a brilliant and unconventional tuba player with at least one leg in the world of jazz, although I don’t know how well versed he is in actual jazz improvisation and, for that matter, I don’t really know what it is to be a jazz tubist. He visited me today, partly for a jog over at the Hollow Ponds and partly to “do some playing” together. It was an interesting lesson for me. It made me realise that I was actually quite embarrassed to let go and play “jazzilly” in front of him. When I eventually did – on some blues in concert F – Oren said, in his usually flattering way, that I was loaded with all the right tools but that I didn’t have the feel. Nice of him – and I suppose I kind of knew that. He also said a lot of interesting, thoughtful stuff about how it can be refreshing to hear someone new to jazz playing their own unique stuff and that the “novice” can have a certain amount of freedom that perhaps would be difficult for an experienced jazzer to express. A difficult concept to argue, I think, but it was very nice of him to be so encouraging. We played a few rounds of blues but I don’t think I achieved much.

We talked about Derek Bailey a bit – I’ve done a fair bit of improvising (free, non-jazz) with Derek, donkey’s years ago, and so has Oren only much more recently. It seems Oren was able to make much more sense of Derek’s style of improvisation, which always had me confused. I told him about my general frustration with performing free improvisation to which he had some interesting responses.


Embouchure (book excerpt)

The following text is extracted from “The Cambridge Companion to Brass Instruments

Edited by Trevor Herbert

The Open University, Milton Keynes, 1997

John Wallace

(ISBN-13: 9780521565226 | ISBN-10: 0521565227)

Reproduced here with the permission of Cambridge University Press.
 

Embouchure (pages 199-201)

The word embouchure is important to brass players. It is used to describe the precise arrangement, in the playing position, of an individual player’s mouth in relation to the mouthpiece. Because of the demands placed upon the modern orchestral brass player, there has evolved, for each instrument, and ideal embouchure model, which the beginner would do well to emulate. There is a form of natural selection among embouchures, where only the fittest can survive the demands of the repertory expected of the present-day player. The difficulty of achieving such an ideal embouchure (and thinking on this is still in the process of evolution) can be judged by the variation of embouchures seen among¬†beginners and amateurs. In more advanced players, for example full-time students, it can be seen that the range of variation in embouchure structure has narrowed; and this range is further reduced among professionals to the point where, with a few rare exceptions, most use a similar model.

Ideally, a good embouchure should be able to produce any note at any dynamic. It should then be able to change to any other note without compromising its structure. And ideal embouchure has minimal visible movement. On instruments with larger mouthpieces, trombone and tuba especially, producing deeper notes requires the jaw to be lowered to vibrate at lower frequencies. This action also helps the lower register by increasing the resonating space inside the mouth. Jaw position and more obviously visible adjustments between registers are more evident on the larger brass. In general, however, the embouchure should allow the player to roam from high to low without pausing to re-seat in an embouchure “break”.

An embouchure break occurs when, for example, the beginner who has established a foothold in the middle register establishes another in the upper register, with a different embouchure seating, and perhaps yet another in the lower. And experienced teaching will guard against this, encouraging the gradual development of range by incremental degrees – perhaps a semitone at a time – to slowly build up strength and to ensure that the entire range is integrated under one well-formed embouchure. Most methods follow this incremental approach, building strength in the facial muscles through a cycle of play-rest-play-rest. Patient repetitive practice of basic embouchure foundation and maintenance exercises has to be built into a disciplined routine for any achieving brass player. A regime of self-training invariably includes ong tones; adding crescendo and diminuendo to these to learn and maintain dynamic control; slurring between notes on the same harmonic series at first slowly, then gradually quicker. These last, commonly and somewhat misleadingly called “lip flexibility” exercises, stimulate the development of the many embouchure muscles as does exaggerating the vibration of the lip to form a buzz. This last has been a central tenet of much twentieth-century brass teaching, on lips alone, or with the mouthpiece, away from the instrument. Although there is some controversy about its ultimate usefulness, it would seem to be a useful tool in embouchure forming, and in habitualising minimal frontal pressure of the mouthpiece on the lips.

The tuba amplifies many of the problems which beset brass players, not the least of which is control of the air supply. A large amount is needed, especially to play loudly in the low register. The tuba player has to become a more efficient breathing machine than other brass players, among whom there exists a tremendous amount of argument an confusion about breathing and blowing. Arnold Jacobs, former tuba player with the Chicago Symphony Orchestra, was one of the first to point out that brass players were not helping their playing by jumping to false conclusions about breathing. Nevertheless, some players perform very well without a thought about breathing, whilst others excel despite adhering to bizarre theories.

 

The Cambridge Companion to Brass Instruments