Transcript Summary
I always look forward to the beginning and the end.
Why do so many dollars?
I'm trying to win control.
You don't know.
I've got to tell you, you could not play a brass guitar.
Don't you like me saying that?
Well, think of it.
Let him sink in it.
You could not play any brass guitar without a drum.
And I'm not just talking about articulations.
I'm talking about making the piano.
The tone is probably in the band.
Because there never was a secret to brass playing a brass guitar.
And people will argue.
They all have their own way of working.
And then they get right back on the lift.
The lift only vibrates.
You don't have to work more on the lift than on the lift.
If you don't have a tongue, you wouldn't play.
You'd get a drum over it.
That's all you need to get.
The tongue is the channels of the pitch.
It creates every movement of the heart.
All your flexibility.
The lip drill with the tongue, there's no such thing as a lip.
I'd like to see anyone put his lips into a drill.
That's another list moment that's been handed down
just because someone called the lift and rolled it back.
Whenever.
And then they think that it works by the lips.
The lips do not drill.
They would probably be called a tongue drill.
But they can't change.
All three years it's gone down.
Because that's going to add up to more confusion.
So we still call it a lip drill.
But it's not for lip to tongue.
Tom?
Is Tom here?
Tom's going up here.
I'd like to hear the other person out of your office
and work with them.
But I'd like to be just in his area.
I'm going to be honest with you.
And then the other way around.
As we do this, everyone,
to picture it in yourself,
and you've got to be absolutely honest with yourself,
you can't play well, maybe, but I do it this way.
Remember I told you on the tape,
there's only one way to play well.
There's one way to play well, one way to play well,
but there's many facets of playing well.
Right now, first of all,
I want everyone to try the same thing.
You're here with yourself.
First of all, Tom, you can say it.
Ah.
Ah.
Now tell me,
go over here, tell me where the very tip of the tongue is.
Ah.
Down a little bit.
Behind the lower teeth.
Now everyone try it.
Ah.
Now all you have to do is picture the tongue in your mouth,
and look where the tip of your tongue is.
Ah.
Notice that the tip of the tongue is against the lower teeth.
All right?
Tom, Tom, you can say it.
Now where's the tip of your tongue?
Right behind the lower teeth.
Right behind the lower teeth.
Now everybody say E,
honestly look at your tongue,
look where the very tip of the tongue is.
Now notice it's still behind the lower teeth.
Now I'm going to,
ah,
I'm going to get these bells out there.
Yeah.
All right, now then,
notice the tip is still behind the lower teeth, right?
E.
Right behind the lower teeth.
Now say, ah-ee, ah-ee, ah-ee.
Ah-ee, ah-ee, ah-ee, ah-ee.
Tom, Tom, where is the tip?
When you say ah-ee, ah-ee.
It stays there.
It stays there.
Let's do it again.
Ah-ee, ah-ee, ah-ee.
Ah-ee, ah-ee, ah-ee, ah-ee.
Now notice the tip is still against the lower teeth.
It doesn't.
So the tongue is moving.
Here's your teeth.
It isn't going like this.
The tip stays there.
It's going ah-ee, ah-ee, ah-ee.
Try it again.
Ah-ee, ah-ee, ah-ee, ah-ee, ah-ee, ah-ee.
Do you hear that tongue moving?
Now an interesting thing,
Harlan was right over a hundred years ago.
He said, nobody ever sees it.
The tip of the tip.
He says the tongue has a to and fro movement.
Ah-ee, ah-ee, ah-ee.
See what it's doing?
Ah-ee, ah-ee, ah-ee.
What?
The projector.
Flying.
Yeah.
Now notice when you say ah-ee, ah-ee,
that tongue is doing just that.
Ah-ee, ah-ee, ah-ee.
Do you remember the mouth?
It's not going like this.
It's going too far.
Ah-ee, ah-ee, ah-ee.
Now that's absolutely natural.
That's the way it works.
The tongue is moving around us and works a certain way.
I'm going to tell you the manner of working.
Every mouth is different to some extent.
So you can't say, well, you can do this exactly, this exactly,
like you can fill a section of your mouth,
because every mouth is different.
But the manner is exactly the same in every mouth.
All right, now you've got to be doubly honest with yourself.
Don't try and fix it up with something that you think
or that you thought you thought.
Say ah.
Ah.
All right, now as soon as you see where that tongue is,
I want you to lock it.
Now, I mean, when I say lock it, I want it locked.
Oh, that tongue won't move.
It's stuck there.
Try that again.
Ah.
All right, now while it's locked,
keep it locked.
And no matter what happens, keep it locked.
And then try to say eat it without the tongue moving.
Ah.
OK?
OK.
When that tongue is slapped, the only thing that will come out
is ah.
OK.
All right.
Now then, let's try again.
