Detached Articulation
Qué incluye el curso
10 lecciones (2h 21m) · 1 gratis
01. Breathing, part 1
Lección gratis6:59

02. Rossini, William Tell and The Thievish Magpie
14:54

03. High Range Building
8:50

04. Detached Articulation
Estás aquí18:50

05. Mahler's Third Symphony
22:21

06. Mozart Requiem
13:41

07. Ravel's Bolero
11:35

08. Legato
17:55

09. The Philosophy of Warm Up
14:04

10. Wagner, Ride of the Valkyries and Prelude to Act 3 of Lohengrin
12:20
Transcripción de la lección
: The tongue can effectively strike your tooth, but it must remain relaxed. If I'm honest, about two-thirds of my tooth is covered by my tongue when I play, but I'm not pushing.
Myth 2: Saying "Ta" for Articulation
- We're often taught to say "ta, ta, ta" or "da, da, ta". However, this causes the jaw to move.
- If we try to say "ta" without moving our chin, it doesn't work.
- Move away from vowel sounds and focus on relaxed contact. The sound should be a blend of P, N, D, and ta.
Importance of the End of the Note
- The clarity of the beginning of the next note depends on the embouchure's position at the end of the previous note.
- Often, the embouchure is affected by airflow , it can push the lips open when played, causing a lack of clarity.
- Critical Point: The aperture (the hole) must be maintained. If the embouchure tries to revert to its position as we articulate, we lose clarity.
Practicing Articulation Without the Trombone
- The combination of tongue and air can be practiced without the trombone:
- Think of blowing out a birthday candle , the goal is to get the air out effectively.
- Isolate the use of air and tongue in practice to enhance articulation without relying solely on the instrument.
Preparation is Key
- The clarity of articulation depends on ensuring the air is flowing correctly to create the note.
- Always have the embouchure fixed in position before playing. Speaking through the embouchure can help achieve ultimate clarity, ensuring the aperture is open and ready.
Summary of Articulation System
- The embouchure must be:
- Open and fixed at the beginning, middle, and end of the note.
- The tongue:
- Touches wherever needed, remains relaxed, and should not use the tip.
- Focus on direction of airflow when using the tongue.
Practical Exercise: Fast Articulation
When I joined the London Symphony Orchestra at 23, my biggest weakness was fast articulation. I spent several months working on this, starting with a series of exercises.
- Tip:
- Begin by ensuring the embouchure is fixed while developing your articulation system.
- Try the exercise for triple tonguing found in traditional etude books.
- Understand that clarity and legato can be challenging; playing with clarity and length is harder but essential.
The Slow Exercise
- Use a metronome to practice:
- Ensure the clarity of sound comes from consistent airflow through the instrument.
- The key to this practice is keeping the tongue relaxed.
Mastering Speed
- To achieve speed in articulation:
- Focus on the clarity at the beginning of the note while maintaining relaxed articulation.
- The airflow must be steady.
- As your skills progress, push through the discomfort , that's where growth happens.
Final Thoughts
In conclusion, the basics of detached articulation include:
- The embouchure must remain in position.
- The aperture must be set and stable.
- The tongue touches lightly and relaxed, without using the tip.
By mastering these elements, you will enhance your playing and develop clear, articulate sound on your instrument. Happy practicing!
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Ian Bousfield ha estado en la cima de la profesión durante más de un cuarto de siglo, destacando quizá en más facetas del mundo de la música que cualquier otro trombonista hasta la fecha. Su carrera ha incluido tocar en dos de las orquestas reconocidas entre las cuatro mejores del mundo, una de las cuales está considerada quizá la mayor orquesta de ópera; actuar como solista al más alto nivel posible con orquestas, bandas de metales y con instrumentos de época; grabar como solista en sellos de primer nivel; tocar temas principales de superproducciones de Hollywood y enseñar en la Royal Academy de Londres.
Como solista, Ian ha actuado, entre otras, con la Vienna Philharmonic, la London Symphony, la London Philharmonic, la BBC Philharmonic, la Halle Orchestra, la Sapporo Symphony y la Austin Symphony. Ha trabajado con los siguientes directores: Riccardo Muti, Michael Tilson Thomas, Sir Neville Marriner, Kent Nagano, Ion Marin y Matthias Bamert, y EMI, Camerata, Chandos y Doyen se cuentan entre los sellos para los que Ian ha realizado varias grabaciones en solitario a lo largo de los años. Probablemente los dos momentos culminantes de la carrera solista de Ian hasta la fecha hayan sido la interpretación del Concierto de Nino Rota con la Vienna Philharmonic y Riccardo Muti (2008) tres veces en Viena, además de en el Lucerne Festival y en Tokio, y el estreno mundial de Stargazer de Jonathan Dove, escrita para él y dedicada a él, con la London Symphony Orchestra bajo la dirección de Michael Tilson Thomas (2007). Ha actuado con todas las grandes bandas de metales del mundo, grabando con muchas de ellas. Ha actuado como solista prácticamente en todas partes del mundo y, como clínico, ¡probablemente sea más fácil mencionar los conservatorios y festivales en los que no ha aparecido!












