Horn Matters | A French Horn and Brass Site and Resource | John Ericson and Bruce Hembd

In this series of Hornmasters articles a topic I have honestly not looked forward to addressing is that of the points of resistance. It is topic I generally hope to never have to speak to a student about as it can tie a student up in knots. It is also however a very important topic that we can’t shy away from and for some may be a key concept for working out playing problems on the horn.

Disclaimer: if you feel you have the breathing cycle down and have no other problems with your tone quality please feel free to skip this article. I would almost prefer that you not read what follows, as it can lead to over-conceptualizing the points of resistance.

Additional Note: To avoid the long quotes that will be seen in Parts I and II of this series (which honestly don’t always make sense if you read them critically) I will get to my personal bottom line in Part III.

Perceptions and mechanics

I was once assigned to read this portion of the Farkas book (see page 29) by a teacher specifically to address how to eliminate a “twa-twa.” I read it closely then and was like many readers a bit mystified. Certainly however Farkas was trying his best to explain difficult to explain perceptions and mechanics.

As this specific section of the Farkas book is one that has confounded many readers, in our Horn Matters discussion the topic will be broken up for clarity into three parts. Part I will present the original Farkas texts on the topic (he takes two stabs at it), Part II will look at other authors of other classic horn methods on the same general topics, and Part III will present my personal take on all of it.

A normal exhale outside of brass playing involves simple relaxation. Farkas noted in The Art of French Horn Playing that “This gentle pressure, however, is not sufficiently strong to motivate a brass instrument, so we have to apply certain forces to expel the air with greater pressure and steadiness.” For Farkas the motivator of this steady pressure was the contraction of the “abdominal muscles and all the muscles going completely around the body….”

Introducing the concept of resistance

The next section focuses on several closely related mechanics of the exhale, what Farkas referred to as the “four points of resistance.” He recognized that it was impossible to produce a steady pressure without anything to blow against.

If there were no resistance somewhere between the lungs and the end of the horn bell, the least pressure put on the diaphragm would send the air rushing out of the lungs in one great, shout burst. In attempting to avoid this effect, many players make their first mistake in the use of the diaphragm. Instead of putting resistance somewhere in the air column, they leave it completely free and merely avoid that rush of air by putting little or no pressure on the diaphragm. …the air literally dribbles out and the result is a very uncontrolled, fluttery tone.

Two of the points of resistance Farkas views as being relatively fixed–equipment choice (horn/mouthpiece) and the lip aperture. [The aperture also being somewhat defined by equipment, in particular the inner diameter of the mouthpiece.] He continues to describe the two last points of resistance, the tongue and also the throat. The latter he recognized right away might be considered controversial so it is presented very carefully.

We are left, therefore, with two points at which the resistance is completely controllable. One is the base of the tongue, quite far back, where the letter “K” is formed. In fact, the resistance is formed by approximating the actual formation of “K” without closing the space completely. It might also be described as a very constricted “E” formation, created by arching the back of the tongue higher than would be needed in speaking the sound “E”. The other controlled resistance point is the one I consider the most useful, although some players will probably disagree. Many of our finest players use it consciously, and I believe that even those who disagree with it in principle nevertheless use it unconsciously. We have the ability to completely control the opening called the larynx or “voice box”…. The resistance to which I refer can be observed when coughing. Just before the actual cough, notice that the air passage is completely shut off and is only partially opened during the cough. This furnishes the resistance necessary to “clear the throat”….

Practice controlling this valve by completely closing it off so that no air can go through it….

When it becomes fully automatic, it will be used somewhat in the following manner: on any given note, starting pianissimo and making a crescendo to forte, one should feel the diaphragm pressure increasing. In fact, the air pressure should increase quite rapidly, as a moderate increase in pressure is necessary to merely sustain a note evenly. As the pressure increases, the resistance of the larynx and the arched tongue (and also the lip-aperture) gradually relax to accommodate the increasing volume of air.

Although avoiding the word “support” Farkas seems to be getting at the concept when he discusses performing at low dynamics.

Most players use the diaphragm correctly when playing forte. It is in piano and pianissimo that one must be sure to use the combination of good diaphragm pressure plus the necessary resistance in order to obtain a smooth, controlled tone. When done correctly, the power of this air pressure (plus careful limiting of the amount escaping) will result in a soft, ringing tone which “floats” on the air with remarkably little effort on the part of the player.

And he adds this caution: “The only danger involved in learning this control of the larynx might be in confusing this valve with the external neck and throat muscles. These should never be tense.”

Explaining it all again a few years later

Confused? In The Art of Brass Playing Farkas again turned to the topic of the points of resistance, with the hope I believe of clarifying and expanding upon the thoughts above. Setting up his discussion he notes

Perhaps before considering the various points of resistance, this is a good time to warn of a bad habit prevalent among wind players which is particularly detrimental to their soft playing and which again points up the need for resistance somewhere. The general pressure of the abdomen and intercostals muscles can be made very light, resulting in an exhalation of a little “push”. In my opinion, this principle of using very little pressure from the diaphragm for the production of soft volume is a serious error. All of us will instinctively support a long tone quite correctly…. The real danger of blowing a brass instrument incorrectly occurs during soft passages.

