tone production (nope, not a troll)
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k001k47
- 5 valves
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- Location: Tejas
Re: tone production (nope, not a troll)
Well, making a beautiful timbre seems compliated. I'd like it to be simpler, but I suppose that's why I don't play very well.
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OffuttTubaGuy
- lurker
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- Location: Offutt Air Force Base, Nebraska
Re: tone production (nope, not a troll)
My favorite book on this topic is “Brass playing is no Harder than Deep Breathing” by Claude Gordon. Claude was considered to be Herbert Clarke’s greatest student, and went on to be a very well respected performer and teacher. He speaks about many of the embouchure problems and breathing misconceptions mentioned above, with very simple, unambiguous solutions. I’ve had more than my share of playing problems over the years, and this one book was the answer for me.
Alex J. Serwatowski
Principal Tubist, USAF Heartland of America Band
Artist Faculty, University of Nebraska at Omaha
Principal Tubist, USAF Heartland of America Band
Artist Faculty, University of Nebraska at Omaha
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Roger Lewis
- pro musician
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Re: tone production (nope, not a troll)
In response to "tooba"'s post above, it's interesting to note the problem with "air balls". This is a fuel issue because the fuel is not being applied at the proper point in the attack.
What happens with air balls is that the air is being stored too far back in the oral cavity - it's not at the front of the mouth where the tongue is. This creates a pocket of un-energized air that needs to be moved out of the way by the energized air, and usually it gets to the embouchure without enough energy to activate the embouchure into vibration.
The cure for that is to whisper the syllable "hut" and hold the "T". This puts the energized air at the front of the mouth being held back by the tongue and you'll be able to feel it. Now go from the held "T" to the attack syllable (I use "Toe") and this should get rid of the air ball problem.
You'll need to practice the "Hut" drill to get used to the sequence of events that will happen as you go from the inhalation to the exhalation, to the attack and to the sound production.
Why does it happen? As we get more experienced as players, we get to a point where we begin to try to over finnesse our attacks by backing of on the air and trying to manipulate it more to get the softest attack we can, and in the process we develop other less constructive habits that will tend to get in the way.
Try the "Hut" drill. I think you will see the difference pretty quickly.
All the best to you.
Roger
What happens with air balls is that the air is being stored too far back in the oral cavity - it's not at the front of the mouth where the tongue is. This creates a pocket of un-energized air that needs to be moved out of the way by the energized air, and usually it gets to the embouchure without enough energy to activate the embouchure into vibration.
The cure for that is to whisper the syllable "hut" and hold the "T". This puts the energized air at the front of the mouth being held back by the tongue and you'll be able to feel it. Now go from the held "T" to the attack syllable (I use "Toe") and this should get rid of the air ball problem.
You'll need to practice the "Hut" drill to get used to the sequence of events that will happen as you go from the inhalation to the exhalation, to the attack and to the sound production.
Why does it happen? As we get more experienced as players, we get to a point where we begin to try to over finnesse our attacks by backing of on the air and trying to manipulate it more to get the softest attack we can, and in the process we develop other less constructive habits that will tend to get in the way.
Try the "Hut" drill. I think you will see the difference pretty quickly.
All the best to you.
Roger
"The music business is a cruel and shallow trench, a long plastic hallway where thieves and pimps run free and good men die like dogs. There's also a negative side." Hunter S Thompson
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toobagrowl
- 5 valves
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- Location: USA
Re: tone production (nope, not a troll)
Thanks for the advice - seems to make sense. I only have this 'issue' occasionally on very soft playing, usually in practice. I have noticed that it more-or-less goes away when I push my tongue slightly more forward and with a faster air stream. Maybe I should actually practice regularlyRoger Lewis wrote:In response to "tooba"'s post above, it's interesting to note the problem with "air balls". This is a fuel issue because the fuel is not being applied at the proper point in the attack.
What happens with air balls is that the air is being stored too far back in the oral cavity - it's not at the front of the mouth where the tongue is. This creates a pocket of un-energized air that needs to be moved out of the way by the energized air, and usually it gets to the embouchure without enough energy to activate the embouchure into vibration.
The cure for that is to whisper the syllable "hut" and hold the "T". This puts the energized air at the front of the mouth being held back by the tongue and you'll be able to feel it. Now go from the held "T" to the attack syllable (I use "Toe") and this should get rid of the air ball problem.
No probs with loud playing. 
I still say that what you described sounds as much as an 'embouchure thing' (oral cavity + tongue), as it is an 'air thing'...Of course, I could bring up equipment, but I won't go there...
I have noticed some of the posters in this thread who are giving advice use modern, point-and-shoot/ easy-to-play tubas in comparison to the tubas I use.
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pjv
- 4 valves
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- Joined: Sun Jul 11, 2004 4:39 am
Re: tone production (nope, not a troll)
"I have noticed some of the posters in this thread who are giving advice use modern, point-and-shoot/ easy-to-play tubas in comparison to the tubas I use".
A point-and-shooter ain't means to an end, but it certainly increases my efficiency rate.
In a post on dark vs bright tones, Bloke mentioned something about that he hones in on the 12th/24th partials.
I like to concentrate on partials when practicing to strengthen my embouchure and up my consistency ratio, something which can be very useful on a "challenging" tuba. If I have problems hearing the chosen harmonic(s) I'll usually sing the note first and form my oral cavity in a way to produce that harmonic, then reproduce the same "syllable" while playing the tuba.
I didn't invent this, but it works for me.
A point-and-shooter ain't means to an end, but it certainly increases my efficiency rate.
In a post on dark vs bright tones, Bloke mentioned something about that he hones in on the 12th/24th partials.
I like to concentrate on partials when practicing to strengthen my embouchure and up my consistency ratio, something which can be very useful on a "challenging" tuba. If I have problems hearing the chosen harmonic(s) I'll usually sing the note first and form my oral cavity in a way to produce that harmonic, then reproduce the same "syllable" while playing the tuba.
I didn't invent this, but it works for me.