Articulation Help Please

[Scerpella]

Okay all you music educators and brass specialists, I need some help and advice.

I have been playing trombone/baritone for more than 35 years, and for most of that time have played the same mouthpiece a Schilke 47. I have usually played higher parts, currently Im a lead baritone in the Kilties. One thing that has changed over the years is my low and middle range is weak, Im more comfortable in the D to D range (G bugle) I can play a nice peddle tone but from middle C down the playing is very muddy.

A problem I have had for some time now is a fuzzy articulation. Its kind of a tiny frack on each articulation. Sometimes I can rid myself of it, sometimes I cant. When Im really warm its gone.

Recently I tried a friends mouthpiece, a Reynolds 8A, and magically the fracks disappeared, my attacks became very clean and smooth. So I borrowed it for a gig and found that I needed to warm up on something else before I could play it and because its not really a lead mouthpiece I started to tire on it after a bit and my high end got thin.

I went to a local music shop ands tried a bunch of mouthpieces and found that none of them seemed to duplicate the Reynolds characteristics. Problem is Reynolds I beleive is out of business but Giddings and Webster makes a product that looks very much like the old Reynolds, altho at a very hefty cost of $130! What I noticed is that cup width seems to have an effect. The wider the cup the more my upper lip can flatten out and play cleaner articulations, but then I lose a fair amount of flexibility and range that the 47 gives me. Ive always felt well supported by it and can play more confidently through all the partials at most ranges.

So I need some suggestions. Is it time to change mouthpieces or is it time to alter my embouchure? Or both?

[uncle z]

Okay all you music educators and brass specialists, I need some help and advice.

So I need some suggestions. Is it time to change mouthpieces or is it time to alter my embouchure? Or both?

#### no, Dan--just play LOUDER!!!! B)

[ravedodger]

It doesn't appear that you have an embouchure problem. I used to have a similar problem when I used to spend a lot of time in the upper register on tiny pieces. If you're playing a lead mouthpiece and you're a lead player, now would be a the time to look at different mouthpieces, since it is the off-season.

Is the 47 relatively shallow compared to other pieces? Is the Reynolds fairly deep? If these are both answered yes, then I would probably find a more middle-of-the-road piece. I think you'd have better luck this way. Of course, the more you practice, the less you'll need the lead piece.

Edited October 10, 2006 by ravedodger

[BMBob]

I would spend a lot of time analyzing exactly how you're tounging. Try to feel where in your mouth the toungue is touching. See if there's one spot that gets you a better articulation sound, then focus on it and try to duplicate that action.

[tubajoe]

You can deal with this (and just about all playing technical issues) by removing, then re-adding variables.

The variables you have when playing a brass instrument:

(not musical variables, these are only technical)

1.) Wind

2.) Pitch / Song

3.) Embouchure (mouthpiece)

4.) Fingers / Valves

One of the best ways that humans learn is by tearing down and building back up.

When having an issue (or just building technique / learning music etc) start from the bottom:

1.) Wind... Am I using enough of / the right kind of air?

2.) Can I sing what I am trying to play (this goes for articulations and pitch both) and not letting the equipment dictate either?

3.) Can I articulate cleanly, buzz in all registers, get a "fleshy" sound on the mouthpiece alone?

4.) Are my fingers in time / using right valve combinations?

Above all, am I using these elements in terms of (and ONLY in terms of) the MUSIC? ...and it is paramount to remember that we are mostly dealing with the BRAIN here, which controls everything.

Is it time to change mouthpieces or is it time to alter my embouchure? Or both?

Mouthpieces are rarely ever that much of an impact or hindrance, or variable for that reason. They will only enhance or de-enhance what technique is already there. (I write about it here: http://brassclass.blogspot.com)

Scerpella, probably the best thing to do is to take a lesson or two from a local pro. (don’t worry about them poo-pooing your drum corps habit, most pro trombone/euph playing pros will gladly, or even desperately accept your money! :D )

While impossible to tell for sure without hearing you, -- Specifically, from your description, I’ll take a guess and write some about it because it is a common issue:

I have had for some time now is a fuzzy articulation. Its kind of a tiny frack on each articulation. Sometimes I can rid myself of it, sometimes I cant. When Im really warm its gone.

It sounds like your issue could be a wind issue... possibly a common instinctual / habitual delay between inhalation and exhalation (may be related to the valsalva maneuver) ...as to where you habitually build up inner pressure before every articulation. (there are several possible reasons for this habit...no need to explain them here) Glottal closing of the throat can be a facet of this as well.

First of all, this inner pressure is not needed to play the horn. It is air quantity that powers the vibration of your chops, not air pressure.

Here is an exercise that can help in this issue:

-Off the horn, do this simple exercise: breathe in for 4 counts (to max vital capacity) and say the syllable "ONE", then breathe in and say the syllable "TWO" and so on, up to twenty or fifty or whatever you like. The important thing is to notice that when you speak (including inhalation before speech) it is impossible to have that delay / buildup of inner pressure. Your body ALREADY knows how to do it correctly. So, using speech as the model, transfer to your horn on something simplistic. Do the same exercise on a mouthpiece too if you like. (a mouthpiece "visualizer" or ring is good for this exercise as well)

In all, train yourself to NOT delay at all between inhalation and exhalation (the delay can be a security blanket)

Make sure your inhalation is maximal, always. Play long tones for 8 counts, expelling ALL of your capacity, then breathe in for 4 counts and have no delay in exchange to the next note (be it up the scale, whatever) and repeat.

It takes time. Be patient

Then, once you correct that habit (by replacing it with a better one) you can deal with the specific articulation itself, but this is much less often the issue. (as so often embouchure and articulation are not as bad as you might think, naturally)

To learn more:

Go HERE and show up the Sunday after Turkey Day.

