"Tight Gut Method"?

[si1yuan3]

Hi all,

I encountered the phrase "tight gut method" in "Song and Wind" when it discussed breathing. What is this traditional method that has been taught and what is the suggestion the book makes? Thanks for clarifying this for me.

[_Don Herman]

Before I answer, could you please give the page in S&W? I want to be sure I have the right context...

Thanks! - Don
_________________
Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley

[Atomlinson]

Perhaps I could jump in here and start things off by repeating something from the book "Arnold Jacobs - The Legacy of a Master" by M. Dee Stewart. Although the words "tight-gut" aren't actually used, I think this seems to me to be a pretty good description of it from the section written by Stephen Chenette:

A consensus of the instruction that I had from a number of well-meaning teachers and clinicians follows: expand the stomach when taking a breath, but don't raise the chest because the blowing muscles are down low. Before starting a note, make the stomach muscles very firm, and continue to push them out, or down, while playing. Take in only as much air as is needed to play the passage. (p.3)

Firming the abdominal muscles before starting a tone is both unnecessary and unwise, according to Jacobs. He has demonstated that any degree of air flow can be started at the instant that it is needed, without any prior buildup. If the internal air is compressed before it is time for the note to begin, it must be prevented from reaching the embouchure by either blocking it with the tongue (which can cause a rough attack) or by closing the throat (closed throats can be recalcitrant about opening fully when it is time to play.) If the respiratory muscles are contracted without compressing the internal air, it shows that the inspiratory and expiratory muscles are in isometric contraction, pushing against each other rather than against the lungs. When it is time for the note to start, the inspiratory muscles will, to a sometimes considerable degree, continue to resist as the expiratory muscles try to decrease the size of the thoracic cavity. The problems this can cause show up most vividly in high and loud playing.

Air is exhaled only as the thoracic cavity decreases in size, and the only meaningful activity of the respiratory muscles is that which causes this to happen. Consciously trying to push out or down with the abdominal muscles while playing works against the physical necessities of the body, and causes a conflict between the concious and subconscious mind (which knows exactly what must be done). (p.4)

According to Arnold Jacobs, there is no reason not to take a full breath, which includes a natural expansion of the chest, because the respiratory muscles control all parts of the thoracic cavity (which contains the lungs). Taking as full a breath as is comfortable is recommended by Jacobs, because blowing is easiest when the lungs are full. The elasticity of the lungs, the pull of gravity on an elevated chest, and the torque of the ribs at their points of insertion supplement the action of the expiratory muscles. The less air there is in the lungs, the greater is the degree of effort required by the expiratory muscles to maintain a steady flow of air; this can have a negative effect on the tone and ease of playing. (p.3 & 4)

Another book worth having which is complementary to the "Song and Wind" book.

Hope this is of some help.

Andrew Tomlinson

[ This Message was edited by: Atomlinson on 2004-01-24 04:15 ]

[si1yuan3]

Thanks. This passage from "Legacy of a Master" is exactly where the concern of my first post is. My teacher told me to push out my stomach as I exhale. He wants me to use this action in order to relieve my mpc pressure and over-reliance on the lips that hinders my endurance.

To Mr. Herman, I am referring to p. 100

[Atomlinson]

I've just found another useful reference on this topic in the ITG Journal of May 1999 by William Scarlett: "Arnold Jacobs - "Breathe Like a Baby, Play like an Angel"

Most students in Chicago eventually found their way to Jake's studio, whether to get help in blowing or to just have the experience of being checked out on all kinds of hospital or home-made breathing equipment. My turn came in 1956 when my own inefficiencies brought on by a former "tight gut" teacher led me to seek a better way to play. (p.17)

There seemed to be no end to the brass player problems and combination of problems that came to his door. Many of them seemed rooted in some of the brass methods of the early 20th century that stated, "You must support your tone with your diaphram." Most students, who later became teachers, interpreted this to mean "tighten something". Even today some teachers pass on this misinformation to another generation. The diaphram is an involuntary muscle that functions when it receives a signal from the brain to move air into the lungs. Tightening something only restricts the free flow of air needed to vibrate the lips. Usually when something is tight down below, it has a parallel tightening effect up above in the mouth area. In addition, separate muscles allow us to inhale and exhale and both may be engaged at the same time. The set of muscles that pulls a little harder is the one that controls the direction of the airflow.

