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Lie601
Regular Member
Joined: 13 Jun 2016
Posts: 12
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 Posted: Sat Jul 22, 2017 3:02 pm Post subject: Low Notes |
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| So I finally got a private lesson for the instructor to listen to me play. Although he said I sounded great, he wanted able to fix one problem I have: airy tonguing (but only for low notes!). Air can be heard before my tonguing attack. Any ideas on fixing this? Thank you! |
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Andy Del
Heavyweight Member
Joined: 30 Jun 2005
Posts: 2662
Location: sunny Sydney, Australia
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| Posted: Sat Jul 22, 2017 4:20 pm Post subject: |
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My gut instinct is too say - go with what this instructor said.
He did suggest WHAT you need to do, right? If not,m either go back, or find a different teacher.
cheers
Andy
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so many horns, so few good notes... |
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solo soprano
Heavyweight Member
Joined: 26 Jan 2012
Posts: 856
Location: Point O' Woods / Old Lyme, Connecticut
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| Posted: Sat Jul 22, 2017 4:35 pm Post subject: |
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To produce a clear attack, a responsive lip and a fast air stream are the most important elements. While there will be those who disagree, the tongue, in and by itself, does not make a sound. It is rather, the immediate vibration of the lip that produces the the first attack, and the interruption of the wind by the tongue that causes the lips to stop for a split second and start again, that produces succeeding attacks.
To develop a good tone delivery, I suggest some use of the "HEE" attack. Here's how it's done: moisten the lips and "press them together. (Not pinched.) Take a big breath and blow, striving to make the attack with no tongue as clear as you can. The air stream must be fast, like a bullet.
Then when you add the tongue to this type of blowing, you will have an attack that has full sound.
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Bill Knevitt, who taught me the seven basic physical elements and the ten principles of physical trumpet playing and how to develop them.
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1jazzyalex
Heavyweight Member
Joined: 13 Jun 2016
Posts: 569
Location: San Jose, CA
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| Posted: Sun Jul 23, 2017 12:26 am Post subject: |
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For low notes I'd think "Tow" rather than "Tee".
But yeah I think ideally the tongue is like a valve; there's air pressure behind it ready to get out.
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Brad361
Heavyweight Member
Joined: 16 Dec 2007
Posts: 7080
Location: Houston, TX.
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| Posted: Sun Jul 23, 2017 6:50 am Post subject: |
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| Andy Del wrote: | My gut instinct is too say - go with what this instructor said.
He did suggest WHAT you need to do, right? If not,m either go back, or find a different teacher.
cheers
Andy |
No disrespect intended towards anyone who has made suggestions for you here, but why would you not just do what Andy said??? Was it a one-time lesson? If so, and assuming the teacher is qualified, that's not enough.
This forum is a great place to learn, as long as you remember that just because someone writes something here does not necessarily mean it's 100% correct. There are some very good, credentialed players and teachers here, but there are no application requirements to be here either, and a big downside to using this forum is using it as a replacement for real world, in person working with a qualified teacher. Sure, it's EASIER, but sometimes that's part of the problem.
Brad
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When asked if he always sounds great:
"I always try, but not always, because the horn is merciless, unpredictable and traitorous." - Arturo Sandoval |
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dstdenis
Heavyweight Member
Joined: 25 May 2013
Posts: 2123
Location: Atlanta GA
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| Posted: Sun Jul 23, 2017 2:17 pm Post subject: Re: Low Notes |
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| Lie601 wrote: | | So I finally got a private lesson for the instructor to listen to me play. Although he said I sounded great, he wanted able to fix one problem I have: airy tonguing (but only for low notes!). Air can be heard before my tonguing attack. Any ideas on fixing this? Thank you! |
In general, to get a clean attack on any note, low or high, you have to have a good embouchure setting so your lips are ready to vibrate that note, and then you need to release the right amount of air. Everything has to be in balance for you and your physiology. Everyone's different, and we each have to find that balance.
We don't know the details of how you set your embouchure, so we can't tell you what to do to find a better setting. It's impossible over an internet forum. It isn't that easy in person, either. Sometimes a good teacher can spot something if it's way out of whack, but sometimes little things can be out of place that aren't so easy to spot.
I attended a masterclass last January by David Krauss, principal trumpet with the Met Opera Orchestra. He invited attendees to volunteer to come up on the stage and tell him about something they struggle with. One student volunteered that she struggled with low notes.
Mr. Krauss watched her play a few low notes and observed that it was a bit awkward for her. He gave her some general tips, like don't displace or manipulate the embouchure or jaw very much. Try to keep a setting that's close to her normal setting. Relax. Think high when she plays low.
After just a few minutes with this kind of guidance, the young lady was playing low notes better. Mr. Krauss didn't give specific instructions to move her lower lip this way, roll, in, roll out, etc. He gave her general conceptual advice, and she had to apply that advice to her specific approach. Somehow, it worked!
You'll have to do the same thing. Try to set your embouchure with a normal setting, without a lot of manipulation of your lips or jaw. Relax. Release air with the right amount of force to allow your lips to vibrate the note. You might have to try subtle adjustments in air pressure, lip tension, lip alignment, horn angle, and aperture to find the setting that works reliably well for you within the bounds of your normal embouchure placement. Good luck!
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trickg
Heavyweight Member
Joined: 02 Jan 2002
Posts: 5675
Location: Glen Burnie, Maryland
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| Posted: Sun Jul 23, 2017 4:05 pm Post subject: |
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My suggestion would be to start somewhere around G in the staff, and work your articulation there, and work your way down slowly by half steps until you are working your articulation down low and it has started to clear up.
Sometimes there is no shortcut - you just have to put away the method books, and start working an aspect of technique that is giving you trouble, and really tune in to what's going on between you and the instrument, making fine adjustments until you get results.
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Patrick Gleason
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"95% of the average 'weekend warrior's' problems will be solved by an additional 30 minutes of insightful practice." - PLP |
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