Music Extension Investigating Task Draft

Jackson Adcock Faculty of Music Investigating Task

INVESTIGATING TASK

Faculty of Music – Music Extension

‘Single Reed Instruments & Brass Instruments Comparison’Is it possible to master single reed and brass instruments to a professional degree, without suffering detriment to one or both?

Jackson Adcock

Mr. Bonar

Year 12

Semester 1, 2010

St. Andrew’s Anglican College

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TABLE OF CONTENTS

INTRODUCTION 3

DEFINING CLASSIFICATIONS 4

SURVEY RESPONSES 5

INSTRUMENT ANALYSIS 7

SYNTHESIS OF INFORMATION 11

CONCLUSION 13

BIBLIOGRAPHY 13

APPENDICES 14

INTRODUCTION

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The most important part of music is not the notes on a page, lyrics of a song or the instruments that are played, but the overall sound that is produced, built from a careful combination of style, technique, phrasing, interpretation and overall communication with the listener. It is this sound that professional musicians strive to develop, through years of practice, to effectively convey to their audience through performance. The question I ask however is are musicians able to master multiple instruments, across families, without encountering conflicting techniques, skills or other requirements that inhibit one’s ability to develop a professional sound to the same degree across all instruments? There are many successful multi-instrumentalists out there today, who one moment can be playing lead alto in a saxophone section, and next minute pick up a trumpet to ‘scream out’ a solo, James Morrison is a prime candidate in this regard. So does this mean it is possible to master all instruments? Or are there certain instrumental techniques required to play one particular family of instruments, that contradict those required to play another?

This paper will analyse the instrumental techniques that must be learnt for both single reed and brass instruments, to investigate whether or not aspects such as breathing, embouchure and the physical requirements of both families of instruments can be mastered, without causing detriment to one another. To answer this question, research into saxophone and trumpet, will be cross-referenced and synthesised to find any similarities and contradictions between the two families of instruments. To support these findings, this paper will look at dialogue with professional musicians, using their experiences as a basis for discussion.

So what exactly does ‘mastering’ an instrument include? Well, musicians play their instruments to various levels of skill, generally with their degree of ability reflecting how long they have been studying the instrument, as well as indicating what level of performance they have strived to achieve. With regards to this investigation, ‘mastering’ an instrument refers to developing a high, university-level of performance, allowing the musician to play at a professional level, such as a paid performance to an audience. Also, the term ‘multi-instrumentalist’ refers to an individual who plays more than one type of instrument, not necessarily to the highest degree but with a decent level of understanding for each. The purpose of this paper is to find out whether or not it is possible for these multi-instrumentalists to play more than one family of instrument to the upmost degree, essentially mastering both single-reed instruments and brass instruments without suffering detriment to either one.

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DEFINING CLASSIFICATIONS The classification of woodwind instruments has nothing to do with the material of which the instruments are made. If it had, then in a modern orchestra the flutes would have to sit amongst the trumpets and trombones, for when did you last see a wooden flute? Also, “the classification has nothing to do with the mouthpiece or reed, for saxophones have a beak shaped reed, flutes have no reed at all; instead a tone hole, and bassoons have a double reed” (Harvey, 1995, p. 1). So what is their common denominator? It must be that the pitch of notes is altered by the opening and closing of holes in the body of the instrument, as opposed to the brass family, which change the pitch of notes through use of valves and slides. And how can you classify brass instruments? It cannot be the use of valves, as the trombone would not clarify. The common denominator must be the cup shaped mouthpiece, which is placed against the lips and not between them like woodwind mouthpieces.

As mentioned, there are several woodwind categories. Unlike the difference between brass instruments, where mouthpiece size is the primary variation between instruments, there are single reed woodwinds, double reed woodwinds and woodwinds that use no reed at all. A result of this for example is that it is much more difficult to swap between an oboe to a flute, then it is to swap between a trumpet and a trombone, as far as being able to physically create a sound is concerned. For this reason, this investigation will only look into the differences and similarities between single reed instruments and brass instruments, excluding other woodwinds, as a comparison between all woodwinds and brass instruments would include a much wider range of instruments and therefore playing techniques in which to examine.

Saxophone and trumpet have been selected as representatives of single reed instruments and brass instruments respectively, as they allow for an accurate analysis of both types of instrument. Although information gathered through analysis of each representative will not be completely true across all members of its respective family – for example information about playing trumpet regarding diaphragm control and tone production is not going to be completely accurate if applied to playing the trombone – it is hoped that generalisations for the two different families of instrument will be able to be determined.

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SURVEY RESPONSES As a means to obtain valuable research for this task, a survey was sent out to various professional musicians, in the hope that they could provide a helpful insight to what should be looked at in this task. Attached are responses from Bruce Barnett, Phil Davies, James Morrison, John Thomas and Paul Williams, which exhibit professional musicians personal opinion on the topic is it possible to master both single reed instruments and brass instruments?

Below is a copy of the questionnaire and a table containing the five musicians responses, which give an insight to the various aspects of playing both single reed instruments and brass instruments, providing a grounding point for this investigation task. The overall consensus from the five musicians was that it is in fact possible to master both single reed instruments and brass instruments, though with a great level of difficulty, requiring flexibility, determination and a lot of practice to achieve successfully. The common denominators between the two types of instruments that were mentioned by all five musicians included air support, embouchure and physical ability, so these three aspects of playing will be analysed and cross-referenced between single reed and brass instruments in this investigation task.

