Author: kdk ★2017
Date: 2014-09-24 22:21
SRK wrote:
> P.S.
> The thing that upsets me even more is that when I used to play
> trumpet my staccato tonguing was just fine and I never even
> considered it as something much different from regular
> tonguing....
When I listened in on some of my so n's trumpet lessons several years ago, I was at first confused to hear the teacher's explanation of articulation. It turns out brass players, or at least that one and several others I've since discussed it with, don't think nearly so much about a continuous air stream. The important physical difference is that a trumpet player's tongue doesn't (or isn't supposed to) touch the vibrating object(s) directly. Brass players are taught not to tongue between their teeth to actually stop the lips. Brass articulation is done mostly against the hard pallette, where the tongue functions pretty much the same was it does in speech, essentially stopping the air flow well short of the lips. So, while movement or clinching of the lips (embouchure) when articulating on a brass instrument would cause response problems, there isn't the same direct interference with the vibrating lips that there is with a reed instrument.
Ironically, considering your post, when I hear a brass player talk about articulation, it devolves around tuh - tuh - tuh. Maybe your past is coming back to haunt you.
I will leave to a brass player how the problem of the distance from the tongue to the lips works to influence the way the lips respond to make the staccato effect. My intuition would tell me the small delay might muddy the response a little. When we articulate speech, the source of vibration is before the tongue or lips or even glottis gets involved, which isn't the case for a brass instrument, but I don't know enough to try to reconcile the difference.
Karl
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