My thoughts about the musician sound elaborate from the following concepts :

Sound and Internal Vibration

« In the first place, you should learn to know yourself : learn to be aware of everything which must be achieved before playing a sound. »

Robert Pichaureau, Introduction à la Leçon de trompette (Translated by Guy Robert)

Making The Sound Ripen

Many findings result from this approach, which was happily taught to me by Master Robert Pichaureau some years ago (1983-85) and is feeding my personal routine in a continuous way : practice and assimilation make concepts mature with time, so that they eventually become obvious.

Along these lines, this great teacher helped many musicians to unveil and (re-)build up their sound, enhancing these principles in a unified way for all types of instruments (he used to refer to The Inner Violin / Le violon intérieur of Dominique Hoppenot, extending the concept beyond the brass and woodwind players).

the sound of inner violin

Your best inner vibration is lived through and felt in consistency with your natural breathing, hence feeding your musical speech, which becomes spontaneous while getting more personal.

Here are Dominique Hoppenot‘s  words in Le violon intérieur , about the necessary feeling and experimenting :

« In order to express (your art), (…) you must exist within your body, you should have something to say, and be able to say it.« 

« What is described in a teaching speech as live and always renewed concepts easily becomes dogmatic when written down and you might take a risk in being satisfied by an intellectual understanding while only the lived experience matters.« 

« True knowledge develops only through analyzing and assimilating information according to your own personality, and “knowing“ necessarily requires the duty of personal experience.«

Dominique Hoppenot, Le violon intérieur (Translated by Guy Robert)

Your Mind Drives Your Art

Le Traité méthodique de pédagogie instrumentale, written by Michel Ricquier, also shows and explains the sound produced by the brass or the woodwind player. As a complement, the paramount role of mind for the art expression is developed in his book L’utilisation de vos ressources intérieures.

In the USA, Joe Allard was a notorious Master, as a clarinet and saxophone player, who educated several generations of musicians, following similar principles, from whom I shall mention excerpts consistent with my observations.

 « If you know how to play, if you understand your approach, then you have a good plan for your playing. You eliminate much of the fear of playing. There’s still concern because you want to play well, but you’re not afraid to blow.« 

Joe Allard : His Contributions to Saxophone Pedagogy and Performance, by Debra Jean McKim

David Liebman is one of his famous followers, who elaborated his ideas about the development of a personal saxophone sound.

« In truth, there are no rules, only concepts. In all honesty, it took me years to understand some of his directions. This was especially true for the all-important overtone exercises and their significance. It finally dawned on me during my twenties how much the tone of the great players evidenced ease of production, evenness of sound, a rich and deep sonority, and most of all, personal expressiveness. »

David Liebman, Developing a Personal Saxophone Sound

Great musicians of all styles demonstrate as many embodiments of personal sound.

Among the most significant ones to me, we can find Charlie Parker, Phil Woods, Cannonball Adderley, David Liebman, Eddie Daniels, Miles Davis, Chet Baker, Clark Terry, Patrick Bartley, Pierrick Pédron, Jean-Charles Richard, Géraldine Laurent, Baptiste Herbin, Martin Fröst, Romain Guyot, Maurice André, Timofei Dokshizer, Guy Touvron…

Ringing Multiple Bells

These teachings are feeding my understanding, following several milestones selected in a personal fashion, describing my feelings (and relevant proprioceptions) stemming from a progressive assimilation of the Pichaureau method and complementary notions.

the instrument

The internal vibration flows from the musician’s body to his instrument which behaves as an amplifier : making one’s instrument sound good aims at optimizing its resonance.

the posture

Your body should be positioned so as to avoid unnecessary stresses by relaxing downwards, down to the ground, taking advantage of the verticality of the sound column.

breathing and air

The good sound builds up on the exhalation, which seamlessly extends the inhalation : your aim should be to pick it up, from your listening to your natural breathing.

the air column

You should figure out the air column, better named as « sound column », as deep as possible : it feeds up your internal vibration which is amplified by the instrument.

don’t blow it !

