Skeletal support and the high register
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I’ve recently been experimenting with the idea of using skeletal support to improve my high register on the trombone. For me, the higher notes are often a source of uncertainty and even a bit of fear. I recently purchased Claude Gordon’s book, “Tongue Level Exercises for Trombone.” The exercises have been very helpful but when I discovered I was subtly taking my skeletal support “out from under me” while playing higher, I had a kind of epiphany. At the very moment when I needed my skeleton the most, I let myself “down.”
I began shifting my weight more onto my right leg and then left, feeling which leg gave me a stronger sense of support. I found that while holding my instrument, having my right foot a bit forward supported the instrument’s weight better and more clearly. I then began to shift my pelvis forward and back, side to side (no, not like Elvis) and found even more solidity in my support. Then the high notes became clearer and more secure.
Of course this sounds obvious but observing my students I noticed a similar thing (maybe they picked it up from me). By having them do some simple awareness exercises like the ones described above, their sound became clearer and fuller. I’m not saying that this alone will clear up problems with the high register, but it is an important component, and in my experience, just as important as the embouchure, air flow and slide position. I see this also with singers, when they are better aligned on their skeletons, they sing more easily and the sound improves. With singers, it’s often more obvious than with instrumentalists because the body is the instrument.
Of course there are musicians who play brilliantly with poor skeletal support, but for most of us the need to include the somatic aspects of playing or singing into the study of music is just as important as theory or ear training etc. This seems to be an area where many teachers will say they don’t have time, or don’t know how to address the issues. There are many teachers developing this aspect, but I envision the day when more teachers will also have training in the somatic aspects of playing, just as they do in theory and harmony and the soma will blend into the lesson and music making.
Well, it’s time to get off my soapbox, so... Thanks for reading!
Be sure to check out the DMS podcasts, Feldenkrais mini lessons for musicians and speakers.
If you have any specific questions or comments on breathing and posture, send me e-mail and I’ll try to respond in a future blog. Until then, breathe well!
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