My take on the "changing tongue for registers"
- Burgerbob
- Posts: 6327
- Joined: Apr 23, 2018
[media]https://www.youtube.com/watch?v=sjbuFQ_usjw[/media]
- Ted
- Posts: 66
- Joined: Mar 23, 2018
Nice!
I like the example at 1:40. I know some people who sound like that..
I like the example at 1:40. I know some people who sound like that..
- Burgerbob
- Posts: 6327
- Joined: Apr 23, 2018
[quote="Ted"]Nice!
I like the example at 1:40. I know some people who sound like that..[/quote]
Exactly! I'm excited to use this in my teaching this year.
I like the example at 1:40. I know some people who sound like that..[/quote]
Exactly! I'm excited to use this in my teaching this year.
- baileyman
- Posts: 1169
- Joined: Mar 24, 2018
I tend to think there are two independent things going on here, though I may be off base.
One is the mouth volume driving partial change as at the end. In this case the chop tuning is pretty static and the mouth tuning changes pitch (and partial as a consequence).
The other is chop tuning determining pitch and then mouth tuning matching for best sound as in the beginning.
I think these things are basically independent and can be practiced and exploited independently. "Benders" are a good example. There's a range over which static chop tuning can be moved by mouth tuning. An octave? I'm not sure. A fourth for sure, but it could be quite wide. Flexibility within that range driven by mouth tuning is another good example of independence.
A weird thing that shows up is since the tongue has to do so much on tuning, asking it to also articulate brings additional independence problems. That's like the trombone equivalent of getting fingers three and four to play independently on a keyboard.
It's hard to describe these things with great confidence, but the examples in the video are pretty convincing.
One is the mouth volume driving partial change as at the end. In this case the chop tuning is pretty static and the mouth tuning changes pitch (and partial as a consequence).
The other is chop tuning determining pitch and then mouth tuning matching for best sound as in the beginning.
I think these things are basically independent and can be practiced and exploited independently. "Benders" are a good example. There's a range over which static chop tuning can be moved by mouth tuning. An octave? I'm not sure. A fourth for sure, but it could be quite wide. Flexibility within that range driven by mouth tuning is another good example of independence.
A weird thing that shows up is since the tongue has to do so much on tuning, asking it to also articulate brings additional independence problems. That's like the trombone equivalent of getting fingers three and four to play independently on a keyboard.
It's hard to describe these things with great confidence, but the examples in the video are pretty convincing.
- Burgerbob
- Posts: 6327
- Joined: Apr 23, 2018
[quote="baileyman"]I tend to think there are two independent things going on here, though I may be off base.
[/quote]
This is definitely a simplified take- I have other thoughts on these systems as well. This is just a way for some people to get started on the idea, become more aware of how they are producing sound.
[/quote]
This is definitely a simplified take- I have other thoughts on these systems as well. This is just a way for some people to get started on the idea, become more aware of how they are producing sound.
- johntarr
- Posts: 368
- Joined: May 07, 2018
Nice video and explanation. I’ve been using this myself and even incorporate the “finger breathing” exercises I learned from Eli Epstein’s book, “Horn Playing from the Inside Out.” I also use these ideas with my young students and their range and sound can improve instantly when they begin to fine the right mouth shape.
Keep up the good work, John
Keep up the good work, John