Building Listening Skills in the Band
Articulation – Part 1
by Richard Willaims & Jeff King

Why This Is Important
     Characteristic tone, articulation, intonation, precision, and balance are fundamental qualities that are evident in all great musical performances. As band directors, our goal is to develop a teaching method that advances our students' understanding, awareness, and performance skills in regards to these five fundamental goals.
     Articulation is how musicians speak through their horns. The ability of an ensemble to match articulation allows the per-formers to communicate each musical thought with clarity. In working on articulation with students, band directors should have several goals in mind:

1. Build a common concept and vocabulary.
2. Enable students to ultimately take responsibility for articulation.
3. Develop daily drills to advance articulation skills.
4. Apply concepts to every aspect of the rehearsal and band literature.

Common Concept and Vocabulary
     Even though many people are visual learners, musical concepts must be demonstrated or verbalized to be understood. What does a resonant, beautifully articulated, full-value note really look like? Granted, we can’t see it, but we know a good one when we hear it. A descriptive vocabulary that is consistent, simple, and “to the point,” combined with the following block-shape graphic may help your students relate to attack-sustain-release principles.

     An attack is the beginning of the note — it is the point at which air is released into the horn, and the beginning of vibration. The goal is to produce a resonant, vibrant, instant sound. In order to achieve instant sound, students must have a basic understanding of sound and vibration. Brass instruments create tone through lip vibration; double reeds, clarinets, and saxophones through vibrations of the reed(s); and flutes create vibration by splitting the air stream on the outer edge of the blowhole. Students must constantly be reminded that their goal is to maximize the vibration process on their instrument. They must also understand that the enemy of vibration is tension. To eliminate excessive tension in the sound, directors must insist on proper playing position. This position will promote a relaxed, yet full intake of air, and an unobstructed release of the air into the instrument.
     Proper inhalation and exhalation is essential in creating “instant sound.” One can almost predict the quality of the tone based on the quality of the breath. A deep, relaxed sounding breath will be more likely to produce a resonant sound. Additionally, in order to “line up” the attack, the ensemble should strive to breathe together. A great way to reinforce this concept is to start a note or exercise by having the ensemble watch your breath and attack. Can they breathe with you and start together without being cued by the director’s hands or baton?
     When starting a note, every student must also be aware of the articulation syllable to be used. Directors have many choices in this regard: TAH, TU, TEE, DU, DEE, DAH, to list just a few. No matter what syllable is chosen, it must be consistent within each section. It’s fine to have the trumpets use one syllable and clarinets another; it’s not a good idea to have different articulation syllables being used within the trumpet or clarinet section. Students also need to understand the correct placement of the tongue and point of contact within the mouth or on the reed. Keep in mind that physical characteristics vary from student to student and be prepared to adjust the syllable as necessary. It may also be necessary to change the articulation syllable to execute different styles such as legato or marcato, and adjustments may need to be made for articulated passages in extreme ranges.
     Students should be aware of the following attack concepts:

1. Set a relaxed playing and hand position with the first note already fingered before the director begins the countoff or gives the downbeat.
2. Visualize the sound of the breath as well as the sound of the note to be played before the attack.
3. Breathe together with all of the other members of the ensemble — keeping the body still and relaxed (no head or shoulder movement).
4. “Air in” to “air out” with no hold in between.
5. Create instant vibration as the tongue releases air into the instrument with the proper articulation syllable.

     The sustain of a note is all of the sound that happens after the first instant of attack. Once again, vibration is the key. Relating this concept to the “block-shape” encourages students to keep the sound and pitch uniform. This is accomplished by using a smooth, steady, and directed air stream. Students will need to keep the face and instrument still while maintaining a consistent tongue position and vowel sound in the throat. To achieve a stable tone and pitch during sustained notes, focus on these concepts:

1. Think of the sound (air) going past the embouchure — too many times, air explodes on the attack and then fails to carry through.
2. Students must know and maintain a consistent vowel sound (controlled by the back of the tongue) and maintain a consistent tongue position (this affects the air speed) throughout the note or exercise.
3. To maintain a resonant sound, the lips, or reeds, must be free to vibrate.
4. Keep the embouchure set, the body tension free, and the instrument still.
5. Visualize a target for the air stream and keep it moving forward.
6. Use the same vocabulary to describe the desired tone: resonant, vibrant, centered. Also describe what to avoid: tight, fuzzy/airy, dull.

     A clear, coordinated release is often the most overlooked part of this process. This is where the students need to concentrate and listen the most. The goal, as illustrated by the block-shape drawing, is to stop the sound without any change in the tone quality or pitch. Here’s a check list for releases:

1. Keep still! Any movement of the embouchure, instrument, or body may affect the sound or the pitch.
2. The air should travel “full speed” to the silence. Many times students anticipate the release by slowing down the air.
3. Maintain the tongue position and the vowel sound at the point of release (this will also stabilize the pitch).
4. Keep all of the chambers open on the release. This includes the teeth/oral cavity and the throat. Also keep the rib cage up and the posture elevated.
5. Line up releases! Stress that a note, followed by a rest, is always held until the first beat of silence.

     It’s important to state at this point that all notes do not have releases. If you are playing a phrase or exercise that requires a series of notes to be played consecutively, you should stress that the air at the end of the note being played must touch and balance the air of the next note.
     The mechanics of articulation outlined in this article focus on fundamental attack-sustain-release principles. Whether we’re working on long tones, flexibility exercises, or the march for the next concert, our students need to be aware of the concepts that shape articulation on their instruments. It is important to create time in every rehearsal to focus on posture, playing position, breathing, and quality “starts and stops" to notes and phrases. All of these issues are interconnected and will require consistent reinforcement if the ensemble’s sound and clarity are going to improve. In the next issue of Kjos Band News, we’ll explore matching styles of articulation and rehearsal strategies that will promote the application of these articulation principles to all musical settings.

About Richard Williams

About Jeff King

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