Claude Gordon Brass Camp 1990 - Claude Gordon on The Tongue with Tom Brozene

Transcript Summary

Overview

Claude Gordon teaches a Brass Camp session on the tongue as the central “secret” of brass playing. He explains that pitch change, range, flexibility, and tonguing depend on correct tongue level and tongue motion, not lip squeezing or simply blowing harder. Using demonstrations with Tom Brozene and references to Arban, Herbert L. Clarke, Liberati, Walter Smith, and others, Gordon emphasizes that the very tip of the tongue rests lightly on or near the lower teeth while the tongue rises forward in the mouth to channel pitch.

Key Teaching Points

• Gordon states that if there is a secret to brass playing, it is the tongue.
• The tip of the tongue remains at the lower teeth when saying syllables such as “ah,” “see,” and “tee.”
• Pitch changes are produced by tongue movement and tongue level; if the tongue does not move, the pitch will not change.
• The tongue rises forward in the mouth, not in the back of the throat.
• Gordon warns against thinking of “ee” as a back-of-the-mouth action, because that can stop the air.
• Herbert L. Clarke’s idea is emphasized: the tongue rising in the mouth to make the mouth shallow is the knack of playing high tones.
• Gordon teaches that all playing happens in the front of the mouth, not the back.
• The very tip of the tongue never rises above the lower teeth, according to Gordon’s explanation of Liberati’s statement.
• Gordon rejects the term “anchor tongue” because the tongue must remain flexible, not fixed rigidly.
• He prefers Clarke’s wording that the tongue rests slightly on the lower teeth.
• Gordon calls the correct tonguing action “K Tongue Modified,” meaning the very tip stays down while tonguing occurs just behind the tip.
• He teaches that the player may feel as if tonguing occurs near the upper teeth or gums, but the very tip should not be placed on the upper teeth.
• Wind Power provides the force, while the tongue channels the pitch.
• “The air does the work” and “the tongue channels the pitch” are presented as central rules for playing properly.
• Gordon argues against theories that range comes from more air alone or from squeezing the lips.
• He explains that blowing louder does not make the note go higher if the tongue remains in the same position.
• He states that the lip vibrates and should not be forced to create range by squeezing.
• Flexibility and so-called lip slurs are described as being produced primarily by tongue motion, with the lips and facial muscles going along with it.
• Gordon recommends using “tee” when ascending and letting the tongue drop toward “tah” when descending.
• French “tu” markings in method books are explained as better understood by English-speaking students as “tee,” not “too.”
• Students are instructed to prove the tongue’s role to themselves through careful observation while playing.

Topics Covered

• Tongue level
• K Tongue Modified
• Very tip of the tongue
• Tongue resting slightly on the lower teeth
• Tonguing behind the tip
• Forward tongue arch
• Front-of-the-mouth playing
• High register production
• Flexibility and lip slurs
• Wind Power
• Air does the work
• Tongue channels the pitch
• Relationship of syllables to tongue position: “ah,” “see,” “tee,” and “tah”
• Problems with back-of-the-mouth “ee”
• Problems with “too” or “tu” as a syllable concept
• Why blowing louder alone does not raise pitch
• Why squeezing the lips does not correctly produce range
• Embouchure strain versus proper playing
• Use of fluoroscope or photoscope observation to see tongue motion
• Whistling as an analogy for brass playing
• Tongue Level Exercises
• Application class work from page eight of the Tongue Level book

People and Sources Mentioned

• Claude Gordon
• Tom Brozene
• Pat
• Ken
• Dr. Larry Miller
• Herbert L. Clarke
• Jean-Baptiste Arban
• Saint-Jacome
• Liberati
• Walter Smith
• Clint
• Carl
• Bob
• Ed
• Kurt
• Wynton Marsalis
• Harry James
• Bobby O’Goddle
• Larry Souza
• Dizzy Gillespie
• Earl Irons
• Sapporo Symphony
• CG Selmer trumpets
• CG personal mouthpieces
• Arban method book
• Liberati’s book
• Walter Smith’s book
• Herbert L. Clarke Characteristic Studies
• Tongue Level book
• Selmer videotape of Gordon’s Chicago clinic
• Trumpet Kings video
• Carnival of Venice
• Bandmasters Association in Toronto
• Toronto Fairgrounds
• Boston Pops

Student Practice Applications

• Say “ah,” “see,” and “tee” slowly and notice where the very tip of the tongue rests.
• Confirm that the very tip of the tongue stays at or near the lower teeth while the tongue changes shape to form different syllables.
• Practice feeling the tongue rise forward in the mouth rather than pulling the tongue back toward the throat.
• Play a low note and slur upward, then hold the upper note and observe the tongue position.
• While holding a note, try not to move the tongue and notice that the pitch resists changing.
• Practice simple slurs such as C to G and observe the tongue moving between levels.
• Avoid trying to ascend by blowing harder alone; use steady Wind Power while allowing the tongue to channel the pitch.
• Avoid trying to ascend by squeezing the lips; keep the embouchure free to vibrate.
• Use “tee” as the mental syllable for ascending and allow the tongue to drop toward “tah” when descending.
• When reading “tu” in French-influenced materials, understand Gordon’s instruction to interpret it as “tee” rather than “too.”
• Practice K Tongue Modified by placing the very tip of the tongue lightly on the lower teeth and tonguing just behind the tip.
• Work slowly and patiently, since Gordon says K Tongue Modified is not developed in a few days and may take months to feel secure.
• Use the Tongue Level book, especially pages two and three for study and page eight for application class work, as Gordon assigns in the session.
• Watch for unnecessary face strain and remember Gordon’s statement that no strain is necessary when playing properly.
• Keep the chest up and use full breath support while allowing the tongue to direct pitch changes.