[MUSIC] The next set of videos focuses on articulation really with a wind band. One of the challenging aspects of working with wind players is that you can't see their articulation. The embouchure is hiding it. With the string player, for example, you can see how they're articulating based on how they're using the bow on the strings. Wind players, you can't see it as well. So but still we need to have a unified sense of articulation. On the following set of videos offer some ideas for that. [BLANK_AUDIO] Last chord of a Chester with a doe articulation. Two, three four quarters. [MUSIC} [MUSIC] Okay, let's change that to daa, daa, daa, daa, one, two, three. [MUSIC] [MUSIC] Let's make the A longer, make the A H longer, so that it's almost. Completely connected. [MUSIC] And ready. [MUSIC] Let's change that to. Toe, toe, toe, toe, so we're going to get a harsher initial articulation, with the same length on the note. So the same vow, with a harder consonant beginning. Two, three, eight of them, and. [MUSIC] Change that to ta, ta, ta. So completely separated between every quarter note, but separated not with another consonant but with a a-h sound, so ta, ta, ta. I call this a lifted articulation. Okay ta. So it's still this crisp beginning. But lift it into the note. Two, three, and. [MUSIC] [MUSIC] Now try dah, dah, dah. So a, a softer beginning, but with the same lifted sound on the end of it. Two, three, and [MUSIC]. [MUSIC] Those are really barely different, barely different. Okay, let's go to, to the next extreme, which is going to be tot, tot. Actually the most extreme, and then we'll come back one notch. We're going to go to the most extreme, which is: tot, tot, tot, tot. So begin it with a t. End it with a T. In the middle. Okay? T, A, H, T is our articulation here. Two, three, and. [MUSIC] Good, good, good. Now, let's back up one step to daht, daht, daht.It's not going to be as harsh as a beginning, really, really slightly different, but, but, it should should a little bit different, daht, two, three. [MUSIC] Good, good. So let's try this. Do, do, dah, dah, dot, dot. So we're going to do two of each, okay? Do, for two, dah for two, dot for two. Two, three. [MUSIC] Good. Let's try four of each. Try four of each [COUGH]. So, the longest to the shortest with the softest initial attack on all three different articulations. Doe, da, and dot. Two, four each and go. [MUSIC] Good. It does two things when we use, when we use this exercise. Both in non-ensemble settings and soloist and chamber ensembles. It allows us to experi- a way, a real concrete way to experiment with different articulations as well as an opportunity to kind of hone in. It's like wher, where's the dot? How does that, and, and though the first couple we did, they cleaned up, and the longer we played it, the better they got. So it is, it's a, it's a excellent way to sort of calibrate the ensemble sense of articulations. Let's try, toe to tot. So this is the more harsh initial attack. Going from those longest, with a lifted one in between, and the shortest one on the end. The most, the most harsh one on the end. So, four of each. Toe, ta, and tot. Both a chance to listen. And to really think about whatever mechanical, whatever thing has to happen inside your mouth and with your air to make these articulations happen, this is a great opportunity to do it. So here's, four beats. Two, three. [MUSIC] Good. Good. Excellent. Excellent. Let's now play, we're going to play just a little bit of Chester. Maybe the first phrase. And let's start, let's take a couple different of these varieties. Although we could probably, come up with infinite varieties, with different beginning consonants, different vowels in the middle and even more vowels to end these sounds with. Let's just try we're going to start with the most, the shortest, most aggressive one. So, tot. And you're going to play it, play the first four bars of Chester, please. Every note is... So you're going to hold them full value, but begin every sound with a T, end every sound with a T, put a In the middle. Two, three, four bars. And. >> [MUSIC] [MUSIC] Good. Good. Let's, let's change that to, we're going to back off one step to TAH. So every sound is going to be lifted. There's going to be a small amount of space. In between each note. Okay. Small amount of space that's, that's created not with your tongue, but with your tone actually coming to very brief stop. Two. Ta. Ta. [MUSIC] [MUSIC] Alright. Let's try toe. Toe, toe, toe. So completely connected with a pretty crisp beginning to each note. Okay? Completely connected with a crisp beginning to each note. Two, three. [MUSIC] And now, let's back off. To dah. Okay? We're going to do two more. D A H. And, doe. So, dah we're going to do next. And then, we'll do doe. So, here's dah. Two, three. >> [MUSIC] [MUSIC] And do, last one, do. Two. [MUSIC] [MUSIC] Okay. Hm. [MUSIC] [MUSIC] [MUSIC]
