Some pedagogy questions
- JCBone
- Posts: 373
- Joined: Jul 29, 2020
I noticed a few issues with my playing and I want sime tips for sorting them out.
1. I notice that when I do long tones, the sound kindof balloons. Meaning there is a crescendo and a diminuendo. Hoq do I get rid of this habbit?
2. How do I make a fuller low register on tenor. This is something Iv'e always struggled with and I want some tips.
1. I notice that when I do long tones, the sound kindof balloons. Meaning there is a crescendo and a diminuendo. Hoq do I get rid of this habbit?
2. How do I make a fuller low register on tenor. This is something Iv'e always struggled with and I want some tips.
- Elow
- Posts: 1924
- Joined: Mar 02, 2020
<YOUTUBE id="5NLqLMKwEqk">https://youtu.be/5NLqLMKwEqk</YOUTUBE> He’s got some other good videos on low range but this is the most specific. Most of my habits can go away by just focusing on them. Also, download a decibel meter
- Vegasbound
- Posts: 1328
- Joined: Jul 06, 2019
Have a lesson with Doug Elliott, will save you time and frustration
- Crazy4Tbone86
- Posts: 1654
- Joined: Jan 14, 2020
JCBone,
For Inquiry #1, I think you have actually answered your own question. You need to practice "brick-shaped notes." That is.....the note should start at a particular volume with a clear articulation, stay at that volume for the entire length of the note and end with a square (but elegant) release. Many years ago, one of my teachers spent dozens of hours working with me on this. Once I got very comfortable with the skill, it completely transformed my playing.
For Inquiry #1, I think you have actually answered your own question. You need to practice "brick-shaped notes." That is.....the note should start at a particular volume with a clear articulation, stay at that volume for the entire length of the note and end with a square (but elegant) release. Many years ago, one of my teachers spent dozens of hours working with me on this. Once I got very comfortable with the skill, it completely transformed my playing.
- baileyman
- Posts: 1169
- Joined: Mar 24, 2018
And do your current volume profile inversely. That is, start loud, get soft, get loud again, all with control and in good time with your foot. Learn all possible variations and the "brick" as above.
- Burgerbob
- Posts: 6327
- Joined: Apr 23, 2018
Remember that the "brick" is the shape your air should have. Instant, flashlight start, consistent follow through, solid release. You can practice this away from the horn as well.
- Crazy4Tbone86
- Posts: 1654
- Joined: Jan 14, 2020
I agree with BurgerBob wholeheartedly! Brick-shaped notes are a matter of air-control and practicing with just air.
I always teach my students to imagine the speed necessary to produce a note. For example, I think about 50 miles-per-hour for a high G in # 2nd position (it's an arbitrary number, but you must use something to help visualize how air is used. At the start of the brick-shaped note, you must go from Zero to 50 mph in about 1/100th of a second. To make things more challenging, you must articulate the "tah" (or whatever vowel sound you prefer) with perfect timing. During the entire length of the note (be it 1/4 of a second or 10 seconds long), the 50 mph air must remain absolutely consistent (this is the part that many of my students struggle with). The the air must stop in 1/100th of a second with the embouchure not moving on the release.
In explanation, it sounds so simple. In application, it is an art-form that many players do not conquer.
I always teach my students to imagine the speed necessary to produce a note. For example, I think about 50 miles-per-hour for a high G in # 2nd position (it's an arbitrary number, but you must use something to help visualize how air is used. At the start of the brick-shaped note, you must go from Zero to 50 mph in about 1/100th of a second. To make things more challenging, you must articulate the "tah" (or whatever vowel sound you prefer) with perfect timing. During the entire length of the note (be it 1/4 of a second or 10 seconds long), the 50 mph air must remain absolutely consistent (this is the part that many of my students struggle with). The the air must stop in 1/100th of a second with the embouchure not moving on the release.
In explanation, it sounds so simple. In application, it is an art-form that many players do not conquer.
- Doug_Elliott
- Posts: 4155
- Joined: Mar 22, 2018
You need to also do the same at "5mph" and hold it there, which is far more difficult and useful.
The point is simply to be in control of whatever you're doing. No excuses like "the sound kind of balloons."
But to tie that into your other problem of low range, an inappropriate mouthpiece size "for you" makes everything harder. That may be part of your problem.
The point is simply to be in control of whatever you're doing. No excuses like "the sound kind of balloons."
But to tie that into your other problem of low range, an inappropriate mouthpiece size "for you" makes everything harder. That may be part of your problem.
- robcat2075
- Posts: 1867
- Joined: Sep 03, 2018
I'm reminded of a Henny Youngman joke...
Patient: Doctor, it hurts when I do this.
Doctor: Don't do that!
Patient: Doctor, it hurts when I do this.
Doctor: Don't do that!
- Doug_Elliott
- Posts: 4155
- Joined: Mar 22, 2018
As somebody else mentioned, I do Skype or Zoom lessons and I'm very good at fixing playing problems very quickly.
- mbtrombone
- Posts: 130
- Joined: Jan 29, 2019
A lesson with Doug might be well worth it, but I have never done it, but have never heard of anyone not liking what they learned!
As far as your first question: is the crescendo because the note gets louder, or doesn't start instantly? If it is because you start, then crescendo, the dim, it might be an air issue like some have pointed out. Working on your breathing will help, and then applying is going to most likely need you to focus on playing and recording and listening back to long tones. If it is because the note isn't starting instantly then breath attacks might help. Notes can be start perfectly without any tongue, but you have to practice it, perfect air from start and instant lip vibration. It requires the embouchure to be set up and the air to be able to start instantly (or nearly so) and be the diameter you want.
As for the second question: Neutral air is the key. If you want your low range to sound great do not push the air, and do not hold back the air. The air should feel like you are sighing out. When you first start to work on this approach do not worry at all about dynamics, just feeling. This was the most important thing I ever learned when I switched from Tenor to Bass as my focus. My low range on both are now my strongest asset, where it use to be the part that got me cut from auditions.
As far as your first question: is the crescendo because the note gets louder, or doesn't start instantly? If it is because you start, then crescendo, the dim, it might be an air issue like some have pointed out. Working on your breathing will help, and then applying is going to most likely need you to focus on playing and recording and listening back to long tones. If it is because the note isn't starting instantly then breath attacks might help. Notes can be start perfectly without any tongue, but you have to practice it, perfect air from start and instant lip vibration. It requires the embouchure to be set up and the air to be able to start instantly (or nearly so) and be the diameter you want.
As for the second question: Neutral air is the key. If you want your low range to sound great do not push the air, and do not hold back the air. The air should feel like you are sighing out. When you first start to work on this approach do not worry at all about dynamics, just feeling. This was the most important thing I ever learned when I switched from Tenor to Bass as my focus. My low range on both are now my strongest asset, where it use to be the part that got me cut from auditions.