Hello, do you have any comments on the so called k-modified single tonguing? I have seen countless videos on this but cannot understand how to tongue while keeping tip of tongue on bottom teeth. Thanks, I enjoy learning from your videos!
K-modified or anchor tonguing can be tricky to grasp at first. Try this. Speak the “Tah-Kah” syllables over and over again slowly. Try and feel where your tongue strikes for each. For the “Tah” you’ll find that the tip of your tongue strikes somewhere behind your top teeth, or just above them against your gums. The “Kah” will be the arch of the tongue against the roof of your mouth, somewhere further back. Once you get the feel for that, then notice where the tip of your tongue sits while you’re articulating the “kah”. For me, it sits low, right behind my bottom teeth in the front. Repeat just the “kah” - the tip of the tongue sits in the same spot. It’s basically anchored there. Now, try speaking the syllable “dah”. You’ll find that that strikes upfront in your mouth, similar to the “tah” but with the meatier part of your tongue, behind the tip. The tip of the tongue tends to curl down, almost touching the lower teeth. Once you find this, it’s not a big leap to repeat “dah” with the tip of your tongue resting against your front lower teeth. Since the tonguing syllables are basically the same when we play as when we speak, it’s not too hard to get the feel of this as a tonguing method. I hope that’s helpful.
Good video, Bryan! Just a reminder: A clear airway meaning enough space between the lips for the air to escape nice and relaxed, is absolutely key for clear articulation. Scratchy articulation has nothing to do with the tongue in most cases. It's the lips causing problems (or rather the support muscles that don't work appropriately) so that the air has to fight through them. So, we have to make sure to get the lips out of the equation first. Cheers & keep it up!
Thank you. I can play "How much is that doggie in the window?" and sundry other things from the first "Tune a day" book. It's a good time for me to come across this video.
Hi Bryan. Some interesting tips here for me to work on, in particular to 'back engineer' the tongue position for each articulation. Multiple tonguing has always been my Achilles heel. I seem to be able to articulate both doubles and triples while simply blowing a steady airstream, away from the cornet, but as soon as I add the instrument then it all seems to go to hell in a hand cart. At 62, I sometimes wonder what the point is in attempting to master this skill, other than for my own satisfaction. I have always felt lacking, or less of a player due to this deficiency. The players who have mastered it make it sound so easy, and indeed describe it as such. So frustrating!
Hi Brian, I agree with most everything you say here, but for double tonging or triple tonguing I don't feel that I'm using the back of my tongue (I don't feel it touching or arching in the back), as much as, I feel that I'm coughing, using the back of my throat to produce the syllables da ga, for legato or ta ka, for staccato passages. Sometimes I'll utilize a modified double tonguing on triplets (da ga da,, da da ga or ta ka ta, ta ka ta) to avoid rushing the 3 note of the triplet, as can sometimes occur when triple tonging triplets using da da ga, ta ta ka, I totally agree with everything else and especially on the necessity to practice the ga or ka syllables single tongued separately, for improving their response of double and triple tonguing. I may be wrong, but to reiterate, I don't feel the back of my tongue moving, it could be happening without my knowledge, but I'm trying to be very self observant while practicing this technique, I wish I had a fluoroscope, so I could know what's actually happening, though whatever I'm doing works well for me. You're a marvelous person, teacher, trumpet player and musician, thanks for providing this resource here on UA-cam!
Interesting. So what’s opening and closing the airstream? The glottis? (I’m not saying that’s not what’s happening for you - just trying to fathom how else it could work. Those aren’t rhetorical questions!) My approach, as with most things, is to be as close to a vocal approach as possible. Particularly for articulation, this generally seems to be the easiest way to get things going. Regarding the order of syllables, you can, of course, use which ever order you like. However, the “standard” TTK triplet usually accents the phrase most appropriately, at least for classic literature.
@@AirflowMusicNYC Yes. I think in my case it is the glottis at the back of the throat that I notice working to create the syllables ga and ka. The middle of the glottis for the ga syllable and up near the top of the throat for the harder, Ka syllable,. I started as a singer in a youth choir, so yes I think this approach of mine is an extentsion of that. Regarding triple tonguing for classic literature, it was precisely for the trumpet excerpts from Petrushka that my teacher at the time ( I was in my late teens) David Kuehn (RIP) then principle trumpet with the Buffalo Philharmonic Orchestra and a former William Vacchiano student) that recommended the Ka-Ta-Ka, Ka -Ta -Ka approach to triple tonguing, to minimize my rushing the 3rd note of the triplet with the standard Ta-Ta -Ka approach, perhaps at that point in my development, he did it to make me more conscious of keeping the triplets in stricter time and would probably be good advice to anyone with that issue, to gain more control over double and triple tonguing overall. Always trying to learn more! I deeply appreciate your response, you are a good friend and quite the maestro of the trumpet! Nice seeking answers with you!
Great video, thanks. What approach would you recommend for target practice? I have a difficult time nailing an E above middle C as the first note, and G on top of the staff. I have no confidence in hitting those as first notes. Do I practice hitting just those notes or all notes? Practice intervals? Thanks.
I’ve posted a number of “Exercise of the Week” exercises that address this. Search for EOTW #3 and #17. Those should help, and give you some other ideas of what to practice. Thanks for watching and best of luck!
I suggest listening to wynton Marsalis playing fantasy brilliante on his carnival album or listen to Jim Sheperd playing The Paragon or Cleopatra or The Nightingale his triple was like a machine gun. Never been surpassed
All examples of excellent playing. There are hundreds of others I could cite, both well known and not so well known. However, this isn’t a competition.
Thanks for this video, I was worried about this particular ability. Now, i need to find out how can i practice efficiently and gradually to do this all over the register on the trumpet. What would be your advice? Greetings from México.
When I try to single tongue quickly, I feel like my tongue can't keep up or I can't articulate clearly enough. Is this just a matter of practicing sixteenth notes over and over again until I can get it faster or do I need to find a way to tongue lighter to allow me to get faster? Or is it a mixture of the two? If so, what is the best way to go about practicing this?
It’s probably a mixture of the two. The best thing is figure out how fast you can maintain later into a phrase, when you’ve tired a little, then work on making one notch above that tempo really comfortable. The metronome is your friend for a stable tempo source and tracking your progress.
