Breathing, part 1
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Ian BousfieldLe contenu du cours
10 leçons (2h 21min) · 1 gratuites
01. Breathing, part 1
Tu es ici6:59

02. Rossini, William Tell and The Thievish Magpie
14:54

03. High Range Building
8:50

04. Detached Articulation
18:50

05. Mahler's Third Symphony
22:21

06. Mozart Requiem
13:41

07. Ravel's Bolero
11:35

08. Legato
17:55

09. The Philosophy of Warm Up
14:04

10. Wagner, Ride of the Valkyries and Prelude to Act 3 of Lohengrin
12:20
Transcription de la leçon
Breathing in Brass Playing
In this video, I'd like to talk to you about one of the hottest topics in brass playing: breathing.
The Importance of Breathing vs. Blowing
- Everybody talks about it.
- Everybody places it as their number one importance.
- In fact, we hear many people saying the most important thing in brass playing is breathing.
Actually, I disagree. The most important thing in brass playing is blowing. But in order to do that, we have to get the air coming in correctly.
Breathing Technique
I'm not one of those people who discusses the diaphragm, positioning, or pushing out here and there. I don't like to keep it as physical as that.
- If we take the air in the way we want a note to sound, we'll breathe properly.
- For example, if we want a note to go like this, you can hear from the way the air comes in how the note is going to sound, as opposed to another style of breath.
You'll notice that both of those breaths are completely different.
Different Breaths for Different Pieces
- Mala 3 breath
- Bolero breath
- Berg three pieces breath
We have three completely different breaths. Basically, the focus of the breathing is in different places. You can think of it being at:
- This point,
- That point,
- Or this point.
This will bring the air in the way we want it to go out.
The Mechanics of Air
The most important thing is that the note begins with the air coming in. It starts here.
There is no single breathing method that fits every entrance we're going to play.
- Sometimes, the air will come in really fast, and then, bang!
- Other times, it's going to go exactly the way you'd speak, just think of it like that.
The most important thing is that the air must come in with no resistance.
- If you hear sounds like "uh" or anything similar, take it out.
- That's no good. We need it to come in completely without resistance.
A Helpful Breathing Example
Now, someone once showed me a fantastic example of how to breathe.
- If I keep talking until there's no more air left in my lungs and I hold that position, when I release it, my lungs automatically fill.
- This will work naturally and is a good way to understand how we actually breathe.
How Do We Release the Air?
This is very interesting. I'd like you to try this:
- Take a full breath of air in, hold it, and then release it.
- Now, did you have to blow the air out? No, you didn't.
The lungs want to exhale.
In many ways, having said that, blowing is more important than breathing, sometimes we don't even need to blow. This brings us to the subject of support.
The Concept of Support
There are two words that I don't like discussing in brass playing:
- One is diaphragm.
- The other is support.
Because what is support? To define it is very, very difficult.
Support is air pressure. It's a quantity of pressurized air within our body.
- Now, bear in mind that these are my words, my ways of explaining.
- I'm sure you can go and ask a doctor, and he'll tell you I'm talking nonsense. But these are my words and my thinking regarding breathing, and it works.
A Demonstration
If we take the air in and just let it release, there's no blowing involved. This is my default setting for how I actually play.
Here's the end of the second movement of the Davide concerto to show how air can just naturally exhale. There are no camera tricks here, so you can see how much air I apparently have if I just let my lungs exhale.
Mustn't do that too often, though. Not good for the blood pressure.
Overcoming Breathing Paralysis
There's one other thing that I'd like to discuss here:
I see so many students I work with who seem to be paralyzed by their breathing technique. Everything happens between here and here.
Let's not forget:
The objective of breathing is for the air to come out this way.
I see so many people, and it stops. The bottom line is we need to take air in, so it can come out through our lips and into the instrument.
Don't forget that. It sounds self-explanatory and simple, but it's often forgotten.
Don't be frightened when you're practicing breathing. Remember that breathing and blowing are linked.
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Ian Bousfield est au sommet de la profession depuis plus d'un quart de siècle, excellant peut-être dans davantage de facettes du métier de la musique que tout autre tromboniste à ce jour. Sa carrière l'a amené à jouer dans deux des orchestres reconnus parmi les quatre meilleurs au monde, dont l'un est considéré comme peut-être le plus grand orchestre d'opéra, à se produire en soliste au plus haut niveau avec des orchestres, des brass bands et sur instruments d'époque, à enregistrer en soliste chez les plus grands labels, à jouer les thèmes de superproductions hollywoodiennes et à enseigner à la Royal Academy de Londres.
En tant que soliste, Ian s'est produit, entre autres, avec la Vienna Philharmonic, le London Symphony, le London Philharmonic, le BBC Philharmonic, le Halle Orchestra, le Sapporo Symphony et l'Austin Symphony. Il a travaillé avec les chefs suivants : Riccardo Muti, Michael Tilson Thomas, Sir Neville Marriner, Kent Nagano, Ion Marin et Matthias Bamert, et EMI, Camerata, Chandos et Doyen comptent parmi les labels pour lesquels Ian a réalisé plusieurs enregistrements en solo au fil des ans. Les deux temps forts de la carrière solo d'Ian à ce jour sont probablement l'interprétation du Concerto de Nino Rota avec la Vienna Philharmonic et Riccardo Muti (2008) à trois reprises à Vienne, ainsi qu'au Lucerne Festival et à Tokyo, et la création mondiale de Stargazer de Jonathan Dove, écrite pour lui et qui lui est dédiée, avec le London Symphony Orchestra dirigé par Michael Tilson Thomas (2007). Il s'est produit avec tous les grands brass bands du monde, enregistrant avec bon nombre d'entre eux. Il s'est produit en soliste à peu près partout dans le monde et, en tant que clinicien, il est sans doute plus simple de mentionner les conservatoires et festivals où il ne s'est pas produit !