Many brass players have this problem in varying degrees. In one word, this is called stiffness. Jake would say, "Remember, pressure doesn't make sound, wind does." All of these foolish problems are internal for the wind player and not easily seen or corrected as in a violin player's bow arm. (p.20)

Right on the button I'd say.

Andrew Tomlinson

[_Don Herman]

I believe Andrew has provided most everything I might have said, and more. Thanks, Andrew!

Read the passages following and you'll see that "tight gutting" is a bad thing, at least to Mr. Jacobs. And, to many others. Less tension, rather than more, is the generally accepted rule today, best I can tell. Tension in the body can be heard in the sound. At least for me, based on my teacher's feedback, and from listening to myself (recorded).

I have seen and tried the "pushing out whle exhaling" bit before. It may help you blow harder, letting the air do the work rather than the chops. Sort of. It may also cause you to tense up and end up worse off. I've seen it work both ways; can't tell if it'll help or hurt you without seeing and hearing you play. Minimize mpc pressure -- you can never eliminate it altogether (and still make sound, anyway).

I would not presume to second guess your teacher, but must note that there are many ways to counter excess pressure which do not add undesirable tension elsewhere. Relax, drop your shoulders, breath from your toes, hold the horn loosely, push it away from you as you play, hold it so you have to "chase" the mouthpiece -- forget all this and simply think of a note and blow "through" the note with lots of air supprt, with your body as relaxed as it can possibly be.

Here's something Jim Donaldson gave to me once: Get a G in the staff solidly in your mind, play a "test" one if you have to, then play that sound by relaxing everything, taking a deep breath (from below your belly button), and immediately (don't hold the breath in you at all) just gently exhale the note into the horn. Don't push the air out, just let it flow. Empty your mind of everything but the sound of that note, played softly and gently, and empty your body of all tension. Try to keep that feeling as you play. Let the sound ride the wind; let the wind support your lips.

Endurance is an issue many folk have. There are many paths to gaining endurance. Above is one. No doubt others will jump in with more, and better advice than I.

HTH - Don
_________________
Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley

[dbacon]

Isometric tension is the sound killer. Use the muscle system that inhales to inhale, the system that exhales to exhale. When these two opposing groups engage with each other you loose. Muscles only contract and relax and there are generally two sets that work in opposition to each other. To engage the correct set for the motion you want, use the right control panel in your brain. Keep it simple. Listen to the sound your air makes as you inhale, you should hear "OOH," then reverse the air without hesitation with "tOOH." Follow through the exhale with constant motion like a good golf swing, the sound from your bell tells you what's correct. Listen as loud as you can, imagine how Phil Smith would sound playing that through your horn. Tension and rigidity should be avoided, freedom and motion are the physical goals.

[brianf]

Why not listen to Mr Jacobs talk about this. http://www.windsongpress.com/video/tight%20gut.wmv

[trumpetfox1234]

Will Scarlett and I have had many discussions about the "tight gut method" and why it never works. Bud, Jake, and Scarlett never used this method to make their beautiful sound in the CSO. I wrote a new book about how they play and use these concepts every day.

Bud, Scarlett, and Arnold Jacobs' son love my new book that talks about how they play. Bud and Scarlett reviewed the book favorably and Dallas Jacobs, Arnold's son, gave it his blessing. Bud told me on my porch that "he learned a few things from it.", and Will Scarlett said that "your book continues Arnold Jacobs' work."

If you want to check it out, the website is: http://www.trumpetworkspress.com

I will also be talking about the book on the BBC on February 24th on the BBC World Service as the subject of their show, "Music Review", with presenter Mark Lowther.

The book's title is:

Stage Fright in Music Performance and Its Relationship to the Unconscious, 2nd ed.,

It is based on my research done at the University of Chicago with case histories of professional musicians.

I wrote it to pay tribute to these great men who are my teachers and to help people with stage fright problems and to also reassure those who don't have any!
_________________
Michael I. Goode
Author
Stage Fright in Music Performance and Its Relationship to the Unconscious, 2nd ed.
Assistant Principal/Third Trumpet
Ravinia Festival Orchestra
www.trumpetworkspress.com