| Tonguing.
OUCH!
> > These tongue-stop syllables should NEVER be used except in big band
> > jazz, or the most violent, aggressive orchestral playing (such as some
> > new stuff I had to play this afternoon).
> > I recommend to my students that they not to do anything on the trumpet
> > they wouldn't do in singing the same passage; this can eliminate all
> > sorts technical problems by focusing on the musical idea. To play a
> > short, note "sing" a short note, etc.
> > But not Taht, for heaven's sake! In a Basie chart, different story;
> > it's idiomatically correct.
> >
> > Peter Bond
>
> I agree with Peter 100%. One should articulate the same way as they
> speak, or better yet - sing. I'm not into over analyzing, but if you
> think about how you articulate words that begin with a "T" - you'll
> notice that :
> 1- In most cases the tip of your tongue brushes your bottom teeth.
Tell this one to your dentist!
> 2- You're really pronounciating a "TS" rather than a "T" consonant.
> Caruso used to advocate articulation with the consonant sound of TS TS
> TS instead of T T T.
No. Not for clear, clean "legit" articulation.
I can see where you might use TS for "high-commpression" or "high
velocity" commercial playing, though. This may be something that
players should be aware of if they want to step back and forth between
the two musical styles convincingly. For "legit" playing (and I began
as a complete "meathead" lead trumpet player in HS and college), I
literally "talk" the articulations, using NO MORE wind than I would to
sing the same pitch except in the upper register, and even then, it's
more like singing in falsetto that blowing or "hissing" like a
commercial lead player might. This is one reason why nobody confuses
the playing of guys such as, oh...say Maurice Andre and Maynard
Ferguson; they're using a different approach to create those high
frequencies, and that's why they sound so different.
Peter Bond |