Author: rgombine
Date: 2007-04-02 15:36
ASHLEY91489 RE LOW NOTES:
I would echo Suzan's comments about airflow. For me, that's always the most critical issue. If air is moving at time of articulation, your're 90% of the way home.
You can prove this to yourself: If slurred notes to low C come out o.k. or if when tonguing successive C's later attacks comes out o.k., then you likely have an airflow issue. If you have problems with slurring or with the note speaking at all, then certainly check out your horn's adjustment, finger position, reed construction. Even then, I would suspect possibility there may STILL be an airflow issue, as good airflow can actually overcome some deficiencies in reed construction and instrument adjustment, in my opinion.
Now, how to maintain that flow is a matter of debate. Have you ever noticed that sometimes these low notes come out pretty effortlessly, especially when you aren't trying so hard, but you are more likely to "kack" when trying to get the horn to speak a conductor's downbeat or during solo recital? The extra nerves involved with these situations tend to increase tension both in the stomach and in the necK. From my perspective, airflow is more of a "mind of matter" issue. I try to keep a mental image of the air starting to flow forward BEFORE the articulation -- the tongue should ride on the collumn of air, rather than following the articulation or serving as a stopper in a bottle of air pressure.
This may run contrary to way you think about "support". One can "Support" the sound with air flow without generating tension in the abdomen or neck. Just my take on this common, but obviously complex (and controversial) issue. Good luck
RE: FINGER NOMENCLATURE:
For what it's worth, in medicine we refer to the the fingers by their numbers and names. 1-5 for thumb though pinky. And the name for the "bird" or digit #3? We cleverly call this "the middle finger." . . ..
Post Edited (2007-04-03 14:07)
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