Let's go.
As soon as you can see where the tongue is,
it dips against the larynx.
You lock it there.
All right?
Lock it rigid, and don't let it move under any conditions.
While it's locked, try to come here to the first.
While it's locked, try to say ah.
But don't let that tongue bite you.
Ah.
Ah.
Ah.
Ah.
Ah.
Ah.
Ah.
Ah.
Ah.
I hear someone saying ah.
Ah.
Ah.
Ah.
Ah.
That tongue is locked.
Like that.
Now while it's locked, eat it.
Eat it.
Eat it.
Eat it.
It's not going to move.
You're not going to say ah while it's locked.
Try to say it.
All right.
Now this is highly important when you're playing.
So make sure you understand it.
Eat it.
Lock it there.
Not trying to say ah, but don't let that tongue move.
You can't do that.
I have had some guys that I've argued.
They say, well, yeah, but eat it.
But the tongue is still moving.
You can't let it move.
Eat it.
Eat it.
Lock it there.
All right.
Now, you find that you can not say eat when the tongue is in the flat position.
You can't say ah when the tongue is in the eat position.
Now go ah-ee, ah-ee, ah-ee.
Ah-ee, ah-ee, ah-ee, ah-ee.
Ah-ee, ah-ee, ah-ee.
Okay.
Now, tell me what my tongue's doing.
Well, that's a lot.
Two, three, four, five, six, seven, eight.
All right.
Now that tongue's a spread around.
It's very similar to you.
What changes the soul?
Oh, yeah.
The tongue.
If you didn't have that tongue in your mouth, you could not change the soul.
I think the, in my case, I think the soul changes.
It stops.
Can't you know in my case if it stops?
Yeah.
All right.
So what makes the soul change?
The tongue.
An old form of torture back in the Middle Ages,
that you can't, because the guy was politically talking when he was telling the key,
they punched him much better than he was talking.
Okay?
No way.
We have a problem.
The movement of the tongue is a change of the soul.
Now, tongue.
Yeah.
Can you move it?
Yeah.
I want you to go.
Where's the tip of your tongue?
See?
Where's the tip of your tongue?
I don't know.
Where do you put it?
It's in your mouth.
It's on your body.
Thanks to you.
All right.
That's right.
Everybody who puts their hands together, it sets that tongue in action.
Let me show you.
Very nice.
Can you set it?
Okay.
Now, I don't know if you can see that, is there any question at all?
Okay.
Now, this is bad.
Did you see your tongue?
Notice that the tip of the tongue is still behind the lower teeth.
Travel's watch.
Visualize that.
I want you to lock the tongue on the lower jaw.
As soon as you see where the tongue is, look at it in your mind.
Now, with the tongue locked, try to whistle those two notes.
But don't you dare let that tongue go.
It's easier.
Now, now whistle those two notes and you see the tongue moving.
All right?
Now we're going to have to process that first thing.
But I'm not going to talk about it.
So let's have nothing to do with the tongue.
Brass playing is very much like whistle.
The tongue is the criteria for all of that.
All right, now let's go over further.
But wait a minute, before we do that, let me tell you something.
Where's your lower teeth?
Did everyone see this?
Yep.
There's your lower teeth.
There's your upper teeth.
Now, the tip of the tongue will take a position right behind the lower teeth.
Now, not down on the gums, because then it turns over and you're arching up in the back.
It's in the very front.
Now, there's the tip of the tongue.
Near the top edge is the lower teeth.
Jack, sometimes you can feel the tip of the teeth on the tongue.
That's the ease of the motion.
That's what I'm talking about.
Well, all of it will flatten out.
Later on, when you get used to it, you'll forget about it.
Once you get used to it, you'll forget about it.
And then the tongue will move when it's old.
But if all of it does fly back to when the teeth were old?
Sometimes.
Sometimes it does.
Later on, it won't seem like it moves that much.
Now, here's the tongue.
First of all, here's your thumb up here after the fly.
Comes to be up here.
Comes around down in the throat.
All right, now the tongue comes up like this.
And down.
The dip is here.
Now, when you say, ow, he's right in the throat.
So you're actually saying the syllables up in the front of your mouth.
Now, the critics will get up and say, no, you can't do that.
Then shut the arrow.
Because not shut the arrow.
This is where it causes wind velocity.
When that tongue comes up, it's like a ventriloquism.
And that arrow goes back up.
Now, it has to move around a lot.
Now, then the critics will say, when you go across these childrens,
there's your childrens is what goes off.
All of your planes on every grassland system,
remember, every grassland system plays exactly the same.
The same basis.
All machines are the same.
You're getting that, aren't you?
But there's no difference between grasslands.
Everything works the same.
Like you'll find some people, especially problems in French on the plane,
if you see a book that says trouble on it,
they won't touch it with their little pull.
