In Soviet Russia, You No Play Note. Note Plays You.

By Dr. Logan Chopyk

I recently had an interaction with a new student that highlights a trap even advanced players fall into. This student, highly analytical by nature, had spent hours in front of a mirror attempting to "set" their trombone embouchure perfectly before ever playing a note.

This is a deep and dangerous rabbit hole—one I’ve fallen into myself. They were convinced that an incorrect physical position was the source of their playing challenges. However, the solution isn't found in the mirror; it’s found in the brain and the breath.

The Science of "Choking"

Conscious movement is inherently less efficient than unconscious movement. These motor signals originate in different parts of the brain and utilize entirely different neural circuitry.

Think of a "dad save"—that split-second, unconscious reaction where someone catches a falling glass. That is the unconscious mind at work. When we attempt to manually override these systems by consciously controlling micro-movements, we "choke."

To demonstrate this, I asked the student to toss a pouch to me. They did it perfectly. I then asked them to consciously control every muscle and joint during a second toss. The result? It was labored, uncomfortable, and far less accurate.

The Problem with Reverse-Engineering Pedagogy

Even if a teacher could provide a "perfect" anatomical blueprint, a player cannot successfully reverse-engineer that instruction into a result. Excellent brass playing is a first-hand discovery, not a mechanical assembly. This is precisely why many brass pedagogy books—which focus on "how to set the lips"—can be unhelpful or even detrimental. They encourage the student to look at the process from the wrong end of the telescope.

The Myth of the "Fixed" Embouchure

Our playing environment is never static. Internally, we deal with varying levels of inflammation, fatigue, or muscle tension. Externally, air temperature, humidity, and room acoustics shift constantly.

There is no "one way" to play. Instead, we are in a constant state of dynamic balancing. Our bodies adapt to these variables on our behalf—not because we willed them to, but because they are designed to seek equilibrium.

What the Mirror Doesn't See

As visual creatures, we look in the mirror for answers. But the mirror only shows the superficial skin and facial muscles. It cannot show you:

• The velocity and pressure of the air.

• The internal resistance of the oral cavity.

• The physical or emotional tension held in the body.

The lips often react to conditions set by parts of the body you cannot see. It is all interconnected.

The Solution: Let the Music Play You

If we cannot "control" our way to better playing, what is our role? We must ensure the freedom of airflow. When air moves without restriction, the notes teach the body how to play. The body responds unconsciously to the sound and the phrase. It is not our job to "do" the playing; our job is to facilitate the energy and expect the music. In the end, the music plays us.

Annotated Bibliography: The Science of Motor Learning

Gallwey, W. Timothy. The Inner Game of Tennis. Revised edition. New York: Random House, 1997.

While written for athletes, Gallwey’s concept of "Self 1" (the conscious teller) and "Self 2" (the unconscious doer) is the definitive text on overcoming the analytical interference that plagues musicians. It provides the framework for why "trying too hard" leads to poor performance.

Maitland, Kevin. "Motor Learning Strategies for the Brass Player." International Trombone Association Journal38, no. 2 (April 2010): 22–26.

Maitland applies modern kinesiology and motor learning theories specifically to the trombone. He emphasizes that focusing on the result (the sound) rather than the mechanics (the embouchure) leads to faster and more permanent technical gains.

Selyavka, Nikolai. The Russian School of Trombone Playing. Edited by Benny Sluchin. Paris: Editions Bim, 1994.

This text provides historical context for the "Soviet" approach mentioned in the title. It emphasizes a robust, song-like approach to the instrument where technical facility is always secondary to the musical intention.

Wulf, Gabriele. Attention and Motor Skill Learning. Champaign, IL: Human Kinetics, 2007.

Wulf presents extensive scientific research proving that an "external focus of attention" (focusing on the effect of the movement) is vastly superior to an "internal focus" (focusing on the body parts themselves). This supports the argument that focusing on the sound/air is more effective than focusing on the lips.