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In the brass forums, there have been several threads on practicing with mutes. The intent
of this brief article is to share some of my experience with two brands of mutes I personally own. It is, of course,
always my preference to practice on the open horn, but living in an apartment complex eliminates that preference almost
altogether. In the OTJ, there is a very informative article primarily on the technical side of the mutes
themselves.
First of all, I believe most brass players agree that one simply cannot put something into
the bell of an instrument without changing the playing qualities. It's somewhat like putting an object in the middle
of a smoothly flowing stream of water. The flow of the water begins to go in different directions depending on the
shape of the object. Sometimes the flow is disrupted to the extent of becoming turbulent. The water hitting the front side
of the object may start to build up and even flow upstream or backward. Try to imagine two freely swinging gates (the
lips---embouchure or aperture) upstream of the object. The gates open freely in the smooth stream, then as the water
begins to back up or becomes turbulent, the gates being to open or close, depending on the quality (speed) of the
flow of water backing up (back pressure or resistance). The flow of water in front of the object, once again, is slowed down,
and it may have to flow quite a distance to become smooth again. So it is with the air and the effect the mute has on overall
playing of the instrument.
Practice mutes are designed to minimize the amount of resistance or back pressure, but neither
one of mine completely eliminate it. So, with that in mind, I have to somewhat prioritize exactly what it is I wish to accomplish
in a particular practice session, and I have to remember not to be too objective with the "sound" (tonal center) I produce.
And, perhaps most importantly, I have to be careful not to try to play so "loudly" that I injure myself (lips, ears,
and who knows? A hernia??).
The weight of the mute obviously adds weight to the instrument, and it affects the balance.
The Silent Brass mute is considerably the heavier of the two, and I tend to tire more quickly when I use it. However, it does
attenuate the sound better than any mute I have tried, but the mixer with earphones helps considerably. I can hear better
without having to move so much air through the horn. But, a word of caution: If you read the Trivia Page, you will see that I have pulled a no-no and left the mixer attached to my belt (it is
light) when I moved beyond the length of the microphone (mute) cord. The horn with mute intact fell toward the floor. Practicing
without the mixer works adequately, but the loss of tone perception sometimes catches me by surprise and I find myself
blowing harder, compensating for the loss. At that point, my practice session becomes more tiring and frustrating. It is then
time to take a break.
The mute has an effect on the pitch of the instrument. It makes it play more sharp, and an
adjustment to the tuning slide is made. This is important because routinely practicing sharp (or flat, for that
matter) affects the way I "want" to hear what "in tune" is. That can cause me to play out of tune even when
it is not intended. Here, again, my tonal center and pitch perception can be temporarily altered. (Time to
make a trip to the studio!).
So what happens when I play without the practice mute? The trombone is lighter, the balance
is good on the instrument (the slide almost becomes airborne), and I can hear myself!! But the resistance of the instrument
is quite a bit different and I have to basically approach it as if playing an entirely different horn. Fortunately, I have
enough experience that it does not take long for me to readjust, but that is the key: Experience.
I do not recommend that a young or inexperienced player get into the habit of
practicing with a mute for the above reasons. There is enough going on with the learning process without adding to or
even inhibiting it. True, it is better than nothing if that is what one has to do to practice, but once again, one has to
keep in mind the effects it can have both during the practice session and in the long run. Bottom line: Be careful! And
practice, practice practice!
Copyright 2003 by Sandy M. Barrows.
The opinions in this article are hers, and she does not take
responsibility for the opinions or actions of its readers.
Not to be reprinted without the express consent of Sandy M. Barrows
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