by Patrick Hughes
The “how-too” is an exercise first presented to me when I was studying horn with Doug Hill. It’s one of the regular high-range exercises I share with my students at the University of Texas at Austin. This exercise teaches a specific body rhythm when starting pitches in the upper range. Often, we start high pitches with a three-count approach (1=inhale; 2=close the throat and set tension in the lips; and 3=explode on the note). The “how-too” exercise eliminates count 2 where we tend to close our throats and overset our embouchures, basically creating tension before the note. So, the body rhythm is now a two-count approach: 1=inhale—letting go of tension in the upper body by inhaling “how” (this opens the back of the throat); and 2=the start of the note (or “too”).
The “how” releases any tension held in the upper body—it’s very “chill.” Conversely, the “too” is assertive and quick, and it happens at the moment our throat is most open, when we’re at the bottom of the breath. During the “how” inhalation, a deep breath really isn’t necessary, think of it more as a body relaxation rather than a taking-in of air—you’re only going to play one quick note, so you don’t need much air. Also, keep the mouthpiece “at bay” while inhaling/relaxing (“how”) and bring your lips to the mouthpiece as you say “how” (notice how your lips come forward when you shape the “w”). The “too” is a quick note with an open end at a comfortable dynamic. Be assertive with your “too.” Don’t hesitate! Articulate “too” before you think you’re ready to play a note. Most students find it easier to get the rhythm of the “how-too” by counting or setting a metronome to 4/4: inhale/relax the “how” on beat 4 and say “too” on beat 1. Be sure that your “how” lasts for the entire beat 4, and the “w” of how meets the “t” of “too” (as if you’re saying “howt—oo”). There should be no tension or stopping of the inhalation before the “too.” Follow through.
Pick a pitch higher than third space C and play five of the same pitch in a row with an intense focus on the approach (body rhythm) to the note rather than the note itself. Pull the mouthpiece away after each note, allowing the blood to flow back to the aperture, and so you can mentally reset to start the next one. Accuracy is not the point of this exercise—aim for a pitch but follow through and play whatever note comes out; don’t correct the pitch—let it be. Don’t judge! If the wrong pitch comes out, think, “Ah, very interesting! I think I’ll try that again!” Remember, the point of this exercise is learning a different and more relaxed body rhythm.
Start on a different pitch every day and ascend by half step through five pitches. Try for five good attacks in a row on any given pitch, but there is no need to practice more than ten. You’ve still rehearsed several great approaches regardless of hitting the desired pitch!
Special tips and reminders for the How-Too:
- Never correct. Just “how-too” and let the note be whatever pitch it is, whatever dynamic it is. Imagine the correct pitch before your play. If you get the pitch, add to your list of duties acquiring the muscle memory of getting back to that same pitch the next time.
- Don’t be in a hurry. You could hyperventilate if you go too fast. A relaxed approach is the key. Also, it won’t tire you out if you give your lips more off-time than on-time with this exercise.
- This is a great exercise in any range. This may also be effective in eliminating hesitation/stutter issues.
Tips on doing any high horn exercise:
- Practicing high range exercises with relaxation and effortlessness should be your focus!
- Work on all aspects of playing high:
- moving into the high register with less tension;
- starting in the high register with less tension;
- slurring about in the high register with very little noticeable facial movement;
- fast, relaxed articulations in the high register.
- Don’t force the issue. For most of us, it’s not that we’re trying to develop stronger chops to reach the upper register. Instead, tension in the face, aperture, neck, and shoulders are in the way of letting the air do more of the work; any tension we create above the lungs is inhibiting airflow which causes more tension, which inhibits more airflow, etc. So, go up there, do some work on playing in the upper register while maintaining control of extra tension in your body (or think of displacing tension lower, away from your head, neck, and chest) throughout the exercises, and stop while you’re having reasonable success. Then move on to something else in your practice—something different.
- Keep your right hand tight or compressed in the bell when playing in the high register; this helps to center the partials better.
- Pelvic floor breathing works GREAT in the high register, but we should be breathing down (i.e., throwing our tension down) to that muscle all the time!
- It’s not necessary to do every high range exercise every day. Put them on a rotation during your weekly practice regimen. Don’t play them all in a row. Don’t expect that you’ll have more success with these exercises at the beginning, middle, or end of a practice session. We should be able to play high, low, soft, loud, at any time, as long as we’re sufficiently warmed up.