There's no trouble.
But you get into the book, it's exactly the same exercise.
It's great.
So you take the same book, and you waste money for French on it,
and then they're back.
A lot of French on it, they didn't want to be in the grassland for a year.
They were.
They were always near the ground.
They were woodpeckers.
They had big problems on the grassland.
But it's still exactly the same.
Trombone, tuba, baritone.
One baritone.
One baritone.
So the tongue works exactly the same on this.
The tongue makes you not only pull it together,
the tongue is never rigid.
You hear some theories that say you anchor the tongue lightly against the lower teeth.
And it'll move.
And you don't try to say, oh, I've got to keep it like that because it's going to move.
That's why it's light.
Now when you say all, this goes up down.
When you say E, it comes right up in the front of the mouth.
All you're playing is going to be right in the front of your mouth.
Like that.
Now we're going to do this.
Some of you know how jazz players do that.
But symphony players don't do it.
That's not true.
It's the same for all instruments.
You play the horn the same.
I don't care what kind of music you're playing.
The horn works the same.
And someone says, well, how do you get a certain sound?
That's you.
You get the concept of sound and you make the sound that you want.
Junior days or whatever.
Symphony orchestra one day, maybe later in the evening, a big swing of jazz band.
Change horns.
Are you going to use your tongue differently?
No.
The horn works the same.
You use the concept of sound as you know.
Because when you get to a certain point in playing, your personality is going to come out
and have more of the virus of what you do.
Those are the things you want to think about.
But the horn works the same.
Now, let's take another one.
This is a card.
In the front of your mouth and your tongue is never rigid.
Okay.
Now, here's the same.
More deep.
Tongue is here.
Now, the concept and the critics is completely wrong.
Because when they say you shut off the air, here's what they're doing.
Ah, hee.
Ah, shee.
It's like that.
In the back of your tongue.
Of course I would shut the air off.
I've even seen books that say you could hee or if.
That's absolutely wrong.
See?
You want to shut that off in the back?
It's not in the back.
That is absolutely wrong.
Now, up here, where you need the resistance, there's nothing.
Here, where you need the resistance, that's where you're getting.
Right here, right here.
Is that?
All right.
Now, let's try somebody else.
They need to make a lot of visual.
And you can all try this when you get home or when you go to bed.
Remember, you must visualize what's going on in your mouth.
Some, that's hard to do at first.
Now, when you look back here.
When you look back.
All right.
Take an A-flat.
When you get to the top A-flat.
I want you to hold it there.
Close your eyes and look at that tongue.
I want you to tell me where the tip of the tongue is.
And then do it.
All right.
All right.
Let's do it again.
And this time, as soon as you see where the tip of the tongue is, you lock it.
And under no condition let it move out of that intermediate E position.
The tongue raises to the E position.
Now, that's that syllable that we talked about.
But you can't tell where that tongue is.
Now, as soon as you see where that tongue is locked, you lock it.
Don't let it budge.
And try to slur directly through an E-flat on the first line.
But don't let that tongue move.
Anything in your power can come down.
But don't let the tongue budge.
You never thought of that digit.
Anyway, so it was easy from down to up.
But it won't.
And then that's what?
The rest of the tongue moves.
Now, let's try it again.
Lock that E-flat.
And this time, put him slow down.
And watch and tell me what the tongue is.
And notice even the jaw dropped to it.
Because when the tongue moves, the jaw moves.
And the whole machine has to adjust that longer.
Why it won't budge?
See the jaw drop down?
So somebody said, oh, it's the lips.
You know, the lip moves.
Of course, when the jaw moves, the lip adjusts.
That has nothing to do with the note.
All right, now that should tell us several things.
If that tongue is in a position where can you give a note, in this case, an A-flat?
That's the only note that's coming up.
You just move that.
You couldn't go up, or you couldn't go down.
Unless that only changes.
So then what makes that note stay in place?
The tongue.
Now, first it says, well, gee, this one place flat.
I can't do it.
It's not the whole place flat.
The tongue move, it's used.
You can't build a tongue without something to do it.
But you can play it into it.
And some will play easier than doing another.
Now, if these are in positions where they're A-flat, that's the only note that will come out.
So that means that the tongue is in a different position from every note on the heart.
Well, you can't, it's minute.
You couldn't measure it, but you can see.
And that's where that tongue comes in.
Let's try some other things.
Everybody says, well, if the tongue is in position, that's the only note that will come out.
Therefore, do practice.
If you learn the position of the tongue for an A-flat above that one, and a double A-flat,
that's the only note that's going to come out.
No other note will come out, because the tongue is in position for that note.
Therefore, double A-flat would be just as easy as A-flat,
because that's the only note that's going to come out.
Now think about that.