Bryan, very good video on better tonguing and very helpful to me. Can I just ask if you have a video that cover, ending a note? I understand that we are not supposed to stop a note with the tongue, right? Thanks, Peter
Not as yet, Peter. Tongue-stopping notes is an option, and is widely used in many styles of music. Whether it *should* be used or not is really a stylistic concern. Just like tonguing to start a note, it can be done at differing levels of softness/hardness and shaped in different ways.
@@AirflowMusicNYC Thanks Bryan, that all makes sense. It was just that in his UA-cam video "Trumpet Basics (5): How to end a note" Jon Harnum said that 99% of the time you don't use your tongue to stop a note. This is what happens when I'm learning from two very good teachers, there are bound to be different points of view from to time! I'm more than happy to follow your advice here, it really does make sense to me. Thanks, Peter
Thank you for the knowledge and I really like it, to me some times I use the method of tukutuku but I feel like I use a lot of air/gas please help me I want to know how I can control my breath thank you.
Bryan, I know you’re busy so if I don’t hear back I’ll understand completely. I have one question that you might be able to explain (and if I’m really lucky) demonstrate. I’d like to know how Lee Morgan created a type of, “wa-wa” sound I’ve heard on his opening solo of Benny Golson’s classic, “Whisper Not”. Album: Olympia Concert. Art Blakey and the Jazz Messengers (1959). Listen precisely at 4:43 Thanks Bryan..👍🏻
Hi George. Do you mean the lick at 2:29 (or 4:43 before the end)? That’s a lip bend, by the sound of things. On my to-do list to make a video on for you. Thanks for introducing this album to me. I haven’t checked it out before. On my travel playlist for the next few weeks!
@@AirflowMusicNYC: Wow! Thank you so very much for your quick reply. I was referring to precisely at 4:43 with that wailing and somewhat haunting, “wa-wa-wa-wa. There’s not a day that goes by that I don’t listen to this tune. I’m REALLY looking forward to your demonstration. Bless you and thanks again…
On the copy I'm listening to, 4:43 is during the piano solo. However, he does play something like you're describing at 2:29 or -4:43 on my Apple Music, so I'm assuming that's the right spot. Please send me DM on Instagram (@airflowmusicnyc) with a short video identifying the right spot, just so I don't tell you the wrong thing when I make a video about it.
@@AirflowMusicNYC Done..👍🏻. You can’t miss it. He repeats it several times. I can only describe the sound as someone who is crying, lamenting. It’s beautiful, haunting and incredibly sublime.
Hi Brian I know this question is irrelevant to the topic but whenever I go up to a double g, my lips seem to stop vibrating and all I get is just air whenever I go down the 2 octaves.Any advice?And also any advice to get the double g sound more clearer
Hi Anthony. Sorry for the slow response. I’m not sure I understand the question. Are you airing out on the G over high C itself, or when trying to descend from it?
The single Kah tongue (or whichever “back of the tongue” syllable you’re using) should be practiced after regular single tonguing. If you get that right, then either double or triple tonguing is simply a matter of coordination. Thanks for watching and taking time to ask a question.
Hi, I have a general question. Is triple tonguing supposed to be faster than double tonguing ? Or it is more depending to the situation (playing 8th notes vs triplets) ?
Triple tonguing is simply the pattern used to articulate triplets rather than duplets. The tempo will dictate whether you need to single tongue or multiple tongue.
Thank you, nice and clear explanation as usual. Concerning triple tongue, is acceptable to do ta ka ta - ka ta ka (in group of 3 notes)? i'm asking because when i try to do ta ta ka the first 2 are really blured and slow.
It really depends on how the music is accented, but TTK is standard because of how it keeps everything moving forward, consistently placing the accent on the beat.
I struggled with triple tonguing for a long time. Mainly because my single tongue had too many moving parts, and I hadn’t practiced the K tongue properly. Once I straightened those things out, it magically got easier! 😀
I'm playing a rondo for lifey and it has lots of fast tonguing which I can do fine but annoys me when I play because it isnt as clean as I'd like. It has a tiny sound lip smacking sound and I cant get rid of it. Any tips?
Sounds like you’re probably slightly out of sync with the tongue and the fingers. Practice it slowly - 1/2 or even 1/4 tempo - and try to make it as clean, smooth and beautiful as possible. If you’re double/triple tonguing any parts, still do so slowly. That should tell you what’s holding you up.
I'm not too sure if you've covered this topic already but just in case, What is the best way for me to amplify (If i can use that Term) My Peddle Tone Register? One I reach low Concert E My Peddle Concert Eb is severely hard to bring out fully. I'd like to be able to expand my lower register (To atleast a Peddle Bb Lower if possible) and achieve a 3 Octave scale without going into the double octave (Since my Concert D over High Bb is also airy)
I may not be the best person to ask about pedal tones. They are not something I practice regularly, at least not in the traditional sense. However, if you saw my recent videos about sighing the air and basing range on distance, then consider that the pedal tones are very close by - you do not need to blow far to center them. If you missed those videos, and this doesn’t make sense, then search #TrumpetProTips E14 & E15
I got my braces off a few weeks ago and while I am capable of playing with a beautiful sound and can articulate, the corners are hindered. I can hardly hit notes above a G and I can't get through longer consecutive goldman studies. Do you have any tips?
You’ll have an adjustment period now your braces are off. Don’t try to force your way through consecutive Goldman studies. Take a moment to rest in between. Most likely, you’re pressing harder since you don’t have the pain of the braces cutting into your lips. Breathe, support, and let your lips respond to the air so you can find your new normal.
I like to play double tongue with da-ga-da-ga because my trhoat is more open and there's less tension and the sound is more relaxed.Bryans what do you think?
As I said in the video, it doesn’t really matter which syllable you use as long you’re blocking the airstream and getting a clean release. If you’re experiencing throat tension then you are lacking proper breath support and/or are blowing too hard in the first place.
I have a question. I recently watched your range video, and I can’t determine what my highest comfortable note is. The D above high C is easy and I can play it all the time. The G above that I can play most of the time but not with much ease. How do I figure out which note is the highest comfortable note? Is there a test to determine it that you can recommend?
