Re: [Harp-L] Problems with tongue articulation

[Michael Rubin <michaelrubinharmonica@xxxxxxxxx>]

Michelle,
I agree completely, learn all 3 embouchures and use what works best for the
moment.  Notice I said U block solves almost all high notes problems.  For
the other solutions, use something else.
Michael


On Wed, Apr 2, 2014 at 11:05 AM, Michelle LeFree <
mlefree@xxxxxxxxxxxxxxxxxxxxx> wrote:

> Michael Rubin wrote:
>
>  <major clippage>
>>
>>
>> Suggestions for the blow notes:
>>
>> 1.  Use as small an opening as you can.  Kiss the harp like a canary.
>> 2. Keep your cheeks stiff.
>> 3.  Learn to U block.  In my opinion, it solves almost all high note
>> issues.  Do not worry if you cannot curl your tongue like a U.  Put the
>> tip
>> of your tongue centered underneath the hole on the bottom cover plate.  As
>> you bend, roll your top front of your tongue to be pushed against the
>> hole,
>> blocking more than half of the hole.  To tongue articulate, you the top of
>> your tongue, not the tip.  You will not be able to do super fast trumpet
>> like triplets ala Magic Dick.
>> 4.  Practice on low pitch harps, like a G harp.
>>
>
> Wow, Michael, what a concise yet complete little treatise you served up
> here! Your skill at teaching people to play our favorite instrument is
> readily apparent even to the casual observer. Kudos!
>
> Only one thing I might expand on -- your advice regarding rapid tongue
> articulation. U-blocking is a bit of a conundrum for me. I couldn't agree
> more about the delicacy with which a player can manipulate those pesky
> upper register blow bends using the u-block embouchure. But as you say,
> doing so is a limitation when it comes to rapid, staccato articulation. And
> for me, the upper register is the most exciting in which to do just that.
> The moral of the story for me is that a player must have all the
> embouchures at her/his disposal, and to be ready and able to switch back
> and forth between them seamlessly.
>
> So, for a high blow bend, I definitely agree: u-block is the way to go.
> But if a rapid, staccato delivery is needed up there, lip-blocking is
> clearly superior to either u- or tongue-blocking. Why, one might ask?
> Because for those precise machine-gun articulations you use double- and
> triple-tonguing exactly like a trumpet player (or an old tuba player like
> me).
>
> And for completeness, one might further ask, what are double- and
> triple-tonguing? Double tonguing is when you articulate the consonants
> ta-ka ta-ka ta-ka. With triple tonguing you articulate the consonants
> ta-ka-ta ta-ka-ta ta-ka-ta. These consonants can't be articulated without
> the tip of the tongue, thereby ruling out embouchures that do not permit
> that (so far as I know anyway, unless you happen to have an extraordinarily
> gymnastic tongue). As a postscript, one can achieve amazingly fast runs of
> double- or triple-tonguing if you practice with a metronome.
>
> But what do I know? Michael Rubin is da Perfessor!
>
> Thanks,
>
> Michelle
>
>
>