The EASY MODE of the brass wind instruments consists of
A) Independent improvisational (mainly overtones arpeggios) large range melodic themes across the overtones scale created solely by the embouchure (at any particular constant and fixed level of the trombone slide , or horn valve combination). We call it independent vertical overtones harmonic melodic lines or overtones arpeggios (overtones vibes). The very design of the brass instruments is based on the ability to play many overtones. IF WE DO NOT UTILIZED THIS CHARACTERISTIC OF THE BRASS INSTRUMENTS (AS OVERTONES ARPEGGIATORS OF ROOTS ON A CHROMATIC INTERVAL OF A 5TH ) WE MAY AS WELL SAY THAT WE MISUTILIZE THEM. Only chromatic melodic lines are by far easier in other types of winds that use only the 1st 2 overtones (clarinet, flute, saxohone, cornett etc) . If we would utilize mainly only chromatic melodic lines then the optimal design of function of the brass instruments should be more or less like a brass cornett with holes (diantonic instrument) and not valves.
An example of two such overtones scales are when the roots are an interval of 4th apart e.g. one at root ofthe instrument and one 5 semitones lower either by the valves or by the slide. (E.g. For a trumber or trombone it would be the power and/or major chord over Bb3 and the power amd/pr major chord over F3.)
B) Independent improvisational short range melodic themes within a diatonic tetrachord which is inside an interval of 4th across the slide positions of the trombone (or valve combinations of the trumpet ) and at a constant and fixed overtone level of the Embouchure. We call it independent horizontal chromatic melodic lines (chromatic vibes).
In other words brass instruments are particular easier to such 2 different types of independent improvisations (overones and chromatic vibes) AND NOT for any type of melody at all as e.g. the piano, the guitar or a flute are appropriate for !
If we want to understand it better for those that they play the guitar here is the analogy
We assume that the 6-string guitar has an overtones tuning with root at Bb2 and overtones 2nd 3rd, 4th, 5th, 6th and 8th. In notes they are Bb2-F3-Bb3-D4-F4-Bb4. Thus the strings from the lower pitch to to the higher pitch correspond to the root overtones notes of the (baritone) horn created solely by the embouchure.
Then the chromatic notes between the overtones of theBrass wind created by the slide or valves at anyparticular overtone level correspond to the notes v=created by the frets in thsi guitar.
So we have the correspondance
STRINGS<--->BRASS OVERONES GENEATED BY THE EMOUCHURE ONLY
FRETS<---> SLIDE OR VALVES GENERATED NOTES
Under this isomorphic layout correspondance the Easy Mode of playing the Brass winds as defined above by A) and B) corresponds in this guitar in
A) Playing among the 6 strings but always in the same fret (Overtones arpeggios themes)
B) Playing across a single string, and on all frets (Chromatic lines)
We must not forget of course the exceptional properties of Brass instruments compared to flutes with fipple or not and to single or double reeds like clarinets, oboe etc.
In the latter wings it is mainly the action of the fingers that determine the pitch and the frequency of the mouthpiece follows after almost automatic resonation.
But in the brass winds where the lips produce the sound it is the converse: The main factor of pitch determination is the Lips buzz control of the player, and then the action of the fingers, at the valves or at the (trombone) slide has more or less to follow and not opose it . If it flows it we have resonating notes which are of high volume and the brass modules highly the color buzz sound. If the fingers donot follow fast enough or with sufficient precisioon the pitch of the Lips buzz we have nono-resonating notes that are of lower volume and of color closer to the human Lips buzz. In less than 50% of the case we may have the converse follow up (the finger actions change the lips buzz frequency). Thus we may say that the player plays his lips buzz with the help of the instrument, and not vice versa as in flutes. This means that there is much indeterminacy of the Lipz buzz pitch relative to the length of the tube determined by the fingers on the valves or slide. And this indeterminancy is much higher that what is e.g. in the large double reeds (after the lips pressure) in armenian duduks , which are considered difficult to play excatly because of it. Obviously also the barss are much more difficult to play that e.g. a 6-string guitar in overtones tuning excatly because of the possible indeterminancy and nono-resonation notes of the lips buzz in the embouchure.
Therefore even the easy mode of the brass winds as described above, does not circumvent the embouchure difficulties of the playing. It olly circumvent the finger actions complexities for a diatonic scale.
