Playing like a girl?

Clara,

You are correct to shun "blasty and ugly". In most cases that's not what you want. Instead, in your practicing, find some time to practice the upper end of your dynamic range. Playing a short passage repeatedly and gradually push the limit of how loudly you can play it.

Remember that when people ask for louder horns, what they want is more sound. You can do this by making a louder version of the sound you already make, or finding a way to make a richer, clearer sound. Both will have the effect of getting you heard better.

Also make sure that you're not playing into your body as that blocks sound, and make sure that you're not blocking the bell with your hand too much.

Horns can and should play loudly at times; these can be really exciting moments in the music!

Oh, and being told that you play like a girl is as good as a compliment... some of the finest players are female.

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Visit me at RobsHouse.net

Carla,

I am of the firm belief that, yes, for the most part, must play a dynamic level higher than the rest of the orchestra. I always tell my students, that in order to be able to play loud, they must be able to play very reserved. I find that with opening my throat more, and just letting as much air pass through as you can. This can be done and practiced without the horn. Doing breathing excersises help alot. Taking in a deep breath for four counts, then exhale for twelve count, making sure you fully expel all the breath. Then work that up by inhale for four, then decrease the counts on the exhale, while expelling all the air.

I also recommend to really work on the lower end of the dynamic specturm. Practice all your parts down one or two dynamics from the sheet. Even though you are playing quietly, a firm stomach, and open throat are extreamly important.

Working on dynamics are much like working on the upper register. If you dont have a good foundation
(lower register) One will never have a stable upper range. So with that, Dynamics are the same. If you want to play loud, work on your triple p's.

Jacob

http://home.columbus.rr.com/juliarose/interview.html

EJ: Have you ever had someone say to you, “You’re playing that like a girl.”

JR: Yes I have.

EJ: What did it mean to you?

JR: It kind of meant that I was just not giving it a hundred percent, that I was just kind of la-di-da, doing whatever I wanted, and not committing. And maybe playing too soft.

EJ: What was your reaction to it?

JR: I learned to play really loud! I tried to learn to play in such a way that no one would ever say that again. And what’s so bad about saying that you play like a girl? I am a girl. But for some reason it’s an insult… I’ve got to say that I’ve only been told that by people who wanted it to be an insult, so I think that had a lot to do with it. I mean my teachers have never said that, conductors have never said that.

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Visit me at RobsHouse.net

I'm not professional, but have been playing for years, and is brassiness is something I was skeptical/worried about too. However, when you practice, what really helps is to play pieces as loud as you can, once (to the point of sounding ugly). This will help build your breath support and help the notes pop out. Then, the second time you go to the piece, pull back enough to make a nice sound. Sometimes, immediately, you will notice an improvement both in sound quality, fullness, and loudness. I also use this technique if there is a fast lick I want to clean up. I punch out each note as loud (accented) as I can to force my lips into the correct places for each note. Then, I pull back to a nice sound. Also, listen to lots of professionals to get an idea about their tones. There are times to use brassy playing.

Hello Clara,
If someone is so crass as to say you are playing like a girl then consider that their speech is simply an expression of their ignorance.
Your teacher is the best person from whom to obtain advice on dynamic range.
I feel that there are many ways of working on this aspect which is a concern to you, but what you have to consider is that in any approach things take time to develop over a perid of practicing. In other words don't be too concerned that you are not seeing any changes overnight.
The "secret" is a combination of things; breath control, the ability to control the airflow from deep inside the lower chest cavity and at the same time permit a free access through the throat and mouth. But we all know that horn playing cannot be explained away in a few simplistic explanations don't we? In other words this breath contol I am refering to has all sorts of little gremlins that creep in to make things more awkward. Things like being nervous, not holding the instrument properly not standing correctly, not having learned the piece sufficiently well so the concentration on playing is focused on "noise" (if you know what I mean by "noise?...ie. little irrelevancies that just get in the way). Not shaping your mouth correctly etc etc.

