NEW TEACHING METHOD FOR DEVELOPMENT OF SOUND

QUALITY IN BRASS INSTRUMENTS PLAYERS - THE TROMBONE

Juan Carlos Esteve Rico1, Sergio Castiñeira-Ibáñez2, Jenaro Vera Guarinos3,
Constanza Rubio Michavila4
1
Instituto Universitario de Física Aplicada a las Ciencias y las Tecnologías - Universidad de
Alicante (SPAIN)
2
Departamento de Ingeniería Electrónica, Universitat de València (SPAIN)
3
Dpto. Física, Ingeniería de Sistemas y Teoría de la Señal, Universidad de Alicante (SPAIN)
4
Centro de Tecnologías Físicas, Universitat Politècnica de València (SPAIN)

Abstract
In the teaching sphere and especially in musical and artistic education it is frequent to learn by
imitation. It is a primary instinct and inherent to human beings and of great value, since involuntarily
we acquire new insight into the own the prosody of musical dialog and it favors the hearing
development. In addition to the sound imitation, there are other ways of learning such as the acoustic-
visual analysis of the results of a certain issue with the support of software-tools for editing the
waveform and the spectral composition of own recorded sound, accompanying this with a monitoring
of inherent parameters and related to the mechanics of the air impulsion and the production of the
labial vibration. It uses an instrumental device ("upsound") which links directly with the classical
methodology of the mouthpiece exercises by giving a new dimension to its meaning which favors, as
will be showed, the cognitive development of students with objective parameters that support the work
of the teacher, who can sometimes appears subjective. The methodological proposal that we expose
uses the new technologies to promote meaningful learning [1] of the sound process in students, that
favors a more deeply, objective and intuitive reflection, in which the interpreter appears as an essential
part of the mechanics of the sound production and adds a new dimension of control over that process
from the initial stage. As a general conclusion, we think that with the implementation in the classroom
of this idea it will be possible to polarize the learning to the achievement of plausible and patents
objectives more than to achieve the objectives that marks an educational standard by simple
submission, where the teacher appears sometimes as a mere achiever of a set programming. With
this methodological proposal is intended to encourage and facilitate the achievement of the objectives
established by the Royal Decree 1577/2006 of 22 December for the trombone subject in the
professional studies in the conservatories of music.
Keywords: Sound Quality, Tonal emission, Trombone, Upsound.

1 INTRODUCTION
Throughout music teaching at the conservatories of music, musical skills of the instrumentalists are
developed based on regulated targets trying to contribute to the improvement of the new skills in
students, depending on the person and the didactics adopted by the teacher. Within the specialty
trombone, objectives linked to the sound are added, complementing each other, along interpreter
training and they reach especially consolidation in the six last degree courses. These objectives are
defined in detail in the Royal Decree 1577/2006 of 22 December, which regulates the professional
educations of music for wind metal specialty (trombone, horn, trumpet and tuba) [1]. In this paper we
will focus mainly on the first point, which is quoted literally that students must:
“Have a good grasp of the technique and of the sound and expressive possibilities of the instrument”
Develop sound quality is not only a regulated and indispensable requirement to pass the professional
education. The sound is the distinguishing mark of every person, is the feature that distinguishes us
and that is delved weekly in the trombone class. John R. Pierce in The Sounds of Music [2] says:
“The study of the musical sound is important just because the music is it and because of the sound
quality is important for the music”
From a classic or common teaching practice in everyday sight is often used a theoretical-descriptive
explanation to supplement the necessary information in meaningful learning [3] in order to teach the

