From: gwrawlin@earthlink.net >> Subject: tongue and slurs >> Date: April 10, 2008 9:54:21 PM EDT >> To: tpin@tpin.okcu.edu
I believe the tongue is the valve the provides leverage for a slur. (It does not initiate the process the air does) >> The tongue does not say eeee though. Instead, it is the forward >> tongue, touching the bottom teeth, and then "accordianing" upwards >> and forwards, that compresses the air. the pursing muscles then >> contract naturally to resist the air and the note rises. Whistling >> for most people gives you an exaggerated hint of what happens to the >> tongue as you ascend. You can't say eeee and whistle:) >> >> The bottom line is that the air is still the engine here. >> Unfortunately most people begin to force the air when they raise the >> front of the tongue, the trick is to keep your airsteam flowing and >> it is increased by a pulsing wave (Charles Colin had a nice rhythmic >> pulsation exercise), and the body remains in "relaxed athletic >> focus" while the tongue and corresponding lip response increases the >> speed of the vibration. >> >> Improper air will render all attempts to slur negative. So whatever >> your are doing, start the slur with a pulse of air then hopefully >> your unconscious will adds the "tongue forward" rise and the muscular >> response of the lips (orbicularis oris) finishing of the set of >> events. It also helps to practice slowly attempting an absolute >> connection lower and upper note. You will note that the chops >> maintain the aperture and the net movement is nil.
You can set your core balance for any range interval, or wide slurring skip, mode of resonance, or
note, by using your body to shorten or lengthen the length of the
internal core.
Place your hand over your navel and breathe in -
do you sense the air filling that area? Now exhale with your hand in
the same place - do you sense the air column moving up and out from
there?
Now move your hand up 1 or 2 inches and repeat.
Now 1 or 2 more inches up and repeat.
This simple exhalation with focus shows you what the mind can control with simple visualization.
Now
play a low C while sensing the air column moving from the navel. Now a
middle C sensing the air moving from a spot 2 inches above the navel.
now a g above the staff and sense the air column coming a few inches
higher.
The exhalation must always be the result of a deep
relaxed breath, followed by an inward and upward compression from the
selected area.
This can feel like a wedge anchored at the spine being pulsed back and upwards at each spot in a relaxed powerful compression.
The
beauty is that the sound will be even in all registers, the tones will
be secure and the tongue will fade into oblivion as you learn to float
the tone on this flexible column of core air.
If you are coming
in softly on an A above the staff, you will have no fear of clamming
when you have developed this sense of core balance placement.
To
hit a E above high C will not be a guessing game, with arching,
squeezing, and pinching - it will float out on the proper core length
of air.
Some players have developed the backwards arch to ascend
- this is not necessary if you learn to breathe properly and allow the
Air to Play:)
This concept of rolling the air from bottom to top is an over- simplification of what Maynard used.
It is helpful to use a plosive attack and maintain a non vibrato tone as you learn this technique. >> >> It is possible to slur by tightening your lips and then relaxing >> them, but wow what a waste of sound! The upper note is squeezed and >> the lips tense more and more setting up a vicious cycle of more air >> more tension - eventually locking you up. >> >> gR >> grawlin.com