You should not externalize your intended motion by willing to blow, in order to be able to drive downwards your internal vibration : by avoiding to actually blow out, you let your global resonance develop, without disturbing your sound with unnecessary stresses.

the sound source

From your diaphragm center, you visualize the starting point of your internal vibration as deep as you can, down to the heels : this will make your sound column grow up, spreading a fatter sound from your body to your instrument.

the embouchure

Your internal vibration propagates through the embouchure – which you should figure out as if it were located at the bottom of your sound column – producing then a sound resulting from the musician / instrument configuration : this requires also a good reactive gear.

fingers and tongue

Your fingers and tongue finally embody the tools of you wind player becoming a sound sculptor by customizing your expression carried on by your internal vibration.

a virtual trunk

Like the sportsman towering his performance by merging himself into his pelvis, you musician forget about your trunk for the benefit of your lower limbs, which then may appear as a new virtual trunk : it supports your vibrating body, echoing through the surrounding space.

highs and lows

Exploring the whole range of your instrument then becomes easier by keeping your sound column relaxed from the bottom, where your exhaling and inhaling naturally link up in the fat vibration : you can now master your legato playing over a large range, while feeling the grain of your sound.

the sensations

When you listen to your natural breathing and you absolutely do not push, then your relaxation flows down, bringing the enjoyment of your letting-go.

the convergence

As those many factors converge towards your vital center point, you may consider your body as unified behind your instrument, which receives its vibrating energy and makes it sound all around.

Selected References

The authors mentioned in these refences are feeding my thoughts on the mastering of internal vibration and provide numerous leads towards the full expression of your musical intent.

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The Soundwise Embouchure

The instrument of the woodwind player really appears to behave as his megaphone, thanks to his embouchure.

Get Your Mask Down !

Your mouth / mouthpiece / reed / ligature set defines your global embouchure : this configuration may vary between players, closely associating your morphology and the gear you use.

Your inner resonance propagates to the reed, which should easily vibrate, opposing a low resistance, hence a not too hard reed is recommended in order to be able to master the depth of the sound, shaped up at the bottom of the air column (Peter King had told me once how he had bee surprised to see that Cannonball Adderley was playing a really weak reed, when he substituted him in England in the 70’s).

This way, you define the best mouthpiece/reed combination for your sound control : this compromise depend on several factors, but you must know how to adjust it, mainly by selecting an appropriate reed, with your usual mouthpiece. And if you need a softer reed to ease out your playing, then you would be able to modulate your reed strength later on, bringing full balance and self-confidence : through your mentally visualizing that your emission remains centered on the sound source, you avoid unnecessary contractions above your diaphragm (which would be triggered by a harder reed), following the recommendations of Alfred Tomatis in The Ear And The Voice.

deep throat

« The objective for both the pharynx and the larynx is to keep the throat open and supple, avoiding closure by the constrictor muscles. The regulation of the pharynx under the organizing control of the ear consists of achieving what is famous in singing as the open throat with the help of the dilator muscles and the tongue.»

Alfred Tomatis, The Ear And The Voice

Think Your Sound, But Do Not Pinch It

The wind player sets up his vibrating attitude by rooting his sound column in his heels, and mentally pictures his embouchure at the sound source, down to the bottom of his diaphragm : then, letting the relaxation down, his inner vibration gently takes off on the « ah » vowel, to feed the instrument through his embouchure.

Dominique Hoppenot describes how the violon player lets his vibration propagate to the violon body through his clavicle.

« The most important of all is to listen to the sound that will come and not just to the sound already achieved. »

Dominique Hoppenot, Le violon intérieur (Translated by Guy Robert)

Une fois sa posture installée, l’instrumentiste amène naturellement son instrument en mains (et en bouche pour un soufflant) pour amplifier le son préparé à l’avance ; alors entre en jeu l’embouchure, souple et décontractée, et même oubliée, car son attention est concentrée sur la base de la colonne de son : là se réalise la liaison entre l’émetteur (le corps de l’instrumentiste) et l’amplificateur (le corps de l’instrument), dont la projection sonore est ensuite travaillée par les doigts, puis par la langue.