1. What instruments do you play? And at what level do you play them? (e.g. professional, secondary instrument, self-taught)

2. Do you personally believe it is possible to ‘master’ both single reed and brass instruments without suffering detriment to either one?

3. What are key aspects specific to playing single reed instruments (with regards to embouchure, breathing, physical requirements etc) that you know of through your experience of playing?

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4. What are key aspects specific to playing brass instruments (with regards to embouchure, breathing, physical requirements etc) that you know of through your experience of playing?

5. Are there any aspects of playing single reed instruments that impede your ability to play brass instruments?

6. Are there any aspects of playing brass instruments that impede your ability to play single reed instruments?

7. What are the major similarities between playing single reed instruments and brass instruments, with regards to technique, style, and tone production?

8. What are the major differences between playing single reed instruments and brass instruments, with regards to technique, style, and tone production?

Question:

Barnett Davies Morrison Thomas Williams

1Woodwinds professionally.Brass secondary.

Brass professionally.

Woodwinds professionally.Brass professionally.

Brass professionally.

Woodwind professionally.Brass secondary.

2 Yes, but with difficulty.

Unsure from personal experience.

Absolutely Yes!No. I believe James Morrison is the only example of success in Australia.

Yes. Tom Baker and James Morrison are examples.

3Air support, posture.

Embouchure control, reed maintenance, tonguing.

Breathing, air support, articulation.

Embouchure control. Reed quality not a variable of playing brass.

A good teacher plus practise, practise and more practise.

4Physically demanding, in comparison to woodwind.

Embouchure consistency, physical fitness, air flow.

As above. Embouchure control, fingering, air support, tongue.

As above. Good to get brass embouchure correct from the start.

5 NoUnsure from experience. Would require flexibility, natural aptitude etc.

NoDevelopment of an open embouchure for woodwinds, different to what is required for brass.

No. Though have been told by trumpet players it is difficult to swap form trumpet to sax or clarinet.

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6 No. As above. NoMuscles required to perfect the reed embouchure conflicts with those for brass.Difficult to transfer between the two.

As above.

7Quality of breath support, physical requirements differ slightly.

Embouchure for reeds and brass have some similarities – arched chin is desired, strong air support.

Breathing, articulation and tonguing aspects are all the same.

Air support is vital. Fingering and tongue coordination. Embouchure control for intonation and pitching.

Breathing. Air flow is important for both.

8Mental processes required. How is the sound being produced?

Different resistances of blowing, physical requirements, more time needed to develop brass than single reed instruments.

Lips buzzing generates sound on brass, whereas reed vibrating produces the sound on reed instruments.

Need to develop a flexible embouchure to play multi-instruments.

Sound source generated by vibration of the lips, supported by air speed for brass. As opposed to reed generating sound in reed instruments.Inconsistency in reeds vs metal mouthpiece.

Learning to play an instrument based on harmonic overtones such as trumpet or trombone is vastly different than playing a sax. Lots of practise.

INSTRUMENTAL ANALYSIS Instrumental technique consists of the physical actions required to play an instrument, with a large number of actions and parts of the body involved when playing. Sound is created with single reed instruments and brass instruments simply by an airflow passing through the instrument, with enough velocity to create vibration through the instrument. “Every note we dream up will have three common attributes – a beginning, a middle and an end. I refer to these parts as attack, sustain and release respectively” (Horch, 1998, p. 76). In common with all instruments, good instrumental technique is being able to play these three aspects of a note as efficiently as possible. In order to do this, one must learn to sustain a sound (tone production), learn to effectively define and inflect the attack and release of a note (articulation), and learn to switch between pitch fluidly (finger technique, slide technique etc). Therefore, total control over the airflow, embouchure and physical requirements of an instrument will allow one to successfully master

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the instrument.

Although phrasing, interpretation, intonation, and communication with the listener are all important areas to consider when playing an instrument, this analysis looks at just the instrumental technique required to become a successful single reed instrument and/or brass instrument player. The information about the representative of each family will be used to make generalisations about what is essential, in terms of airflow, embouchure and physical requirements, when attempting to master each type of instrument. These generalisations will then be synthesised and cross referenced with the survey responses, in order to draw a conclusion of whether or not it is in fact possible to master both single reed instruments and brass instruments without suffering detriment to one or both.

Saxophone:

Airflow:

The inhalation before a note, when playing saxophone, should be relaxed and quite full, taken through the sides of the mouth and not the nose. Air is drawn into the lungs by the action of the diaphragm, moving downward. Exhalation is caused when the diaphragm reverses this motion, moving upward to compress the lungs, therefore pushing the air out of the body. Naturally the human body will breathe to much less than full capacity when at rest, though “this is to be avoided in wind playing, as the reservoir created is not large enough for long notes, nor is the support of the exhalation adequate from the diaphragm” (Horch, 1998, p. 77). When playing saxophone, the required air velocity needs to be reached quickly, with this strong airflow maintained throughout the duration of the note/s. If the airflow diminishes midway through playing, the quality of the tone produced and the intonation of the note will both be negatively affected. A weak airflow will result in uneven vibrations between the reed and the top of the mouthpiece, creating a weak sound that varies in pitch. That is why the process of inhalation and exhalation must ensure that a sufficient, even airflow is achieved, to sustain an unwavering, supported tone.Embouchure:

When playing saxophone, the airflow generated by the diaphragm is turned into sound, through the action of the reed vibrating on the mouthpiece, by control of the lips, teeth, jaw and facial muscles which together are referred to as the embouchure. A controlled embouchure is of vital importance in determining the quality, depth and colour of the sound produced. A preferred embouchure consists of the top teeth resting directly on top of the mouthpiece roughly one third of the way up the slope. The bottom lip is position against the reed, with the bottom teeth

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and jaw pressing up gently from beneath. There is a fine balance to consider when applying this pressure, as not enough pressure will result in the reed being unable to vibrate, though too much pressure will close the reed off completely, also preventing the reed from vibrating. The lips should seal firmly around the mouthpiece, preventing any air escaping, ensuring that the entire airflow is directed into the saxophone. Also, “the facial muscles around the mouth and cheeks should be held firm enough to assist in centering the sound, and the cheeks should not puff out” (Horch, 1998, 79). Overall, if the embouchure is not firm, airflow will be lost and a good tone will be difficult to achieve. Also, the intonation of notes played, especially in the higher octaves, will be difficult to produce and generally flat. On the other hand, if the embouchure is too tight, a ‘bottle-neck’ effect will be created, inhibiting the airflow where it enters the saxophone, resulting in restricted tone colour and dynamic potential, and resulting in consistently sharp intonation.

Physical Requirements:

Apart from the stamina required to produce a constant airflow, other physical requirements of playing saxophone include finger technique, throat and tongue position and reed maintenance. Fingering on a saxophone is the same throughout octaves, with the exception of a few high-end notes and a few low-end notes. However, although learning the fingering on a saxophone is fairly easy, it is the fingering and tongue coordination that takes time to develop. The saxophone has the ability to switch between pitch very quickly and fluidly when slurring notes, but has the ability to play tongued notes very rapidly also. Double tonguing and triple tonguing are both techniques that allow a saxophonist to achieve this, though take a high level of muscle development and coordination to achieve. The main goal of throat and tongue positioning “is simply not to obstruct the airflow by creating a narrow area” (Horch, 1998, p. 78). As the airflow travels out of the lungs, it must pass through the throat and oral cavity before it reaches the saxophone. This is why it is vital that the top of the throat, where the trachea opens into the oral cavity, must remain relaxed and open as to not restrict airflow. Also, the tongue must be positioned low and long in the mouth, and not be allowed to arch backwards over the throat opening, also inhibiting airflow. Lastly, reeds differ in strength and quality, producing different sounds. A saxophonist must have the flexibility to play with different strength reeds, as no two reeds are alike. Overall, saxophone is not a physically demanding instrument to play, as all the muscles required to play it can be easily be developed over time, and the airflow required to produce a sound does not need to be overly strong, just controlled. Trumpet:

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Air support:

The inhalation before a note, when playing trumpet, must be to full capactiy, taken through the sides mouth and not the nose. To do this, posture is a vital aspect of playing trumpet, as poor posture will inhibit one’s ability to breathe adequately. A good standing posture consists of a straight back, head up, abdominal muscles relaxed and the throat and neck muscles relaxed also. Similarly to playing saxophone, and any other wind instrument for that matter, air is drawn into the lungs by the action of the diaphragm, moving downward, allowing for the lungs to fill. When at rest, exhalation is an act of relaxation, but when undergoing exertion such as when playing an instrument, the abdominal muscles contract inward, putting pressure on the diaphragm to help expel air. Unlike playing saxophone, where the same quality of airflow is able to produce high notes, as well as low notes, when playing trumpet and other brass instruments, the strength of the airflow determines the pitch and dynamic of the tone produced much more so. Basically, when playing trumpet “the duration of the exhalation depends on the embouchure resistance, the range, the dynamics and the amount of air in the lungs. A loud, low passage consumes air more quickly than a high, soft passage” (Bachelder, 2002, p. 16). When playing trumpet, the dynamic level, intonation and duration of a note is much more dependant on the quality of the airflow, than when playing a single reed instrument, so a brass player needs to have great control over their diaphragm, as well as strengthened abdominal muscles to assist in sound production.

Embouchure:

When playing trumpet, the airflow generated by the diaphragm is turned into sound, through the action of the lips vibrating on the mouthpiece, by control of the lip construction, teeth, jaw and facial muscles which together are referred to as the embouchure. A preferred embouchure consists of the lower jaw resting directly below the upper jaw, with no gap in between. The teeth should sit back in the outlines of the jawbone, with the top and bottom teeth grinding surfaces resting on one another. Also, lip construction must be considered when playing trumpet as many people develop a hard point in the centre of the upper lip that prevents lip vibration, or produces a split airstream. A solution to this is to place the mouthpiece off centre so that only one portion of the lip vibrates, though much effort needs to be put in to help the muscles of the mouth adapt to the new embouchure position. “Another variable of lip construction is lip thickness. A performer with thick lips usually has more difficulty with the trumpet, especially if the edges of both lips fall on the outside of the

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mouthpiece” (Bachelder, 2002, p. 20). Therefore, it is more common for people with thin lips to play trumpet or horn, and people with thick lips to play trombone or tuba. Overall, the embouchure required to play the trumpet is very selective, with requirements such as upper and lower jaw alignment, straight teeth, lip construction and muscular development of the lips all to be considered before pursuing its performance. In some cases something like a scar on the lip, or poor jaw alignment can prevent the lips from buzzing, making playing trumpet virtually impossible.Physical Requirements:

