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Horn The French horn is a unique instrument in many ways, and I think it is agreed that horn players are faced with some very unique challenges. From how to set up a proper embouchure, to range maintenance and endurance building, all are frequent problems, but all have solutions. Here are some basic hints that will hopefully help make life as a horn player a bit easier and open up new possibilities for performance. To start with, remember that a horn embouchure is different than that of a trumpet or trombone player. While most other brass embouchures are 50/50, mouthpiece half on the top lip, half on the bottom lip, a horn player’s embouchure should set up about 2/3 on the top lip, 1/3 on the bottom lip. Because the horn possesses such a wide range, only a correct embouchure will allow you to utilize the whole of the range without a ‘break’ or ‘shift’ between high and low. A look in the mirror with your mouthpiece to your face is good to check on this from time to time. Use the bottom lip as your reference point, anchoring the bottom rim of the mouthpiece where the pink of your lip meets the flesh of your face. Let the rest of the mouthpiece meet your lips as centered as possible from left to right, and where you feel equal pressure on your lips around the whole rim of the mouthpiece. Contrary to popular belief, the left to right alignment is less important than the top to bottom, as we all have different sets of teeth which do not always allow a perfectly centered embouchure left to right. You should shoot for as close to the center as you can while still buzzing comfortably. Once everything is centered as well as possible, it’s very important that you work to keep equal pressure from the whole rim of the mouthpiece on your lips. You should not feel more pressure on your top lip than your bottom, and vice versa. The old trick is true, you should be able to put your horn flat on a table and without using your hands be able to play the same way as if you were holding it. Too much, or uneven pressure will strangle your sound and your range. Now that your embouchure is correct and comfortable, the best way to put it into practice is with a good, smart warm-up. This should not be just twenty minutes of going through the motions before you start work on solos or etudes, but a calculated set of exercises, like an athlete does. The embouchure muscles respond the same way larger muscles do in sports. Just like athletes condition their arms and legs with a planned program of stress, a brass player should have a plan for building and maintaining his “chops” and skills. An athlete stretches and uses his muscles under a light workload before attempting a hard workout. Long tones in the middle range act as your easy jog to warm up. It promotes better circulation for the rest of your session, and the discipline of good tone production needs practice, beginning with the first notes of the day. Your daily routine is the horn player’s calisthenics. This is your opportunity to maintain all of the skills a horn player should possess at all times, regardless of what your ensembles or solo pieces require. Tone, lip slurs, high range, low range, scales, and fast tonguing need regular attention, or they will be weak or underdeveloped. It’s always best to be over-prepared than under-prepared, and it will take less time to finely tune these skills for specific exposed ensemble parts or solo passages if you are already in great shape for them. |
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