I believe that the trumpet holds a unique set of challenges. Teaching a student that deep inhalation is the most important setup for a good beginning coupled with a mastery of tongue position, aids in overcoming these challenges. The art of diligent work on process, integrated with a Zen philosophy of letting go empowers my students to optimize their abilities.
My teaching is designed to teach students how the mechanics of air flow and tongue position work together. Once understood and practiced with set drills, I implement a psychological method of re-training subconscious cues that are counterintuitive to produce optimum ease of play.
For example, the "sense of sight" will lead the player to assume low notes require blowing down with less air, thus creating instability and tightness in the back of the throat, when in reality it is quite the opposite. Blowing up lowers the middle of the tongue which places the tongue more appropriately, with relaxation, than just using an "ah" syllable which is a much used approach. This enables more open relaxed air flow (Thibauld technique).
The next equally important element is the loss of air flow after a note is produced, which allows the tip of the tongue to move back too much causing air flow instability and gravity to draw the note downward.
By teaching students how the mechanics work, empowering them with methods to self correct, and instilling an understanding of consistent long term commitment; self reliance and self confidence soars. Their ability to relax (Zen) manifests. All of this process orientation occupies the subconscious mind, replacing much of the performance anxiety that occurs when the mind focuses on fear. As the great Vincent Pinzarella says, "the brain can not criticize and create at the same time". Giving the brain mechanical tasks to micromanage distracts the subconscious from fearful dialog of feelings and observations.
Once the basics are in place I continue to build confidence and security in the students by tackling the literature and pushing performance opportunities. There is no greater feeling than seeing students sound and feel better than they ever imagined possible. Giving them the tools to be great music communicators in any style they have to present, and having the tools to self correct, this is the true reward of teaching.
For example, the "sense of sight" will lead the player to assume low notes require blowing down with less air, thus creating instability and tightness in the back of the throat, when in reality it is quite the opposite. Blowing up lowers the middle of the tongue which places the tongue more appropriately, with relaxation, than just using an "ah" syllable which is a much used approach. This enables more open relaxed air flow (Thibauld technique).
The next equally important element is the loss of air flow after a note is produced, which allows the tip of the tongue to move back too much causing air flow instability and gravity to draw the note downward.
By teaching students how the mechanics work, empowering them with methods to self correct, and instilling an understanding of consistent long term commitment; self reliance and self confidence soars. Their ability to relax (Zen) manifests. All of this process orientation occupies the subconscious mind, replacing much of the performance anxiety that occurs when the mind focuses on fear. As the great Vincent Pinzarella says, "the brain can not criticize and create at the same time". Giving the brain mechanical tasks to micromanage distracts the subconscious from fearful dialog of feelings and observations.
Once the basics are in place I continue to build confidence and security in the students by tackling the literature and pushing performance opportunities. There is no greater feeling than seeing students sound and feel better than they ever imagined possible. Giving them the tools to be great music communicators in any style they have to present, and having the tools to self correct, this is the true reward of teaching.
Comments