Proceedings of EDULEARN16 Conference ISBN: 978-84-608-8860-4

4th-6th July 2016, Barcelona, Spain 1481
students the emission technique. That way facilitates the student to understand what is expected with
the exercises based on inhalation, collocation and exhalation. We could say that its inescapable need
is justified. In addition to the theoretical principle on physiology for a stable and sound quality, the
sound is learned through practice, through imitation and experimentation on model sound patterns
established by the teacher.
Imitating the sound through the ear and the corrections of the teacher is certainly a learning process
that requires great effort from both the student and the teacher. To facilitate this process our work is
based on visual perception and auditory support redounding upon him. We base all this on the use of
current audio editors of public domain, showing students how should be the shape of sound in a
temporary physical representation of both static and dynamic: What should being imitated and how
should it sounds. At the same time it is possible to see what it is being done in another audio track.
The teacher is become from the role of an evaluative judge to a counselor and an objective trainer
teacher. In addition to this immediacy we introduce elements or instrumental complements
("upsound") to support breathing and emission techniques furthermore an analysis based on non-
commercial software which allow more extensive tuning, stability, intonation, attack, pace, and so on.
They can help teachers to give a new dimension to the musical process from the acoustic point of
view and in this way to get students to discover a number of tools-knowledge that will lead them to the
growth of its expressive, creative and interpretive ability to control the fact of sound from the
beginning.
As a result, a methodological process is established by which students can learn to combine
traditional training with new technologies applied to the development of personal sound quality.

1.1 Traditional training that the target group of the musical education in
trombone subject receives during the learning process of sound
At this point we will expose briefly, since we do not rely on it essentially, what steps are taken in the
development of sound quality along traditional musical training of students. We will summarize it in
four phases that feed back each other and develop in a continuous loop, not necessarily consecutive.

1.1.1 Theoretical explanation of the sound phenomenal – Active teacher

Any sound principle is based on the vibration source, which in our case are the lips. For this to occur
two elements are needed: the mouthpiece, where we rely on for the formation of the resting elastic
element (closed lips) and the air flow that opens them, which produces a continuous and successive
vibration through reaction to elastic deformation that favors the perioral muscular system against the
action of the air column. So an elemental principle in the trombone technique is the complete
breathing which will help us to vibrate more easily and to control the muscular effort that involves the
vibration. In short, the breathing, the muscular effort and the resonance of the oral cavity are the
essential principles of the sound of slide trombone.
Once the sound is produced, it is necessary to coordinate it with the cane slide required and with the
tongue, in this way and thanks to the different attack types we can articulate different sounds, that will
be always supported through the air as an inexhaustible source of the vibration phenomenon.

1.1.2 Practical application of theory. Routine model study - Active student

1 Breathing exercises
2 Long notes- B flat with trombone and mouthpiece
3 Vocalizations - All the tonalities bound down
4 Tonalities [4], [5]
5 Flexibility [6]
6 High tones with glissandos
7 Low tones with glissandos
8 Works and studies

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1.1.3 Value judgments and specific corrective advice, based on sound model proposed and
the objectives to be achieved - Student and teacher active
Teacher's corrections are based on the objectives for vocational education based on the Royal Decree
1577/2006 of 22 December that sets the basic aspects of the curriculum of the professional
educations of music regulated by the Organic Law of Education 2/2006, May 3. BOE 20/01/07 [1]
1 To breath relaxed and deeply through the mouth. To know the psychological principles in those:
the relaxation, the diaphragmatic breathing and pressure reliability are based.
2 To keep a right posture.
3 Consolidate a correct embouchure, the use of facial muscles, to control the tongue and to use
the oral oscillator correctly.
4 To appreciate the importance of getting a quality sound and technique (precision, articulation,
intonation, dynamics, keys, sound recording, tones, chromaticism, trills, vibrato).
5 To link notes without cutting the air with good coordination of the stick and tongue.
6 To mark positions and not to move the wrist but the arm from the elbow.

1.1.4 Imitation by the student of the sound model and progressive deepening in specific
corrections. - Active student
In this step the student retakes point 1.1.2 with the guidelines that the teacher brand as indicated in
1.1.3 and it is entered in a feedback improvement loop. It is similar to what is known in programming
software as "to get the 'debug' file contains 0 kB".