Once your posture is set up and stabilized, your hands naturally seize your instrument (entering your mouth if you are a wind player), to amplify the anticipated sound ; then your flexible and relaxed embouchure, which you actually forget, since you are focussed on the bottom of the sound column, comes into play : it links you, as the sender (the player’s body), to the amplifier (the instrument body). The projected sound gets then sculpted out by your fingers, and your tongue.

« The goal is to be as relax as possible in the embouchure area, so that the delicate mechanisms at the reed can be free to occur without exerting a strain on its vibrational capacity. By the time the air stream reaches the mouthpiece, the major portion of the work for a personal sound has already been completed.« 

David Liebman, Developing A Personal Saxophone Sound

When you let your mouthpiece come to your mouth, enjoyment also enters as an intruding momentum. The same way as when you take momentum to jump over an obstacle, boom ! there it goes, you are played by your instrument, so you should not play yourself, this is not a wordplay.

As little as your embouchure takes off, then you nail your mouthpiece pinch, without looking for it, playing means then sitting on the air, this is fantastic !

Robert Pichaureau, A tous vents (Translated by Guy Robert)

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Your Sound And Your Instrument

The quality of your sound is ensured if your musician body and your instrument literally operate in tune, i.e. on the same wave length.

Merging Your Instrument With Your Body

The musical instrument, whether it uses wind, strings or skins, acts as an amplifier of the musician’s voice, driven by his inner vibration : to take advantage of this amplifier’s acoustics, the player aims at stimulating its resonance, and at merging with the vibration internal to his body.

“Your body is your real instrument.“

Robert Pichaureau, Expressions (Translated by Guy Robert)

“The horn is like a megaphone which amplifies the sound wave set up by the vocal cords and reed vibration. Air, even air lying still in the horn itself, becomes sound.”

David Liebman, Developing a Personal Saxophone Sound

The Whole Body Sings

As Alfred Tomatis describes it in The Ear And The Voice, the musician must make his body sing, hence vibrate, in order to feed his instrument and so that it sounds, again and again, and resonates.

your voice is your first instrument

Thanks to relaxation flowing down to your heels, you visualize your embouchure at the bottom of the sound column : it is revealed, at the very end of inhalation, as gently landing on the source of vibration, generating your inner sound which then spreads around, being amplified by your instrument.

“For a singer, virtuosity means neurological control of those parts of the body specialized in singing, as if it were a musical instrument. (…) Having learned to merge himself with his instrument, the great virtuoso can then become totally objective at will.”

“It is futile to try to sing if this self-image is not integrated through a singing instrument, a vocal instrument. (Adapted by Guy Robert)”

“A well-defined body image specific to the act of singing implies a well-organized mental attitude and finely tuned alignment, which will allow the entire body to resonate during singing.”

Alfred Tomatis, The Ear And The Voice (Translated by Roberta Prada and Pierre Sollier)

Your Body Makes Your Instrument Sound

Speaking of windplayers, their sound obviously builds up from their vibrating air column – better named as sound column -, as Phil Woods tells us about his saxophone sound, during a Master Class at New York University : 

“You’ll find the center of that horn for your physionomy : the node, what makes it vibrate, you know, and when you find it, it’s there.”

Phil Woods, Master Class

the violin extends the body

The sound vibration remains at the core of playing any type of instrument, as Dominique Hoppenot shows it in her Inner Violin / Le violon intérieur.

From this point of view, you may devise the violin / saxophone analogy : the bow / air column excites the string / reed, the vibration of which is then amplified by the violin body / sax tube.

“(…) the violin player should feel the violin and the bow as an extension of his own body : they both appear as outgrown from him to the point where you expand your body scheme up to the instrument boundaries.”

