Posted by Sean Chisham on January 22, 1999 at 09:14:32:
In Reply to: Re: Re: Tonguing posted by Joseph Felton on January 21, 1999 at 22:54:25:
I was part of the conventional wisdom that tonguing was only properly done above and behind the teeth. Through recent adjustments of both Mr. Perantoni and my wife, who is a pretty good horn player, I have re-evaluated my stance on tonguing. When my tongue was so high in my oral cavity it tended to also occupy more of the space causing all kinds of problems. By the simple act of defying the "rules" of "never allow the tongue to touch the lips", I have been able to greatly clearify my articulation and notes start much faster. This can be seen clearly through rehearsal tapes made one year ago, as opposed to today.
I am not sure if I would choose "Poe" as my word of choice for demonstrating articulation though. If one says "Poe", then the lips must actually close and reopen for each note. I can see this leading to chewing type articulations which are a whole other bag of worms. I
still like the classic articulation word below. The focus of off of the "attack" itself and more on the sound. After all articulations don't generally exist at all. They are simply a name given to change from silence to sound when a note begins.
tOOOOOOOEEEEEEEEEE
Everytime I revert back to tongueing further back in my mouth, I get the same remarks from Mr. Perantoni, "Why are you tonguing like a trumpet player?". My wife also gives me the evil eye when she hears the less clear articulations of my not too distant past.
I still believe air to be a cause in the problems here. If one does not take in sufficient air, then one is less capable to provide air when playing. To compensate, I have seen a great many younger players build up pressure, then release it when playing. The artificial pressure gives a slapping or explosive sound to the note, but it does allow someone with inadequite air reserves to produce a sound. This violent attack on notes can be releaved with massive inhalations followed by relaxation while playing. Relaxation after a massive breath actually results in exhalation. Relaxation after a shallow breath, or from depleted lungs, results in an inhalation process. To still exhale, when the the lungs are in negative pressures, requires tension and pressures to be applied. This can also be experienced as trying to squeeze out the last bit of air at the end of a long note.
By practicing with massive inhalations followed by total relaxation when playing, the sound will improve. Starting notes will be much easier because the work involved with overcoming the negative pressures of a neutral or depleted air capacity is eliminated.