Tyler Wynn
The human larynx, or voice box, is a 4-5 cm long hollow tube in the middle of the neck, just above the trachea. It is the primary source of sound in speech and houses the vocal cords, which are folds of throat tissues that vibrate to create sounds through vocalization. The length of the vocal cords affects the pitch of the voice, with longer vocal cords producing deeper voices. While a larger throat may not directly equate to a blattier sound, the concept of an open throat in singing refers to creating a resonant, round, and free tone, which may be perceived as blattier in contrast to a more closed or constricted throat position. This technique is often used in jazz trombone playing to achieve a specific tone that is distinct from classical styles.
| Characteristics | Values |
|---|---|
| Larger throat | Blattier sound |
| Shallower cup on the mouthpiece | More range |
| Shallower cup on the mouthpiece | Blattier sound |
| Deeper cup on the mouthpiece | Less blattier sound |
| Closing the mouth/soft palate | Blattier sound |
| Singer-style breath control | Less blattier sound |
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What You'll Learn
Trombone mouthpiece shape affects blattiness
The shape of a trombone mouthpiece can significantly impact the blattiness of the sound produced. Blattiness refers to the brightness or sharpness of the sound, which can range from a deep and full sound to a bright and sharp one.
The cup depth, diameter, and shape of a trombone mouthpiece influence the sound's blattiness. A mouthpiece with a deep cup will produce a large and full sound, while a thin mouthpiece will create a brighter and more piercing sound. The diameter of the cup also plays a role, with wider cups resulting in a fuller sound and narrower cups producing a sharper tone. Additionally, the shape of the cup, whether U-shaped or V-shaped, can affect the overall sound.
The rim of the mouthpiece also contributes to the blattiness of the sound. A wider rim facilitates a "beefier" sound, while a smaller rim helps achieve a neater, smaller sound. However, if the rim is too wide for the embouchure, the high partials will come out flat. Conversely, a strong embouchure can result in better-sounding partials.
The backbore and throat of the mouthpiece are other essential factors influencing the sound's blattiness. A tighter backbore and a smaller throat contribute to sharper higher partials, while a larger throat and more open backbore result in flatter higher partials. Therefore, the size of the throat and backbore can significantly impact the overall sound, with the potential to make it either unusable or more balanced.
In conclusion, the shape of a trombone mouthpiece directly affects the blattiness of the sound produced. By adjusting the cup depth, diameter, and shape, as well as considering the rim size and the backbore and throat dimensions, players can create sounds ranging from deep and full to bright and sharp.
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Embouchure and pucker
The embouchure refers to the positioning of the lips, jaw, and oral cavity when playing a wind instrument. It is derived from the French word 'bouche', meaning mouth. A good embouchure allows an instrumentalist to play an instrument at its full range with a full, clear tone and without straining the muscles. Brass instruments, in particular, require the musician to buzz their lips into a mouthpiece, with the instrument serving to focus and amplify the sound of lip vibration.
The lips and facial muscles must be properly developed and exercised before playing a brass instrument. This can be achieved through daily exercises, even when not playing. Mouthpiece Practice Adapters, such as the Warburten P.E.T.E., allow players to practice their embouchure anywhere and anytime. The Stratos Embouchure trainer set is another option, as it helps players to play without excessive pressure that could damage the lips or strain the jaw and face muscles.
When playing a brass instrument, the upper and lower jaws should be positioned evenly vertically or with a slight underbite. The corners of the mouth should be firm, allowing the centre of the embouchure to remain soft. The corners of the mouth control the tone quality and pitch; the tighter the corners, the brighter the tone and higher the pitch. The tongue should also be considered in the embouchure, as it controls the flow of air and protects the lips and teeth from damage.
Puckering the lips is one technique used in embouchure. This involves extending and puckering the lips, similar to a monkey, to enable the player to play in the upper register for an extended period. However, it is important to avoid "smashing the aperture" by puckering too much, as this can limit the free buzzing of the lips and inhibit the full tone. Instead, the lips should form a firm but relaxed presentation, creating a fleshy pad for the mouthpiece.
