Tongue Blocking

What we need is a tongue blocking FAQ.  This issue/argument comes up pretty

As for me, I use both methods.  I don't really think about which I'm using;
I just play whatever seems to be right at the moment.  I suppose I OUGHT to
think about it more, but I don't

sawyer@xxxxxxx writes:
>(1) apart from the playing techniques such as octaves and tongue
>lifting that are achieved with tongue blocking, what is real effect of
>the tongue blocking embouchure on the distribution of frequencies that
>make up the timbre of the instrument? and (2) what technique will
>enable one to arbitrarily subtract the high overtones from the profile
>of frequencies, and boost the primary frequency, which is a technical
>description of making the tone F A T .  This thin-FAT-thin variation
>marks some of the best blues playing, but I mention one particular
>example: Carey Bell...

With all due respect I ask: "huh?"  If you mean that Carey gets a huge
range of tone, you're right.  The only time I heard Carey say anything
about it himself, though, he just said, "You gotta get that SOUND."
Charley, explain what you were saying in terms that a moron (me) can
understand.  It sounds interesting.

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