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Philip Farkas's The Art of Brass Playing is a study of how the brass embouchure is formed and used. Rather than supplying a sequence of graded etudes, it examines the physical setup behind playing: mouthpiece placement, the opening between the lips, articulation, mouthpiece pressure, and breath control. Farkas also considers the use of moist or dry lips.

Photographs are an important part of the book's approach. They show the embouchures of players including Adolph Herseth, Farkas, Edward Kleinhammer, and Arnold Jacobs, giving readers concrete examples to consider alongside the discussion. The range of instruments represented makes this a reference for brass teaching more broadly, not only for horn players.

Students can use the book to develop a vocabulary for discussing technique with a teacher, while instructors can use its images and explanations to support lessons on sound production. It is best approached as a pedagogical reference to accompany playing and guided observation, rather than as a performance collection.

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The Art of Brass Playing by Philip Farkas

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School, government agency, or music retailer? Get a quote.

Philip Farkas's The Art of Brass Playing is a study of how the brass embouchure is formed and used. Rather than supplying a sequence of graded etudes, it examines the physical setup behind playing: mouthpiece placement, the opening between the lips, articulation, mouthpiece pressure, and breath control. Farkas also considers the use of moist or dry lips.

Photographs are an important part of the book's approach. They show the embouchures of players including Adolph Herseth, Farkas, Edward Kleinhammer, and Arnold Jacobs, giving readers concrete examples to consider alongside the discussion. The range of instruments represented makes this a reference for brass teaching more broadly, not only for horn players.

Students can use the book to develop a vocabulary for discussing technique with a teacher, while instructors can use its images and explanations to support lessons on sound production. It is best approached as a pedagogical reference to accompany playing and guided observation, rather than as a performance collection.

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