Bryan Davis - Airflow Music. For some reason the E is more difficult than every note described. I try to transition from D to E, and I end up skipping to the F and above. It’s kind of strange
It’s not that strange. We all experience breaks at various stages of development. Work on getting your D and Eb in the softest, most effortless way possible. That will help you achieve the balance you need to make the E speak and then the notes beyond. The goal here is not only playing higher notes, but dialing them in with the same ease as notes a couple of octaves below.
Going fairly well on long tones can't go as high as you are going. Low notes coming easier each day. Any suggestions on long notes with f and up a few notes higher Thanks Brian
@@AirflowMusicNYC this was in regard to 30 days long notes. Really started to practice since coved in shut down in March trying to spend more time less pressure damage to lips from playing over the years. I think you're long notes help right now no upper register. I really like your experience and excellent teaching skills and motivation and methods. Thanks very much Brian
Michael Morris - if you’re used to pressing and blowing for the higher notes, it can be a challenge to overcome that. Playing the rest of the set everyday will strengthen your embouchure, which will help, in time. The breathing and breath support are really the key. When we breathe naturally, we don’t push out with our belly. Instead, our chest lifts up as we inhale. Having allowed the chest to lift, then hold it up as you play - that’s breath support. I went into this in more detail in #TrumpetProTips E08 - I recommend you watch that one, if you haven’t already. With that breath support in place, try to play gently enough that the notes speak without feeling like you need to blow hard. Developing that feel will help you rebalance to play the higher note with less wear and tear on the chops.
When releasing the Tongue for articulations do you keep your tongue anchored to bottom lip ? In order to stop and start the air the tongue needs to block the aperture correct ? I find it hard to be consistent cause I’m not sure how to release properly it’s staccatos to much trying to get more of a legato sound 😊
My tongue is never in contact with my bottom lip. If I’m ‘dah’ tonguing, then the tip of my tongue remains behind my bottom teeth - but floats there more than any kind of hard “anchor”. If I’m ‘tah’ tonguing then the tip of my tongue is behind my top teeth providing the syllable. The tongue doesn’t block the aperture between the lips when tonguing. It obstructs the air column behind your teeth, the same as when you speak. When the air is blocked, the aperture closes. If you want figure out your tongue positions for articulations, then speak or sing the syllables you will be using for your tonguing.
Hi Bryan, I have been experience a problem with my playing. When i try to ascend the notes turn into just air, no matter how much/little chops or air i use the note still remains as just pure air with no actual pitch coming out of the instrument. i can lip buzz up to a D below the stuff and i feel like i can generate a good amount of air compression too. Any advice?
It’s hard to say without seeing and hearing you play but, nonetheless, give me a bit more background. Do you start to air out at a specific pitch, or in the same general range? What sort of area are you trying to ascend to/from where this happens?
@@AirflowMusicNYC Its usually around a 3rd space C where it gets very airy and by the time I'm at 4th space E the sound has turned into pure air. it doesn't matter what note i start on. every now and then i accidentally squeak out an A-B above the staff whilst trying to play a note much lower in the stave.
Am I right in thinking you haven’t been playing very long? It sounds like you’re still developing your response and embouchure balance. I’m going to recommend 2 things for you to check out: 1: make sure you’re lip buzzing correctly. Find my video “L for Lip Buzzing” for my tips on that. Ensure that the buzz is formed by a grip in the corners of your mouth, not the middle of your lips. 2: Involve some Blocked Buzzing in your practice. Check #TrumpetProTips E12 for the how-to, then download and practice Exercise of the Week #37 to put it to use. Doing those things should get your embouchure “corners” properly involved which will better allow you to maintain response as you ascend. Figure out where the edge of your range is and play it a lot to solidify each note. Then try a half step higher. I hope that helps. Please let me know how you get on.
@@AirflowMusicNYC Hi Bryan, I managed to play about 10 or so Gs above the staff simply by keeping my bottom lip taut and in place rather than contracting it towards the centre, keeping it taut and in place is much closer to my "buzzing embouchure." I will add i can buzz up to first line E and can blow enough air to keep a piece of paper in place on a wall from about arms length away, so i think its a case of technique rather than embouchure strength or air compression.
I’m glad you’ve figured something out to help keep moving forward. Just remember that your long term goal is to play everything as effortlessly as possible. Once you’ve developed some consistency with this approach, experiment to see how far you can relax into it. Best of luck.
Bryan - I am still trying to understand the ta da tongue. Is it possible you could explain how to start with the ta and then continue with a softer da note along the staff.
Hi David. It’s really no more complicated than speaking those syllables. If you say “ta” you’ll notice that the tip of your tongue touches roughly at the join between your top teeth and roof of your mouth. Certainly upfront there somewhere. Saying “da” has your tonguing touching in a similar position but with a little more “meat” of the tongue. They are interchangeable as you tongue on the trumpet.
Bryan Davis - Airflow Music If I start the note with ta which I do then I wish to continue with a soften tongue note but connected what syllable do I use? I am finding this harder to understand then double tonging.
Try saying or singing both of these syllables “Ta” and “Da” out loud to hear and feel the difference between them. Do each a few times. Pay attention to the position of your tongue as you do. As when speaking, Da is a slightly softer sounding syllable than Ta. They are both “front of the mouth” syllables so are used for single tonguing. They are interchangeable. Some people prefer to tongue with one or the another, I prefer to use both at different times. (When I choose which depends on how I want to sound for a particular note or phrase.) The connectivity works for either syllable. Play a slow series of notes on the same pitch. The goal is for each note to have a start but no end, i.e. no gap between the notes. I don’t recall ever saying, on video or otherwise, that a series of notes should be played “ta da da da” although I guess you could. Try sticking to one or the other to begin with, rather than mixing.
Bryan Davis - Airflow Music Thank you for being patient. I now understand. I have tried this ...I find the da is softer but for me more difficult to produce the note. But I can see the need for da as it is better for a softer passage. Thank you Love your teaching videos.
Can you tongue those parts quickly, cleanly and softly an octave lower? It’s easier to develop the speed there. Then figure out the slightly different articulation point necessary to make them clean in the higher octave. It’s likely a bit higher and/or further back behind your teeth. Hope that helps.
Hi Bryan. After watching every video of Trumpet a to z, I started using this tips in my playing. And I think I get this wrong. After using that quantity of air that you mentioned in A for Air, I got some problems (hard to play in upper register, higher that g2, getting tiered to fast, in upper register when I hold the note I get some strange out-side sound like "R-r-r-r"). Do you have any ideas why it's happening?