“The violin and the bow then behave as revealers of your body sound and not as instruments creating music from scratch.”

“Virtuosity is enhanced by the absolute invariance of the violin against the body, of the bow extending the arm.”

“Your efforts are motivated by your expected improvement, which is not brought as a systematic reward from each practice session. It requires some period of time to mature and may come out when unexpected.”

Dominique Hoppenot, Le violon intérieur (Translated by Guy Robert)

Your Instrument In Your Head

As a music player, you should devote the necessary time to physically and mentally assimilate this process, aiming at unifying your instrument with your body.

“Many years of solitary introspection lead me to analyze and to understand the unconscious operations of our body, when we vibrate an instrument.”

Robert Pichaureau, Introduction à La leçon de trompette (Translated by Guy Robert)

Then, the sound to come should be mentally anticipated and devised by the windplayer, before he takes and brings his instrument to his mouth :

“(…) you should be aware of everything which must be achieved before playing a sound : here is the real work. To achieve this : refrain from holding the instrument in your hands.”

Robert Pichaureau, Introduction à La leçon de trompette (Translated by Guy Robert)

the piano mind

Concentrating on proprioceptive images drives your internal vibration to your instrument, giving life to your musical ideas over your natural breathing as if you would sing them : then your instrument amplifies and projects them around.

As soon as your instrument seems forgotten, since you are relaxing yourself on your sound center (the location of which is felt from your appropriate body preparation), you feel as if you were directly plugged to your musical speech : you do not pay attention to the so-called technical problems, and become the actual master of your instrument. To really enjoy it, you should play soft and full tones in order to better drive the sound emission.

The full sensation of your sound requires some progression, beginning with a slow, soft and precise pattern : such a practicing indeed gives time to your vibrating sound to deploy and settle in your voice, enhancing your sensations flow from your belly bottom down to your heels. Then, keeping your sound source located as low as possible, makes you hold your optimal and fat vibration longer and longer. This way, you physically understand how your musical thought can drive your instrument.

{ Steinhausen on the psychic origin of technique : in 1905, several months after the appearance of Rudolf Maria Breithaupt‘s Die Natürliche Klaviertechnik, Dr. Friedrich Adolph Steinhausen’s Die Physiologische Fehler und Umgestaltung der Klaviertechnik (“The Physiological Misconceptions andReorganization of Piano Technique“) was published. }

Beginning practice starts with too much expenditure of force. The elimination of too much muscle action is the real basis for developing agility.

“While the mind is dominating and determining this goal, the whole arm is “the animated tool“, but always, only the tool.“

{ Ferruccio Busoni (1866-1924) was the first to emphasize consistently the importance of mental factors in the pianist’s practical work. He presented his ideas in his edition of the Bach Well-Tempered Clavichord (1894). }

Busoni suggests that, until the musical meaning becomes clear, one should not touch the instrument. Because the demands of the keyboard tend to force one to forget about musical meaning, mental practicing away from the instrument plays an important part in the preparatory work.

“1/3 – When a stimulus creates excitation, the result is a discharge of impulses. Inhibition suppresses superfluous (or even harmful) excitation. The restraining, coordinating and protective role of inhibition is of utmost importance in the integrative activity of the central nervous system (…).

2/3 – Slow and extremely even playing is indispensable, not only for obtaining clear proprioceptive sensations but for strengthening the inhibitory process.

3/3 – For strengthening the inhibitory process, I recommend practicing pianissimo, extremely evenly, in slow as well as in faster tempos. The student should also be able to regulate both sudden and gradual increase or decrease in volume in any section of the composition and in any conceivable tempo. The ability to do this, plus the ability to slow down and to stop at any given moment, is the best proof of proper balance between excitatory and inhibitory processes.”