Playing trumpet requires not only great control over the diaphragm and airflow stamina, but facial muscle stamina also. After a period of playing, trumpet and other brass instrument players develop tired facial muscles, which prevent the lip’s ability to buzz effectively. Playing high-end notes reduces stamina especially, as the pressure and control required to produce these notes causes the lips to fatigue much quicker than low-end notes. This stamina can be increased with constant practice, as just like any other muscle, facial muscles can be strengthened and developed to withstand the pressure that is applied when playing, for a longer period of time. Slurring on a trumpet is much more difficult to do than on saxophone, because it is easier to reach a new pitch if the note is restarted. When a trumpet player slurs between notes, there is no renewed attack, and so the pitch change comes solely from the airflow generated by the diaphragm. However, like saxophone, trumpet players can also tongue notes very quickly, with double tonguing and triple tonguing achievable even more so on trumpet than on single reed instruments, allowing for very rapid staccato notes. With regards to throat positioning, a trumpet player “must learn to keep the throat in a modified ‘yawn’ position, which opens the air passageway” (Bachelder, 2002, p. 17). This technique allows the throat to stay open, preventing it to restrict or hold the air before exhalation through the instrument. Overall, trumpet is a relatively physically demanding instrument to play, as even if the embouchure specifications are met, stamina and diaphragm control must be developed greatly to allow one to master the instrument.

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SYNTHESIS OF INFORMATION After looking at both the saxophone and the clarinet, analysing the instrumental techniques required to successfully learn the instrument, generalisations of single reed instruments and of brass instruments can be made. For each of the three aspects including airflow, embouchure and physical requirements researched, comparisons between the two families of the instruments can be made. Also, to support any findings, information from the five musicians survey responses can be referred to. The following synthesis of information supports the view that YES it is in fact possible to master both single reed instruments and brass instruments, without suffering detriment to either one.

Air support:

Producing sound on both saxophone and trumpet is highly dependant on airflow. Both single reed instruments and brass instruments produce their sound by converting airflow into vibrations that travel through the instrument. Although the mouthpiece used to make this conversion works in a slightly different manner for each of the two families, the same result is achieved, with no factors of producing the airflow required for a single reed instrument preventing one from producing the airflow required for a brass instrument. Although it has been determined that the strength of airflow needed to produce sound on a brass instrument is greater than that needed to produce sound on a single reed instrument, a higher developed diaphragm control that a brass player would possess could only assist them in playing a single reed instrument, and in no way hinder them.As Phil Davies said in his survey response, there are different resistances of blowing, when considering brass instruments, and therefore more time is needed to develop brass than single reed instruments. However, this does not mean that one cannot learn to

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deal with resistances of all instruments, learning the required airflow for both single reed instruments and brass instruments, therefore effectively mastering both.

Embouchure:

The embouchure required to play both saxophone and trumpet is the most variable factor. Both single reed instruments and brass instruments produce their sound by creating a vibration, though the way in which they achieve this differs. However, whether a reed is vibrating on a mouthpiece, or the lips are vibrating on a mouthpiece, both methods achieve the same result. Although it has been determined embouchures vary greatly between families of instruments, as well as within families, embouchure is still the same combination of lips, teeth, jaw and facial muscles that allow the exhalation of air to pass through an instrument, creating sound. However, just like airflow, there are no limiting factors that would prevent a single reed instrument player from mastering a brass instrument. Though it would take a great amount of time to learn the correct embouchures for each individual instrument, there are no physical factors that could prevent one from doing so. As James Morrison said in his survey response, the key factor to becoming a successful multi-instrumentalist is to develop a flexible embouchure from early on, therefore allowing oneself to switch between different types of instruments. Therefore, it can be seen that as it is possible to develop the correct embouchure required to play single reed instruments and brass instruments at the same time, without suffering detriment to one or both, so long as the individual develops the flexibility to switch between types of instruments, which would only come from persistence, diligence and a great amount of practice. Once this flexibility in embouchure is achieved, there is no reason why an individual cannot master both single reed instruments and brass instruments.

Physical Requirements:

The physical requirements of both saxophone and trumpet are much alike, with the same principles being applied in slightly different ways. Both single reed instruments and brass instruments rely on the throat remaining open and the tongue remaining flat as to not obstruct airflow between the lungs and the instrument. Also, both instruments use the same principles when it comes to articulation, with both saxophone and trumpet able to slur between notes to achieve legato phrases as well as single, double and triple tongue notes to achieve staccato phrases. The greatest difference in physical demand between single reed instruments and brass instruments would be the diaphragm control and stamina required to produce sound. While single reed

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instruments can produce an entire range of loud, soft, high and low notes, all using a medium level of air support, brass instruments must vary the level of airflow in order to vary both the dynamics and the pitch of notes. Also, a single reed player can play for a much more extended period of time than can a brass player, as facial muscle stamina fatigues much faster when playing brass than when playing single reed instruments.As Bruce Barnett said in his survey response, physical requirements do differ slightly between the two types of instruments, however there is no reason why an individual cannot train and develop the necessary requirement, whether it be strengthened abdominal muscles or strengthened facial muscles, as the only limiting factor is the amount of effort and time that an individual is willing to dedicate to honing a particular skill. Therefore, it must be possible for one to develop the physical requirements of playing single reed instruments, as well as brass instruments, to effectively master both.

CONCLUSION As demonstrated above, it is indeed possible to learn how to produce the necessary airflow, develop the correct embouchure and ascertain the essential physical requirements to learn, and therefore master, both single reed instruments and brass instruments. Through analysis of a representative of each type of instrument, no great contradictions between the requirements of the two families have been found to give grounds that it is actually not possible to master both.