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Open throat technique
The open throat technique is a popular method used by singers to improve their vocal quality. It involves enlarging and relaxing the throat during singing to maximise the resonating space in the vocal tract. The technique aims to create a sensation of freedom in the throat region, promoting relaxation and avoiding constriction and tension that could stifle the tone.
To physically open your throat, you must increase the pharyngeal space and/or retract the ventricular (false) vocal folds. This involves raising the soft palate, lowering the larynx, and positioning the articulators (jaw, lips, and tongue) correctly. Shaping the mouth and using facial muscles also play a role in achieving an open throat.
There are various visualisation techniques to help achieve an open throat. One suggestion is to imagine you are a frog and push down and out on the area of your throat above your larynx. Another is to pretend you have an M&M on the front of your tongue, stopping it from touching the roof of your mouth. This also helps relax the jaw. A third technique is to make a "k" sound as in "cat" and then inhale, imagining the back of your throat expanding.
While the open throat technique is widely taught, it is not a cure-all for singing problems. Some methods for achieving an open throat can be ineffective or even damaging, such as yawning, which can lead to a hyperfunction in the submandibular musculature and hinder natural-sounding voice quality. It is important to be cautious and seek advice from reputable sources when learning the open throat technique.
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Mouth/soft palate closure
The soft palate, or velum, is the fleshy, muscular part of the roof of the mouth that sits behind the hard palate, which is the bony part containing teeth and gums. The soft palate is moveable and made up of muscle fibres sheathed in mucous membrane. It is responsible for closing off the nasal passage during swallowing, and also for closing off the airway.
The soft palate plays an important role in speech, particularly in the formation of velar consonants, where the middle part of the tongue touches the soft palate. If the soft palate does not separate the oral and nasal cavities during speech, air escapes through the nose, causing speech to sound nasal.
The uvula is the small, teardrop-shaped piece of tissue that hangs down from the soft palate. It is part of the gag reflex and helps to prevent food and liquid from going up the nose when swallowing. The uvula also secretes saliva to keep the mouth and throat hydrated.
A cleft palate occurs when the roof of the mouth does not close during development in the womb. This can cause issues with speech and swallowing, as the palate cannot separate the respiratory and digestive tracts. Surgery can be performed to correct a cleft palate, but it is likely that multiple operations will be needed.
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Brass instrument experience
Playing a brass instrument involves more than just the instrument itself; the mouthpiece plays a critical role in the sound produced. The size and shape of the interior of the mouthpiece, specifically the throat and backbore, greatly impact the sound and playability of the instrument. The throat, being the narrowest part of the mouthpiece, channels all the air blown into the instrument, thus focusing the energy from the vibration of the player's lips.
A larger throat does not necessarily equate to a "blattier" sound. While a larger throat size can alter the sound and tuning of the instrument, it is the balance between the mouthpiece characteristics and the instrument that is crucial. For instance, a bass mouthpiece with an extremely large throat size would result in very narrow partials and flat octaves, making it unusable. Conversely, a smaller cup volume generally requires a smaller throat size to maintain the balance.
The shape of the cup also influences the sound. A cup with a U shape will generally have a larger volume than a V-shaped cup with the same measurements. Thus, the shape and volume of the cup must be considered in relation to the throat size.
The backbore, which is the section right behind the throat, also influences the sound. Its volume and shape, in conjunction with the throat size, affect the tuning of the partials. A larger backbore volume, for instance, will make the partials wider, resulting in flatter low partials and sharper high partials.
Ultimately, the choice of mouthpiece depends on the instrument and the desired sound. Historical instruments may have had more specific mouthpiece requirements, while modern instruments offer more flexibility. The right balance between the mouthpiece characteristics and the instrument ensures the desired tuning and sound quality.
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Frequently asked questions
A blattier sound is usually produced by a shallower mouthpiece cup, which allows for more range. This is common in jazz trombone playing.
A blattier sound is less mellow and harder to blend in with a large group.
Try giving your embouchure a little more "pucker" and close your mouth/soft palate a bit.
