Klarinet Archive - Posting 000455.txt from 2005/05

From: "Abraham Gamboa" <abraham.gamboa@-----.br>
Subj: Re: [kl] The Wheeler article
Date: Tue, 31 May 2005 16:07:56 -0400

Thanks a million Tony what an article!!!!
Abraham
----- Original Message -----
From: "Tony Pay" <tony.p@-----.org>
To: <klarinet@-----.org>
Sent: Tuesday, May 31, 2005 3:38 PM
Subject: [kl] The Wheeler article

I wanted to post this here in order have it somewhere that people can access
it. I cannot seem to contact Professor Wheeler, after several attempts, but
I would be very surprised if he were to object.

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PEDAGOGIC CONCEPTS FOR REED INSTRUMENT PERFORMANCE, BASED ON
CINERADIOGRAPHIC
RESEARCH OF THE ORAL CAVITY

By Professor Raymond L. Wheeler, Central Washington State College,
Ellensburg

NACWPI (National Association of College Wind and Percussion Instructors)
Journal, Spring 1977, pp. 3-10

In the Fall, 1973 issue of this journal this writer reported information
and conclusions gained from a research project that studied tongue
positions and movements during performance on single and double reed
instruments(1). With the assistance of medical doctors in 1967, 1971,
and 1972, an image intensifier fluoroscope coordinated with a 16 mm.
camera had been used to record motion picture x-ray images as viewed
from the left side of the writer's face. Because of so many conflicting
opinions among performer-teachers about oral cavity functions during
performance, the writer's objective was at least to be able to ascertain
tongue positions, etc., that he used during performance, regardless of
opinions expressed by others.

Readers of that report will recall the writer's surprise in finding his
tongue positions were not at all what he presumed, but later were found
to coincide with findings by Anfinson in a similar study(2). Briefly,
for Bb soprano clarinet, alto saxophone, oboe, and bassoon the rear
portion of the tongue was high and to the rear for low tones, and
gradually moved down and forward as scales or intervals ascended into
higher register tones. Movement of the front of the tongue did not
affect the tone, nor did it matter whether tones were detached by the
tongue or sustained. Also, tests of syllable-vowel combinations commonly
used for wind instrument instruction were found to be of no value in
helping single and double reed instrument players learn appropriate
tongue positions for notes on their instruments.

More specifically, and after considerable analysis of implications
within these facts, it had to be concluded that, for instruments in the
study, precise tongue positions were required for each tone played, all
players would use the same positions, and those positions dare not vary.
If movement occurred during a tone, the tone would be forced to jump to
a fingering's overtone or undertone in another register. A glissando or
pitch inflection might also be the result on clarinet or saxophone if
the tone was in a higher register.

Lecture-demonstrations using the project film were presented at various
MENC meetings in northwest states, at the 1973 International Clarinet
Clinic in Denver, and most recently at a NACWPI session in Atlantic
City, New Jersey, during the 1976 national MENC meetings. In those
sessions the writer tried to explain facts as presently known and
attempted to offer insight as to how teaching techniques can be changed
to be consistent with phenomena observed.

In the several years since the project began there also has been much
thought about why performers were misled about tongue positions. If a
consensus existed about tongue positions for reed instrumentalists (and
other wind instruments), it revolved around the theory that an open
throat (low tongue) permitted slow air, slow reed vibrations, and
consequently a low register tone. As the throat passage was narrowed
(raised tongue) the air stream would be accelerated, causing faster
vibration and high register tones. As that theory is compared with
images of tongue positions for the instruments studied, it is clear that
other explanations are needed, at least for single and double reed
instruments. The old theory just is not correct.

Still, some clarinetists and saxophonists who have seen the film insist
that they can "feel" the tongue rise as they move to higher tones.
Explanations for this sensation are mere conjecture for the writer, but
one possibility is presented, based on the fact that the tongue's
relaxed position is near the roof of the mouth. Unless it is purposely
moved, the tongue prefers to rest high in the mouth, almost touching the
hard and soft palates. Muscular effort is needed for the tongue to move
down and forward from its resting position and perhaps sustaining that
effect was incorrectly determined to be a tongue elevation for high
register tones.