In other words all the little demons that may be getting in the way now and may seem insurmountable actually in the process of time just disappear into insignificance.
So what I am really saying to you is just ignore that horrid person's comments and think of your your horn playing as a long term contract which involves a clear build up of strength starting with a foundation of good control over the lower registers.
Your teacher will be able to help you with the the positioning of your tongue and give you exercises to build up strength in the areas which are causing you concern. But treat these as exercises that need time to develp from a conscientious approach to your playing.
Finally have a look at how well known musicians stand and address the stage before they actually commence their solo playing.
I don't just mean horn players....have a look at the archives to see how David Oistrach held his fiddle and played it with courage and conviction. Other musicians more knowledgeable than I may disagree with the following comment but I firmly believe he didn't give a damn whether he was going to make any mistakes or not he just held that violin delicately in the quiet passages but when the load bits started, with abandon he just "went for it". That is what you need to do in your load passages. (As for brassisness? Well that's where advice fom your teacher is required).
When you look at Opera singers or maybe just good singers. look at the way they stand....one foot slightly in front of the other and with their chest stuck out like a peacock! One of the worst things that can happen to a singer is that their breath controll goes wonky. So what do they do about that? Well the answer is that they work on it..day in, day out....until thay have absolute confidence in the delivery of a powerful supply of controlled breath. Isn't that what a horn player should be aiming for?
Hope these words are of some help . Kind regards Robert.
PS. The other thing you could have ago at, is when practicing, commence by blowing into the mouthpiece to make a series of sounds and then after doing that for a few minutes put the mouth piece into the instrument and work on long continuous notes. when you are satisfied with a nice long series of clear notes on a scale, then do the same thing again but alter the dynamics. Music which has the same dynamic from beginning to end sounds boring doesn't it? .....Well you just have to work on making the quiet parts quieter and the loud parts louder !! .....now I'm being crass !!
XXX Robert.

According to me, its not how loudly you play, but if you play it more subtle than it would be more better, the sound more richer and nicer,

Hello,

My son just started playing the horn and is doing pretty well, well I'm probably biased LOL but I do believe he's good! The only downside is he gets a bit of a temper when he can't get the hang of a certain piece of music. I keep telling him "Be patient!" I know it will come eventually if he keeps doing it.

I would love more blog posts like this if you don't mind!

I have bookmarked this page I hope that's not a problem?

thank you,
WS.

Hello Clara,

Excellent article! Yes, you must be able to play very reserved

Thanks you very much for your sharing.

Thank you so much for your interest and information you have given

I am glad to meet you
Dizin

what one of my friends did was close your lips a little more and try and make the air flow constantly and harder and it sounds good and loud, but this worked on a trombone so im not sure

My friend from San Francisco said that for you not to lose tone and actually get louder all you need to do is close your lips a little more and try to blow harder, if you have issues doing this you have to practice separately until your lungs and mouth get used to this way of blowing air out.

My friend from San Francisco said that for you not to lose tone and actually get louder all you need to do is close your lips a little more and try to blow harder, if you have issues doing this you have to practice separately until your lungs and mouth get used to this way of blowing air out.

Isagenix

Thank you very much for your nice and useful information.

I know how that feels....everyone's always telling me i don't play loud enough and that i sound scared of the music when i really feel like im playing too loud. I'd say just please your instructor...but don't overdo it. it'd be stupid to blast away your embouchure. Save the blasty brassy sound for the rare occasions when the music actually wants you to sound ugly.
....a wise old band director once told me it's easy to play loud....the challenge is playing so softly that the audience has to really listen and wonder whether or not the gorgeous little sounds in the back of their head ar really there. =) (there is a difference between playing softly and playing quietly....and when played correctly...soft music(and loud heavy music for that matter) can be extremely powerful.
And BTW.....gender has absolutely nothing to do with playing ability. Someone would have to be pretty foolish to say that. =/

So, I'm a French Hornist, and I understand how people are always telling us to 'be louder.' Me, yes, I play louder, but I don't worry about voldume/dynamics as much as I worry about playing the right notes. Dynamics are an important part of music, but would you rather play perfect dynamics and mess up every other note, or play a bit too soft and hit all the right ones? Yes, you should still work on building up your dynamics, but don't sacrifice your accuracy, beautiful tone, or other good qualities for it.
With luck,
Sami