Chapter 1

‘Breathing’ in trumpet pedagogy

           The subject of breathing is probably one of the most controversial and confusing areas in trumpet pedagogy. Trumpet method books usually contain either breathing information that omits the physiology of it in general, or instructions that seem to conflict with each other. While the more modern brass pedagogical books seem to adopt a more uniform and scientifically supported approach to the subject, there still appears to be a lack of research regarding where and how the air enters or exits the body whilst playing.

Trumpet method books regarding breathing

           An examination of published trumpet method books that are commonly used reveals the following – sometimes confusing and contradictory – list of instructions pertaining to the inhalation process for playing the trumpet:

1. 1. Breath intake should be effortless and never be noticeable (Colin pp. 172).
   2. Breathing should be deep (Clarke, Elementary Studies p. 3, Setting Up Drills pp. 5, Vizzutti pp. 6, pp. 120).
   3. Do not inhale more deeply than necessary (Saint-Jacome pp. 1).
   4. The amount of air inhaled should be measured against the musical phrase that would be played, and should not be excessive (Arban pp. 20, Freidstadt, Saint-Jacome pp. 1)
   5. Do not take a new breath until all the air in the lungs have been utilized (Clarke, Elementary Studies pp. 5, Setting Up Drills pp. 5)
   6. Be careful to breathe regularly, inhale with freedom (Clarke, Elementary Studies pp. 5).
   7. The chest must be extended when inhaling for a full breath (Clarke, Setting Up Drills pp. 5).
   8. Do not breathe high in the chest (Vizzutti pp. 120).
   9. The stomach must rise while the chest swells from inhalation (Arban pp. 20).

           It can be quickly seen that some instructions appear to conflict with each other (2 and 3, 7 and 8), and Clarke seems to be contradicting himself within a set of instructions (5 and 6). It is hard to imagine how a student juggles this information.

           A further point of note is that more methods favour the usage of mouth for inhalation. Arban (pp. 20), Saint-Jacome (pp. 1), and Schlossberg advise breathing in through the corners of the mouth. Vizzutti writes that the mouth and throat should form an “Ah” syllable. Carmine Caruso is an exception and instructs the student to breathe only through the nose while keeping mouthpiece contact with the lips in his book (pp. 8), which is aptly named Musical Calisthenics for Brass.^[1] There is no mention of which orifice to use for inhalation in Clarke’s and Colin’s methods.

And here is a list of instructions regarding exhalation in the method books:

1. 1. Diaphragm supports or pushes the air (Colin pp. 174, Freistadt, Vizzutti pp. 120).
   2. The tongue releases the air into the instrument (Arban pp. 20, Colin pp. 173, Freistadt).
   3. Blow carefully to not force the tone, but to produce it naturally (Clarke, Elementary Studies pp. 5)
   4. The air stream through the lips should be constant (Caruso pp. 8, Freistadt).
   5. The stomach returns [lowers] to the original position, and the chest deflates (Arban pp. 20).

           It should be noted that Colin’s description of the exhalation process is more complex compared to the other method books. He mentions that playing the trumpet is an unnatural process, and exhalation should generate “vitality and must perform like an uninterrupted, turned on faucet” (pp. 172). He further writes that the exhalation process leading to sound production should be supported by good aural imagery, good usage of the human body, and constant concentration (pp. 173-174).^[2]

           It is however interesting to read that Colin, as well as James Stamp, ‘prescribes’ controlled hyperventilation to encourage deep breathing (Colin pp. 178, Stamp pp. 2).^[3] The physiological process of how hyperventilation helps with the student’s development is not described, but recent health research has documented that inducing hyperventilation regularly has serious adverse impacts on personal health (See Chapter 2).

Conventional brass pedagogy on breathing

           Brass pedagogy books nowadays have a more uniform approach towards the breath, with much credit to Arnold Jacobs,^[4] who began studies of human physiology and psychology as a hobby in the 1940s (Nelson pp. 10). Jacobs actively integrated the knowledge obtained into his teachings, which, in some ways, laid down a standardized approach to breathing for brass players supported by science. Since then, Jacobs has been quoted on numerous occasions in brass pedagogy.

           Jacobs himself did not write a book regarding his ideas of breathing, but his students have compiled and published a number of books in attempts to preserve those ideas, and some even went on to add more research alongside his ideas. Even then, the basic pedagogy boils down to a very simple set of instructions: “Suck and blow” (Campos Trumpet Technique pp. 47-48, Nelson pp. 45). The principle behind this simplicity, however, is based on a substantial amount of research put into the physiology of the respiratory muscles in the torso area. These pedagogues primarily want to avoid unnecessary tension – one of which is the Valsalva maneuver^[5] – which inhibits the breathing process.

           However, even with all the research put into this area of brass playing, I feel that it still lacks the physiology of how organs in the head participate or influence the breathing process. Granted, there is no question that the air should pass through only the mouth during exhalation when playing the trumpet, but with regard to inhalation, there is still much to be explored. Campos wrote, “It is not proper technique to breathe through the nose.” (Trumpet Technique pp. 38) but provides no further explanation. Steenstrup talks about “sensing the air pass the lips with minimum friction” (pp. 113), which implies that inhalation is done through the mouth only. Nelson, in his usage of pictures, also shows that only the mouth is used to take in air (pp. 52).

Willem van der Vliet

           From all the teachers I have learnt from, Willem van der Vliet’s way of breathing best addresses this knowledge gap. Willem was the former principal trumpeter of the Radio Filharmonisch Orkest (RFO), and has amassed a huge amount of experience performing widely varied styles of music around the world during his freelance career prior to and after his job at the RFO. In addition to that, he also taught at Het Utrechts Conservatorium and Conservatorium van Amsterdam, and was active in giving masterclasses in Europe and United States of America.  Since his retirement in 2002, he has been active in helping trumpeters with playing problems, and even singers and other instrumentalists, like clarinetists and flautists. Willem developed his method through trial-and-error, constantly seeking mastery over uncontrollable elements^[6] in performance situations. His search led him to the realization that the high position of the soft palate plays a central role when playing the trumpet, and it is the combination of developing the inner hearing, tongue position and the breathing that makes it possible to stimulate the soft palate (See Appendix 1).^[7]

Proposed alternative technique

           Willem tackles breathing by teaching his students to inhale through both the nose and the mouth simultaneously. From my personal experience, this way of breathing feels more ‘complete’. When done properly, there is this sensation that I exist in seemingly paradoxical states, for example, feeling vitalized and yet relaxed at the same time or feeling vulnerable and yet secure at the same time. This type of psychological balance is important for me to feel stable in a performance situation, while providing me with enough energy, inspiration and also perspective to take risks.

           Other students of Willem have reported that incorporating nasal inhalation into their practice has the following benefits in their playing (See Appendix 2):

1. 1. More resonant sound.
   2. Increased ability to vary sound colour.
   3. Increased ability to keep airways in the head and throat open.
   4. More relaxation in the tongue, leading to increased ability to articulate in different ways.

           These listed benefits might be the reason why Frank Campos,^[8] in a recent interview with the author, has started to change his stance against nasal inhalation (See Appendix 1). Regarding his statement in his book Trumpet Technique on nasal inhalation, he says that there is a need to first search for answers about the value of nose or nose and mouth breathing before that statement could be re-examined and clarified. In other words, there is not much information regarding this area of the inhalation known in trumpet pedagogy, which means that that information needs to be obtained also from other disciplines.

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