The uvula also may be a factor. During ascending vocalizations it moves
downward noticeably and moves upward when vocalizations descend. During
pauses in instrument performance samples the uvula is forward, away from
the upper rear throat wall. But, in the brief moment before a tonal
attack and while a tone is being sustained (or tones are repeated by the
tongue during one breath), the uvula moves backward and holds its
position to seal the upper section of the throat so that air can not
escape into the nasal passageway. When performing the sealing function,
the uvula does not appear to move significantly. It is entirely
speculation, of course, but perhaps muscular tension of the uvula is a
factor that misled performers. Eye, ear, nose, and throat medical
specialists, unfortunately, are not much help in analyzing this either,
since they're not experienced with the musculature efforts wind
instrumentalists require of the oral physiology.

Furthermore, while working with inexperienced students it has become
very clear that initially they do not have voluntary control of the rear
portion of the tongue when learning to play. While advanced players do
have deliberate control of the rear portion of the tongue, it seems
clear that even they are not able to discern the spatial placement of
the rear portion of their tongues, else we surely could not have been
misled in these tone production matters. Inexperienced students must
discover how to shape the tongue and practice many hours until they
deliberately can move their tongues when required during performance to
positions other than the high relaxed position.

By this, it is meant that if a student sounds a very common undertone
"growl" while fingering C above the staff (because of a high tongue
position), and then is correctly instructed to position the tongue lower
and forward, he can not deliberately move the tongue to that position.
Other instructions are needed, but definitely not the one suggested by
so many writers -- to arch the tongue to stabilize the C. If, indeed,
the students were even able to do that, they never would sound the C,
since the high tongue position forces the low register undertone to
sound.

Another strategy often was used if all instructions for tongue movement
were not immediately successful. Clarinetists will recall that beginning
students may sound third-space C and quickly slur up the scale an octave
and sustain that upper C for a few seconds before the undertone growl
appears again in the tone. Automatically the tongue will have lowered
appropriately for the higher C. but probably will soon relax (i.e.,
return upward to its high resting position) and permit the growl to
reappear. The student then was told to practice the exercise until he
could sustain the C indefinitely without any hint of the growl. The
acoustical reason the player could reach the upper C and sustain it
briefly will be explained later when three physical laws are recalled.

The point of the foregoing is that verbal instructions of any kind about
tongue positions do not produce instant success, even with motivated
students. In all cases students simply have to rely on practice drills
to discover correct tongue positions for all tones and, with practice,
muscles eventually will memorize positions required.

One other claim bothered the writer concerning tone quality improvement
that resulted after students had experimented as instructed to find
better tongue positions for various notes. Some performer-teachers have
been quoted as assigning practice drills that involve changing the
tongue's syllable-vowel shape while sustaining a tone. Since the drill
undoubtedly did improve tone quality, the teachers felt secure in their
belief that tongue modifications caused the improvement.

The writer, on the other hand, knows that any tongue movement involving
syllable-vowel, tongue changes would not allow that tone to continue to
sound. Instead, as stated before, that tone would have to jump either to
a higher or lower register tone, or cause glissando or pitch inflections
to occur on higher tones.

Nevertheless, tone quality improvement was evident. If not because of
better tongue position, what caused the improvemment? Parenthetically,
it ought to be recalled that in the 1973 report the writer used the term
"stabilize" to indicate that a tone was sounding securely in its
register, without any attempt to define quality. Any number of tone
qualities can sound without changing the "security" of a tone. The
security or stability of a tone was entirely a function of tongue shape
or position (which affects the shape of the oral cavity), and if better
tone quality were desired the clarinetist had several options which are
reviewed here:

1. Gain more skill at controlling both functions of the tongue so that
movement at the front of the tongue during articulation at the reed
doesn't disturb the position of the tongue's main body, which determines
the register in which a tone will appear with a given fingering.