1.2 Approach to the problem of study

The immediate purpose of all this is to develop breathing through specific exercises that favor the
development of the lung cavity and help control the homogeneous output of the air column. But it is
also important, in fact it is habitual, to work the collocation with appropriate exercises, which the
voluntary opening of the upper part of the throat is, exercised, an essential nexus between the oral
cavity or upper resonance and the rib cage [7].
The study of the mouthpiece alone is brought into play what adds a bit load in benefit of the tuning. In
practice with the instrument, this only responds to the own intervals sequence defined by the column
of air (for any slide position or ventile switched). It is known as harmonic series and, that way is not
possible to produce any sound among the intervals that are not a part of this sequence, but can be out
of tone if the adaptation of the perioral muscles that favours the vibration is not right.
That is why the mouthpiece alone is used, since the mouthpiece can amplify any sound vibration of
the lips. So the sound result is not mediated by the response of the instrument and it keeps clear the
tonal pitch of the student-interpreter who unintentionally affects the attack on the emission, for which
definitely needs a tuner.
Among the models that work improvement and development of the noise emission, the most common
and accepted is the study of the musical characteristics that depend heavily on the vibration of the lips
as: attack the tone, stability and tuning.
Once exposed and known the state of the art about the traditional training of the trombone subject,
then the new methodology proposed for the target group based on the tools provided to facilitate the
understanding of the proposed and legislated objectives is exposed.
In this paper we study the benefits of performing mouthpiece exercises if you add to this the device
'upsound', which will be described later. A tool which creates a new objective observation and analysis
of the sound produced with which both teacher and student-interpreter itself can assess whether the
objectives have been achieved is also described, as well as a more technical analysis about what
might be the causes of the vibration in the mouth will be right or wrong in each case.

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 2 MATERIAL

2.1 Upsound
It is a newly accessory device, Figure 1, currently manufactured by D. Vicente Honorato (STOMVI),
which has been patented and presented at the fair of musical instruments in Frankfurt 2016. This
device is intended to facilitate the opening of the throat, the properly position of the mouth upper
resonators and to promote the vibration of the lips [8].

Tudel

mesh air filter

hollow body

Air outlet !
R6J=&'!*&+!@5)-/'*S!T!*&1#++&!*&!+#!5#%1&!('1&%(-%!*-'*&!)&!#5%&$(#!+#!1&
Fig. 1 Upsound: - Detail of the inside - frustoconical shape where the filter is.
0-%6#!1%-'$-$4'($#!*-'*&!)&!,#++#!&+!0(+1%-9!
Accessory 'Upsound', is composed of a filter that acts as resistance to airflow and a cavity that acts as
a broadband resonator. On this system is inserted the mouthpiece. In this way it is understood that the
Upsound is not something different from the mouthpiece but presents a new way to study with the
mouthpiece. Besides the fact of obtaining the benefits presented in the general observations of the
mouthpiece, this accessory tries to activate the upper resonators and facilitate the breathing process
with the opening of the glottis.
According to the manufacturer, the important thing in the brass instruments is not the vibrant gaseous
air column, through which the bellies and nodes are formed and even helps the sound radiation of the
bell, but the most important thing is the vibration of the lips. It is essential to exercise the lips so that
they respond more harmonic symmetry and induce higher purity harmonics in the instrument, that is,
the source of all harmonics is on the lips and therefore if their performance is optimized, we will get
more harmonious sound quality and control over the air column will be favored.
Based on this hypothesis, it has been analyzed, on the one hand, if the 'Upsound' favors the opening
of the glottis and its connection with the upper resonators of the oral cavity and, on the other hand, it
has been evaluated if it optimizes the vibration frequency and helps control the air column.

2.2 Hardware and software

To make the experimental measurements which have been carried out in the classroom trombone A3
of the Conservatory of Music in Sabiñánigo (Huesca), the following items were used:
• Tuning key (n-Track Tuner mobile app)
• Microphones for measuring Behringer.
• Sound Card Alesis io2 for data acquisition.
• Differential pressure probe PCE-P01/05, to determine the intraoral pressure and thus look for
patterns that relate to the muscular effort into the mouth during the production of the notes by
vibrating lips.
• Software dBFA32 for 01dB-Stell, for processing and analysis of obtained data.
• Software SPEAR (Sinusoidal Partial Editing Analysis and Resynthesis) [9] for editing and
analyzing partials.
• Audio editor Audacity AudioMonitor 2.1.2 [10], with which they have created work models on
intonation, level, stability and rhythm.
In Figure 2 capture devices used to carry out the experiment, are shown.

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 Fig. 2 Materials used– Instrument, microphones, differential pressure gauge, computer + software

3 METHOD
Exposing this section will perform presenting a series of additional and complementary tools to work
with the 'upsound', that have been applied to a total of 13 students, and evaluating the results based
on the sound quality.

3.1 Tool for controlling the right intra-oral pressures according to the pattern
proposed by the teacher
To know intraoral pressure is an excellent quality control to identify inadequate gestures of students in
the tonal emission. The following table represents a study on the pressures of the trombone students
of CPM Sabiñánigo and the model proposed by the teacher analyzed in non-consecutive days.

