Fundamental articulation comprises three styles: slurring, separated tonguing, and connected tonguing. Following the sequences in this text, students have essentially started to slur through the performance of sirens and roller coasters. By focusing on the concept of sirens/slurring, teachers can continue to ensure the proper use of air stream and embouchure in these performances. Teachers should introduce tonguing through air patterns before asking students to perform on mouthpieces.
Tonguing on a brass instrument involves simple movement of the tongue. Saying the syllable “too” (or “toh” for low brass) places the tongue in proper position. It should rest behind the top teeth where the teeth meet the roof of the mouth. The tongue acts as a valve to release the air as it pulls back from the teeth. It is important to conceptualize the syllable as “too” rather than “toot” as, in traditional practice the tongue should never stop the air at the end of a pitch (this technique is common to jazz practice, however).
- The teacher should model an air pattern using separated tonguing and have students repeat. This can typically comprise four pulses thinking “too-too-too-too” or “toh-toh-toh-toh” for low brass instruments. Teacher and students should go back and forth a few times to ensure comprehension. If students struggle at all, the teacher might consider vocalizing the actual syllables before moving back to the air pattern.
- The teacher should do the same for connected tonguing. In this case, articulation might be conceptualized as “doo-doo-doo-doo” or “doh-doh-doh-doh.” Modeling in both separated and connected styles is vital in both efficiency of instruction and student comprehension. Verbal instructions at this point will often just interfere with learning.
- Using the same echo approach, students should perform articulations on their mouthpieces. The teacher can determine if they are ready to perform on a specific pitch or whether unspecified pitches will offer better success at first. Free buzzing offers a possible intermediate step between air patterns and mouthpiece buzzing. Ultimately, students should be able to perform articulations on a single pitch.
- The teacher can introduce other rhythmic patterns using this sequence. This represents another potential benefit of introducing articulation earlier in the beginning sequence rather than later as teachers can start to incorporate the teaching of rhythmic vocabulary paired with instrumental technique. Throughout the sequence, teachers should ensure that students’ air streams are full and consistent and embouchures are stable. One common analogy is that of water coming out of a faucet. As with a player’s air, the water doesn’t stop if one passes a finger through the stream. Rather, there is a temporary interruption before the stream resumes at full volume.
Once students can control the three articulation styles on pitch, the teacher can start to ask students to play melodies on their mouthpieces in all three styles. Again, playing in a variety of tonalities and meters will continue to build and reinforce audiation and increase musicianship.
Exercises
Melodic and articulation exercises