2. Develop a flexible embouchure that permits efficient reed vibration
and coordinates the reed-mouthpiece aperature with the air supply blown
into the instrument.

Options 3, 4, and 5 involved reed selection, mouthpiece, and instrument
changes.

For those who still feel that syllable-vowel changes caused better tone
quality for their students, it is the writer's opinion that the
embouchure pad against the reed received some desirable change. although
not immediately felt by the player. This is not really far-fetched when
we realize how the lips coordinate with the tongue for many spoken
sounds. Consider this by verbalizing "ooh" and "aye", or other sounds of
your choice. No stretching of the imagination is needed then to perceive
how a suggestion for a tongue shape change could unconsciously produce
an embouchure pad modification that improved a clarinetist's tone
quality.

The foregoing has been both a review of the previous article and an
attempt to explain how reed instrument players were mistaken about
spatial placement of their tongues. Since required tongue positions are
now known, we need to adjust teaching concepts to agree with facts in
these matters. The remainder of this article will deal with concepts
used by the writer for teaching single and double reed instrument
students, and will raise questions which physicists may elect to study,
as well as other topics deemed worthy of research.

The writer knows it to be a fact that the function of the back portion
of the tongue is to select the pitch of register option intended with a
given fingering. For example, fingering lowest A on the clarinet will
not only allow that A to sound, but with tongue movements down and
forward for each consecutive tone, the fingering can be overblown to
clarion E, altissimo C#, and even high G. These tones can be stabilized
quite easily by advanced players, although intonation will suffer
slightly. Similar situations can be managed on other chalumeau register
fingerings.

On the other hand, if low range clarion register tones are fingered, E
on the fourth space for example, that fingering absolutely can not be
underblown to its fundamental A. It may, however, be overblown to the
overtones cited earlier. The phenomenon was discussed in the 1973
article and centered around the fact that the tongue must move upward
causing the tone to revert to its simpler vibration mode for the
fundamental. An essential point, however, was that the tongue needed to
"overshoot" its low-tone position near the uvula, but could not do that
since the tongue instead would touch the palate where it could go no
further(3).

A diversion must be inserted here which the writer unhappily is unable
to document; the book, periodical, or whatever has long since escaped
his personal library and memory. Nevertheless, three physical laws or
tendencies operate in all instances of musical tone generation and are
paraphrased loosely here: 1] a vibrating medium has a tendency to remain
in its present vibration length (same register); 2] if forced from its
present length, its tendency is to divide into shorter lengths (higher
registers); and 3) shorter vibration lengths do not have a tendency to
revert to original lengths (slur to lower registers).

In all instances of wind and string instrument tone production, these
three laws will account for idiosyncracies or responses that players
notice while performing. In seemingly contrary situations. imperfect
design or compromises of instrument construction are responsible, and
there are numerous examples of these, particularly on the clarinet.

In the two instances immediately preceding, all three laws are respon-
sible. Laws two and three also are responsible for the fact that wind
instruments will slur to notes in higher registers easily and seem to
resist slurring to notes in lower registers. The first law is
responsible for the fact that a beginning clarinetist could start on
third-space C and quickly slur a scale up to C above the staff, and then
sustain the C briefly. The growl might reappear, then, if the tongue did
not hold the high C position.

The point of all this is that once a clarinet tone is fingered, an
acoustical situation is created inside an instrument that is designed to
operate according to physical law. The instrument "wants" to sound the
intended tone, and will, if tongue shape is appropriate. If the shape is
not appropriate, the tongue's options are limited only to shapes
appropriate to undertones or overtones. In all cases, however, and no
matter who is playing the clarinet, tongue positions will be the same as
those assumed by other players for the same note. Apparently the
clarinet will not allow the tongue to be in shapes other than the
several specific positions appropriate for playing any of the options of
a fingering.