“When a pianist realizes a given musical idea, the tonal image, the auditory stimulation (conditional stimulus), must always precede the motor reaction (unconditional stimulus), in performance as well as in practicing.“

“The musical incentive has to be a signal provoking the motor activity. Otherwise the latter, the technique, can easily become an end in itself.“

“Each time an intricate passage is repeated, its execution demands a new adaptation, and so acquiring technique appears as adjustment. Repetition, instead of dull drilling, now becomes a trial solution, a trial always rationally prepared.“

“During one practice period, several conscious well-prepared repetitions of a troublesome spot in a piece can be sufficient. When we repeat that spot too many times, our attention is weakened and consequently distracted : unconscious repetition would probably obliterate the positive results we had achieved.“

“(…) the increase of tempo while studying a musical composition should proceed gradually, and this increase must often alternate with slow and very careful playing. The ability to play evenly and the ability to slow down at any point in a passage serve as criteria of precise and sufficient inhibition. (…) Deep legato practicing is extremely useful for strengthening weak nervous processes.“

“{ Josef Hofmann (1876-1957) }

“L’image sonore de la musique à venir doit se développer mentalement avant de s’exprimer par les mains.“ Alors, le “jeu “ ne devient que l’expression par ses mains de l’idée du pianiste.“

George Kochevitsky, The Art Of Piano Playing

Sax And Clarinet In Line With Your Body

More precisely, when the woodwind player lets his clarinet vibrate, after having stabilized his sound on the saxophone, he gets a better mastery from this approach, with respect to the somewhat different tension of the sound, considering the air column should develop the same way in a well centered and verticalized manner, in order to obtain the much sought-after playing ease.

Eddie Daniels (autre célèbre disciple de Joe Allard) explique à sa manière comment il se fait emporter par sa clarinette :

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The musician posture for his sound

The musician’s posture aims at easing his body and his instrument to merge together.

Your Body Gets In Line For Vibration

Visualize your roots and imagine them plunging into the ground, from the trunk of this virtual tree, represented by your air column – actually, your sound column. Here you are, straightened up (during your natural inhaling, your sound column gets aligned with your heels, making your pelvis slightly tilt to its equilibrium position), then let the central relaxation slide down to the ground, ending with your air column starting to vibrate thanks to your transvers abdominus muscle.

widen your voice by your posture

 Alfred Tomatis highlights this body preparation in The Ear And The Voice.

« You sing through your body.
Singing is one of the most efficient ways to shape our body. »

« (…) Before a sound is emitted, a primer should be fully elaborated, bringing its awareness of the “shaping“ of the body so that it can thereby acquire the postural pattern that suits it to become the instrument of singing. »

« (…) a clearly-defined body image, specific to the singing act, must be ingested into you. It implies that a mental attitude be psychologically organized, that in turn drives a posture, which itself responds to a physiological complex function capable of resonating to vocal stimulation. »

Alfred Tomatis, The Ear And The Voice (Translated by Roberta Prada and Pierre Sollier, adapted by Guy Robert)

By linking the natural inhalation to the letting-go from the diaphragm down to the ground, the sound column gets unleashed down to the roots of the virtual trunk of this figured out tree : its verticality fosters the optimal resonance of the singer’s or musician’s body.

« We know that the vestibule processes the stimulation of every muscle in the body and sends the information to regulate upright posture, mobility and body movements. »

« (…) la posture d’écoute appelle une verticalité bien affirmée de la colonne vertébrale. »

« Impulses toward erect posture, muscle tone and movement create responses in the form of  information and stimulation emanating from the muscles, tendons, joints and even from the bones. This enormous excitation alone accounts for the increased tone that leads to movement, good balance and good posture. »

« The listening posture requires that the spinal column be well aligned and standing tall along its vertical axis following its natural curves.

When you are able to control while maintaining your listening posture, your body literally stretches up, aiming at a rather unusual verticality. (…) From this point, your pelvis begins to tilt forward while you stand and show a tendency to slightly bend the knees (…) »

« Your sacrum seems to settle such as you feel to sit comfortably on your own pelvis. (…) Your lower ribs are spaced at maximum, your diaphragm finds its greatest extension, and its amplitude range will thus be facilitated, your abdominal muscles will be stretched without excess, synergistically acting together with the diaphragm. You need not bend these muscles.

