Originally Posted by Derek Reaban

Gzent’s reference to the Monette site certainly provides the full detailed look at these concepts.

For a simple test, play a one octave scale from low C to 3rd space C (or have a student do this if you already know where this example is leading). Hold the C for 6 counts and really listen to the pitch of the note. Memorize this pitch.

Now take your horn and put the bell up to your ear and gently pop the mouthpiece with the palm of your hand. Does this C match the pitch of the C that you just played?

For over ninety percent of the people that do this test (say nine out of ten students who do this for the first time), the pitch of the C that they played will be higher than the pitch that they hear when they pop the mouthpiece. They are literally playing above the resonant center of where the horn wants to play for that note.

When Manny talks about “playing on the low side of things”, he literally means that you should be in alignment with where the horn wants to play. Since the vast majority of players are high to begin with, “playing on the low side of things” will help them to better align with the horn, providing them with improved vibrancy and resonance in the sound.

It doesn’t mean to play flat, or to bend the pitch down. I just wanted to add some perspective on this issue based on some of the other responses.