It is as if the clarinet has a magical control of the player's tongue.
Advanced players learn to reverse this situation so that their
deliberate tongue motions control the clarinet to determine which
register option will occur. regardless of the fingered note. One result
of this skill is the scarcity of squeaks heard from professional
players. The premise surely is a point physicists will want to consider.

Obviously, the task for beginning clarinetists is to teach the tongue
how to differentiate the several shapes and how to select and memorize
the shape needed for securing each of the tones on the instrument. The
process can be accomplished more quickly when teachers devise practice
drills premised on acoustical phenomena contained in the clarinet's
overtone series.

Initially, the beginning player can discover correct tongue shapes by
experimenting with different embouchure placements on the reed, and when
he advances to the point in his instruction books where higher register
notes are written, he should experiment with advanced drills involving
overtones.

In the first case, during earliest explanations of embouchure a beginner
is advised to finger "open" G and to place the lower lip pad very close
to the end of the reed. The only tone possible with that placement is
the G, though admittedly not a very free resonant tone. Then he is
advised to keep the G fingering and to move the lip pad much too far
down the length of the reed. The only sound possible with that lip
placement will be the overtone D above the staff, or possibly an even
higher overtone. In any event, the tongue automatically and with no
conscious effort will have been forced to move correctly down and
forward for the upper tone(s). Teachers experimenting with this idea
will agree readily that only with a great deal of "strain" are they able
to produce the open G when the lip pad is placed too far down the reed's
length. The instrument just doesn't want to allow the G to sound with
that lip position.

By using both the "too close" and the "too far" lip pad positions the
only tones possible will be the open G and its overtone D. In either
case the correct tongue position will be automatic, and during practice
at sustaining both tones the tongue already will be memorizing and
learning to differentiate which shape is needed for each tone.

It does not matter at first that both embouchure positions are
incorrect, but after a short time the student should attempt to produce
both tones with his lip placed correctly at a mid-length position along
the reed. In fact, that is one of the best tests a student can use to
confirm that he is placing his lip at the best place. If correctly
placed and with moderate skill at tongue placement, he should be able to
use one lip position and selectively produce either of the two tones.

This sort of practice also will eliminate the unwanted growl beginners
often produce when fingering C above the staff. A few trials with the
lip pad placed too far down the reed will force either the C to sound or
the slightly sharp high G overtone. Further practice will help the
tongue remember its C position and the difficulty will be gone.

It might reappear, however, when diminuendo is attempted on C or
surrounding high tones. Reducing the blowing effort usually is
accompanied by relaxation of the tongue (ie., its elevation to rest
position) and the undertone growl will sneak into the tone. More
practice at actually sustaining the undertone and the correct tune will
reinforce the tongue's memory of its required position, regardless of
dynamic level.

Incidentally, advising a beginner to experiment with embouchure using
only the mouthpiece, or the mouthpiece connected to the tuning barrel,
probably has only limited value, since in either case only a fundamental
tone can be produced. Overtones will not sound, and without their
possibility the student has no test for correct lip pad placement.

That point has been discussed in an article prepared for the
Instrumentalist magazine. Further suggestions are offered therein when
the player is required to play altissimo register tones. The clarinet
almost magically will force the clarinetist's tongue to assume correct
positions for that register if he will practice playing "bugle call"
harmonics. Some teachers will recall this approach -- it certainly is
not original with this writer -- but to his knowledge it has not been
written about nationally for many years, the exception of course being
Sigurd Rascher's publications and clinics for saxophone.

Finger third-line B with your clarinet and place the bell of the
clarinet on a pillow, or calf of your leg, etc., so that only a slight
amount of air can escape. The only sounds possible in this situation,
with a good embouchure, are a series of bugle call melodies that
approximate the pitches of a second inversion C# major triad just above
the staff. The tones will be G#, C#, E#, G#, and even the "flat
seventh", the next higher interval. Intermediate level clarinetists can
do this, although more skill will be needed at the critical back portion
of the tongue before they will be able to get the highest tones.

