I'm really curious on how people articulate notes.
On another forum someone mentioned that they press the reed all the way closed in order to stop air going into the instrument and this was the normal method.
I find that odd because I've never done it that way. Ever.
And I've never been taught to do it that way either when I was first taught, private lessons, well-known college professors, etc.
How do you do that with a hard reed on a very open mouthpiece?
Just briefly, I'll use a variety of methods, such as:
(1) Stop the reed from vibrating / stop the air column
One thing I've learned is to be as light as possible touching the reed with my tongue. I've had exercises in just being as light as possible (and fast) in order to stop the reed from vibrating. This for legato, staccato or just in general. This I do with the tip of my tongue to the tip of the reed. This stops the reed from vibrating thus stops the sound. I also, at the same time stop the air column pressure.
I've seen the more tongue being used then the sloppier the sound being produced from just tongue/reed interaction.
If you put your hand on your stomach while playing you can feel how you use your diaphragm while playing.
(2) on legato, I may keep the air column going while lightly touching the reed. OR I may vary the air column being very light while tonguing and increase after that.
Ever have accents on legato runs? You vary your air column for those.
(3) I may not use the tongue on the reed at all. I may stop the air column via my diaphragm or my tongue blocking the air column. If you have ever played brass or flute there is no reed to stop, only an air column. And since I learned brass and flute when I was young this also is a method I used on sax/clarinet.
If you ever have a ballad you may start without touching the tongue on the reed for a very light introduction. Of even if you are only classical trained to have the sound drop off you don't stop the reed with your tongue, the reed just stops vibrating after the air column pressure becomes too little, and your done.
If youve never played brass, then you will find this technique in whistling. When I whistle (which I can do very quickly) its all diaphragm with some tongue interaction.
In other words I may use diaphragm pressure on/off with or without my tongue to stop articulate.
All depending upon how I want to do it but normally my diaphragm is very active while playing, not just one steady airstream for all playing.
If you've ever learned to double or triple tongue on the sax/clarinet/trumpet etc it's diaphragm intensive and fast.
Just curious how other people articulate.
On another forum someone mentioned that they press the reed all the way closed in order to stop air going into the instrument and this was the normal method.
I find that odd because I've never done it that way. Ever.
And I've never been taught to do it that way either when I was first taught, private lessons, well-known college professors, etc.
How do you do that with a hard reed on a very open mouthpiece?
Just briefly, I'll use a variety of methods, such as:
(1) Stop the reed from vibrating / stop the air column
One thing I've learned is to be as light as possible touching the reed with my tongue. I've had exercises in just being as light as possible (and fast) in order to stop the reed from vibrating. This for legato, staccato or just in general. This I do with the tip of my tongue to the tip of the reed. This stops the reed from vibrating thus stops the sound. I also, at the same time stop the air column pressure.
I've seen the more tongue being used then the sloppier the sound being produced from just tongue/reed interaction.
If you put your hand on your stomach while playing you can feel how you use your diaphragm while playing.
(2) on legato, I may keep the air column going while lightly touching the reed. OR I may vary the air column being very light while tonguing and increase after that.
Ever have accents on legato runs? You vary your air column for those.
(3) I may not use the tongue on the reed at all. I may stop the air column via my diaphragm or my tongue blocking the air column. If you have ever played brass or flute there is no reed to stop, only an air column. And since I learned brass and flute when I was young this also is a method I used on sax/clarinet.
If you ever have a ballad you may start without touching the tongue on the reed for a very light introduction. Of even if you are only classical trained to have the sound drop off you don't stop the reed with your tongue, the reed just stops vibrating after the air column pressure becomes too little, and your done.
If youve never played brass, then you will find this technique in whistling. When I whistle (which I can do very quickly) its all diaphragm with some tongue interaction.
In other words I may use diaphragm pressure on/off with or without my tongue to stop articulate.
All depending upon how I want to do it but normally my diaphragm is very active while playing, not just one steady airstream for all playing.
If you've ever learned to double or triple tongue on the sax/clarinet/trumpet etc it's diaphragm intensive and fast.
Just curious how other people articulate.