(…) thanks to the posture of listening and self-listening, and thanks to the global posture, the body will follow in order to deliver all proprioceptive sensations that govern verticality (…) »

Alfred Tomatis, The Ear And The Voice (Translated by Roberta Prada and Pierre Sollier, adapted by Guy Robert)

Your Body Blends Into Your Instrument

« The problems affecting most saxophonists are often self-inflicted. By that, I mean unnecessary bodily tensions accumulate over time and become habitualized. This results in the player’s inability to relax enough to find a physically comfortable and aesthetically pleasing tone. »

David Liebman, Developing a Personal Saxophone Sound

your posture at the piano

If you are a standing-up player, your playing position should embody your actual rooting, making your vertical sound column deeply flow into the ground. In order to assess this verticality, you may picture yourself as being seated on your pelvis, centered on your sound source : so downward-packed, locked on your heels and forgetting about the upper part of your body, your vibration easily takes off.

Such an attitude is also relevant for the piano player, who can picture his virtual verticality down to his heels, while sitting on his stool, delving his feet into the ground.

In The Art Of Piano Playing, George Kochevitsky shows how the arms should be forgotten to free the player technique.

« (…) two other ideas occupied the representatives of the anatomic-physiological school : weight playing and relaxation (…) »

« { In 1905, Rudolf Maria Breithaupt (1873-1945) published Die Natürliche Klaviertechnik. } Breithaupt, a fervent proponent of this idea, proclaimed that the most important principle of technique was a loose and heavy arm (…) In the third edition of the same book he wrote that the ultimate ideal of artistic performance is predominance of the spirit over the body, liberation from the material, the overcoming of the pull of gravity : only a fine sense of balance is left from the latter… It goes without saying that in the cases of greatest speed the weight seems almost eliminated.« 

George Kochevitsky, The Art Of Piano Playing

the freed up violin

The musician’s inner vibration is transmitted to the instrument-amplifier from his body posture through the pianist’s fingers, through the embouchure of the woodwind player, through the lips of the trumpet player, through the clavicle (not embarrassed by a cushion inhibiting the vibration) of the violinist : this transmitter link must be as little constrained as possible, to free the optimal resonance of the instrument.

Dominique Hoppenot uses these words about the balance fundamentals :

« It is a pity to spend a life of toil and research ignoring that all difficulties with the sound, the disjointed hand, vibrato, hopped, staccato, etc… are nearing resolution as soon as the perfect balance of the body is achieved.»

« What matters is the overall balance of the body, the general feeling experienced within your body, and not an isolated gesture or detail, observed from the outside.»

« When the momentum and the opposition forces are fully developed, there can be no tightening and no exaggerated support, no more than voluntary effort to hold the instrument. »

Then your head and limbs should freely move :

« No motion of your head should go and pick up the violin as if it were an object outside the body ; it does come to your body without changing your posture for all that. »

« The purpose of consciously non-holding the instrument is to totally free the sensitivity of your fingers, which you feel as talking and “telling“ the music directly out of our mouth. »

« (…) you must always understand that every action involves your whole body, through its static as well as dynamic behavior. »

Your actual trunk becomes insensitive (without any move of your shoulders or of your thorax), and although you feel downward-packed, you get aware of your complementary zones, contributing to the sound production :

• your head, merged with the embouchure which is ideally visualized at the lowest level, down to your heels ;
• your upper limbs, ending and merging with the instrument itself ;
• your abdomen, like sucked up by the sound source (Hara) ;
• your lower limbs, becoming your actual roots, spreading the sound through the ground and space.