Hi Arthur. It sounds to me like you've tried to make too big of a change in one go. To get used to playing with a more effortless approach, you need to make sure that your breath support is properly in place. That's priority number 1! Then start out in the middle register, as I demonstrate in practically every video, and try to get as close as possible to the easy feeling of sighing the air through the trumpet to make the note. In particular, try not to force response to the air stream by pinching your lips. Instead, try and relax into the response. It's a different balance at first, but it doesn't take too long to get used to. It's hard to say for sure without hearing it, but the external noise you're describing is most probably a double buzz. That is caused by the lips being over tensed. Often, that is a symptom of pinching the lips to try and control or force a response to the unfamiliar, smaller airstream. Like I say, try to relax into the note. Just remember that relaxing doesn't mean "not engaging muscles" - your embouchure corners still need to be in place, along with your breath support. Just not overtensed and overworked. Without seeing and hearing you play, this is my best guess as to what's going on. If you'd like to book in for a Skype lesson, I'll be happy to take a look and give you more targeted advice.
Hello again, I have had trouble to double tongue the 'kah' in the upper register. When I play higher notes I feel like I have to lift my whole tongue level in the upper register and when lifted, there is not much space at all to alternate my front and rear tongue back and forth. Should I just do single tonguing in the upper reg. ? BTW, I made some progress with my ups, yesterday got a double high C out and hold it several seconds. I can already play some high c-d(e) quite some time now(sorry about my english). Thanks for Your helping videos !
Any sort of tonguing is more delicate in the upper register. It’s absolutely possible, but you have to find the right balance. Your tongue level will be higher, but that can actually make it easier. Try something similar to my demo in the video. Breath-start a note and then find the correct Kah position by blocking the note and releasing. Experiment to find the right articulation point per note - it varies for each pitch.
@@AirflowMusicNYC Thanks, I have to try in the morning. Feels like on 'kah' the mouth cavity pressure is lower and therefore it is harder to keep the pitch and the volume/attack at the same level as with 'tah'.
@@AirflowMusicNYC very softly, I took that advice seriously when I noticed every teacher is suggesting that(still never had any live lessons). It seems to be the best way to find the balance and gradually increase the volume and trying to control the aperture.
Hey, I’m finding it difficult to keep my embouchure the same. I started off with my mouthpiece a little too far to the right, and I changed it slightly to the left. It doesn’t feel really natural but it produces the best results, so how do I eradicate muscle memory of any other embouchure? Because I tend to put the mouthpiece in the wrong spot after horns come down, limiting the full effect of my playing.
You can’t remove existing muscle memory, exactly. You have to replace it with new. The mouthpiece placement is a habit, that needs time to form like any other.
@@Wes7Joplin it’s been about a year and a half since I got them off. There’s so much I can say on getting braces, but my main piece of advice would be to not get discouraged at first. It will be hard and uncomfortable since your body isn’t used to it, but you will improve over time. I’d recommend to work on your technique while you have them instead of range and endurance. This way, your technique will be solid when you get them off.
I am able to single tongue reasonably well . However, when I try to double tongue I can articulate the "ka" but I am unable to blow a note/sound on the trumpet. The syllable Ka or Ga does not allow me to pronounce a sound. Can you please assist me?
Reverse engineer your Ka tongue in the same way I describe for the Ta tongue in the video. Start by holding a note, then stop the air with the K syllable. Keep the air pressure up and release the K again to restart the note.
Reverse engineering is a term that means to deconstruct and track a process backwards from the result to figure out how it works. In this case, if you can figure out how to stop the air with your tongue based on a particular syllable, then you can figure out how to release the air with the same.
I'm having trouble with my embouchure and I don't know what I'm doing wrong My top lip keeps slipping out of my mouthpiece and so I'm only left with a tiny bit of top lip which hurts my endurance does anyone know how I could fix this? it's extremely frustrating.
Sorry to hear you’re having problems. First, do you set with your lips inside of the inner rim of the mouthpiece? Is there a particular register or technique that seems to cause the slip?
@@AirflowMusicNYC i have an over bite and i have my trumpet pointed down a good amount when i play. usually starts happening either when i play loud or just after ive played for a couple minutes
Hard to say, for sure, without seeing you play, but it sounds like you may be angling too far down. Would it be fair to say that you experience much more mouthpiece pressure on the lower lip than the upper?
Bit of a late night, off the cuff, video this week. All polite feedback welcome as always. What do you think? Am I making sense?
Hello, do you have any comments on the so called k-modified single tonguing? I have seen countless videos on this but cannot understand how to tongue while keeping tip of tongue on bottom teeth. Thanks, I enjoy learning from your videos!
K-modified or anchor tonguing can be tricky to grasp at first. Try this. Speak the “Tah-Kah” syllables over and over again slowly. Try and feel where your tongue strikes for each. For the “Tah” you’ll find that the tip of your tongue strikes somewhere behind your top teeth, or just above them against your gums. The “Kah” will be the arch of the tongue against the roof of your mouth, somewhere further back. Once you get the feel for that, then notice where the tip of your tongue sits while you’re articulating the “kah”. For me, it sits low, right behind my bottom teeth in the front. Repeat just the “kah” - the tip of the tongue sits in the same spot. It’s basically anchored there.
Now, try speaking the syllable “dah”. You’ll find that that strikes upfront in your mouth, similar to the “tah” but with the meatier part of your tongue, behind the tip. The tip of the tongue tends to curl down, almost touching the lower teeth. Once you find this, it’s not a big leap to repeat “dah” with the tip of your tongue resting against your front lower teeth.
Since the tonguing syllables are basically the same when we play as when we speak, it’s not too hard to get the feel of this as a tonguing method. I hope that’s helpful.
Thank you, that was a great explanation of it. I will definitely try it.
I play with a Anchored tongue
Good video, Bryan!
Just a reminder: A clear airway meaning enough space between the lips for the air to escape nice and relaxed, is absolutely key for clear articulation. Scratchy articulation has nothing to do with the tongue in most cases. It's the lips causing problems (or rather the support muscles that don't work appropriately) so that the air has to fight through them.
So, we have to make sure to get the lips out of the equation first.
