Articulation Routine from Peter Bond (UPDATE)

After seeing the post, Pete sent along some notes to consider as you play through his PDF.

Rhythmic Articulation
In this study you are practicing:
  • Setting up to play (take mouthpiece off the lips during rest bars).
  • Coordinating and controlling entrances with metronome.
  • Subdivision.
  • Rhythmic precision.
  • Maintaining a clear and vibrant sound during articulated passages.
Some players find it helpful to breathe rhythmically; inhaling on the last beat of rest, or “pulsing” a breath over several beats. Rhythmic or not, keep the breath quiet and tension-free.
-Keep all notes lively and buoyant. Create musical sounds, not noises.
-These studies should feel more like speaking than “blowing and tonguing.”
-For instant response, some players find it helpful to think of the notes as happening inside the mouth, like little firecrackers going off.
-Try to play exactly with the metronome, not after the “click”.
-Start with a buoyant, detached style. Later, practice legato, staccato, accents, etc. Note: for all styles, the actual articulation remains the same, but the energy and note lengths change.
-Articulate like you speak. If you can say it, you can play it.
VARIATIONS:
>Multiple tonguing, start at mm=80. T & K should sound identical; like R and L strokes of a drummer. Mastering clear multi-tonguing at ALL tempos can solve the problem of passages that seem too fast for single, yet too slow for double or triple.
>Practice double tonguing the dotted eighth and sixteenth patterns; Tu Ku-Tu, Ku-Tu, Ku-Tu. This technique is useful for rapid dotted figures (ex: Sheherazade).
> Use metronome as upbeat (triplets will become more challenging).
A word about accents
Many players “tongue harder” for accents, pressurizing the air and creating an explosive attack. Instead, create accents just as you do in speech. For example, shout “Timpani!” Notice that you did not explosively pressurize the “T,” but the accent came after the consonant. Play your musical accents the same way.
Exceptions: in big band jazz and some other commercial music, pressurized, explosive accents can be idiomatically correct.
 

from Peter Bond.

Peter Bond PDF

2 thoughts on “Articulation Routine from Peter Bond (UPDATE)

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