Though it is evident that both the necessary air support and physical requirements can be developed for both single reed and brass instruments without causing detriment to one another, one small contradicting factor is embouchure. The embouchure required to play single reed instruments and brass instruments does differ a fair amount. However, it has been determined that a flexibility

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between embouchures can be developed, especially if worked on from an early stage in instrumental learning.

As Paul Williams said in his survey response, a good teacher plus practice, practice and more practice is the exactly what is needed to learn an instrument, and so if an individual does have the time, then there is no reason why they cannot master both single reed instruments and brass instruments, without suffering detriment to one or both.

BIBLIOGRAPHY

Books:

Harvey, P. (1995). Yehudi Menuhin Music Guides – Saxophone. London: Kahn and Averill.

Horch, K. (1998). The mechanics of playing the saxophone. In, R. Inhgam (1998). The Cambridge Guide to the Saxophone. Cambridge: Cambridge University Press.

Hemke, F, Demsey, D. (1999). Saxophone. In, First Lessons on Each Instrument. Illinois: Instrumentalist Publishing Company.

Orcutt, S, Buchtel, F. (1999) Cornet. In, First Lessons on Each Instrument. Illionois: Instrumentalist Publishing Company.

Bachelder, D, Hunt, N. (2002). Guide to Teaching Brass – 6th Edition. New York: McGraw Hill.

APPENDICES Attached is the correspondence between myself and the five professional musicians whose survey responses were detailed enough to give an insight into what to look for in this task. Several other responses have been excluded from this task, as their answers were either incomplete or simply yes/no answers which gave too little information to work with.

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I would like to thank all those who took the time to respond to my survey, supplying valuable information in the form of personal experience. Your responses gave grounding for this investigation, and I thank you for your support.

Attached are the emails and survey responses from Bruce Barnett, Phil Davies, James Morrison, John Thomas and Paul Williams.

Bruce Barnett:

From: Jackson AdcockSent: Thursday, May 06, 2010 6:31 PMTo: [email protected]: Music Extension Investigation Assistance

Mr. Barnett

My name is Jackson Adcock and I am currently studying Music Extension in Year

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12 at St Andrew's Anglican College.I believe my teacher Mr Bonar emailed you regarding my Investigating Task for Music Extension a few weeks ago. For the task I am examining whether it is possible to become proficient (play at a professional level) on both brass and reed instruments without suffering detriment to one (over the other). To assist with this research, I have prepared a survey for professional-level musicians in reed and brass (or both) playing.

Mr. Bonar mentioned you had some issues with the file type of my questionnaire, so I've attached it again but in an older Microsoft word file type. If you could please complete the questions that would be wonderful, I would really appreciate your input to my research. All responses will be confidential and the survey should not take too long to complete.

I thank you for your time and consideration.Kind regards,

Jackson Adcock

From: Bruce Barnett [[email protected]]Sent: Sunday, May 09, 2010 3:23 PMTo: Jackson AdcockSubject: Re: Music Extension Investigation Assistance

Hi Jackson,

Attached is my reply to your questioaire.

I hope it is sufficient for you. If you require further info feel free toemail me again.

BB

From: Jackson AdcockSent: Wednesday, May 12, 2010 10:14 PMTo: Bruce BarnettSubject: RE: Music Extension Investigation Assistance

Hi Bruce,

Thank you very much for your reply, I really appreciate your time and support

Jackson AdcockPlease complete this form electronically and reply by email or alternatively please print this form and reply by post. Thank you.

1. What instruments do you play? And at what level do you play them? (e.g. professional, secondary instrument, self taught)

I Play Saxophones, clarinet(s) and flute at, I suppose a professional level. I also dabble with trombone, euphonium and Tuba. The brass as a result of having to teach them and studying tuba for a time during my teacher training.

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Yes I do, but as with a lot of endeavours, spreading oneself too thin might not help either one.


Probably the most important things to realise are those things that are common to both such as good breath support, good posture, a positive attitude and a continuous process of endeavouring to produce a high quality sound on all instruments.


The brass is (for me) more physically demanding than the woodwind due to the exertion required to produce the required sound and trumpet is probably the most physically demanding of all which is why I try to avoid it.


No


I haven’t really noticed any for clarinet or sax but I have some trouble with the flute (not that you are asking about it) if I don’t rest the lips after playing trombone or tuba.


Good tone production is dependant on the quality of the breath support in both brass and woodwind. The physical requirements of producing that breath support differ slightly a bit more work to get the brass to perform.


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I think the major differences are in the mental processes required. As the concept of what the instrument actually does to the column of air that you are producing ie: that the sound from a brass instrument comes out of the bell but with clarinet or saxophone the sound comes out of the closest open tone hole (important to think about if you are playing into a microphone, especially the clarinet).

Phil Davies:

From: Cade BonarSent: Wednesday, March 31, 2010 11:43 AMTo: 'SIMM Anthony'; 'Emily Bonar'; 'Ross Lancaster'; Bruce Barnett; Bruce Barnett; Brad Millard; 'DEADY Clare'; Craig Davidson; 'C Dabelstein'; 'David Law'; Peter Francis; 'Dani Bell'; 'Justin Jackson'; '[email protected]'; '[email protected]'; Jon Christodoulides ([email protected]); Lindy Wilson; Laurinda Luckman ([email protected]); '[email protected]'; Michael Gojan ([email protected]); 'Melissa Hickey'; 'Matt Phillips'; noel stephensen; 'Phil Davis'; Philip Davis; 'Robert Busan'; Ralph Hultgren; 'Todd Wynyard'; Todd Wynyard

Cc: Jackson AdcockSubject: Brass - Reed Survey (Jackson Adcock)

Dear Colleagues,

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I write on behalf of Year 12 Music Extension student Jackson Adcock.

