YOUR BEST FRIEND -----AIR ‘When instruments were first categorized into different groups, nobody reached into a hat and pulled out a piece of paper that had WIND written on it. And nobody said, "Hey, that’s a good name -.- let call them that.” Our horns are called "wind instruments” because it takes wind (or air) to play them. And, you will come to find that the complete control of that air will propel youalong the way to becoming a good player. If you would care to spend about 20 minutes to find out what AIR” can do for you, roll up your sleeves and let's give it a go. ‘We are going to play this note: ao — Ar But, before you play it, let’s give it some thought, First, put your mouthpiece on your lip where it always goes and then, TAKE YOUR MIND COMPLETELY OFF OF YOUR LIP. We are not going to try to play this G with your lip. We are going to put an attack on it and let the air vibrate your lip to produce the note. Remember, think only of the air and about two feet out in front of your hom. There should be no lip involvement whatsoever. O.K., try it. Try it again. Try it once more until you feel the air making the sound instead of trying to manipulate the note with your lip. When you get that feeling, then let's do this: a SS eo AD Play the G exactly as before and when you slur to the A, don’t change anything but just reach out about one foot and move the air just a little faster which will produce the A. It shouid feel exactly the same as the G and be just as free and full-bodied with no lip involvement. You should feel, at all times, completely relaxed and think AIR, AIR, AIR. Be careful not to use "more” air --- just a little "faster moving” air. Now let’s do this: —~4 _ Ae ‘Same thing for the B. One more foot further out and just a little more speed to the air, Keep trying to maintain the exact same feeling. Let's go on: i SSS : ocr (1)ji tind {tand a tinge more speed. Relax and keep your mi 3 just little more speed of air for each succeeding note. ——— A —_——> are Same routine --- one foot further out and a little more speed. However, this time, when we go to the D we add JUST A HAIR (no more) of the tongue slightly raised and forward. Remember, no more than a hair of tongue involvement and when it is put into that position, keep it there. Now, when you think of using your tongue slightly, don't forget the reaching out and air speed. You've got to concentrate and remember everything as we go along, ,It’s really simple and doesn’t become involved at all. Let's add another tone: —_—— ‘Same thing here. About a half foot furthe off your lip. Keep thinking further out and Now comes just a slight addition: ——_—>—->———> ar Exactly the same routine for the E except, we add one more hair of tongue. Be very careful that you don’t exaggerate the tongue movement. Reach out, add just alittle more speed and very, very little tongue. You should still have no lip involvement. Next step: ee. 2 _-_>—o———_ »n Same thing for the F#, One more foot out, a little more speed, and add the third hair of tongue. Remember to keep your tongue in the position you first put it and then just add a smidgeon to it as. we ascend. Last step: a SS -_—_->-—----> > A Exactly the same for the G. A half foot further out, a little more speed to the air, and the last half hair of tongue. BUT, to these things, we add just a little bit of firmness in the corners. If you have done everything I have asked you to, you should feel like the G above the staff is no harder to play and no more taxing than the second line G. AND, we didn’t do it with the “chops”. In fact, you should feel like you've done hardly any playing at all. The entire scale was done with control of the air, the speed of the air, the direction of the air, and complete relaxation. ‘When this G scale feels absolutely free and effortless, then, we start work on the Ab scale. However, we start this scale one half foot further out than the G scale and go on from there. And, on this and any succeeding scales (A, Bb, B, C), we start employing the tongue between the 4th and Sth of each scale; such as: Ab scale: start using the tongue gradually to direct the air stream between Db & Eb. A scale: between D & E. Bbscale: between Eb & F. B scale: between E & F#. C scale: betweenF&G. And so on: If done the right way, we can conceivably be playing a C above the staff with just a bit more effort that the second line G. This is why I believe your best friend is --- AIR.THE WARM UP As with all runners, high jumpers, long jumpers, acrobats, horses, dancers and a myriad of other entities involved in any phyeical exeriion the. warge up is foremost in everyone’s eyes. And rightfully so; however, there are as many methods of warming up as there are people. A goodly number of them are adequate and get the job done but, what I am going to offer you here is What has worked for me and my students. _ A warm up is a most important thing; however, don't become a slave to warm up. All we are trying to do is get the blood circulating through the lips and very gently getting them to vibrate. We are preparing ourselves for a performance. NOW --- as some players claim, "I can't really Play until I've warmed up 45 minutes.” This guy is in trouble. If he is ever put in a position Where it is absolutely impossible to warm up --- what happens then? Ifit took a high school band director 45 minutes to warm up his band, it would take him 3 years to prepare one contest piece (if it wasn't too difficult). Tbelieve in and am firmly committed to a warm up that should encompass no more than 10 minutes (or within one or two minutes of that). I have written a typical warm up used by my students which has seemed to work for a good number of years. I am not claiming that this is the only warm up that works. It is probably one of a hundred that will accomplish the same thing; however, it should be done with care and concentration. Every note has to be as perfect as you can produce it and the lip involvement should be: practically zero. Blow the air past your lips and they will vibrate. We do not have to "make" notes with our chops. They are just vibrators and if they are completely relaxed (inside the mouthpiece) the air stream will definitely vibrate them. Read the chapter entitled --- "Your Best Friend --- Air.” And remember, speed of air controls register. As another warm up, I am very partial to the "Flow Studies” of Mr. Vincent Cichowicz. Try them, you'll know what I mean, A warm up period is not meant to just say hi to the guys and mess around on the hom. It is a very critical part of your practice and advancement on the instrument. There is definitely a time to Party and a time to be a musician AND the warm up is not party time. ‘Try doing the following exercises exactly the way I suggest and see what kind of results you'll get. —— aad OO A ETC.» 17AS IN “Youd Gésf FOND — AQ" PLAY THIS SCALE A A SPEED AND PLOSECTION !