Table 1 comparative of pressures

MOUTHPIECE UPSOUND TROMBONE
STUDENT (mbar) (mbar) (mbar)
1 23,3 28,2 22,9
2 11,8 21,7 21,3
3 17,8 20,1 21,4
4 14,1 26,4 26,0
5 13,3 21,1 13,3
6 13,3 21,5 22,1
7 13,4 20,8 15,1
8 17,4 20,3 11,7
9 11,9 19,4 14,1
10 10,3 15,7 8,3
11 37,4 37,5 17,7
12 13,9 25,6 14,7
13 22,3 21,3 17,4
AVERAGE 15,7 22,4 18,2
! 4,0 2,9 4,7
PATTERN 15,0 21,0 11,0
! 0,5 0,8 0,8

To do this we have used the differential pressure gauge, placing one of the entries in the interior of the
mouth of the interpreter, the most convenient way possible, through the commissure of the lips and
leaving the other in contact with the air in the room. With this disposition is applicable to perform one
of the exercises of collocation with the nozzle, then with the 'upsound' to finish with the instrument.
Simultaneously the result of the execution is recorded with 'Audacity'. The results obtained are the
following:

3.1.1 Nozzle
In cases in which the mouthpiece is used with excess pressure in relation to the pattern, especially in
the student 11 (37.4 mbar in mouthpiece), after listening can be judged as that produces a closed

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sound and out of tune, which means in practice a loss of strength and stability if we observe the
temporal evolution of the partials after processing the recording with 'SPEAR'. We can appreciate this
if we compare the results of this student (11) with the student 10 that performs the exercises with less
pressure (10.3 mbar in mouthpiece). Besides, in the student 10 the harmonics are more stable and
refined. See comparative figure 3.

Student 11 Student 10

Fig. 3 Comparison harmonic spectra of Sib2 with excess pressure mouthpiece for students 11
(37.4 mbar) and the values proposed by the teacher, pupil-10 (10.3 mbar)

3.1.2 Upsound
When we add the 'upsound' to the mouthpiece, you get more stability for the tone of SIB2 between the
frequencies ranging from 0 Hz to 5 000 Hz, as you can see in Figure 4. We interpret this as it is easier
to maintain the homogeneity in the air outlet if we add resistance to the mouthpiece. This resistance is
the essential element for the interpreter to control the output of the air. In fact, it is known that the
resistance offered to the air flow varies with the type of mouth producing a variable effect of
impedance reflected on the vocal tract and larynx [11].

L (dB)

f (Hz)

Fig. 4 Student 5 – Comparative of harmonic stability – Sib2 with mouthpiece 17.4 mbar (red) and
mouthpiece plus upsound 20.3 mbar (blue)

While it is true that the intensity of the harmonics, Figure 5, may decrease due to the added resistance
that presents the 'upsound' is more evident and beneficial the increase of stability in comparison with
the achieved when studying only with the mouthpiece.

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 Fig. 5 Student 5 - Example temporary harmonic stability - Sib 2 with upsound and nozzle, 20.6mbar

If moreover it is considered that the resistance obliges the intraoral collocation and the greater air
passage, it is advisable to explore with this accessory since it complements and amplifies the benefits
of the mouthpiece.

3.1.3 Trombone
The result when there are pressures balanced with mouthpiece and 'upsound' tends to be also
satisfactory with the trombone. This example, Figure 6, adds value to the methodology showing that
you can control certain objective physical parameters such as the intraoral pressure and through its
evaluation after a rational comparison to achieve the primary objective: to get sound quality.

Fig. 6 Student 8 - Example temporary harmonic stability – Sib2 trombone, 11.7mbar

Control of the intraoral pressures should be evaluated with some relativity, because each person has
different cavity and facial muscles and therefore the pressures fluctuate with respect to the pattern.
What is more, the pressures can change according to days in the same interpreter [12]. However, it is
true that when this shows large differences in regard to the pattern of each person, it can evidences
an inadequate effort in the muscles of the spout to produce the vibration, indicating that something is
not working correctly. An example of approximation of that is shown in Figure 7, where the same
student makes the exercise with his natural pressure (11 mbar) and he is forced to make an increase
in this (26 mbar), obtaining a much worse result.