Cheers & keep it up!
Sweet. This is just what I was looking for. Thanks Bryan!
I’m glad it’s timely. Thanks for watching.
Great video! Really cleared up exactly what the function of the tongue should be along with the release of the air.
Thanks for watching. I’m glad you found it useful!
Thank you very much, this was very helpful. I was saying a silent "t" and a new diagphram push rather than unblocking an existing stream.
Glad it helped!
Thank you, absolutely excellent advice. It is so easy for all of us to get into bad habits.
Thanks, Bryan. This video reinforces my current approach!
Hey thank you so so so so much!!!! I really want to improve my trumpet playing but don't have any teachers near me. So thank you!
Thank you. I can play "How much is that doggie in the window?" and sundry other things from the first "Tune a day" book. It's a good time for me to come across this video.
His tone is gorgeous 🤩
excellent video.....best explanation on ST yet, imo....
I’m glad you enjoyed it.
Hi Bryan. Some interesting tips here for me to work on, in particular to 'back engineer' the tongue position for each articulation. Multiple tonguing has always been my Achilles heel. I seem to be able to articulate both doubles and triples while simply blowing a steady airstream, away from the cornet, but as soon as I add the instrument then it all seems to go to hell in a hand cart. At 62, I sometimes wonder what the point is in attempting to master this skill, other than for my own satisfaction. I have always felt lacking, or less of a player due to this deficiency. The players who have mastered it make it sound so easy, and indeed describe it as such. So frustrating!
Please to see you very helpfull this tip many thanks brian
Very helpful. Thank you!
Hi Brian, I agree with most everything you say here, but for double tonging or triple tonguing I don't feel that I'm using the back of my tongue (I don't feel it touching or arching in the back), as much as, I feel that I'm coughing, using the back of my throat to produce the syllables da ga, for legato or ta ka, for staccato passages. Sometimes I'll utilize a modified double tonguing on triplets (da ga da,, da da ga or ta ka ta, ta ka ta) to avoid rushing the 3 note of the triplet, as can sometimes occur when triple tonging triplets using da da ga, ta ta ka, I totally agree with everything else and especially on the necessity to practice the ga or ka syllables single tongued separately, for improving their response of double and triple tonguing. I may be wrong, but to reiterate, I don't feel the back of my tongue moving, it could be happening without my knowledge, but I'm trying to be very self observant while practicing this technique, I wish I had a fluoroscope, so I could know what's actually happening, though whatever I'm doing works well for me. You're a marvelous person, teacher, trumpet player and musician, thanks for providing this resource here on UA-cam!
Interesting. So what’s opening and closing the airstream? The glottis? (I’m not saying that’s not what’s happening for you - just trying to fathom how else it could work. Those aren’t rhetorical questions!)
My approach, as with most things, is to be as close to a vocal approach as possible. Particularly for articulation, this generally seems to be the easiest way to get things going.
Regarding the order of syllables, you can, of course, use which ever order you like. However, the “standard” TTK triplet usually accents the phrase most appropriately, at least for classic literature.
Oh, and thanks for watching. New videos coming soon.
@@AirflowMusicNYC Yes. I think in my case it is the glottis at the back of the throat that I notice working to create the syllables ga and ka. The middle of the glottis for the ga syllable and up near the top of the throat for the harder, Ka syllable,. I started as a singer in a youth choir, so yes I think this approach of mine is an extentsion of that. Regarding triple tonguing for classic literature, it was precisely for the trumpet excerpts from Petrushka that my teacher at the time ( I was in my late teens) David Kuehn (RIP) then principle trumpet with the Buffalo Philharmonic Orchestra and a former William Vacchiano student) that recommended the Ka-Ta-Ka, Ka -Ta -Ka approach to triple tonguing, to minimize my rushing the 3rd note of the triplet with the standard Ta-Ta -Ka approach, perhaps at that point in my development, he did it to make me more conscious of keeping the triplets in stricter time and would probably be good advice to anyone with that issue, to gain more control over double and triple tonguing overall. Always trying to learn more! I deeply appreciate your response, you are a good friend and quite the maestro of the trumpet! Nice seeking answers with you!
Great video, thanks. What approach would you recommend for target practice? I have a difficult time nailing an E above middle C as the first note, and G on top of the staff. I have no confidence in hitting those as first notes. Do I practice hitting just those notes or all notes? Practice intervals? Thanks.
I’ve posted a number of “Exercise of the Week” exercises that address this. Search for EOTW #3 and #17. Those should help, and give you some other ideas of what to practice. Thanks for watching and best of luck!
I suggest listening to wynton Marsalis playing fantasy brilliante on his carnival album or listen to Jim Sheperd playing The Paragon or Cleopatra or The Nightingale his triple was like a machine gun. Never been surpassed
All examples of excellent playing. There are hundreds of others I could cite, both well known and not so well known. However, this isn’t a competition.
Thanks for this video, I was worried about this particular ability. Now, i need to find out how can i practice efficiently and gradually to do this all over the register on the trumpet. What would be your advice? Greetings from México.
Glad it was helpful! Don't worry too much about tonguing. It's really no more complicated than speaking the consonants.
OMG this was my suggestion.. Lmao
You weren’t the only person to suggest it, but you were certainly among them! I hope it’s helpful.
When I try to single tongue quickly, I feel like my tongue can't keep up or I can't articulate clearly enough. Is this just a matter of practicing sixteenth notes over and over again until I can get it faster or do I need to find a way to tongue lighter to allow me to get faster? Or is it a mixture of the two? If so, what is the best way to go about practicing this?
It’s probably a mixture of the two. The best thing is figure out how fast you can maintain later into a phrase, when you’ve tired a little, then work on making one notch above that tempo really comfortable. The metronome is your friend for a stable tempo source and tracking your progress.
Bryan, very good video on better tonguing and very helpful to me. Can I just ask if you have a video that cover, ending a note? I understand that we are not supposed to stop a note with the tongue, right? Thanks, Peter
Not as yet, Peter. Tongue-stopping notes is an option, and is widely used in many styles of music. Whether it *should* be used or not is really a stylistic concern. Just like tonguing to start a note, it can be done at differing levels of softness/hardness and shaped in different ways.
@@AirflowMusicNYC Thanks Bryan, that all makes sense.