And to whet your appetite for prying into the mysteries of the
clarinet's idiosyncracies, do the same thing with the bell completely
free. In this case the only tones possible -- B now must be overblown
~- again will be bugle call harmonics, only now the pitches will be a
half step lower and sound a C major triad. The half-step pitch change is
the same as that which occurs when a non-transposing mute is removed
from the French horn bell.

The point of these "trick " drills is that only the cited pitches can
sound, and in each of the cases correct tongue positions will be
automatic once the pitches are stabilized. The student should practice
sustaining each tone of the melodies because the tongue will be
memorizing not only the shapes required for the bugle calls, but also
the shapes required when usual fingerings are used. Later, if he wants,
he might sustain the bugle call tones on their B fingering (bell open or
closed) and alternate to the tones' correct fingerings and notice that
no changes will be felt with the tongue's position. The drill is
identical in purpose to that flutists use when alternating from a
harmonic fingering to the regular fingering to learn embouchure
apertures for notes in the flute's third register.

Teachers might delight in the discovery that they can emulate another
French horn trick by playing a high register scale using only third-line
B fingering and alternately opening and closing the bell as the scale
ascends from one overtone to another.

The item of curiosity here for this writer, and what is hoped will
interest physicists. is that during these bugle calls the clarinet is
responding on the natural overtone series inherent in all other
instruments, but supposedly not a part of the clarinet's acoustical
properties. We've always known the clarinet is a strange instrument, but
just how contrary can it be!

Another phenomenon will be recognized by clarinetists, that being the
trick of manipulating the left-hand first finger in half-hole fashion
for ascending interval slurs into the altissimo register. Again, this is
not a new technique, but it is felt that justification for it must be
changed to that of being a teaching device to force the tongue of an
inexperienced clarinetist into its correct position for the high tone,
in addition to the present purpose of permitting the high tone to
respond smoothly without a bump that destroys the clarinetist's intended
legato melodic line. (Adjusting the size of the half-hole also will
inhibit the tone from sounding a growl during diminuendo.)

The best example to illustrate this point is the situation that exists
when a player trills Ab to Bb, just above the staff, with the usual
seventeen-key six-ring clarinet model. When Ab is fingered and the first
finger then lifted, a false Bb sounds for the trill. With the finger
raised, the fingering actually is that of high F, an overtone of the Ab
fingering. However, only Bb sounds, if no tongue movement occurs.
Advanced players would have to move the tongue (lower and forward) if
they wanted to slur up to the F. But, better yet, they've learned to tip
the first finger slightly off its tone hole in co-ordination with the
tongue shift to allow a more dependable response of the F.

Experiment with this technique a bit, and with an inexperienced player.
Start with the Ab - Bb trill situation and have your player sustain the
false Bb. After several seconds place your finger close to the open
first hole, gradually moving closer and finally touching the hole. As
your finger gets close to half-hole position, and almost closes the
hole, the player will feel something happening in his mouth. He'll not
be able to analyze the oral sensation, but the Bb suddenly will jump to
the high F. The tongue movement will have been involuntary, but
automatically down and forward to its correct high F position. Who will
argue that magic is not operating in this instance?

Advanced players aware of the intended result may attempt and succeed in
ruining this demonstration because they have learned to control the
clarinet (ie., to hold their tongues in the shape required for the
clarion register Ab or Bb). But even they can be fooled into squeaking
the high F for an instant if they close their eyes and do not know when
the teacher finally touches and almost closes the hole. Only with
conscious effort will they be able to maintain the Ab - Bb tongue
position because the clarinet does not want to sound anything other than
the high F when the first hole is nearly closed.

