No BS
New Member
Posts: 6
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Post by No BS on Oct 14, 2003 12:56:00 GMT -5
Hey fellas. Lets hear some ideas about practicing/playing articulated upper register stuff. I find in my own playing that it's much easier to play efficiently up high when I'm slurring...adding the tongue tends to cause more forcing. Who's got some good ideas so none of us ever miss the A-flat in Pictures again!!
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Post by Mikey on Oct 14, 2003 13:08:06 GMT -5
Ahhh.................. High register tonguing.....  I know what you mean. That is my first sign of becoming tight when I am playing. One of the first things is to make suer the tongue is only being used to attack the beginning of the note; then get it out of the way. ALso, keep it "Doo doo doo" Not "too too too". Finally, imagine yourself singing in that register. Keep it light. As far as that high Ab in Pictures, something Manny taught me was to make sure the lower Ab is rock solid, then "hear" the upper octave before you play it. Mikey |
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Post by BAM on Oct 14, 2003 20:16:47 GMT -5
NO BS- Here are some thoughts, as I know exactly what you are talking about. I have had a problem where I am able to slur the Magnificat fine, but when I add articulation, it is a disaster. Although I haven't completely figured it out, my suggestion would be that : If you are able to slur in the upper register, than you can play the notes. So, what is it that the tongue changes that doesn't allow you to produce the same efficiency?...For me, it is a tendency to be too heavy with my tongue. Easen up the tongue, and keep it light. Remember, you must have air moving! Somebody once made the comparison to a water hose: The water is your air, and your thumb tapping the water is your tongue tapping the air....The air is in constant motion, and is just being tapped by the tongue. If your tongue is too heavy or thuddy, your upper register will immediately shut down, as the air is being totally restricted. Hope this is of some help.
BAM
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Post by dbacon on Oct 14, 2003 22:20:23 GMT -5
Add the tongue to the air. If you can slur it and you have a problem when you tongue then you are changing how you play when you tongue. Sluring and tonguing are exactly the same to the air. Just only add tonguing, not block the air some with a swollen tongue position. The tongue is a very unruly muscle and will swell up and block the air with just the least extra tension. Let the tongue melt to the bottom of the mouth, not staying in the "dwell" position too long. Short stroke of the tongue, the air blows the tongue forward.
Of course practice tonguing more. It's the first skill that goes when you are not in shape.
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Post by BobList on Oct 15, 2003 10:22:12 GMT -5
Something that helped me is to think of it the way Callet describes it...instead of stopping and starting the note up high...imagine using your tongue as if you are "flicking" thru the stream of water with your finger to articulate, instead of putting your finger over the end of the hose for each attack.
Bob List
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Post by romey1 on Oct 15, 2003 10:34:18 GMT -5
BAM is right on.
In addition, keep the tongue arched and forward. Arching the tongue creates resitance that is essential to compressing the airstream (speeding the air along) and keeping it forward ensures the tongue has less distance to move/release. Last but not least, make sure the throat is open.
I would work on playing lightly and softly, before adding louder dynamics.
romey
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Post by dbacon on Oct 15, 2003 19:40:16 GMT -5
I like having the resistance right behind the lips, not behind the tongue. For me, it helps if the first and ONLY resistance to the air is the embouchure.
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HLABM
New Member
Posts: 3
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Post by HLABM on Oct 15, 2003 22:25:00 GMT -5
One of the concepts to keep in mind is when articulating in the upper register there is an increase in the tendency to close down and "swallow" the notes. Focus on keeping it "forward and open" as we would in all other playing. The air MUST be able to pass throught the aperture. As with anything, we must PRACTICE tonguing in the upper register.
Try these...
Goldman #1 8va
Get Allan Colin's "Corners" Great book for this kind of practice.
Good Luck and concentrate on getting that fat, rich resonant sound.
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Post by dbacon on Oct 15, 2003 23:40:19 GMT -5
Practice Clarke and Vizzutti studies slured then tongue all over the trumpet range. Tongue as though slurring, add a half step over a period of time and it gets better as the sound stays great. Short tongue stroke. Tight sound comes from tight tongue with not enough fuel (air) to let the tongue relax naturally. Lead players, if they don't practice enough tonguing in the high register, can loose endurance. If you are out of shape tonguing wise, the chops go quicker! Notice your corners staying firm against the teeth, not pulling back.
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