Farkas suggests the concept of the “slow leak.”

Here is another analogy which might clarify this concept. If one wished to trickle a tiny stream of cold water into his too-hot cup of coffee, he could phone the pumping station and request it to slow down the pumps, and then proceed to turn on the faucet on full force. This would possibly result in the desired trickle. But … the thing that amuses us with this idea is the incongruity of doing a simple act “the hard way”. How much easier and simpler to let the pumps go ahead in their efficient way and simply “crack-open” the faucet a tiny bit….

The points of resistance are keys to this concept. In The Art of Brass Playing Farkas expands his list of points of resistance to include 1) the glottis (larynx), 2) the back of the tongue, 3) the tip of the tongue, 4) the lip aperture, 5) the bore of the mouthpiece, and 6) the instrument itself. The most extended discussion is about the glottis, where he tries to clarify the relationship of the glottis to the throat, a topic to which other brass teachers must have reacted negatively, based on the way he presents his concepts.

The glottis, being the opening between the vocal chords, is not a tangible thing, but simply the space between these cords which is completely adjustable in size from wide open to absolutely shut…. For instance, the glottis is completely closed during an act such as lifting a heavy weight. It is exploded open during a cough, or when clearing the throat. It is partially open for whispering, and wide-open for a rapid exhalation…. In this way, the glottis is used as a natural valve, and not for the purpose of vocalizing. I mention the fact that this is a perfectly natural, everyday function of the glottis, because many brass players react in horror when I suggest using this valve for purposes of playing our instruments. They evidently feel that I am advocating the use of a “tight throat”, a condition all teachers have carefully avoided from the inception of brass playing. To me, the bad habit of playing with a “tight throat” means the forcible tightening of the neck muscles…. The proper use of the glottis is natural and effective and is quite likely being used by most successful brass players, either consciously or subconsciously.

Farkas certainly inspired other writers of horn methods to address the general topic of the points of resistance. More from them soon in Part II of this series.

Continue in Hornmasters series to PART II

Inhalation is a big topic. Before turning to this installment of our series of articles of quotations from classic horn methods, I would like to point to a recent article by David Wilken. In “A Culture of Ignorance?” he points out clearly one thing we really have to develop more in our brass community; the skill of critical thinking. He divides his article [UPDATE: The article is no longer online] into the following topic areas:

• Argument From Authority/The Myth of the Lone Genius
• Argument From Ignorance
• It’s All In Your Head/The Goal Is the Method
• The Natural Approach
• Anecdotal Evidence
• The Straw Man/False Dichotomy

While we as readers have to assume that the sources quoted below, published from the late 1950s into the 1970s, accurately reflect an element of the teaching of a master horn player/teacher, at the same time it is often not too hard to pick apart elements of these quotations. For sure there are statements made below that don’t line up with accurate physiology, but they at least must have felt that they worked as visualizations for a general reading audience. My hope is not to confuse readers but instead to present a bigger picture of not only the inhale but also of thinking critically about things they read and have been told.

He tries to explain it

One thing Farkas did in The Art of French Horn Playing was to try to explain breathing in a physiologically accurate manner. If he was successful is another question, but at least he recognized that it was hard to visualize how to breathe if you are imagining muscles doing impossible things.

There is a common misconception which claims the diaphragm to be a ring of muscle, like an automobile tire, all the way around the middle of the waist. No wonder so few singers use it correctly! The diaphragm is actually a strong, resilient muscle which lies horizontally across and through the body above the waist. It completely separates the heart and lungs from the organs lying below it.

The inhale is controlled in his view primarily by a combination of the diaphragm and chest expansion. His checklist: “…a deep breath is taken by simultaneously (1) contracting the diaphragm, (2) pushing the abdomen forward, and (3) expanding the ribs outward.” More on this checklist at the end of this article.

The inhale as it relates to attacks

Gunther Schuller in Horn Technique takes a very different general tactic in regards to the inhale. He is very concerned about the relationship of the inhale to the beginning of the phrase that follows.

Since a secure attack is one of the most difficult things to achieve on the horn, let me dwell for a moment on the inhaling and exhaling process which controls the success or failure of an attack. Inhaling should be done, especially at phrase beginnings, in a very relaxed yet lung-filling manner….

In general—and this is one of the most important factors in correct breathing—the taking in of air should always occur in time to the music being performed. This will insure relaxed inhaling, and will give the breathing process a musicality specifically identified with the music being played.

He also notes that in general in horn playing

… the process of inhaling and exhaling is actually a more or less intensified version of normal everyday breathing, which even the casual observer will note as a slight alternating in-and-out of the abdominal muscles. In horn playing these movements are larger and more intense. But beyond this intensification, it is well to remember that the basic procedure is exactly the same as in normal breathing.

In explaining this intensification Schuller notes that the lungs are filled from the bottom first (is that possible?) and that there is considerably more expansion than in ordinary breathing. He was not concerned with the noise of the inhale and actually encourages that it be audible.