For his Investigating Task for Music Extension, Jackson is examining whether it is possible to become proficient (play at a professional level) on both brass and reed instruments without suffering detriment to one (over the other). To assist with his research, Jackson has prepared a survey for professional-level musicians in reed and brass (or both) playing.

You have been identified as someone who may be able to assist in his collection of data. To this end, may I kindly ask you to fill in the following questionnaire if you are able to assist with Jackson’s research. All responses will be confidential and the survey should only take a few minutes to complete. If you are unable to complete an item, please leave it blank.

Please email all responses back to [email protected] at your earliest convenience.

I thank you for your time and consideration.

Kind regards,

Cade Bonar

Cade BonarDirector of MusicDistrict Review Panel Chair - Music (Sunshine Coast)

St. Andrew's Anglican College40 Peregian Springs DrivePEREGIAN SPRINGS, QLD4573p | (07) 5471 5536f | (07) 5471 5500e | [email protected] | www.saac.qld.edu.au

From: Phillip Davis [[email protected]]Sent: Wednesday, March 31, 2010 10:45 PMTo: Jackson AdcockCc: 'Phil Davis'Subject: Music Extension

Hi Jackson,

I hope the attached questionnaire is of some benefit for your research. I’d be most interested if you could let me see the results of your project.

Good luck with everything.

Cheers,

Phil Davis

From: Jackson AdcockSent: Thursday, April 15, 2010 7:23 PM

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To: Phillip DavisSubject: RE: Music Extension

Dear Phil

Thank you kindly for your reply. I really appreciate it.Your responses were exactly the type of research I was hoping to gather and I will be more than happy to let you know the end results of my assignment.

Thanks again,

Jackson Adcock

Please complete this form electronically and reply by email or alternatively please print this form and reply by post. Thank you.


Professional - alto, tenor, bass trombones and euphonium. Secondary instruments – piano, tuba. Self taught - guitar


Don’t know from personal experience, but I have seen some professional and amateur players who can double on brass and woodwind effectively; only commercial players though, not classical players. This is a contextual question determined by the level of professional activity of the player. Eg. the refinement and condition to maintain a professional standard in a symphony orchestra on a brass instrument may be compromised if doubling on a woodwind instrument. Orchestrally (and in general), a brass player would more readily swap from one brass instrument to another with less

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compromise I imagine than from a brass instrument to a woodwind instrument. As I say, I really don’t know from personal experience, but I can give a pretty well informed opinion on what I have observed, sensing the difficulties that may arise in a more critical context such as the example above.


Each woodwind instrument requires different levels of embouchure tension and control; reed maintenance and useable life can vary (especially for double reed instruments) and tonguing function is quite different to brass playing. In general, an arched chin is desirable which is a similarity to brass playing – solid air support is similar, however there are quite different blowing resistances eg a soprano sax and a tuba are vastly different.


A well formed dental shape without too much overbite, excellent and generous use of air and flow, consistency of embouchure across all registers, general well being and physical fitness, the practise of physical routines to build strength and consistency of tone and technique, and a very good ear.


Can’t comment from personal experience. It would depend on many variables such as interest, commitment to practise, flexible approach to each instrument, natural aptitude, adapting to different tonguing etc.


Similar comments as given for Q 5


A well founded embouchure for reeds and brass do have some similarities eg. an arched chin, strong focus on air support, some instruments are similar in transposition, clef and keys eg tenor sax and trumpet.


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The extremes of differences eg soprano sax and tuba, the clefs, keys and transpositions. The different resistances of blowing say a trombone and an alto sax. There are more repetitive physical exercises to play a brass instrument and a greater period of time to develop an effective comparable range. The process is much slower on brass as I see it. When compared in the earlier years of playing, a student playing an alto sax will often seem to be more expressive and blow more easily for example than a student playing a trumpet over a similar period time.

James Morrison:

From: Jackson Adcock <[email protected]<mailto:[email protected]>>Date: 29 April 2010 18:00:37 AESTTo: "[email protected]<mailto:[email protected]>" <[email protected]<mailto:[email protected]>>Subject: Music Extension Investigation Assistance

Mr David Green

My name is Jackson Adcock and I am currently studying Music Extension in Year 12 at St Andrew's Anglican College on the Sunshine Coast.For my Investigating Task for Music Extension, I am examining whether it is possible to become proficient (play at a professional level) on both brass and reed instruments without suffering detriment to one (over the other). To assist with this research, I have prepared a survey for professional-level musicians in reed and brass (or both) playing.

If at all possible, to assist in this collection of data, could you kindly ask Mr Morrison on my behalf to fill in the following questionnaire to aid my research. I would very much appreciate his input and support to this investigation task. All responses will be confidential and the survey should not take too long to complete.

23


I thank you for your time and consideration.Kind regards,

Jackson Adcock

From: James Morrison Enterprises [[email protected]]Sent: Monday, May 03, 2010 9:33 AMTo: Jackson AdcockSubject: Fwd: Music Extension Investigation Assistance

Jackson,

Please find attached the completed questionnaire.

