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SUCGEji.O'S BY xRNEST CLARKE: TONGUE AOhON. The tonguo may ho used as an aid in ailioulatir.g, but it is not a necessity in producing n cone. This statement mav astonish the reader, ami at first create an impulse, to disagree with the writer, for to tome it may seem like upsetting rule** which arc almost traditional. Wherever there is argument there must be more or less analysis; therefore, in order {» vsee things more clearly —to see things qust as they are—let us wear our magnifying glasses, and obeervo and study the details. If the reader will foliow keenly the process in making a perfect tone, lie must come to the conclusion.that the primal factors in making a tone are the breath and the lips. In production of tone these two factors are relatively similar to tho violinist's bow and string or tho singer's breath and vocal cords. On the trombone or other brass i»» Ktruniont the really fine player product-.? his tone as reasonably as the viojwijsb or singer does his or hers. The viojwnst does not start each tone by " chopping ' with the bow. His tone is produced by a steady movement of the bow, causing the'string to vibrate; but the bow docs not start with a sudden jerk unless the music demands an exaggerated axtack, which is net often. The singer does not start each note with an explosion. He does not " attack " each tone as if it were coughed or sneeaed out, Yet this is the effect produced by rnnnv payers who are almost mvarmblv tau'dit that each tone must be ".hit' or '''attacked." or " exploded" in order to b« started. . ', The'render will find it interesting to note that with patient experimenting he can produce a better quality of tono without the use of the tongue than that tone which depends on the tongue for a start. _ "When +he tongue is used with discretion it aids the articulation :. and where the notes are used in rapid succession it is important that the management of the tongue is reasonable. , The syl'able "took" may be used in nrticulating.- Care, should be observed that each tone ceases before the next one is started, otherwise the effect will be as if the svllablo.." toot" were used, which effect is very clumsy and unmusi'The use of the tongue should be gentle, not violent—more as if the breath pushed it down gently, .with little or no antagonism ■on the part ot the tongue. The breath should be the compelling force—not the tongue... The plaver should always remember that the breath is the motive power—the life of •the tone, and the tongue should not be used bo as to obtain a percussion effect. • ... -n A careful study of this subject will convince the reader that many payers make the mistake of exaggerating the ase of the tongue, and thus it becomes an abuse, and the tone suffers consequently. ■

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Bibliographic details

THE TROMBONE., Star, Issue 11192, 25 September 1914

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THE TROMBONE. Star, Issue 11192, 25 September 1914