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One thing I really appreciate about this new publication is that Eli Epstein clearly explains an approach that is very different than that seen in other publications, with the underlying goal of training long-term muscle memory and accuracy.
UPDATE: The third edition (2016) of Horn Playing from the Inside Out is reviewed here.
The central technical idea that defines this book is his approach to tonguing. An aside would be valuable to put the topic in perspective. In low brass teaching often there is a huge emphasis on breathing and air, with breathing and air being seen as the big key to everything (missed a high note? “More air”). In the approach used by Epstein air and the other typical things are important, but the key element is tonguing with the closely related topics of jaw position and vowel shapes in the mouth. He goes far beyond anything in for example the Farkas book on any of these topics.
As noted in part I of this review, I did study with Eli Epstein, but my understanding is of an early version of his pedagogy and I was an advanced student polishing up audition excerpts, some things must not have come up in my lessons. I briefly posted on my understanding of his approach to tonging and vowels back in 2008, and it may help the reader in seeing where I am coming from to check out that short article first:
Without giving away too much (do purchase this book), very central to the approach is the idea that the tongue does not articulate (touch) at the same place on every note. Hindering his explanation slightly is the drawing on page 21 of the book. I know that he has included this same drawing in warm-up packets dating back a number of years, and it gets the point across, but it is not physiologically accurate (the roof of the mouth arch is much too high) and should have been updated for this more definitive publication. In concept though it shows how the tongue in effect walks up a staircase from the bottom point of the teeth up to on the gums as the point of articulation, the articulation point changes by register in combination with changes of jaw position and vowel shape.
Where this gets important right away is that many students struggle with tonguing, and I think part of the struggle is artificially trying to articulate everything at the same point in the mouth regardless of differences of range, dynamic, and articulation. I certainly do not articulate at the same position for every note and personally use a system similar in many respects to that described by Epstein.
Some teachers will look at the system he describes and stop right there thinking it is just too strange, but I highly recommend that if they honestly explore his system they too will find that it is not at all out of the mainstream in reality and will solve problems for some students. I believe that many fine horn players use a system similar to what he describes, but are just not that aware of the actual mechanics of their tonguing.
Closely related is his concept of “elevators.” This relates to jaw position. When I was studying with Epstein one big personal emphasis of mine was on sorting out my low range better, and everything he talks about below written middle C is very related to how I approach the low range to this day. Above that point I personally maintain a fixed jaw position (thinking of further changes as changes of vowel or tongue arch only) but Epstein extends it to include jaw position changes as well.
A third, unique concept related to the above is that of using dairy products to visualize changes of aperture size in relation to dynamics. This was something that never came up in my lessons back in the late 1980s, but is a part of the same pedagogical system and is an element that also gives the student another way to solve problems. It is another tool in the tool box so to speak as one works to develop consistent approaches.
Where the entire system becomes clearer in practice is in his “Power Warm-up and Daily Exercises.” I have over the years enjoyed coming back to his full warm-up periodically, and this published version is full of valuable bullet points (tips!) that explain finer points of his system. One favorite:
For secure beginnings of lower notes, lightly brush the back of your upper lip when you say “thoh”
This section also includes a shorter warm-up which is the basis of the warm-up I do the most often, as in at present very nearly every day! This entire section of the book is extremely valuable and should be understood before going on to the section where the principles are applied to orchestral excerpts.
There are two more sections of the book that I want to look at closely in this review. Part III on Tuesday will continue with a look at his section on taking auditions and on applying the principles of his technical approach to orchestral excerpts.
Continue to Part III of review
For information on how to purchase this book visit the website of Mr. Epstein
