FFFFFFFFFFFFF!

[davhen]

I didn't do well in physics when I took it in high school but I remember this part pretty well. Sound waves have a cool way of acting when they're layed on top of each other. If 2 or more perfectly (or near perfectly) matching sound waves are laid on top each other, they will create a new wave of equal frequency but with a greater amplitude. In layman's terms, the more together and more in tune you can get your ensemble to play, the louder the overall sound will be, and the farther it will travel. This can also produce the "overtone" phenomenon that occurs when a chord is played so in tune that if you listen carefully you can hear extra notes in the chord, even though they aren't actually being played.

that is correct Galen. I have seen it called a "resultant tone" . it is a third tone that is produced as a "result" of the interaction of two primary tones. If the two primary tones are tuned to a perfect interval, the resultant tone will be perfect. When this happens, the amplitude of the resultant wave adds to the amplitude of the original waves. This is why good tone, balance and good tuning give a hornline a "full" sound. "Thin" soundling lines sound so because the tone and tuning are imperfect enough that overtones can't be present, and any resultant tones created will be slightly out of phase with the original tones, thus cancelling parts of the wave rather than reinforcing it.

as far as building upper dynamic control, two things have to happen. Players have to develop strong, flexible embouchure muscles to control all the added air pressure created by breathing exercises.

[Shadow_7]

I have seen it called a "resultant tone" . it is a third tone that is produced as a "result" of the interaction of two primary tones.

In multiphonics, if you sing a major 10th above the note you're playing, and it's in tune. You get the fifth of the chord. And you also get a reinforced fundamental an octave below the note you're playing. If it's in tune.

As far as the gimmicks, there's many methods to get people to play louder, by using more air than they would normally use. Having them run a mile, then pick up their horn and play immediately afterwards. Playing with a practice mute, then taking it out. Warming up on Tuba to play a trumpet a minute later. No resistence mouthpiece exercises followed by a resistent horn. All of which boils down to you using the wrong air, and needing the gimmicks to trick you into involuntarilly using the right or at least closer to the right air.

[thederek]

1. Breathing exercises

2. Breathing exercises with balloons

3. Breathing exercises with your mouthpiece

4. Breathing exercises while running.

5. Use that lung capacity that you now have and

6. for gods sake play in tune!!!

[suncontra89]

Boy, some different ends of the spectrum on here.

I do like the comment from PR guy about "warm air" , especially for low brass.

I do disagree with those that discount the diaphragm, vocalists also use excercises for support of pitch, etc.

"Your only as strong as your weakest player" , relates to playing "down" to them.

Which of course for balance and blend has to happen. But it almost sounds as if some are admonishing the strong player

for playing loud. How about trying to get the weaker players to play stronger?

Sometimes all it takes is mixing them in amongst stronger players.

A horn line(brass player) is like a stereo, you turn the volume up to 10 then back it down to where it's

not distorted.

Over the years I've seen brass lines late in their season have their staffs try to "open" them up volume wise.

Figuring once they were comfortable with the show etc., they could open up.

Only to hear bad attacks,,,splats,,,etc. all over the place. Their chops couldnt handle it.

Anyone else ever see this?

[Dave]

I do disagree with those that discount the diaphragm, vocalists also use excercises for support of pitch, etc.

I'm not "discounting" it, I'm talking about human physiology. The diaphragm has nothing to do with playing your instrument; it's an involuntary muscle that expands your lungs, nothing more. It's just incorrect terminology that dates back to before we really understood the human body as it relates to music-making.

[DrumCorpsLives]

I'm not "discounting" it, I'm talking about human physiology. The diaphragm has nothing to do with playing your instrument; it's an involuntary muscle that expands your lungs, nothing more. It's just incorrect terminology that dates back to before we really understood the human body as it relates to music-making.

I'm not an M.D. but I thought I could control my diaphragm?

I know I can force myself to breathe voluntarily, but what am I using when I do that, if it's not the diaphragm? What is it called?

I always thought it was called the diaphragm.

[idontwan2know]

You can consciously control inhalation, which is a process which involves the coordination of many muscles. That is not the same as consciously controlling any particular muscle. Your brain is simply not wired to work that way. You can indirectly affect your heartrate as well, but you can't consciously decide how fast it beats.

Your body already knows how to inhale in the most efficient way possible. Imagine you're trying to swim the length of a pool underwater? What kind of breath are you going to take?

Simple modeling like that, along with a few checks to ensure an open airway(feeling the cold spot on in your throat on inhalation, warm air on exhale, etc.) is quicker and more effective than trying to reteach people something they've been doing literally all their lives.

Watch the Breathing Gym sometime...they don't attempt to reteach the process of breathing, or conscious control of any of the muscles involved. They simply take what your body already knows how to do and create exercises that help you maximize it and make it as useful as possible musically.

[BDTPT]

WOW, i am the original writter of this topic, talk about this thread comming back from the dead. I was a sophmore in highschool at the time and now I am a sophmore in college. A lot has taken place, it takes me way back to my naive trumpet playin days!

[LSU GRAD 82]

I'm a drummer and don't squat about Brass, but do have one suggestion to improve sound of a weak section. Improve your horn angle on the field. In other words, don't blow in the dirt. Get your bells up in the air and project the sound into the stands-bleachers and not down into the ground...........

[Mean Guru]

I'm a drummer and don't squat about Brass, but do have one suggestion to improve sound of a weak section. Improve your horn angle on the field. In other words, don't blow in the dirt. Get your bells up in the air and project the sound into the stands-bleachers and not down into the ground...........

Good advice. I was thinking about how to clean drumlines, myself. My suggestion is to play with sticks, rather than wet mackerel. I think sticks would give you a much more controllable, precise sound than slimy fish.

-Mean