William Stubbins, in his carefully written book, The Art of
Clarinetistry, and others, notably Dr. Arthur H. Benade, have written of
the dual function and design problems of clarinet and other woodwind
instrument register holes and the dimension compromises needed. Perhaps
clarinetists will have to continue living with the compromised first
finger hole, but instrument makers now build bass clarinets with a
plateau key with a small half-hole opening for that key. Maybe they've
already tried the device on soprano clarinets. It is an interesting
idea, its practicality being that it might allow beginning clarinetists
to achieve instant success in the altissimo register with no conscious
skill of the tongue. The clarinet would not permit the tongue to assume
incorrect positions, everything would be automatic, at least during
slurred long tones. Articulation of repeated tones probably still would
require the skill of not letting tongue front movements disturb the back
of the tongue.

Upper clarion notes also would still be a problem needing skillful
tongue manipulations, unless a double register key mechanism could be
devised. similar to that used in oboes, or the automatic octave key
vents of the saxophone. Older bass clarinets used to have such a
mechanism, but the device eventually was discarded, so this idea
probably has no merit.

As it stands now, skillful use of half-hole technique will help the
tongue assume its correct positions for altissimo tones with minimal
effort needed by the player. That the tongue's movement is automatic
ought to interest those who wish to account for all idiosyncracies of
clarinet tone production.

Another question is why is it absolutely necessary for reed instrument
players to use precise tongue placements for tones on their instruments.
Apparently, instruments which have the tone generator inside the mouth
require precise tongue manipulations different than those which place
the mouthpiece outside the mouth in front of the lips, regardless of the
acoustical properties of stopped or open, and conical or cylindrical
pipes. Research with brass instrument players at the State University of
Iowa has shown that a given tone can be produced with more than one
tongue position, although better players seem to be quite consistent at
using an arched tongue for higher tones(4). Amstutz reported that all
his subjects in another study used similar consistent tongue positions
(ie., the tongue arched for higher tones), and also reported that tongue
positions are not precisely the same for slurred as for detached
tones(5). The fact that double tonguing is accomplished in all brass
registers also supports the writer's variable-position premise for brass
performance.

In regard to the flute -- interesting in that it is the only wind
instrument "open " at both ends of the pipe, and also includes double
tonguing as a standard technique -- the writer is aware of an experiment
by Dr. John W. Coltman to determine tonal effects when air capacity is
varied inside an artificial mouth cavity(6).

Future research projects to study the oral cavity might include players
performing on all sizes of clarinets, all sizes of saxophones, all sizes
of flutes, etc. The writer's project included oboe and bassoon
performance samples. Film images show a consistent pattern of narrow
throat apertures (higher and rearward tongue positions) for low range
notes and larger throat apertures (lower and forward tongue positions)
for higher range notes. Tongue position shifts for intervals to
different registers, however, required less total distance for the
tongue's movement on oboe and bassoon than for clarinet and alto
saxophone. It is wondered how tongue positions for english horn or
contrabassoon might relate to those required for the other double reed
instruments.

Furthermore. what effect does tone volume have on the oral cavity for
woodwind instruments? Clarinet performing samples were obtained at
different dynamic levels and. while time has not permitted a complete
analysis, it appears that tongue positions do not change if crescendo
and diminuendo are accomplished with steady pitch control.

There does appear to be some sort of what tentatively could be termed
"staging" in and above the laryngeal area. Whether this has significance
in volume control for clarinetists is not presently deduced. That
staging may just be a natural consequence of the jaw's forward and
rearward movement as the lower teeth slide forward and rearward inside
the lip pad during control of forte and piano dynamic levels.

It also may be evidence of glottal manipulations not discerned by the
writer during dynamic variations. At the present time the writer is not
optimistic that further conclusions can be arrived at with his project
film. Furthermore, he has been advised not to be a "guinea pig" in
further studies, so other researchers will have to work at this problem.
Readers will find a study of the role of the glottis in an excellent
report by Garter, which also contains a brief notation about the
flute(7).