L (dB)

f (Hz)

Fig. 7 Comparative of student 4. Sib2 trombone – Pattern 11 mbar (blue), high pressure 26 mbar (red)

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3.2 Tool to observe the control over the formation in the column of air
It is going to carry out an analysis of the elements proposed to check the stability of the tones using a
template, Figure 8, created by the teacher with 'Audacity', where it is shown the pattern proposed by
the teacher.

Fig. 8 Evolution of student 7 sib2 trombone (track 1 and 2) according to teacher’s pattern (track 3)

In another track attached the student see in real time the result (recording) of its interpretation: the
waveform, which force, by visual comparison, the self-control on the air column of the interpreter. In
track 1 it is represented the temporal evolution of the sound wave, which after being compared with
the track 3 (pattern of the teacher), enhances the continuity of the air column as represented in the
track 2. We can say that thanks to complement the sound with its visual representation, it favors the
significant learning (it is of great importance to check in all recordings the tonality with an external
frequency tuner).

3.3 Tools for working attacks, sound quality and rhythms

Taking advantage of the fact that 'Audacity' allows to present simultaneously many (only limited by the
screen size of our computer) we are going to build a template, Figure 9 that contains a track (track 1)
of pulses (black to 60) by way of metronome to establish the pattern of the different proposed
exercises (Figure of quaver note, semiquaver, crotchet, etc. as well as their different joints: staccato,
tenuto, etc. In the same way you can also refine rhythmic or sound elements with different dynamics
or tempi, in short, as many patterns as the teacher want to work can be make). In addition, this
software allows to control the waveform by visual comparison and also, whenever necessary, the
harmonic spectrum in its temporal evolution (spectrogram). The use of that is advisable for exercises
with a long temporal evolution, whereas the temporary form of the wave is advisable to display it at
any time.

Fig. 9- Student 5. Comparison student pattern Sib2 crotchet value to 60 with tenuto articulation (Track 3 and
4) with teacher model (Track 2 and 3)

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In Figure 9 it is shown for the tracks (2 and 3 from the top) a rhythm pattern composed in sequence of
four crotchets, articulation staccato, dynamics of mezzoforte and compass of four by four. And in the
two final tracks (at the bottom of the picture) the exercise result of the Student 5.
In this case it can be seen that there has been an evolution from the first shot and that in some way
the student tries to correct their articulation to achieve the look of the teacher’s pattern, achieving his
best approximation in the third interpretation. You can also see a defect in his attack or temporary
instability that always appears with upward slope that cannot be corrected.

4 CONCLUSIONS
The proposed method for the improvement of the sound quality in relation to the study tools as well as
the mouthpiece and the attachment 'upsound' and also the tools for control and analysis of the tonal
quality (such as the meter of intraoral pressure) and the software Audacity, Spectral and dBFa 32;
they ease in a whole the significant learning of the pupil and consequently the achievement of the
objectives legislated by the Royal Decree 1577/2006 of 22 December.
The results obtained suggest that is favorable to study with a resistor in the mouthpiece to control the
output of the air column since this favors the introspective study of the breathing. It works through the
need of the collocation in the musical interpretation for the wind metal instrumentalists and thanks to
its neurophysiological load it facilitates the emission, the tuning as well as the homogeneity of the
sound output.
The tool of the method that controls the intraoral pressure is of great help for the teacher to detect
excess pressure in the mouth or the lack of collocation and thanks to tools that display and control the
quality of the harmonics, it has been got the reaffirmation of the results obtained in the intraoral
pressure gauge.
The control over the formation of the air column is improving instantly when used the software
Audacity as the recipient can observe temporarily the shape of the sound wave emitted and together
with the ear and the pattern proposed by the teacher it achieves significant learnings.
The tool that works the rhythms is the most complete and thorough, because with it you can develop
specifically the rhythmic patterns that are expected to improve, as well as you can also observe the
waveforms or its spectral values.
In conclusion, the method favors the control over the sound quality of the students as well as provides
tools to be able to develop the sound quality, in trombone students in this case, during the
interpretation of a work or simply in their daily study.

ACKNOWLEDGMENTS
To Stomvi firm and its director, S. Vicente Honorato, for providing and facilitating us with the
necessary material, as well as to the students in the trombone class of CPM Sabiñánigo for their
collaboration on this project.

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