« Our whole energy actually arises from our center of gravity : it is located at the level of the third lumbar vertebra, area that eastern people call “Hara”. »

« It is essential that the supporting muscles – especially those located in your back – fully play their part, freeing your arms ends from overload, providing them with the necessary independence and lightness and giving to your arms a flexibility unknown before. »

« (…) such a freedom is available only when technical problems are mastered, when you develop a full confidence in the result, and especially when the musical flow spreads through your body, without finding any obstacle by any constraint or unwanted tension. »

« For the artist, relaxation is an absolute necessity. »

Dominique Hoppenot, Le violon intérieur (Translated by Guy Robert)

Rooting Starts From The Pelvis

Going back to the woodwind player, his embouchure should be flexible enough so that the internal vibration fully propagates to the reed, while his instrument remains well-balanced on his well-grounded body.

« Your head and your body merge together.
Your feet push the ground, following your inhaling.« 

Robert Pichaureau, Expressions favorites (Translated by Guy Robert)

« The balance of the standing body builds up from the pelvis, not from the lower limbs.« 

Marie-Christine Mathieu, Gestes et postures du musicien (Translated by Guy Robert)

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Your Sound Sensations

Mastering your expression leads you to enjoyment, all the more spontaneous as it results from a relaxation, rather than from a physical strike.

Have Fun !

Letting your internal opening spread downwards fosters your feelings, enhancing your self-confidence and ensuring your sound quality.

« Your thinking drives your will for sure, but since your will may cancel your desire, you cannot reach your balance without desire and you cannot succeed without enjoyment.

Yes, these are only sentences, but they depict the real life, it’s as simple as the art of being yourself, however you should not think in order to be yourself, this is the reason why we say that you should be self-confident.

You should feel as an artist, and develop an expressive relaxation, in other words, as Mrs Hoppenot states it in “Le violon intérieur“, tonicity in relaxation.»

Robert Pichaureau, À tous vents (Translated by Guy Robert)

« The less energy spent on technical production, the more available for creativity.

Being as relaxed as possible in playing allows the creative mind as well as the emotions to more easily come forth. »

David Liebman, Developing a Personal Saxophone Sound

« (…) the whole thing is about relaxation ; all of music for me is about relaxation : if you’re uptight when you’re playing, the music is uptight.

And if you’re totally in the zone where you’re just so cool, you’re having fun (…) »

Eddie Daniels, The Music of Eddie Daniels, Eddie on Standards – Warner Bros Music 0742B – PP 6031 – 2005

have confidence…

Speaking of which, George Kochevitsky analyzes in The Art Of Piano Playing the linking between the muscles synchronization and the quality of the musical output.

Stabilizing your mental images associated to your proprioceptions helps you to reproduce your body preparation at your will, hence reinforcing your self-confidence. Then, your body should remain ready to vibrate, from its prepared state, allowing you to picture your own image associated to the vibration laying and sounding : from that point on, your sensations develop, among them your being centered around your sound. That ensures the continuity of the tone, as if it were radiating from your heels.

Such an approach is indeed valid for any instrument, the piano among them, and has a direct impact on your live technique, coming out through your fingers, and combined with the tongue articulation of the wind player.

« { Ludwig Deppe (1828-1890) wrote that tone must be produced, not by finger stroke (…) but by coordinated action of all parts of the arm. }
Ludwig Deppe required her (Amy Fay, one of his pupils) to follow consciously the duration of each tone, to imagine the pitch and volume of the next one, and only then to transfer very carefully from that tone to the next.« 

« And until there is a connection between the inner musical imagination, the innervation of movement, muscular sensations, and careful and critical listening to the results, no form of movement is of practical value.« 

« So movements in piano practicing differ, sometimes considerably, from those in piano playing. In the first case we have to consider not only artistic purpose but physiological points as well.« 

« (…) the main materials for the building of piano technique are the proprioceptive sensations. Hence lack of clearness in these sensations from finger activity will inevitably result in indistinct finger technique.