It was just that in his UA-cam video "Trumpet Basics (5): How to end a note" Jon Harnum said that 99% of the time you don't use your tongue to stop a note. This is what happens when I'm learning from two very good teachers, there are bound to be different points of view from to time!
I'm more than happy to follow your advice here, it really does make sense to me. Thanks, Peter
Thank you for the knowledge and I really like it, to me some times I use the method of tukutuku but I feel like I use a lot of air/gas please help me I want to know how I can control my breath thank you.
I'll make another video to talk about this. Coming very soon...
Bryan,
I know you’re busy so if I don’t hear back I’ll understand completely.
I have one question that you might be able to explain (and if I’m really lucky) demonstrate.
I’d like to know how Lee Morgan created a type of, “wa-wa” sound I’ve heard on his opening solo of Benny Golson’s classic, “Whisper Not”.
Album: Olympia Concert. Art Blakey and the Jazz Messengers (1959).
Listen precisely at 4:43
Thanks Bryan..👍🏻
Hi George. Do you mean the lick at 2:29 (or 4:43 before the end)? That’s a lip bend, by the sound of things. On my to-do list to make a video on for you.
Thanks for introducing this album to me. I haven’t checked it out before. On my travel playlist for the next few weeks!
@@AirflowMusicNYC: Wow! Thank you so very much for your quick reply. I was referring to precisely at 4:43 with that wailing and somewhat haunting, “wa-wa-wa-wa. There’s not a day that goes by that I don’t listen to this tune. I’m REALLY looking forward to your demonstration. Bless you and thanks again…
On the copy I'm listening to, 4:43 is during the piano solo. However, he does play something like you're describing at 2:29 or -4:43 on my Apple Music, so I'm assuming that's the right spot. Please send me DM on Instagram (@airflowmusicnyc) with a short video identifying the right spot, just so I don't tell you the wrong thing when I make a video about it.
@@AirflowMusicNYC
Done..👍🏻. You can’t miss it. He repeats it several times. I can only describe the sound as someone who is crying, lamenting. It’s beautiful, haunting and incredibly sublime.
Hi Brian I know this question is irrelevant to the topic but whenever I go up to a double g, my lips seem to stop vibrating and all I get is just air whenever I go down the 2 octaves.Any advice?And also any advice to get the double g sound more clearer
Hi Anthony. Sorry for the slow response.
I’m not sure I understand the question. Are you airing out on the G over high C itself, or when trying to descend from it?
Greetings,
What should be practiced first after single tounging,
Double or triple tounging?
Thanks.
The single Kah tongue (or whichever “back of the tongue” syllable you’re using) should be practiced after regular single tonguing. If you get that right, then either double or triple tonguing is simply a matter of coordination.
Thanks for watching and taking time to ask a question.
@@AirflowMusicNYC Thank you!
Hi, I have a general question. Is triple tonguing supposed to be faster than double tonguing ? Or it is more depending to the situation (playing 8th notes vs triplets) ?
Triple tonguing is simply the pattern used to articulate triplets rather than duplets. The tempo will dictate whether you need to single tongue or multiple tongue.
@@AirflowMusicNYC thank you
Thank you, nice and clear explanation as usual. Concerning triple tongue, is acceptable to do ta ka ta - ka ta ka (in group of 3 notes)? i'm asking because when i try to do ta ta ka the first 2 are really blured and slow.
It really depends on how the music is accented, but TTK is standard because of how it keeps everything moving forward, consistently placing the accent on the beat.
@@AirflowMusicNYC thank you so much again in this case i'll try to focus my attention to this way. Metronome and patient...my best friends 😉👍
I struggled with triple tonguing for a long time. Mainly because my single tongue had too many moving parts, and I hadn’t practiced the K tongue properly. Once I straightened those things out, it magically got easier! 😀
I'm playing a rondo for lifey and it has lots of fast tonguing which I can do fine but annoys me when I play because it isnt as clean as I'd like. It has a tiny sound lip smacking sound and I cant get rid of it. Any tips?
Sounds like you’re probably slightly out of sync with the tongue and the fingers. Practice it slowly - 1/2 or even 1/4 tempo - and try to make it as clean, smooth and beautiful as possible. If you’re double/triple tonguing any parts, still do so slowly. That should tell you what’s holding you up.
Best of luck and please let me know how you get on.
I'm not too sure if you've covered this topic already but just in case,
What is the best way for me to amplify (If i can use that Term) My Peddle Tone Register?
One I reach low Concert E My Peddle Concert Eb is severely hard to bring out fully. I'd like to be able to expand my lower register (To atleast a Peddle Bb Lower if possible) and achieve a 3 Octave scale without going into the double octave (Since my Concert D over High Bb is also airy)
I may not be the best person to ask about pedal tones. They are not something I practice regularly, at least not in the traditional sense.
However, if you saw my recent videos about sighing the air and basing range on distance, then consider that the pedal tones are very close by - you do not need to blow far to center them. If you missed those videos, and this doesn’t make sense, then search #TrumpetProTips E14 & E15
I got my braces off a few weeks ago and while I am capable of playing with a beautiful sound and can articulate, the corners are hindered. I can hardly hit notes above a G and I can't get through longer consecutive goldman studies. Do you have any tips?
You’ll have an adjustment period now your braces are off. Don’t try to force your way through consecutive Goldman studies. Take a moment to rest in between. Most likely, you’re pressing harder since you don’t have the pain of the braces cutting into your lips. Breathe, support, and let your lips respond to the air so you can find your new normal.
I like to play double tongue with da-ga-da-ga because my trhoat is more open and there's less tension and the sound is more relaxed.Bryans what do you think?
As I said in the video, it doesn’t really matter which syllable you use as long you’re blocking the airstream and getting a clean release.
If you’re experiencing throat tension then you are lacking proper breath support and/or are blowing too hard in the first place.
I have a question. I recently watched your range video, and I can’t determine what my highest comfortable note is. The D above high C is easy and I can play it all the time. The G above that I can play most of the time but not with much ease. How do I figure out which note is the highest comfortable note? Is there a test to determine it that you can recommend?
How are your Eb, E, F and F#? Is there one of those where it becomes noticeably less familiar?
