FWIW the physicists say that in flute playing the position of the tongue and
the shape of the mouth and throat do not affect the sound except insofar as
they affect the air jet that passes the lips. This is not true of other
woodwind instruments (such as the oboe, clarinet and sax) where the mouth
cavity becomes a secondary resonating system that is coupled to and loads
the primary resonating system comprising reed, mpc and the air column in the
instrument.
But as always, how one feels about the mechanics and accoutrements of
playing have a major impact on the playing itself.
Toby
----- Original Message -----
From: Peter Ross <peteross@cloudhandsmusic.com>
To: shakuhachi discussion group <shakuhachi@weber.ucsd.edu>
Sent: Friday, April 27, 2001 3:21 PM
Subject: Response to Jamaes Schlefer Re: tongue position
> James,
>
> When I play I try to open my mouth cavity and throat to the maximum to
> get a rich tone color. To do this I pull my tongue down and back away
> from my lower teeth. Sometimes it rests just in back of my lower teeth,
> but usually it's way down and back. This helps me get a very rounded
> shape in my mouth and the sound I like.
>
> At Yokoyama Katsuya's master class at the Boulder Shakuhachi Festival,
> he said that he curls his tongue and uses it like a funnel I've never
> seriously tried that, but it's worth looking into since his sound is
> unbelievable.
>
> Connected to this subject is something I read in a book about John
> Coltrane last night. Here's what he said:
>
> "The sound you get on any instrument depends on the conception of sound
> you hear in your mind. It also depends on our physical properties,
> such as the shape and structure of the inside of your mouth and throat."
>
> I believe this explains why we all get different tone colors on flutes
> that aren't that different from each other. And why players like
> Coltrane and Sonny Rollins and Stan Getz , Lester Young, Paul Desmond
> etc. got vastly different tones out of their horns. They all basically
> played the same horn. But, they placed their tongues differently, had
> differently shaped and sized mouths and throats.
>
> Anyway, that's my two cents.
>
> Peter Ross
>
> Cloudhandsmusic.com
>
>
>
>
>
> Hello all.
>
> The question is... Where do you place your tongue when you play?
>
> Over the past year or so I have been making a change in my playing with
> respect to the placement of
> the tongue. This is a big challenge but one that is well worth it as it
> has improved my sound. In
> querying a number of great shakuhachi players on this matter, both
> American and Japanese, I have
> gotten a variety of responses as to where folks put the tongue. Almost
> everyone agrees, however, that
> this is an interesting question, and an aspect of playing and teaching
> that is generally not covered.
>
> Until now I have put the tongue pressing up against the lower lip when I
> play. This method offers
> several advantages but also some big disadvantages. Advantages: it keeps
> the mouth and lips forward
> when playing and it is good for meris. It also offers a sense of
> security. Disadvantages: you play too
> flat, and the sound, while good, is never really focused.
>
> There are several options for placing the tongue. One is to simply let
> it hang out loosely in the mouth.
> Another is to press it up against the back teeth. Another is to curl it
> upwards slightly. Depending on
> the different colors and pitches you want to make, you can move the
> tongue into different positions as
> you play. I have adapted the hang out method primarily but often press
> it into the lower lip for meris
> and dai meris, and occasionally move it around during a long note to
> help change the color.
>
> All thoughts on this matter are welcome.
>
> James
>
> ____________________
> James Nyoraku Schlefer
> Shakuhachi
> www.nyoraku.com
> (718) 499-7793
>
>
>
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