Building Listening Skills In The Band
Articulation – Part Two
by Richard Williams & Jeff King

Articulation is how musicians speak through their horns. The ability of an ensemble to match articulation allows the performers to communicate each musical thought with clarity. 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. In the last issue of Kjos Band News we discussed the mechanics of articulation, focusing on fundamental attack-sustain-release principles. In this issue we will discuss matching styles of articulation, and suggest rehearsal strategies that will promote the application of these articulation principles to all musical settings.

Matching Style
     Although there are many different styles of articulation, the fundamental attributes of the attack-sustain-release process outlined in the last issue of Kjos Band News still apply. Adjustments to note length, varying rhythms and subdivisions, dynamics, and special effects (accents, marcato, etc.) should not affect physical characteristics such as the tongue position, vowel sound, or lip/reed vibration, nor should these variables affect pitch or tone quality. It is important to narrow the focus of the exercise to allow for mastery of a few concepts that can then be modified to different musical settings. We suggest emphasizing the following styles/note lengths:

     When playing eighth notes and eight note triplets, the only lengths possible are tenuto and short and lifted. As rhythms are subdivided into smaller note values, note lengths become more limited. Tempo is the determining factor in this regard.

     When playing sixteenth notes the only possible note length is tenuto. The attacks are so close together that separation is extremely difficult. Additionally, tone quality dictates that these notes be played with a continuous air stream.

     It is possible to create a “lifted” sounding style on sixteenth notes by pulsing or darting the air on each attack, but this should not be confused with creating space between sixteenth notes.

Rehearsal Srategies
     The articulation exercise above provides a short, practical context in which to practice articulation concepts and note lengths with your ensemble. Although written on concert F, this exercise can be transposed to any note you choose. This should be a unison exercise, with everyone playing in their most comfortable range. Please note the optional ending points — this allows you to build this exercise over time as students become more proficient. Here are some general goals and guidelines for students:

1. Tongue each note (concert F) in the same place on the reed or mouth.
2. Maintain a consistent air stream within each style, and refrain from breathing between lifted notes.
3. Make sure the embouchure does not move during articulations and maintain a consistent vowel sound and tongue placement.
4. Strive to produce a consistent and characteristic tone quality on every note, not allowing the varying articulations or rhythms to affect the sound.
5. Articulate at the same time and with the same strength.
6. Listen for uniform attacks and releases — listen side to side.
7. Listen for balance during sustain — try to hear the section leader.

The following points are specific to certain elements of the exercise above:

1. Tenuto notes generally need a firmer tongue.
2. On short notes:
   • use more compact, compressed air without forcing air into the horn
• get the air to the back of the note faster
3. On fast notes:
   • think; “How fast does my tongue need to move?”
   • keep the tongue close to the point of contact
   • the faster notes go by, the more sound/tone you have to put on them

This exercise can be rehearsed in many different ways. Here are some suggestions:

1. Use a metronome whenever possible.
2. Start with a moderate tempo and gradually work towards faster tempos.
3. Pass a rhythm/articulation around the band from section to section or within a section from student to student.
4. Vocalize the drill on an articulation syllable and then have students play it exactly as they said it.
   • It is vital that students vocalize with tone quality and intensity. If they just go through the motions and fail to use their voice like an instrument, no gains will be made.
5. Practice the “wind pattern.”
   • Have students articulate the exercise and blow air against their finger. You will then be able to address the differences in the sound of the air stream (which is amplified by their finger) and hear differences in the articulation syllable (e.g. “CHOO” instead of “TOO”).
6. With young ensembles, modify the harder measures; instead of 4 beats of triplets and sixteenth notes, try to play 2 beats worth of those rhythms.

The Bottom Line
If it still sounds bad, focus on:

1. articulating together
2. matching the vowel sound
3. balancing side to side and to the section leader
4. firmness of articulation

     The physical and conceptual characteristics of attack-sustain-release are core elements to all wind articulation. In our efforts to promote clarity of articulation in our ensembles, we must, as teachers, develop a clear, concise, and consistent approach that enables students to articulate musical thought in any setting. Beginning with one concept at a time, articulation skills can then be refined and developed over a period of time and the responsibility eventually shifted from the director to the student. In any exercise that is designed to build fundamentals, students need to know not only the “how,” but also the “why.” Chances are that if we don’t tell them what to think — they aren’t thinking at all.

About Richard Williams

About Jeff King

Copyright © 2001 Neil A. Kjos Music Company. All rights reserved.