The player must receive a clear proprioceptive sensation from each movement, sensation which does not coalesce with the sensation from the next movement, and is not suppressed by it. »

George Kochevitsky, The Art Of Piano Playing

Finding Your Optimal Position

That being understood, you quietly settle your internal configuration, then you, as a wind player (you are still not supposed to blow !), drive your instrument to your mouth : at the same time, capturing your diaphragm positioning at the very end of your natural inhaling, you let that sensation flow backwards, starting or keeping your stable vibrating on your exhaling. You end up sitting on your voice sound propagating from the ground through your feet, then in the surrounding space – as Alfred Tomatis shows it in The Ear And The Voice.

your vibrating aura

The internal vibration of your body, surging out of the sound column, feeds your singing, which is then amplified by your instrument.

Being concentrated on the source of your internal song eliminates unnecessary tensions and fosters the link with your musical intent : you feel like filling up the space with your ​​voice.

« The body literally vibrates with song and harmony. (…) The act of singing permits us to open a dialog with space so that we become flooded by its vibrations and merge with it, acoustically speaking.« 

« The interactions between the singer’s physical body and the acoustic environment create a proprioceptive image of the body, and they structure a sensory-motor experience of the surrounding space in a perpetual dialog.« 

« A professional singer with a great technique causes us to breathe fully, our pharynx opens, our larynx moves without tightening. The articulation is supple, passing from one syllable to another without breaking the melodic line, without losing intensity, and we are transported.« 

« Teaching voice relies on subjective sensations that can only be described in words. (…) We have to make our sensations conscious so that they can be reproduced at will and associated to the corresponding muscular response.« 

« Singing requires mastery over yourself to attain maximum sound output with minimum muscular effort.« 

« Your sensations will be confined to the organs involved in singing. It sends acoustic stimulation to every part of the body, encouraging it to adopt certain postures. It helps to straighten the trunk, for instance, which helps it to resist the pull of gravity, thus increasing the charging effect on the brain.« 

« When singing is well executed, it triggers a wealth of internal sensations that make the body into a vibrating instrument.« 

Alfred Tomatis, L’oreille et la voix – (Translated by Guy Robert)

Your absolute non-pushing (since you do not blow !), combined with the vertical sensation generated from your Hara, lets your vibration spread from your heels, in the same fashion as does the one from Dominique Hoppenot‘s Inner Violin.

playing for pleasure

Your aim is to re-produce at your will the rewarding feeling of inner vibration, by quickly retrieving the relevant attitude : your body configuration is then assessed by your  self-confidence coming with the stability of the sound source, which is just waiting to be revealed and instantly revived, to be next amplified by the instrument.

« The most constructive motivation in the conquest of the instrument is the enjoyment motivation (…)« 

« Our approach aims at developing an intimate and acute awareness of what you feel from a gesture or several combined gestures, until you can retrieve them and perform them exactly without any doubt, from a mere instantaneous mental evocation of the revealed sensation.« 

« Sensations can only arise from shaping our desires, hence by creating associated mental images (…)« 

« The appropriate feeling corresponds to a well-being suited to everyone, adapted to the prior mental image (…)« 

« (…) the feeling of “your self“ (…) leads you to experience the vertical axis, the mobility in space, the balance of opposing forces, the centering in “Hara“ (…) The contact feelings are generated from a keen awareness of your rooting to the ground, from the quality of your fingers presence on the bow and on the violin (…) Other feelings develop later during the playing itself ; they result from an already very elaborate achievement : a precise gesture, the feeling of “playing on yourself“, of “letting go“ and “laissez faire“ linked to the extreme vigilance of perception and listening (…)« 

« (…) we are forced to consider that a performance is felt only through the pleasure of “vibration“.« 

« He who has found his voice, that is to say his sound, no longer has to search it nor to fear its failure because it actually is. He just needs to call it without ever forcing it, to let it come and “let it go“ according to music, its master !« 

Dominique Hoppenot, Le violon intérieur – (Translated by Guy Robert)

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