TPTV - J. Bryan Heath

During the mid-90s, Bryan Heath began studying with Mr. Jacobs after an initial lesson with Edward Kleinhammer during which Kleinhammer suggested seeking him out. During his transit to Chicago, Bryan read Philip Farkas’s book The Art of Brass Playing. When he arrived at Mr. Jacobs’s studio Bryan told Mr. Jacobs that he had just finished reading the Farkas book. To which Jacobs replied, “Philip Farkas was amazing. You should lock that in a drawer.” Jacobs paused and continued, “But if I write a book, you should also lock that in a drawer.” Shortly afterward, Heath began to play for Jacobs. Heath was not breathing very deeply while playing. Jacobs measured Heath’s lung capacity. Due to unwanted tension related to poor respiration, Jacobs told Heath that it was worse for him to NOT use his capacity than a smaller person who has to breathe much more often. Jacobs noted that Heath was keeping his body rigid while breathing, by not allowing his shoulders and chest to move during the breathing process. Jacobs worked with Heath to expand while breathing, sucking air from the lips. Wind is air in motion. Anything behind the lips doesn’t matter: Blow from the lips and breathe from the lips. Stay in the top two-thirds of the lung capacity. The air “falls out” in the top half of the lung capacity. No muscle contractions are needed. Thick air vs. thin air. Motor nerves, sensory nerves. Playing by “feel” well is not adequately supported by the nervous system. The song should be the dominant thought in your brain. The song is the entire picture that you want to convey to your audience. It is the pitch, the note, the dynamic, the musicianship, the tone. It is your story. Song is dominant and wind is less so. Occasionally there may be a slight reversal of that. The psychology of what motivates function does not lie in the operation of individual body parts. Rather it is the desired outcome, or product that serves as the most efficient and primary motivator. Pencil toss. Heath’s playing improved greatly. His sound “volumized” right away after thickening up his air flow. Jacobs also used the concept of conceiving and copying players much better than himself. Charlie Vernon was Bryan’s model. Star Trek was often on in the Jacobs house. Jacobs encouraged Heath to develop his artistry. “Limited challenges produce a limited musician.” Relaxation yes, but not flaccidness. Jacobs sometimes offered contrary advice from one student to the next because he was focused on what motivated the person. He was masterful in his use of psychology. Jacobs was often working in the background of the student’s mind, without the student being aware of it. Valsalva. “Tah” vs. “tAH”. 1984 International Brass Congress II video tapes of Jacobs. Heath’s DMA project. The Dick Erb interview helped Heath’s Valsalva issue. Air articulations. RUclips TubaPeopleTV Arnold Jacobs: In His Own Words.