THE ‘HANDS-ON’ SECTION

THE INSTRUMENT

Slide-PositionsThere are seven slide-positions on a tenor sackbut.Below are the positions used when playing a tenor sackbut in A.The numbers in brackets are useful alternative positions.

On most historical models, as shown above, the bell is approximately level with fourth position. This can be confusing at first for players of modern instruments where the bell usually lies at third position.

You can see here the notes which can be played in first position. Such a group of notes is known as the harmonic series. Notice how they get closer together as you get higher, thereby requiring fewer changes of slide-position. NB. The G here is too flat to use on most instruments. Therefore, this note is played in third position.

Extending the slide by one position lowers this series by a semitone.

Lip SlursThese are invaluable for building strength, range and increasing accuracy and flexibility. They are also the beginnings of learning to play lip-trills.

In these exercises, you make the change of note just with the lips. Try to keep the tongue as low as possible in your mouth. As you go higher, the tongue position may become higher.

Keep the air flowing all the time.

Think of vowel sounds as you play. The lower the note, the more open the vowel.

Practise all of the following exercises in 1st-7th positions. Use a metronome to help time the change of note.

You can continue making up variations on these, adding higher notes as you gain strength and you range increases. Try adding different rhythms. Remember to use the metronome to check your timing.

RANGE-BUILDING

One of the most common questions I get asked by people learning the sackbut is, ‘Do you know of a mouthpiece which makes the high/low notes easy?’ Although mouthpiece-choice can help in this matter, the only way to obtain security in the more extreme registers is through practice. There is really no substitute for regular practice; range-building is a slow but steady process, requiring patience and perseverance. However, when you start to see/hear an improvement, the feeling of achievement is fantastic.

The first thing to remember when playing these exercises is to use plenty of air support. Take big, relaxed breaths to support the sound as you go higher and lower into the extremes of your register.

DON’T PRESS! Try to make sure that the mouthpiece rests comfortably on the lips. No air should escape at the corners of the embouchure. Any excess pressure, while making things easier in the short-term, will simply cut off the supply of blood to your lips, resulting in bruising and reduced stamina. Use the muscles in your lips, supported by the air, to achieve your goals.

Keep the shape of the embouchure - especially in the middle and low register where it might seem that less structure is needed. Lack of structure in the embouchure can lead to production and stamina problems at a later stage. When your lip gets tired, stop! Have a rest. A warm drink can ease recovery by stimulating blood-flow in the embouchure. Above all, don’t over-do it! Use the exercises given in Warming Down at the end of each session. These will help to ensure that you do not feel tired at the beginning of the next session.

WARMING-DOWN

A good warm-down is vital at the end of a any playing session as it enables you to gradually return your worked lip-muscles back to their normal condition in a controlled manner. For example, finishing a session and stepping outside into cold weather while the nerves and muscles in your lips are still fighting to regain blood, elasticity and flexibility can lead to a drop in sensitivity for note production and flexibility of range. Warming down will help to ensure that your lips are ready for the beginning of the next session and can help to avoid that stiff, leathery feeling which can sometimes be experienced the next day after a heavy playing session. As with warming-up, warming-down can also help with stamina in situations where you have many consecutive days of playing.

The following should help you to structure your warm-down and give an idea of the sort of exercises which can be used. Play these exercises slowly, at a comfortable volume and with the most natural breaths you can take, while still managing the phrases as marked.

With this exercise, play the first note in first position, then relax your lips to slur down to the ‘false’ note a fourth below. Repeat in the other positions.

These pedal-notes are great for relaxing the embouchure and regaining feeling in the lips after a heavy playing session.

Trill ExercisesSometimes brass players become so concerned with accuracy and security in their playing that they lose the flexibility needed to execute trills. Learning to play trills can be beneficial to other areas of playing, including flexibility of tone, vibrato and building strength.

Try these exercises with a metronome to improve execution and control.

Start at 80 bpm and increase the speed gradually.

All in 4th position. Then repeat in 3rd, 2nd and 1st positions.

All in 1st position. Then repeat in 2nd, 3rd, 4th, 5th, 6th and 7th positions.

When practising these slur-exercises, use the slide as well as the lips to change note. In bar 4, play the E in 4th position.

Repeat this exercise in each position.

Play this in 6th position, then repeat in 5th, 4th, 3rd, 2nd and 1st.

Start in 6th position and repeat in 5th, 4th, 3rd, 2nd and 1st.

Try this using 4th and 5th positions as well as 1st and 2nd.

Try holding a long note and gradually introducing a lip vibrato. Make the vibrato wider and wider until you reach the harmonic above.

Examples in Repertoire