Often students feel that this is wrong and try to inhibit this audible intake of air. It stands to reason that if the lungs are to be filled, and if the inhaling process is to take only a short moment, the ‘rush’ of air through the lips will produce a sound. Students should therefore not shrink for this, and should rather cultivate reasonably audible inhaling. …in actual playing, if the breathing is musically timed and not too jerky, it will not disrupt musical phrasing unduly. The breath will become a part of the music.

Deep, silent, rapid inhalation

Farkas returns to the topic of inhalation in The Art of Brass Playing. He recognizes that it is an extremely important part of the process of brass playing, one that students can miss.

Certainly proper and copious inhalation must precede successful blowing. Obviously, if the player does not first inhale a generous quantity of air, he cannot, a moment later, project a large sustained air-column. Childish as such an observation may seem, it is at this point in the breathing cycle that the student frequently fails. In my opinion, his shallow breathing is often due to his honest conviction that he is precisely emulating his teacher’s inhalation. The teacher should be aware of this tendency and be ready to correct it. For the advanced player and teacher can become so efficient and apparently casual with his deep, silent, extremely rapid inhalation that the observer gets the distinct impression that only a shallow breath was taken.

After suggesting exercises to improve the inhale he concludes “All the foregoing could perhaps be summed up by calling our brass playing inhalation a sort of a huge, silent, rapid gasp—the kind of gasp caused by the reaction of stepping suddenly into an ice-cold shower on a hot day”

More tips

In A Practical Guide to French Horn Playing Milan Yancich simply notes that “Asking a student to yawn is a good way to demonstrate how to take a breath for an attack.”

In the addendum to Essentials of Brass Playing Fred Fox does not suggest this as a correct type of inhale but he does note it in the context of a discussion of the rim contact point.

To further emphasize the importance of the non-moving contact point of upper lip and mouthpiece, try the following experiment: Pick a note and play a series of eighth notes on it, but between each note drop the lower jaw and remove the lower lip completely from the mouthpiece. This will generate a lot of ridiculous lower jaw movement, yet despite all of this excessive movement, you will find that you can continue hitting the note with amazing accuracy! …If, upon trying the experiment, you too find an amazing consistency, it should pinpoint the need of keeping a perfect, unmoving contact between the upper lip and the mouthpiece in all registers.

I do not suggest the extreme dropping of the lower jaw as a habitual way of breathing.

This type of breathing it is worth noting again has actually had advocates in the horn world. The idea is that “guppy breathing” opens up the mouth and throat for free inhalation of air. I am very hesitant to call it wrong, but Fox was not a fan clearly.

Airflow discipline

Harry Berv has a bit different take on breathing in A Creative Approach to the French Horn. He is concerned with good airflow and discipline in breathing practice. As to the inhale

I long ago discovered that, when inhaling through the mouth, you must channel the air so that it flows in towards the bottom of the mouth, not the roof. You will find that the lungs become filled more directly and completely.

One larger question is do you fill the lungs full on the inhale or intentionally inhale to less than full? Berv comes down on the side of not being overly full of air when performing.

Filling the lungs with an excessive amount of air will greatly hamper the evenness of the airflow. If the lungs were not filled quite to capacity, however, you will have greater ease and security in performance. …(It’s much the same as with eating habits: If you gorge yourself with too much food you feel very uncomfortable, but if you leave the table feeling as though you could eat a little more, you will feel much better.)

Visualizations, and diplomacy

I have said elsewhere one of the nice things about our horn community is that we tend to not attack each other. If you read between the lines in the above quotes for sure some of these teachers really did not agree with each other. Even without reading between lines I hope that readers caught for example that you can’t actually fill your lungs from the bottom first and you can’t channel air through the bottom of your mouth; those are visualizations only.

Digging a little deeper, I think underlying the discussions in these older texts of not being over-full of air is a male-centered approach; horn players with smaller lungs will need to use their full capacity much better and more consistently than a tall player with large lungs. Adding on to the checklist from Farkas quoted early in this article, for sure the shoulders should rise as a part of full expansion of the lungs. More modern resources recognize this, especially in the low brass world; if you are thinking they should not rise you are actually not using all of the full, natural lung capacity available to you.

What really happens with an inhale

For those wishing to dig even deeper, go to 13:35 in the video below to see MRI images of Sarah Willis breathing a large breath. It is really worth 3 minutes of your time to see accurately how things actually expand (literally in every direction) in breathing.

Going back to the quotes to conclude, I wish, in a way, that they had explained their position better in relation to the other methods out there. But they may not have been in a position to really comment on the other approaches and again there has always been more of a diplomatic element to what we say about other horn teachers. All the more reason to develop your critical thinking as you think over the big picture of not only the inhale but all you do.

The Hornmasters series has been generally following through topics in the order presented in The Art of French Horn Playing. Thus, when we return the next article will get into the exhale and the points of resistance, two of the most difficult topics in the book and topics that many subsequent authors attempted to explain differently with varying degrees of success.

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