#low range

Sorry this is so late! This is Emma’s less-famous horn-playing friend from Eastman.

If volume is your main struggle, I’d suggest playing patterns as loud as you can with good tone with a stop mute in. I used descending arpeggios and a simple descending step pattern (sol-fa-mi-re-do) with crescendos as you go down, starting on your lowest good-sounding note—suggested by Adam Unsworth. Play the same thing again without the stop mute and you’ll instantly sound much better and it’ll feel easier. Go down by half steps to play it in different keys. This exercise is great for negotiating a transition from mid to mid-low to low! (I think of this as the “awkward register”—a lot of people think of this as figuring out an embouchure break, but I don’t think I personally have one, everyone’s different.)

Bill VerMeulen showed me another exercise: starting on your lowest high-quality note (or a little above that), play the starting note and then bend down to the next partial, focusing on keeping the air flowing—the second note will then sound louder than the first, and in between notes there will be a gross-ish bend/bump sound. Keep doing this descending by half steps, then move on to the next partial until you’re really heckin low. For example, I started on G4 bending down to the E right below open on F side, then 2, 1, etc until I ended up on the next partial: E to C. I would end on pedal F-sharp. Centering notes can be an issue, but don’t think of it as an intonation issue—the horn wants the note to be centered in a certain place, and this exercise will show you where.

If your technique isn’t 110% perfect, it will show in this register when you try to play loud, so I think it could help to think a lot about technique and sound here. The jaw has to go forward, which I think is more important to focus on than going down. Due to physics or some shit, the air needs to be thick and slow to play low notes. To get there, we need to increase the amount of space in the oral cavity. This means the tongue has to be down (but not tense!) and if you have any singing experience (or even if you don’t) it’s super helpful to think of it as playing through an “aw” vowel, like a Latin O. Or most people think of it like saying “oh” or “toe” but again different things work for different people.

Last suggestions: I use Rochut trombone etudes to increase familiarity and fluency in the low register, which I love because most can be played down an octave. Lots of people use Bach cello suites, those are cool too. To really hear what your tone should sound like, I always find that recordings don’t seem real enough, so it could help to get a friend with an amazing low register and ask them to play for you, and then imitate their sound. A mini call-and-response with your teacher (but with like one or two notes at a time) is like musical broccoli—it’s good for you.

sol fa mi re do

It takes some time and practice. You have to be VERY relaxed, with your mouth opening more and more the lower you go. You will need a LOT of hot air too. Work you way down chromatically, starting out with trying to go from the lowest note you can play to the  next, and once you can hit that note correctly more than once then keep heading on down. I’ve also heard that improving your high range can help the low range, and vice versa.

You may also want to read this, its really helpful! http://www.baadsvik.com/faqs/low-register/

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