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Jim Wilson · 07-26-2007, 04:56 PM

Vulgano Brother wrote:

"I can't ever remember stuff ever shooting out my nose while playing with a cold. (I've shot stuff into my ears [which does indeed make my trumpet seem to sound ugly] but never out my nose. ) Any reasons why?"

My "snot good" comment was obviously in jest to Rowuk's use of snot (?intentional or unintentional). If you're really wondering about stuff not coming out the nose when we play, it is because we have both voluntary and involuntary control of the soft palate which raises up to close the back of the nose (the choana). When raised up, further pressure in the oral cavity and pharynx/hypopharynx just pushes the soft palate more firmly over the choana (at least in most people). The openings from the eustachian tube (from the back of the throat to behind the ear drum) are not under any significant volunatry or involuntary control and we can pressurize the oral cavity in such a way as to increase pressure in the middle ear. Forgive me if your question was in jest.

Riddler's comments about the teachings of Mssr. Dutot are fascinating. I would definitely be interested in hearing more. As a 55 year old comeback player I've found that some of the things I did well as a youngster (fingering speed/double and triple tonguing and sight reading) are not returning as quickly as sound. I'm fairly certain I sound far better than I ever did as a youngster and continue to make progress in that department. It has been fascinating to me to learn about resonance and how to improve/expand/manipulate it in ways I never had when young.

I wonder how much "feedback" of our resonance through bony conduction from the jaw and oral cavity/sinuses influences one's resonance. What I'm observing is that there are certain jaw/oral cavity configurations which seem to give me far greater feedback apart from my "hearing through the ears". When I have this feedback (or is it truly some improved body resonance), I seem to generate a better tone. It's certainly hard to describe and I don't think I'm doing a very good job of it but if anyone else has a sense of what I'm trying to say and can expand on it that would be great.

I'm definitely enjoying this thread.

Jim

07-26-2007, 04:56 PM	#22 (permalink)
Jim Wilson New Friend Join Date: Mar 2006 Posts: 10	Re: The Body Resonant Vulgano Brother wrote: "I can't ever remember stuff ever shooting out my nose while playing with a cold. (I've shot stuff into my ears [which does indeed make my trumpet seem to sound ugly] but never out my nose. ) Any reasons why?" My "snot good" comment was obviously in jest to Rowuk's use of snot (?intentional or unintentional). If you're really wondering about stuff not coming out the nose when we play, it is because we have both voluntary and involuntary control of the soft palate which raises up to close the back of the nose (the choana). When raised up, further pressure in the oral cavity and pharynx/hypopharynx just pushes the soft palate more firmly over the choana (at least in most people). The openings from the eustachian tube (from the back of the throat to behind the ear drum) are not under any significant volunatry or involuntary control and we can pressurize the oral cavity in such a way as to increase pressure in the middle ear. Forgive me if your question was in jest. Riddler's comments about the teachings of Mssr. Dutot are fascinating. I would definitely be interested in hearing more. As a 55 year old comeback player I've found that some of the things I did well as a youngster (fingering speed/double and triple tonguing and sight reading) are not returning as quickly as sound. I'm fairly certain I sound far better than I ever did as a youngster and continue to make progress in that department. It has been fascinating to me to learn about resonance and how to improve/expand/manipulate it in ways I never had when young. I wonder how much "feedback" of our resonance through bony conduction from the jaw and oral cavity/sinuses influences one's resonance. What I'm observing is that there are certain jaw/oral cavity configurations which seem to give me far greater feedback apart from my "hearing through the ears". When I have this feedback (or is it truly some improved body resonance), I seem to generate a better tone. It's certainly hard to describe and I don't think I'm doing a very good job of it but if anyone else has a sense of what I'm trying to say and can expand on it that would be great. I'm definitely enjoying this thread. Jim