Author: Micke Isotalo ★2017
Date: 2023-10-21 11:48
Philip, thank's for sharing. I really like your analytical and experimental approach, and I'm also glad on your behalf that you get a lot of enjoyment from your progresses. Isn't a happy player in itself something most valuable, whatever path you get there?
You may be right that the effect of strained vs relaxed muscles along the bodily airways directly on the vibrating air column hasn't been discussed on this forum, but at least I am convinced that "everything" that is shaping that air column as well as resonating with it behind the mouthpiece tip opening, has as much bearing on the final tone quality as "everything" similar past that tip opening (as I commented some time ago also on another thread here).
Just a question about your previous comment about trying to maintain the same tone quality you have now achieved along with raised pitch, but at a "normal" pitch level (required in ensemble settings): If you haven't already sorted it out, how about just loosening your "lip grip" around your mouthpiece, while maintaining everything else (tongue position, breath support, etc)? Would your tone quality stay the same, just at a lower pitch level? If so, that could actually indicate that you've previously worked unnecessary hard with your embouchure, and that you could now enjoy also the benefits of a more relaxed one - while keeping your improved tone quality.
On the other hand, if you feel that a more relaxed embouchure is harming your tone quality, maybe you could do some experimenting with your mouthpiece intake - perhaps taking in just a little bit more than before? Or, trying just a tad softer reeds?
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