One other experiment is sensed as being necessary to prove conclusively
that identical tongue positions (ie., identical oral cavities or throat
air capacities) are required by all clarinetists for given tones.
Perhaps tongue positions of an adult with large physical proportions
could be compared with tongue positions of a young person who has not
attained adult size. The author's hypothesis would be that air space or
air capacity near the critical area of the uvula would be the same for
both subjects.

Also, researchers might want to get x-ray images of an individual
playing with a thick pad cushion on his clarinet mouthpiece, and then
playing with it removed so the teeth would be separated more or less to
vary the capacity of the oral cavity. Similarly, the test could be of
single and double lip embouchures. The writer presumes the tongue would
adjust to an identical position in either of the cases.

And, while several writers have suggested that tongue length might be a
factor in matters of tone production (specifically articulation options
where a person might be advised to touch the tongue's tip to the reed's
tip or to the juncture of the lip and the reed, depending on the length
of his tongue), that conjecture resembles fantasy and probably is not
worthy of research.

Additional research topics might consider the effect reed strength has
in these matters. Maybe mouthpieces with different inner dimensions are
variables with significant effects. In the 1973 article, several
idiosyncracies of the clarinet were explained to the writer's
satisfaction without attempts during test performances to add these
variables. Based strictly on those explanations the writer hypothesizes
that reeds or mouthpieces would not force significant changes in tongue
positions.

The writer has one minor concern, however. Motion picture x-ray images
show only the outline of the tongue. It may be that some lateral
''spreading" or "valleys" of significance occur within the outline. It
was suspected that only front views of subjects would show those
movements. Consequently, front exposure views were attempted during
pre-tests using the writer and the assisting medical doctors (who were
amateur clarinetists) as subjects. Image prominence of spinal bones of
the neck obscured the outline of the soft tissue of the tongue so that
further front exposures were not made.

Finally, the writer apologizes for obvious emphasis on circumstances of
clarinet performance in this article, even though other instruments were
tested extensively, Correspondence from players of those instruments
desiring further discussion will be answered promptly.

If the writer may make a proposal, it would be to suggest that some sort
of coordinating body be organized which could provide a forum for
planned or completed research projects. With research being reported in
so many different journals, the writer finds it difficult to keep
up-to-date with his reading. If others feel the same way and support the
idea, perhaps NACWPI might create a regular column or forum to discuss
what is happening with research projects. It seems to this writer that
NACWPI members are persons most interested and committed to wind
instrument study and would be pleased to support endeavors of this type.

FOOTNOTES

1) Raymond L. Wheeler, ''Tongue Registration and Articulation for Single
and Double Reed Instruments," NACWPI Journal, Vol. XXII, No. 1, (Fall,
1973), pp. 3-12

2) Roland E. Anfinson, A Cinefluorographic Investigation of Supralaryngeal
Adjustments in Selected Clarinet Playing Techniques. 123 pp. (Ph.D.
Music, State University of Iowa, 1965); LC 65-6671

3) Wheeler, p. 7.

4) Lyle C. Merriman and Joseph A. Meidt, "A Cinefluorographic
Investigation of Brass Instrument Performance", Journal of Research in
Music Education, Vol. XVI, No. 1 (Spring, 1968), pp. 31-38.

5) A. Keith Amstutz. "A Videofluorographic Study of Teeth Aperture, In-
strumental Pivot and Tongue Arch and Their Influence on Trumpet
Performance." NACWPI Journal, V6l. XX, No. 1 (Fall, 1971), pp. 34-35.

6) John W. Coltman, "Mouth Resonance Effects in the Flute", The Journal
of the Acoustical Society of America, Vol. LIV, No. 2 (1973), pp. 417-20.

7) William Garter, ''The Role of the Glottis in Brass Playing. " The
Instrumentalist, Vol. XXI, No. 5 (December, 1966). pp. 75-79.

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Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd tony.p@-----.org
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
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... Starkle Starkle Little Twink What the hell you are I think?

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