Bryan Davis - Airflow Music. For some reason the E is more difficult than every note described. I try to transition from D to E, and I end up skipping to the F and above. It’s kind of strange
It’s not that strange. We all experience breaks at various stages of development. Work on getting your D and Eb in the softest, most effortless way possible. That will help you achieve the balance you need to make the E speak and then the notes beyond. The goal here is not only playing higher notes, but dialing them in with the same ease as notes a couple of octaves below.
Thanks for the quick feedback! I will apply
My pleasure. Learn to enjoy the process - it makes it much more fun in the end. Now, go practice! 😜
Going fairly well on long tones can't go as high as you are going. Low notes coming easier each day. Any suggestions on long notes with f and up a few notes higher Thanks Brian
Hi Michael. Is this in response to #30DaysOfLongTones or this tonguing video particularly? Please remind me how long you’ve been playing.
@@AirflowMusicNYC this was in regard to 30 days long notes. Really started to practice since coved in shut down in March trying to spend more time less pressure damage to lips from playing over the years. I think you're long notes help right now no upper register. I really like your experience and excellent teaching skills and motivation and methods. Thanks very much Brian
Michael Morris - if you’re used to pressing and blowing for the higher notes, it can be a challenge to overcome that. Playing the rest of the set everyday will strengthen your embouchure, which will help, in time. The breathing and breath support are really the key. When we breathe naturally, we don’t push out with our belly. Instead, our chest lifts up as we inhale. Having allowed the chest to lift, then hold it up as you play - that’s breath support. I went into this in more detail in #TrumpetProTips E08 - I recommend you watch that one, if you haven’t already. With that breath support in place, try to play gently enough that the notes speak without feeling like you need to blow hard. Developing that feel will help you rebalance to play the higher note with less wear and tear on the chops.
When releasing the Tongue for articulations do you keep your tongue anchored to bottom lip ? In order to stop and start the air the tongue needs to block the aperture correct ? I find it hard to be consistent cause I’m not sure how to release properly it’s staccatos to much trying to get more of a legato sound 😊
My tongue is never in contact with my bottom lip. If I’m ‘dah’ tonguing, then the tip of my tongue remains behind my bottom teeth - but floats there more than any kind of hard “anchor”. If I’m ‘tah’ tonguing then the tip of my tongue is behind my top teeth providing the syllable.
The tongue doesn’t block the aperture between the lips when tonguing. It obstructs the air column behind your teeth, the same as when you speak. When the air is blocked, the aperture closes.
If you want figure out your tongue positions for articulations, then speak or sing the syllables you will be using for your tonguing.
Bryan Davis - Airflow Music Thanks 😊
Hi Bryan,
I have been experience a problem with my playing. When i try to ascend the notes turn into just air, no matter how much/little chops or air i use the note still remains as just pure air with no actual pitch coming out of the instrument. i can lip buzz up to a D below the stuff and i feel like i can generate a good amount of air compression too. Any advice?
It’s hard to say without seeing and hearing you play but, nonetheless, give me a bit more background. Do you start to air out at a specific pitch, or in the same general range? What sort of area are you trying to ascend to/from where this happens?
@@AirflowMusicNYC Its usually around a 3rd space C where it gets very airy and by the time I'm at 4th space E the sound has turned into pure air. it doesn't matter what note i start on. every now and then i accidentally squeak out an A-B above the staff whilst trying to play a note much lower in the stave.
Am I right in thinking you haven’t been playing very long? It sounds like you’re still developing your response and embouchure balance.
I’m going to recommend 2 things for you to check out:
1: make sure you’re lip buzzing correctly. Find my video “L for Lip Buzzing” for my tips on that. Ensure that the buzz is formed by a grip in the corners of your mouth, not the middle of your lips.
2: Involve some Blocked Buzzing in your practice. Check #TrumpetProTips E12 for the how-to, then download and practice Exercise of the Week #37 to put it to use.
Doing those things should get your embouchure “corners” properly involved which will better allow you to maintain response as you ascend.
Figure out where the edge of your range is and play it a lot to solidify each note. Then try a half step higher.
I hope that helps. Please let me know how you get on.
@@AirflowMusicNYC
Hi Bryan,
I managed to play about 10 or so Gs above the staff simply by keeping my bottom lip taut and in place rather than contracting it towards the centre, keeping it taut and in place is much closer to my "buzzing embouchure." I will add i can buzz up to first line E and can blow enough air to keep a piece of paper in place on a wall from about arms length away, so i think its a case of technique rather than embouchure strength or air compression.
I’m glad you’ve figured something out to help keep moving forward. Just remember that your long term goal is to play everything as effortlessly as possible. Once you’ve developed some consistency with this approach, experiment to see how far you can relax into it. Best of luck.
Bryan - I am still trying to understand the ta da tongue. Is it possible you could explain how to start with the ta and then continue with a softer da note along the staff.
Hi David. It’s really no more complicated than speaking those syllables. If you say “ta” you’ll notice that the tip of your tongue touches roughly at the join between your top teeth and roof of your mouth. Certainly upfront there somewhere. Saying “da” has your tonguing touching in a similar position but with a little more “meat” of the tongue. They are interchangeable as you tongue on the trumpet.
Bryan Davis - Airflow Music If I start the note with ta which I do then I wish to continue with a soften tongue note but connected what syllable do I use? I am finding this harder to understand then double tonging.
Try saying or singing both of these syllables “Ta” and “Da” out loud to hear and feel the difference between them. Do each a few times. Pay attention to the position of your tongue as you do.
As when speaking, Da is a slightly softer sounding syllable than Ta. They are both “front of the mouth” syllables so are used for single tonguing. They are interchangeable. Some people prefer to tongue with one or the another, I prefer to use both at different times. (When I choose which depends on how I want to sound for a particular note or phrase.)
The connectivity works for either syllable. Play a slow series of notes on the same pitch. The goal is for each note to have a start but no end, i.e. no gap between the notes.
I don’t recall ever saying, on video or otherwise, that a series of notes should be played “ta da da da” although I guess you could. Try sticking to one or the other to begin with, rather than mixing.
Bryan Davis - Airflow Music Thank you for being patient. I now understand. I have tried this ...I find the da is softer but for me more difficult to produce the note. But I can see the need for da as it is better for a softer passage. Thank you Love your teaching videos.
You’re very welcome. I’m glad it’s helpful.
