There have been a few videos lately of brass players who have gone into an fMRI scanner to observe what the soft tissue is doing while playing. Recently bass trombonist Doug Yeo was a test subject and he wrote about his experience.
Yet while trombonist and Boston-based brass pedagogue John Coffey (1907-1981) summarized his teaching with the pithy phrase, “Tongue and blow, kid,” successful brass instrument articulation and tone production actually requires a bit more understanding. Teachers and performers have written legions of books and articles about what players should do with their tongue and other members of the body’s oral cavity, but such descriptions have been hampered by an obvious problem: we cannot see inside the mouth or touch the tongue, glottis or soft palate while playing. One’s tongue cannot touch one’s tongue in order to feel one’s tongue when it is in use. It is clear that much of what has been said about the workings of the tongue during playing has been nothing more than well-meaning conjecture.
It’s really very cool that Yeo, Dr. Peter Iltis, and the other folks at the Max Planck Institute are conducting research like this. Too much of brass pedagogy is based on guess work and conjecture. Brass instructors tend to teach how they think they play, but often when we look closer at what actually happens when we play we end up surprised.
Yeo wrote that while playing in the fMRI scanner he was very conscious of trying to “keep the tongue down and the throat open at all times, in all registers and in all dynamics,” as he was instructed by Edward Kleinhammer. Watching the video created by the fMRI, however, Yeo notes:
As I begin playing, you will observe that as I slur higher, my tongue moves both up and back in my oral cavity. There is also movement below the base of my tongue, with my larynx and glottis – the opening between the vocal cords – moving slightly upward. When I was playing, I felt no sensation of this upward movement in my neck; I always felt that my throat was very relaxed and my tongue was “down.”
We still have a lot to learn about how the tongue, throughout, soft pallet, lips, etc. work together with the breathing to play brass instruments successfully, but it seems that the evidence is mounting that at least most, if not all, players will raise the level of the tongue arch as they ascend. Why exactly this happens and what it’s doing for the player is mainly conjecture at this point, but we see this happen in virtually all players who have done this sort of study using fluoroscopy, fMRI, or even motion detectors attached to spots on the tongue.
I’d like to see this research replicated with performers who do (or at least claim to do) something different with their tongue position. For example, I have consciously worked on slurring and sustaining notes by snapping the tip of my tongue down to the gully below my lower teeth and gums, which helps me keep my tongue position lower in the mouth (I think) and seems to open up my sound. When I slur up I will think of pushing my tongue forward to raise the level of tongue arch. I would think that this instead brings the tongue position forward, rather than back in my oral cavity. Then again, this might look closer to how Yeo’s tongue arch is working than I realize. There are also some folks who articulate by keeping their tongue tip “anchored” down on the lower teeth or gums and attacking the note with more of the middle part of the tongue (some folks call this “anchored” tonguing or “dorsal” tonguing).
There is some footage of Yeo double tonguing. I would like to see someone doodle tonguing in an fMRI scanner too.
It is worth going to Yeo’s writeup of his experience and both reading the historical background as well as watching more of the videos that have been posted there. Thanks to Doug Yeo for making his thoughts and those videos accessible!