Hoo attack, Poo attack, interesting C. Martin interview

javialcaraz · Regular Member Joined: 12 Dec 2014 Posts: 29

Hello. I've seen this interview few days ago.

https://www.brasschats.com/interviews/brass-chats-episode-31-chris-martin

I'm just curious of know what people think of the differences between hoo attack and poo atack, why some people use hoo and others think of poo, etc..

I also wonder how Mr. Martin would practice his routine. For exemple: Would he play f.ex. G in the staff, HO, then POO, then TOO..

Final tòpic, would be how you coordinate the POO with the TOO?

Thanks for reading and hope you would like to participate in this topic

dstdenis · Posted: Sat Apr 08, 2017 9:29 am Post subject:

I believe Mr. Martin advocated using both hoo and poo sound production exercises, along with articulated sound production (hoo, poo, too). The goal is to develop and maintain your ability to get the lips vibrating without any assistance from an explosive articulation with the tongue. The poo motion also brings the lips closer together and forward (slightly) to produce the sound, which can be an advantage for consistent, reliable sound production.

Franquin described a sound production method where the player places the mouthpiece on relaxed lips, inhales, sets the embouchure and brings the embouchure forward slightly to cushion the mouthpiece (but without puckering) as the note is begun. The intent is to avoid pulling the mouthpiece back into lips stretched tight against the teeth, which is not only bad for lip health but also inhibits embouchure response.

Shuebruk took this a step further with sound production exercises that use only a "poo" motion to get the sound going--it's not a coincidence that the poo motion also brings the embouchure forward slightly, similar to what Franquin advocated.

John Daniel took this another step further with his Special Studies for Trumpet book, which has an entire section on breath attacks using hoo and poo. Some of these are pretty clever, for example playing a breath attack (hoo or poo) immediately followed by a tongued articulation (tu) with the intent of making the sound speak very quickly and easily but without explosive starts.

Developing the ability to get the lips vibrating with just hoo and poo not only makes it easier to start playing, it also makes the embouchure generally more responsive, which helps with so many other skills required to play.
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Ed Kennedy · Heavyweight Member Joined: 15 Jan 2005 Posts: 3187

Arnold Jacobs advocated the same type of practice. I don't know who Martin studied with, but I'd bet there was some Jake in the woodpile.

RussellDDixon · Posted: Sat Apr 08, 2017 12:23 pm Post subject:

Practice makes perfect with the "poo" attack ...

Link

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Benge.nut · Heavyweight Member Joined: 18 Mar 2017 Posts: 695

kevin_soda · Posted: Sun Apr 09, 2017 9:32 am Post subject:

I love hoo, poo, too. It was a critical piece to developing a more natural approach my trumpet playing. I almost always start my days with breath attacks on the leadpipe. I start with breath only before graduating to each of the following. Sometimes I need to spend more time with hoo before moving on but it should be pretty snappy by the time I get to poo so I don't spend much time there. Then too just seems natural. For me it helps connect with the sound quicker.
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