All the best,David Green

From: Jackson AdcockSent: Monday, May 03, 2010 11:37 AMTo: James Morrison EnterprisesSubject: RE: Music Extension Investigation Assistance

Thank you very much for your prompt reply. I really appreciate it.Yours SincerelyJackson AdcockPlease complete this form electronically and reply by email or alternatively please print this form and reply by post. Thank you.


Trumpet, Trombone, other brass (flugel horn, euphonium etc) All saxes, Piano, Double Bass, Guitar. All at professional level.


Absolutely yes.


The breathing and articulation aspects of all of the instruments I play are the same. The differences arise in embouchure. Reed embouchure uses some different muscles to brass. The muscles that are the same are used in a different way (or position).

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See answer to no. 3


No.


No.


Breathing, Articulation and tonguing.


Sound is produced by buzzing the lips with brass; whereas the reed does all the vibrating with Reed instruments. This means that there is more ‘feel’ for what is happening with the brass, as the thing that is actually producing the sound (your lips) is part of your body. With a reed, the sound is produced by a piece of cane, which you control with your lips (and breath) but can’t actually ‘feel’ what it is doing directly.

I should also add that my theory as to how to play multi instruments with differing embouchures is this :-

You need to develop a flexible embouchure. Players who spend years playing a brass instrument (or reed) and then attempt to add a new type, have developed a very solid embouchure on their first instrument. This makes it difficult to acquire the new embouchure. I had the advantage of playing a number of instruments (both reed and brass) from a very early stage in my development - so I developed a ‘flexible’ embouchure right from the beginning. This made it easy to switch between reed and brass.

25


It’s possible to learn this later on, at any stage of your playing life – but you need to concentrate on developing flexibility in your embouchure rather than spending time playing the ‘new’ instrument a lot (which is what most people naturally do).

John Thomas:

From: Cade BonarSent: Wednesday, March 31, 2010 11:43 AMTo: 'SIMM Anthony'; 'Emily Bonar'; 'Ross Lancaster'; Bruce Barnett; Bruce Barnett; Brad Millard; 'DEADY Clare'; Craig Davidson; 'C Dabelstein'; 'David Law'; Peter Francis; 'Dani Bell'; 'Justin Jackson'; '[email protected]'; '[email protected]'; Jon Christodoulides ([email protected]); Lindy Wilson; Laurinda Luckman ([email protected]); '[email protected]'; Michael Gojan ([email protected]); 'Melissa Hickey'; 'Matt Phillips'; noel stephensen; 'Phil Davis'; Philip Davis; 'Robert Busan'; Ralph Hultgren; 'Todd Wynyard'; Todd WynyardCc: Jackson AdcockSubject: Brass - Reed Survey (Jackson Adcock)

Dear Colleagues,



You have been identified as someone who may be able to assist in his collection of data. To this end, may I kindly ask you to fill in the following questionnaire if you are able to assist with Jackson’s research. All responses will be confidential

26


and the survey should only take a few minutes to complete. If you are unable to complete an item, please leave it blank.

Please email all responses back to [email protected]<mailto:[email protected]> at your earliest convenience.


Kind regards,

Cade Bonar


St. Andrew's Anglican College40 Peregian Springs DrivePEREGIAN SPRINGS, QLD4573p | (07) 5471 5536f | (07) 5471 5500e | [email protected]<mailto:[email protected]>w | www.saac.qld.edu.au<http://www.saac.qld.edu.au

From: John Thomas [[email protected]]Sent: Friday, April 16, 2010 11:35 AMTo: Jackson AdcockSubject:

Hi Jackson

I have attached the questionaire for your music extension assignmnet - a very interesting topic. All the best for the task and please feel free to contact me if you would like and further information. I would be interested in reading the report when you are finished.

Regards

JT

John ThomasBrass and Band Music CoordinatorMatthew Flinders Anglican College

From: Jackson AdcockSent: Monday, April 19, 2010 9:58 PMTo: John ThomasSubject: RE: Extension

Hey JT

Thank you very much for your reply, I appreciate your time. I will be more than happy to send you a copy of the report once completed, hopefully I get a definite end result.

27


Thanks again,

Jackson Adcock



Tenor Horn Professionally Tuba Secondary instrument Trombone Secondary instrument French horn Secondary instrument Euphonium Secondary instrument

10.Do you personally believe it is possible to ‘master’ both single reed and brass instruments without suffering detriment to either one?

Personally I don’t believe that it is and the only example of success in Australia I would consider to be James Morrison

11.What are key aspects specific to playing single reed instruments (with regards to embouchure, breathing, physical requirements etc) that you know of through your experience of playing?

I don’t play single reed instruments but the consideration would have the embouchure control given the rigid nature of the mouthpiece

The varying nature of strength and quality of the reed is a variable not associated with playing brass instruments

Use of all of the fingers and thumbs

28


12.What are key aspects specific to playing brass instruments (with regards to embouchure, breathing, physical requirements etc) that you know of through your experience of playing?

Embouchure control Fingering Air support Tongue The significant aspect of the sound source being the vibration generated

by the lips buzzing supported by air speed, as opposed to the reed generating this sound

13.Are there any aspects of playing single reed instruments that impede your ability to play brass instruments?

The development of the embouchure that is required for reed instruments – open embouchure – is significantly different to what is required for brass instruments. The muscles required to perfect this aspect of playing/embouchure are conflicting with that of the brass

14.Are there any aspects of playing brass instruments that impede your ability to play single reed instruments?

