by Brian Burditt (originally published in THEME, Volume IV, Issue II, 1985)

All too frequently, an unsatisfactory start on a musical instrument affects an individual’s pleasure as a musician. The first years of study are the most critical, for it is at this time that the student is likely to slip into faulty habits of tone production which may affect the quality of his performance for years to come. The first lessons are so important, and even more so, is the beginner’s first teacher. A beginner who is allowed to use faulty technique, poor embouchure set-up or incorrect breathing habits will endure endless hours of frustration until possibly giving up entirely.

The teacher’s responsibility is threefold: observation, diagnosis and prescription.

First, the teacher observes the student and his performance problems; second, he thoroughly analyzes the problem; and third, he prescribes a remedy to solve the problem, which, with patience and careful practice, will in time correct the difficulty.

If a teacher cannot recognize that a problem exists, or what may be causing the difficulty, then progress is replaced by frustration and an intense dislike for playing.

What follows is a brief discussion of a few of the most important aspects of teaching beginners. Space will not allow a detailed analysis of the various topics discussed, but it is hoped that the ideas presented here will be helpful to you in what is certainly a challenging task.

Breathing

All teachers, I am sure, emphasize breath support; but many students have only a hazy idea of what the term actually means, and teachers often prescribe more breath support as a panacea for almost any and all playing problems. Students often interpret it to mean blow harder. These misconceptions are harmful, and if we reconsider them, we can better help our students.

A beginner of ten years of age is probably not ready for an indepth study and understanding of the anatomical process of proper breathing. Indeed, many experienced players undertake this task with only a vague notion of what they are actually doing. Almost mystical powers are attributed to the use of the diaphragm. It has often been recommended that a player push his diaphragm in, out, up and down to increase breath support.

I recommend no pushing in any direction. Instead, try teaching a sustained flexing, the same flexing that occurs very briefly when you cough. This natural reflex produces very high breath pressure necessary for playing. When teaching this sustained flexing be sure to check that neck and shoulder muscles remain relaxed (this is opposite to coughing).

The key to playing with more breath support is the proper use of the tongue. An example that students can relate to is comparing the tongue to the movable pin in a garden hose nozzle. By turning the nozzle, the pin moves forward and backward controlling the flow of water; however, the quantity of available water remains constant. Similarly, the brass player playing higher, focuses the jet of air with his tongue by using the syllable tee, and conversely too for the lower register. Remember, more air pressure and greater air speed are required; not more air.

Comparing specific notes, the tongue position changes in a manner similar to whistling the same notes. Obviously, correct tongue position does not solve all the player’s problems. Adjusting mouthpiece position and tension are also necessary; and this depends on the individual player’s facial structure.

Embouchure

Establishing the embouchure for a beginner is essential for good tone production. The so-called ‘smile embouchure’, where the corners of the mouth are pulled straight back, prevents necessary firmness in the corners and weakens the lower lip and chin. The result is a thin tone and limited range.
By keeping the corners pushed slightly inward and curled downward, with the jaw forward so that the lower teeth are nearly even with the uppers, the necessary firmness in the corners can be maintained, as well as complete support of the lower lip and chin. An effective method of explaining the set-up of a proper embouchure is to ask the learner to think of his/her favourite food and say ‘mmmm’. Have them use this M setup whenever placing the mouthpiece on their lips.

Through the use of the proper embouchure, the beginner can produce a reasonably good quality tone on his instrument within a relatively short period of time. A good tone is not something that need be off in the distant future.

An excellent technique for embouchure development and focus is the mouthpiece buzz. The professional player uses it as a warm-up, to improve lip flexibility, and even maintain and build up endurance, while the beginner uses it as a proven way to get the proper embouchure working for him.

Articulation

The use of the tongue for various articulations tends to complicate matters for the beginner; therefore, I recommend a slurred or legato approach. This allows the student greater opportunity to hear himself and gain a good concept of sound more quickly.

When articulation is introduced, be sure it is done properly. The tongue is used to release or start the note (by drawing back to the syllable ‘too’), not to stop it.

Concept of tone quality

One of the most difficult tasks in teaching beginners is that of developing a concept of good tone quality for their particular instrument. Once proper breathing and embouchure are established it is important to consider how a student learns to improve thin tone quality. The development of tone quality is probably best explained in terms of three separate principles;

1. discovery
2. imitation
3. connection.

1. Discovery

Once proper embouchure, use of the air column and tongue have been fully explained and put into practice, the need for trial and error experimentation on the part of the student becomes a critical factor. Practice, in some respects, is really a trial and error attempt toward a specific goal. The more trials attempted, the greater probability for success. This process doesn’t stop. In fact, the more advanced the player becomes, the more he becomes dependent on this method until finally he finds out exactly what works for him.

2. Imitation

Imitation or ‘modeling’ plays an important role in developing the concept of tone. The main purpose of a demonstration lesson is to place a series of ideas and concepts into a meaningful context. In other words, after the teacher describes what he wants the student to do, the teacher can reinforce these ideas by demonstrating on his own instrument. Never hesitate to use recordings as a standard to which we can compare. A wise teacher will have his students listen, not only to other brass players, but also, to great string players and vocalists as well.

3. Connection

The necessity of a good model in teaching tone production almost goes without saying, but it is also important to consider the proximity of the model in terms of time. The closer the time between what a student hears and what he plays the better. Probably the best way of accomplishing this is to make the listening experience and playing experience simultaneous; ie. play with the student. In this way he has immediate feedback on his progress. Therefore, a student develops his tone concept first by comparison to the model, and eventually by comparison to his own concept of good tone quality (originally fostered by the model).

In general, a good teacher goes far beyond mere verbal instructions to the actual experiences of playing, in order to get across the concept of good tone quality.

Equipment

Unfortunately, most beginners are asked to learn to play on less than adequate instruments. I recognize the financial implications involved, but all too often beginners learn bad habits early because they must compensate for a poor instrument. I am not suggesting brand new, expensive instruments for beginners, but at the very least, the instrument should be free blowing, have no leaks, and freely moving valves and slides.

A great deal has been written about mouthpiece selection. Generally, this is a very personal thing and most experienced players have settled on a mouthpiece that provides them with a balance of performance and comfort. When selecting a mouthpiece for a beginner, these simple guidelines may help:

1) select a reputable mouthpiece manufacturer (Bach, Wick etc.)

2) select a mouthpiece of medium cup and backbore size

3) avoid cushion rims, shallow cups, etc. unless needed for a specific reason

4) make sure the mouthpiece plating is in good condition

5) make sure the mouthpiece fits the instrument properly

These simple rules can best be met by purchasing a new mouthpiece for a beginner. If the mouthpiece manufacturer is a good one, the teacher will be able to obtain similar mouthpieces in larger or smaller sizes as the player develops or the need arises.

In Conclusion

When dealing with younger players the teacher must use a little psychology. Frequent, short practice sessions are better than infrequent, longer ones. Set short term, achievable goals, so the student feels success. Praise this success and he will be motivated to continue practicing and trying new ideas.

Remember, in teaching, as in playing, there is no secret to or magic formula for success. Patience, perseverance, hard work, motivation, and a large bottle of aspirins are all essentials.