[Harp-L] RE: Out of the Moment

Ray Beltran <raybeltran@xxxxxxxxxxxxxxx> · Wed, 9 Sep 2009 09:46:33 -0700

On Sep 8, 2009, at 4:57 AM, harp-l-request@xxxxxxxxxx wrote:
I've never been of the opinion that one must tongue block in order to
achieve superior tone.

Yes, I agree.
But deep embouchure with as large as possible
air aperture in the lips combined with deep diaphragmatic air
production, an open throat, and a relaxed jaw are unquestionably
important parts of the equation.

BINGO!!! This can be achieved through the pucker embouchure, but the  
TB embouchure lends itself to the description above. Relaxed, open...
There are some pucker players with HUGE tone that have recognized and  
exploited these elements to achieve great tone.

Tongue blocking FORCES the player
to do all these things automatically because otherwise it's not
possible to tongue block effectively.

And that has been my personal experience. That is how I "found" tone.  
TB'ing forced me to move my tongue out of the way and to use my throat  
to form, shape, articulate notes.
I categorize players not between embouchure, but rather if they are a  
throat player... or not. Once everything moves back to the throat, all  
bets are off... MOSTLY.
I can still hear a pucker player get "thin" and "squeaky" up front.  
But it's not ALWAYS a bad thing. Now it becomes a dynamic tool. And  
still, there are some throat players with a bit of pinch and squeak up  
front that I hear more than I'd like.
But again, overall, it's are you player from your throat.

But using good deep embouchure
and doing all of these other things while puckering is very much more
of an acquired skill.  i just never realized before how truly close
to a tongue blocked resonance chamber one can achieve this way.

And, of course, there is nothing more important than good tone.....

"Blues is tone." Muddy Waters.
Ray.
--
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