How can I play it fast as you done it
Practice. It’s been a couple of years, but I’m pretty sure I described how to build up the tempo in the video.
im having troubles with my tonguing in the higher register ..especially on the horn parts of EWF's September. any advice?
Can you tongue those parts quickly, cleanly and softly an octave lower? It’s easier to develop the speed there. Then figure out the slightly different articulation point necessary to make them clean in the higher octave. It’s likely a bit higher and/or further back behind your teeth. Hope that helps.
Hi Bryan. After watching every video of Trumpet a to z, I started using this tips in my playing. And I think I get this wrong. After using that quantity of air that you mentioned in A for Air, I got some problems (hard to play in upper register, higher that g2, getting tiered to fast, in upper register when I hold the note I get some strange out-side sound like "R-r-r-r"). Do you have any ideas why it's happening?
Hi Arthur. It sounds to me like you've tried to make too big of a change in one go. To get used to playing with a more effortless approach, you need to make sure that your breath support is properly in place. That's priority number 1! Then start out in the middle register, as I demonstrate in practically every video, and try to get as close as possible to the easy feeling of sighing the air through the trumpet to make the note. In particular, try not to force response to the air stream by pinching your lips. Instead, try and relax into the response. It's a different balance at first, but it doesn't take too long to get used to.
It's hard to say for sure without hearing it, but the external noise you're describing is most probably a double buzz. That is caused by the lips being over tensed. Often, that is a symptom of pinching the lips to try and control or force a response to the unfamiliar, smaller airstream. Like I say, try to relax into the note. Just remember that relaxing doesn't mean "not engaging muscles" - your embouchure corners still need to be in place, along with your breath support. Just not overtensed and overworked.
Without seeing and hearing you play, this is my best guess as to what's going on. If you'd like to book in for a Skype lesson, I'll be happy to take a look and give you more targeted advice.
@@AirflowMusicNYC Are these skype lessons are paid?
Артур Юрченко - yes, Skype lessons are paid.
@@AirflowMusicNYC Ok, I got it. Your guesses about what I described was right. And I gonna try it, because skype lessons, I think, only for emergency.
Hello again, I have had trouble to double tongue the 'kah' in the upper register. When I play higher notes I feel like I have to lift my whole tongue level in the upper register and when lifted, there is not much space at all to alternate my front and rear tongue back and forth. Should I just do single tonguing in the upper reg. ? BTW, I made some progress with my ups, yesterday got a double high C out and hold it several seconds. I can already play some high c-d(e) quite some time now(sorry about my english). Thanks for Your helping videos !
Any sort of tonguing is more delicate in the upper register. It’s absolutely possible, but you have to find the right balance. Your tongue level will be higher, but that can actually make it easier. Try something similar to my demo in the video. Breath-start a note and then find the correct Kah position by blocking the note and releasing. Experiment to find the right articulation point per note - it varies for each pitch.
@@AirflowMusicNYC Thanks, I have to try in the morning. Feels like on 'kah' the mouth cavity pressure is lower and therefore it is harder to keep the pitch and the volume/attack at the same level as with 'tah'.
How softly are you practicing in the upper register? Trying to keep the volume down is the key to finding the easy way to play up there.
@@AirflowMusicNYC very softly, I took that advice seriously when I noticed every teacher is suggesting that(still never had any live lessons). It seems to be the best way to find the balance and gradually increase the volume and trying to control the aperture.
Hey, I’m finding it difficult to keep my embouchure the same. I started off with my mouthpiece a little too far to the right, and I changed it slightly to the left. It doesn’t feel really natural but it produces the best results, so how do I eradicate muscle memory of any other embouchure? Because I tend to put the mouthpiece in the wrong spot after horns come down, limiting the full effect of my playing.
You can’t remove existing muscle memory, exactly. You have to replace it with new. The mouthpiece placement is a habit, that needs time to form like any other.
Is there anyway to speed up the process, or to better ensure I form the right habit?
When you’re in the practice room, try to be as consistent about it as possible. It’ll take a month or so to bed in.
Can you do a video about playing with braces?
That’s not something I have much experience with, I’m afraid.
Luyen Le thanks, I’ve had them off for about a year now.
@@ColinMroczko Hey, i'm wearing braces soon, how has your experience with them been?
@@Wes7Joplin it’s been about a year and a half since I got them off. There’s so much I can say on getting braces, but my main piece of advice would be to not get discouraged at first. It will be hard and uncomfortable since your body isn’t used to it, but you will improve over time. I’d recommend to work on your technique while you have them instead of range and endurance. This way, your technique will be solid when you get them off.
I am able to single tongue reasonably well . However, when I try to double tongue I can articulate the "ka" but I am unable to blow a note/sound on the trumpet. The syllable Ka or Ga does not allow me to pronounce a sound. Can you please assist me?
Reverse engineer your Ka tongue in the same way I describe for the Ta tongue in the video. Start by holding a note, then stop the air with the K syllable. Keep the air pressure up and release the K again to restart the note.
@@AirflowMusicNYC Thanks for your response. I will keep trying to blow a note while saying the "Ka" syllable, following your advice.
Sorry for my stupidity but what do you mean by "reverse engineer".
Reverse engineering is a term that means to deconstruct and track a process backwards from the result to figure out how it works.
In this case, if you can figure out how to stop the air with your tongue based on a particular syllable, then you can figure out how to release the air with the same.
I'm having trouble with my embouchure and I don't know what I'm doing wrong
My top lip keeps slipping out of my mouthpiece and so I'm only left with a tiny bit of top lip which hurts my endurance
does anyone know how I could fix this?
it's extremely frustrating.
Sorry to hear you’re having problems. First, do you set with your lips inside of the inner rim of the mouthpiece? Is there a particular register or technique that seems to cause the slip?
@@AirflowMusicNYC its usually when i try to play louder or higher
@@AirflowMusicNYC i have an over bite and i have my trumpet pointed down a good amount when i play. usually starts happening either when i play loud or just after ive played for a couple minutes
Hard to say, for sure, without seeing you play, but it sounds like you may be angling too far down. Would it be fair to say that you experience much more mouthpiece pressure on the lower lip than the upper?
@@AirflowMusicNYC yea I do have more pressure on the bottom lip
🌿🌿✌️
How to stop chewing notes
I’m sorry, I’m not sure I understand what “chewing notes” means.