B)

peace,

joe

[Shadow_7]

I think I know of the Reynolds which you are referencing. I actually asked that guy what model of G&W mouthpiece it was. And was surprised that it wasn't a G&W, but a Reynolds, and a gold plated one at that.

Switching mouthpieces is tricky business, especially if you have only used your current piece for several years/decades. While a new piece might give you a sense of superman capabilities during the first few minutes, hours, or day. That ability soon becomes shock and that piece suddenly seems to not work for you, and unfortunately neither does your former piece. At least not until you've rested or otherwise climatized yourself to it.

Generally you only have two options. Spend tons of time on warming up and on technique until your former glory returns on your current piece. Or change pieces. Unfortunately going with a different piece to facility the low end generally costs you when it comes to the high end. And playing a piece with a different rim size will cost you in endurance. At least in the short term.

I've switched a number of times and here's my change schedule. 1st day superman chops, which gives you a feel for the playing characteristics of that piece. It doesn't last though. About two weeks till your comfortable with the new piece, if you play everyday for about an hour or more. About a month till I start getting a purity of tone that I'm used to. About six months till I'm as comfortable with that piece as I was with the old one. Definitely an off season thing to do. If you have an off season.

Last season I switched a lot looking for a better matched piece to my horn. From a 5GS to a 51D, to a 1 1/2G, to a 59, to an LM-20, and ultimately to an LM-35. Each has their traits, none of which were/are perfect matches for what I want. Not that it's applicable to your lead playing, since I rarely play lead or a horn with a tenor shank for that matter. But heres the traits I liked on each.

- 5GS, what I played on tenor trombone in the army for years, it has a clarity of articulation and a decent sound for trombone. However on Euphonium it gets a little edgy and is like your 47 which is stuffy in the low end, on Euphonium.

- The 51D, what I played on Euphonium in junior corps, it can achieve a rather glorious tone when you're really warm on it. However on Euphonium I was surprised that it was really stuffy in the low end on my Kanstul.

- The 1 1/2G, which was an older one, so closer to a 1 1/4G of modern pieces, it was actually really well matched to the Horn. However it was a little shallow for my tastes, and the relic of a piece I was using was in less than perfect condition and still a little stuffy in the low end.

- To a 59, not sure how much bigger I should go, I went too big. The 59, a really nice piece, one of the best playing pieces I have for large shank. However it was too big for my Euphonium, and too much work to play how I wanted to play. Splitting the difference between the 1 1/2G and 59, I went with the LM-20.

- The LM-20, probably the best playing piece I have, but still a little stuffy in the low end. I left the LM-20 because I couldn't honk down low on it and had show parts that required that. And the sound I got out of the LM-20 was way too dark for my tastes, so dark it was almost hollow. It was what I played on from about November till March/April last season.

- The LM-35, if only to open up the low end. It's fairly clear that the LM-35 is in the spec range that I want at this point, having tried all of those previous pieces first. And I'm happy with the LM-35. But it had it's drawbacks. The extremely large throat lets you empty a lungs worth of air in two counts, which makes playing sustained last notes of shows difficult on one breath. And the inner rim is a little too rounded for my tastes. But other than that, it's a good playing piece, not as good as others, but good. And it has a characteristic sound with the ability to play the low end of the horn. But you've seen it side by side with your 47, definitely not a lead piece.

Having seen your 47, the close matches I'd probably recommend a try would be the Bach 11C, probably closest to the 47 visually. The LM-60 (Barry Green) that I have is nice and a lead piece. And I'm waiting on a Harry Watters piece from G&W right now, a little closer to the 5GS that I'm used to. I'll bring all of them to the banquet and open house. Not that I'm gonna be able to march so remotely this season, but you can try them if you want.

See you in November.

[JimF-LowBari]

Beats the #### outta me but our horn instructor had me switch to a mouthpiece with a larger bore. Went from Olds 12C or 12C to Schilke 6 1/2(? - don't have it in front of me).

Played the Olds for decades on trombone and P/R Bari in corps without problems but I was playing 1st Trombone and 2nd Bari parts. Now that I play 3rd the large bore really helps me open up on the lower notes. But it took a while to adjust as I needed more air.

[wdlover]

If the fracks are a result of switching from the high register to the middle register only then it sounds like you may be changing your embouchure in one way or another to accomodate your higher playing.

98% of the time, a fracked note is caused by a lack of balance of the air and articulation. You may just not be getting your air to match the strength of the articulation you are producing. Experiment in a couple ways including getting rid of the tongue all together and simply using air starts. Start the air slow and your pitch will most likely start flat then as your air speed increases wait to get in the center of the pitch you are going for. Evaluate that speed that just allowed you to have the pitch be in the center. Do this repeatedly till you're comfortable with it. Then try an air start again with making your air the speed it needs to be to get in the center of the note immediately. Once you can do that well, add the tongue.

Also, you may be putting to much pressure on your lips in the high range with your horn and mouthpiece which won't allow you to return to a lower range with less pressure as easily.

Hope this helps!

[Shadow_7]

Some mouthpieces are very unforgiving when it comes to slotting. These are generally the better playing mouthpieces. But they frack a bit if you don't hit a note dead on. They generally make things like trills easier, but if you're a little bruised or out of practice, they don't cooperate much. My LM-20 is like that. Crisp and clean attacks when you hit it dead on, but if you're off by the slightest margin, frack.

[tubajoe]

Dear Original poster: Dont try to solve ANY playing problems by threads like these. Go take a lesson, please. (there is SO much pedagogical misinformation here....) Learn how to deal with the issues CORRECTLY.