Back to Basics...
In part two of my back to basics papers I would like to discuss different forms of articulation and note production. The subject is of secondary importance to the control and use of our air stream. It is with this in mind that we should attempt the suggested exercises and examples.
Exercises aimed to keep the tongue under control!I often talk to players who suffer from lack of control of their articulation and production it. Usually they either use too much tongue, creating an explosive start to the tone, or on the opposite end of the scale, suffer from too little tongue, sometimes resulting in a stuttering start to the note. It is these particular problems that I would like to cover in detail and hopefully suggest remedies which may help to eliminate these common faults.
What should the tongue do?
It is important that we remember the tongue only acts as a release for the air stored within the lungs. As we discussed in the previous paper, the ability to control our breathing and airstream is paramount. The tongue merely acts as a release for the air stream, any special accents required should be controlled by the airstream alone.
The tongue 'energizes' the embouchure, causing the lips to vibrate and the tone to be produced. If we over emphasize the use of the tongue it will result in an unpleasant explosive start to the sound. The tongue action has to be carefully synchronized with the release of the airstream, causing the embouchure to vibrate instantly.
Suggested Practise
If we are at all unhappy with our production or are experiencing difficulties it is a good idea to practise for a period of time without the use of the tongue. For example, first of all play an easy middle register tone e.g. middle C without the use of the tongue. You will probably find that nothing happens and no tone appears. This tells us that we are not giving sufficient support for our diaphragm to produce any sound. If this happens try again using the vowel 'haa..' to help produce the correct air supply. Eventually you will find that the tone appears quite freely.
When practising this particular form of a non-articulation critical in your approach to rehearsal. Eliminate any stuttering sounds and try to start the tone as cleanly as possible.
The reason I suggest this kind of practice is that it is only when we are able to produce the tone by airstream alone can we gradually increase the use of the tongue.
The use of consonants and vowels
Probably one of the first noises we uttered to our parents was 'Da-Da' (those who didn't probably ended up as percussionists!). However, this simple form of sound production can be used to great effect in relation to brass playing.
We are all aware that when we start a tone we use a mixture of consonants and vowels. For example Too Doo Tee Taa Roo Noo Nee etc. If implemented correctly the use of these consonants (i.e. TDRN etc) are used to help in the initial production of the tone, the vowels (aah eeh ooh etc) are used in the sustaining of the tone.
Consonants
The use of consonants is the application of the tongue in order to separate each tone. Depending on which consonant we use the tongue hits differing parts of the mouth cavity. To be aware of how the use of consonants work, experiment by saying the following and make a note of where the tongue hits the upper mouth: T D N and R. You'll notice that each of these consonants use different tongues shapes and placements.
Vowels
Vowels are used to follow up the initial tongue action caused by the above consonants. The vowel part of the release help sustain the tone depending on the register in which we are playing. Again, the tongue has differing positions for each vowel.
For example, experiment by saying the following: aaah eeeh ooo and iiih. Note the position of the tongue when forming each of these vowels. You will note that the tongue is very low in the mouth cavity for ooo... and positioned close to the roof of the mouth for iiiih...
This all may sound rather strange until we take note of what this tongue action does to the air stream. We all know that when we play in the upper register the speed of the airstream is very quick, in the lower register the air travels very slowly.
If we use the relevant vowels in the appropriate register it will strengthen our range and, if rehearsed correctly, will lessen any excess pressure developed for high register playing.
Mixing consonants and vowels together
The correct combination of consonants and vowels is of utmost importance and should be rehearsed Daily. As a rule I find that using Deee and Diiih for playing in the altissimo register (as detailed above, this tongue position helps the air travel faster, thus reducing any excess pressure) Daaa for the middle register and Doo for the low register (the tongue now positioned at the bottom of the mouth cavity enabling a larger, more constant column of air).
We could discuss the intricacies of articulation and production in far more detail is space allowed, but the one important factor that should be remembered is the fact that the tongue's major function is to act as a release for the airstream. With this in mind all the suggestions and examples should form part of your daily practice routine.
In my next paper I will discuss flexibility and its importance to the brass player.