See above as the same principals of muscle development apply and for the majority of the musicians I have worked with this is a difficult skill to transfer from woodwind to brass and vice versa

15.What are the major similarities between playing single reed instruments and brass instruments, with regards to technique, style, and tone production?

Breath support is mandatory on any wind/brass instrument – this is generated by the same muscle system for both

Coordination of fingers and tongue is a very significant aspect of technique relating to both

Embouchure control (while different for each) allows for accuracy in intonation and pitching

16.What are the major differences between playing single reed instruments and brass instruments, with regards to technique, style, and tone production?

Posture given the differing shapes of instruments is a consideration

29


Tonguing is significantly different in articulating against the wood of the reed versus tonguing into the mouthpiece of the instrument

The inconsistency of reeds in quality strength and deterioration versus the consistency of the metal mouth piece

Paul Williams:

From: Cade BonarSent: Wednesday, March 31, 2010 11:43 AMTo: 'SIMM Anthony'; 'Emily Bonar'; 'Ross Lancaster'; Bruce Barnett; Bruce Barnett; Brad Millard; 'DEADY Clare'; Craig Davidson; 'C Dabelstein'; 'David Law'; Peter Francis; 'Dani Bell'; 'Justin Jackson'; '[email protected]'; '[email protected]'; Jon Christodoulides ([email protected]); Lindy Wilson; Laurinda Luckman ([email protected]); '[email protected]'; Michael Gojan ([email protected]); 'Melissa Hickey'; 'Matt Phillips'; noel stephensen; 'Phil Davis'; Philip Davis; 'Robert Busan'; Ralph Hultgren; 'Todd Wynyard'; Todd WynyardCc: Jackson AdcockSubject: Brass - Reed Survey (Jackson Adcock)

Dear Colleagues,



You have been identified as someone who may be able to assist in his collection of data. To this end, may I kindly ask you to fill in the following questionnaire if you are able to assist with Jackson’s research. All responses will be confidential and the survey should only take a few minutes to complete. If you are unable to complete an item, please leave it blank.

Please email all responses back to [email protected]<mailto:[email protected]> at your earliest convenience.


30


Kind regards,

Cade Bonar


St. Andrew's Anglican College40 Peregian Springs DrivePEREGIAN SPRINGS, QLD4573p | (07) 5471 5536f | (07) 5471 5500e | [email protected]<mailto:[email protected]>w | www.saac.qld.edu.au<http://www.saac.qld.edu.au

From: John Thomas [[email protected]]Sent: Friday, April 16, 2010 11:35 AMTo: Jackson AdcockSubject:

Hi Jackson

I have attached the questionaire for your music extension assignmnet - a very interesting topic. All the best for the task and please feel free to contact me if you would like and further information. I would be interested in reading the report when you are finished.

Regards

JT

John ThomasBrass and Band Music CoordinatorMatthew Flinders Anglican College

From: Jackson AdcockSent: Monday, April 19, 2010 9:58 PMTo: John ThomasSubject: RE: Extension

Hey JT

Thank you very much for your reply, I appreciate your time. I will be more than happy to send you a copy of the report once completed, hopefully I get a definite end result.Thanks again,

Jackson Adcock

31



17.What instruments do you play? And at what level do you play them? (e.g. professional, secondary instrument, self taught)

Tenor Horn Professionally Tuba Secondary instrument Trombone Secondary instrument French horn Secondary instrument Euphonium Secondary instrument

18.Do you personally believe it is possible to ‘master’ both single reed and brass instruments without suffering detriment to either one?

Personally I don’t believe that it is and the only example of success in Australia I would consider to be James Morrison

19.What are key aspects specific to playing single reed instruments (with regards to embouchure, breathing, physical requirements etc) that you know of through your experience of playing?

I don’t play single reed instruments but the consideration would have the embouchure control given the rigid nature of the mouthpiece

The varying nature of strength and quality of the reed is a variable not associated with playing brass instruments

Use of all of the fingers and thumbs

20.What are key aspects specific to playing brass instruments (with regards to embouchure, breathing, physical requirements etc) that you know of through your experience of playing?

32


Embouchure control Fingering Air support Tongue The significant aspect of the sound source being the vibration generated

by the lips buzzing supported by air speed, as opposed to the reed generating this sound

21.Are there any aspects of playing single reed instruments that impede your ability to play brass instruments?

The development of the embouchure that is required for reed instruments – open embouchure – is significantly different to what is required for brass instruments. The muscles required to perfect this aspect of playing/embouchure are conflicting with that of the brass

22.Are there any aspects of playing brass instruments that impede your ability to play single reed instruments?

See above as the same principals of muscle development apply and for the majority of the musicians I have worked with this is a difficult skill to transfer from woodwind to brass and vice versa

23.What are the major similarities between playing single reed instruments and brass instruments, with regards to technique, style, and tone production?

Breath support is mandatory on any wind/brass instrument – this is generated by the same muscle system for both

Coordination of fingers and tongue is a very significant aspect of technique relating to both

Embouchure control (while different for each) allows for accuracy in intonation and pitching

24.What are the major differences between playing single reed instruments and brass instruments, with regards to technique, style, and tone production?

Posture given the differing shapes of instruments is a consideration Tonguing is significantly different in articulating against the wood of the

reed versus tonguing into the mouthpiece of the instrument The inconsistency of reeds in quality strength and deterioration versus

the consistency of the metal mouth piece

33


34

Documents

Music Extension Investigating Task Draft