How is volume controlled?

[si1yuan3]

I think Mr. Arnold Jacob suggest that exhalation not be forced, that air be "released". I don't know how to play louder without blowing harder through forced exhalation. What is his concept exactly?

[Derek Reaban]

In the book "Song and Wind", Arnold Jacobs presents a very simple but profound concept. When you take a breath, the pressure in the lungs is greater than ambient pressure. The air will rush out of the lungs naturally until the pressure in the lungs becomes equal to the ambient pressure. This is the zero pressure line. At this point, it is possible to continue pushing the air out of the body, but now you are at a lung pressure that is less than ambient, so tension is introduced to force the air out. Understanding this concept, it is possible to always play the horn above the zero pressure line, and allow the air to more naturally come out of the body. It is in this range (above the zero pressure line) that we can "blow" the air out versus "pushing" the air out (in the range below the zero pressure line). This is also known as playing on "positive air" versus "negative air".

I like to “let” the air out most of the time (it’s a great feeling to ride on the airstream). As I understand it, the act of blowing and pushing uses exactly the same muscles. The only difference that I attach to these terms is that blowing the air out occurs above the zero pressure line (positive air), and pushing occurs below the zero pressure line (negative air). Blowing the air out is certainly possible on positive air and imparts energy to the phrase (energetic air). Many authors discuss this (Arnold Jacobs, John Hagstrom, Bob Findley, Don Jacoby), and the finest players certainly “blow” the air to energize their phrases (you can observe this when Mr. Herseth plays).

Another quote that is important here is from Chris Gekker. While discussing the Clarke Technical Studies he says that by playing extremely softly you are "connecting with your instrument on an extremely relaxed level." He goes on to say, "Form follows function. If, on a daily basis, you establish a very efficient, relaxed approach to playing the trumpet, you will eventually become a trumpeter that can, on a daily basis, play the trumpet in a relaxed, smooth, and expressive manner."

When you talk about "blowing harder through forced exhalation", I think you would benefit greatly by considering the ideas presented here (Jacobs/Gekker). You can get the job done more effectively with less effort if you apply these techniques.

I'm sure others will provide you with additional comments.


Good luck! I hope this helps.
_________________
Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[_Don Herman]

Take a very full breath, filling up from the basement, then let it out very quickly. Pull your tummy to your backbone, and keep everything else very relaxed. You can blow it out without a lot of tension, but still move a lot of air, very quickly. Now try it with your horn, blowing a G in the staff or something easy. You might be "forcing" the air to release, but by trying this a few times you should be able to "release" a lot of air quickly without much tension except in your tummy ('ish). There has to be tension to play, the trick is where and how much. "Where" is "only where needed", and "how much" is "as little as possible"...

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

[PH]

Volume is controlled by the imagination. Hear the song in your mind the way you want it to sound and the body will execute it as well as possible a your present level of experience.

[si1yuan3]

Thanks.

[trumpetfox1234]

I was Arnold Jacobs' student from 1994 until the end. He always told me that to play loud "you must speed up the rate of air coming out of the mouth and to play soft, use a slower rate of air coming out of the mouth." And, breathing must serve the type of music being played. I wrote a book about how Bud, Jake and Scarlett play and have given talks abouit it as well. You might be interested in reading it.

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 Radio show "Music Review" on the BBC World Service on February 24th.


The book's title is:

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

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