TubeNet

As i play with a downstream embouchure:

1. To bend higher, I direct my air stream downwards, closer and closer to the lip of the mouthpiece.

2. To bend lower, I direct my air stream upwards, towards the shank of the mouthpiece.

Mentally, when working on this specifically (as in with the lip bending exercises and such) I focus on playing with more upper lip when trying to player higher (while retracting the jaw back), and vice versa when bending down. As most people probably do, I have a much harder time bending the notes up, and some tightening of the corners with some oomph is about all i can do to really muscle them around.



Doug Elliot has participated in some absolutely crazy "knock down drag outs" on similar subjects as this in the trombone forum. Maybe he'll stop by and give his 2 cents?

It seems to me that the mechanics for moving the pitch slightly are the same as for moving the pitch over a larger interval, just less extreme. No tuba slots pitches with laser beam precision - they all still act to amplify the buzzing we're creating and not so much to tell us what pitch we get to buzz our lips at. Even with the best slotting gear on the planet, there's some play there.

I have personally had better success AS A PLAYER not to sweat this at all - I don't really think that I lip pitches into tune, rather I just play the right pitch and sometimes the tuba helps me and sometimes it fights me a little bit. As a CURIOUS GUY, however, I wonder if "lipping into tune" is any different a physical process then "playing a different note." I'm personally doubtful that a difference really exists but I look forward to hearing more responses in this thread.

After I'm warmed up, and provided I can "hear" the pitch (sense what it's going to sound like), I don't have much trouble. I DO notice that, if I add a little vibrato, I do it with jaw motion. Also, if I misfinger a note I notice that the sounded pitch is pretty far away from the fingered one. Conclusion is that buzzing the right pitch is quite important.

Personally, I also make the back and foreward jaw adjustments that bloke makes, but I also raise and lower my jaw at the same time which affects the size of air stream.

Yes, it makes quite a difference in both being able to play in tune, and adjust to different tuning-types.

A bass trombonist that I used to play with had a funny bit where he would declare, "My slide is broken!" and move the slide fully out and in, all while playing the same pitch.

One can play any pitch on any length brass with honest-to-god "world-class" chops, the difference is resonance, not pitch. Which is why one pulls slides anyway when you get good. Not for pitch, but for resonance.

bloke wrote: To "lip" pitches HIGHER: I move my lower lip back into my mouth.

Common practice. Pushes airstream down and pinches it a bit. Tone becomes "narrow'.

To "lip" pitches LOWER: I open up the space between my lips, and compensate with faster air speed.

Also common. "Flab" out the embouchure. Usually creates a "hollow" timbre.

windshieldbug wrote:....which affects the size of air stream.

Gil Corella suggested to me in a lesson to alter the size of the aperture and compensate with air speed, which is just a different way of saying what both you and Joe are saying.

Rick "who does his best" Denney

Telekinesis.

If my pitch is too low, I raise my eyebrows...i'm never too high, but if I am, I pull my 1st valve slide (or just with the mouth, I would drop the jaw...i don't really do this though..consciously, at least)

The ends justify the means (aka it works)

It's easy to shift pitch up or down while buzzing on a mouthpiece.
It's not difficult to do the same thing (whatever that is) while playing the tuba.

Here's where I learned it:
http://www.box.net/shared/sqoited2x0

What I have always wanted to know is how they do it on a harmonica.
I asked a very intelligent blues-harp artist about that once, and he had no idea except "mind over matter".

I went and tried it, and almost couldn't tell what I was doing ( I can feel myself "changing the pitch", but the physical movement is slight), but I'm pretty sure I was going the opposite way from everyone else (again): lower lip moves a little out to raise pitch, in to lower it.

I don't think that's a paradox - I was standing on my head.

Basically I agree with bloke. Yet I think he is less than precise in his wording, when he claims to compensate with an increased speed of air when lowering the pitch. In most, if not all, acoustic contexts an increased speed of air will lead to a higher frequency of the sound. Rather bloke, like many of us, moves a larger volume of air via a wider, but slower airstream. At least that is what we with the-jaw-dropping-with-the-pitch do.

Klaus

Art Hovey wrote:Here's where I learned it:
http://www.box.net/shared/sqoited2x0

Say, Art, why don't you summarize it. My company's filter thinks it's a dorn site.

Rick "whose intonation is limited by well-filtered ears" Denney

I really cannot describe what I do, because it is automatic and not a concious thing.

Starting playing with British top valve tubas, there was never any chance to slide pull, so I have always lipped into tune. I have even on occasions done this with the wrong fingering (e.g. missed a sharp, or flat in key signature) if I can hear the pitch of the required note. I remember a master class with Steve Sykes where if I remember right he demonstrated lipping over a couple tones.

Rick Denney wrote:

Art Hovey wrote:Here's where I learned it:
http://www.box.net/shared/sqoited2x0

Say, Art, why don't you summarize it. My company's filter thinks it's a dorn site.

Rick "whose intonation is limited by well-filtered ears" Denney

It's an MP3 file of "Tuba Square Dance" that contains lots of sliding and bending...

Bending a tone on a harmonica is actually not that different than doing so on a tuba. It's mostly a combination (in no particular order) of air speed, breath support, aiming the air stream, changing the oral cavity volume along with tongue placement and shape. Just no buzzing on a harmonica

Seriously, all those things factor into changing your pitch on either instrument and like riding a bicycle it may not be possible to adequately explain it in words.

Originally I would tighten (or loosen) my lips as if I were goning to slur to the next partial, this only bent the pitch slightly before the note would want to jump to that next partial.

Now (to bend flat) I drop my jaw, lower my tongue... try to make my mouth cavity as large as possible when I need to lower the pitch. This also results in more slower air. My tone seems to be better and I can bend the pitch more.

When going sharp I first tighten my lips, then make my mouth cavity smaller if necessary, althouogh tone suffers.

I keep my air straight towards the shank unless I feel I need a little extra help hitting a high note, then I'll direct the air down.

I use my mouth to tell people that I'm in tune and they need to adjust to me!

Sometimes I bend in one direction.... if that didn't fix it....
bend in the other direction... if that didn't fix it...
remove the the horn from my mouth, give a questioning look right and left, shrug my shoulders and come in at the next phrase.

Bob Mosso wrote:Sometimes I bend in one direction.... if that didn't fix it....
bend in the other direction... if that didn't fix it...
remove the the horn from my mouth, give a questioning look right and left, shrug my shoulders and come in at the next phrase.

viewtopic.php?f=2&t=30754&p=268736&hili ... on#p268736