1. Do you advocate buzzing? And if so, then why, and how do you recommend it be utilized by players.
I do advocate buzzing. It’s not that it is “the same as playing the horn” or that the instrument is just an amplifier of the mouthpiece. That’s not true. Buzzing is a tool. The whole point is that it’s different than the instrument. It requires more embouchure focus (leading to less “fuzz”), and the use of greater precision when hearing pitches before playing. I always encourage players to buzz frequently and for short periods. (Not, say, during an eight-hour road trip the day before an audition.) The resulting increase in clarity and quality of sound is rarely deniable.
2. What are some other creative ways you practice away from the instrument?
The most important thing is listening. These days I usually listen with concentration for brief periods. I look for recordings of soloists who move me, and I try to imitate their sounds when I play. It’s really pretty simple. The musical sounds in my head will “fuel” my practice. Otherwise, I don’t know what I’m trying to get better at.
3. Is a daily routine important to you, and do you practice one? Is it the same every day? Why or how does it change?
I slip in and out of them. If I’m in good shape, I don’t really need it, but in a recovery period during a break, or when trying to solidify various fundamentals, I’ll go through a series of exercises daily. A week ago, I added Bai Lin flexibilities back into my daily practice because I felt I was getting sluggish around the horn. My playing “felt” better immediately after that addition. Also, I’m playing a bunch of low etudes on euphonium every day because I am about to play a recital with lots of low register demands. Generally, I lean towards etudes rather than exercises. I like tunes.
4. What is a recording or recordings that you think exemplify great musicianship?
Anything by Mischa Maisky is fantastic. https://www.youtube.com/watch?v=HyVaY1JL08k Nary an unexpressive note to be found. Stunning. Inspirational. I will never ever make sounds like this on my euphonium or tuba, but it doesn’t stop me from trying.
5. What is or are some of the pieces of advice—be it about exercises, etude books, or anything else, that you felt were most crucial to your development?
I'd mostly recommend the repertoire that I could really sink my teeth into. Ellerby euph concerto was kind of formative, Broughton Sonata, Penderecki Capriccio, lots of lip flexibility stuff—Walter Smith and Bai Lin. I don’t use Arban much, but I used to. Lots of multiple tonguing, interval studies, and characteristic etudes; though now I see the latter as tremendously unmusical. I cut my teeth on theme and variations stuff—Arban, Clarke, etc. I played and played them. No doubt it helped me develop my technique.
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