But you can't say, oh, yeah, I'll put the tongue there and do it.
No, it's got to be developed.
Now, how do you develop it?
Exercise.
Models.
Who has a Tacoma?
I do.
I can't remember everybody's name, but read the book, because we're going to look at these things.
It was very important that you had it.
Now, I think this was written in what I say in 1877.
Let's tell you how to do it.
If you try to create 157,
it goes back, back, back, back, back, back, back, back, back, back, back, back, back, back, back.
That's all tongue level.
You didn't have a tongue, you couldn't move those notes.
So this is training the tongue to land on the notes of these intervals.
Eventually, you'll get to even miss the tasks.
You can start, you know, playing the audience one day with the dollars this year.
And he asked me, listen about it, how do you start on a double A code and never miss it?
He said, I feel it.
How do you feel it? With lips?
No. Absolutely.
You're tough.
He's practicing his constant energy, myriads of models, models, models.
Slur, slur to slur one, slur to slur two, tongue one, slur four.
Cons of model. Pretty soon that tongue finds all of these things.
That's why he'll practice it every little time.
Somebody comes up and misses it, you say, I understand that, but it's not going to work.
Why didn't you practice?
So the tongue level.
I have a book at the top that's a tongue level exercise.
And it explains it.
It's very difficult.
But if you do it right and develop it gets very easy.
It's very easy to play high notes if you know how to do it.
And then develop it if you can.
All these books, all flexibility books on tongue level exercise.
All right, now I'm going to do it.
Now they say, well, you got a strong lip, you play high.
And one of you heard it, especially when you were younger, school teachers, all that stuff.
Squeeze those lips together.
Let's try it.
Now I'm going to take a deep breath.
Let me help you.
And take a deep breath.
Notice where your tongue is.
And I want you to lock your lips.
And then I want you to go as long as you want.
Go with the tongue level.
And you squeeze those lips all you can until you go high.
What happens?
It shuts the vibration up.
That's all.
Now, if by some chance you lose up the tongue moves.
Sometimes the tongue doesn't touch.
When you think it's going up, the tongue automatically moves.
Let's try it again.
Lock that tongue.
That's all there is.
You shut your vibration.
That's the only mouthpiece the lip doesn't move.
It vibrates.
And that's all.
I can find anyone to put that mouthpiece up there and move those lips under.
You can put your mouthpiece up there.
Can you move your lips under your mouthpiece?
No.
There's no way you can.
And yet, I saw a Tom Jones book out.
And it said, well, you get low notes that form a little hole in your lip.
And then as you go higher, you get that note to go super.
That hole is a bit smaller.
I can find anyone to do that or tell them what lip is in his lip.
The lip only vibrates.
It never changes under the mouthpiece.
I like how a great hybrids have that.
It's a good friend of mine, too.
He said, it's not the jaw that's moving.
I said, it's the air.
All right.
Let's try that.
If it's only the air, let's try it.
You can tell a lot.
And you can hold it as loud as you can hold this time of year.
And see if that talent goes up.
If you can go higher by just going louder, how would you make the channel on any note
to stay up?
I mean, sometimes it's simply logic.
You've got to stay up.
You've got to stay up.
You've got to stay up.
You've got to stay up.
You've got to stay up.
I mean, sometimes it's simply logic.
You've got to stay within the forces of nature to make the piece of light sound.
All right.
Now, let's try more.
We'll give everybody a chance.
Squeeze the lips.
Blow as loud as you can.
Lock the tongue.
See if it blows.
Is it in any way that some of these young players are struggling, struggling, struggling
because they're told all the wrong things?
Squeeze the lips.
Push out the tongue.
And all they say is the capsule will be contrary to making that one whistle.
Notice how the capsule is so useful now.
It's just as good now.
Now, let me...
Where are the slides?
Have you got the machine set up?
Where are these slides?
Right.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
Let's take a look.
All right.
All right.
Wow.
Okay.
Now these drawings in our new book...
these drawings were drawn by many writers
thanks to Dr. Miller.
So they're absolutely true and correct.
Have you got that bag right there?
It's right there.
In the very bottom of it, you'll find one of those long telescope pointers.
Otherwise, I know it's a dead one, so I need to find a place to lock it out of the light.
I don't know what I'd do with it.
I'd put it all in here.
Take the slides in upside down.
Okay, now notice E as in C, the one with C.
Everybody say that.
See where the front of that tongue is?
Right out in the front.
You're near the front of your mouth.
The tongue has a difference, it wants to watch E.
Look down here, and I want you to feel it.
Is that what the tongue is?
And you have to turn it so all sides are closed and controlled.
Not if you're going to look correctly.
E as in C.
Notice here, the camera is rigid.
Has anyone got plants?
Now this one was published in the early 500's.
It's been here all the time, but no one ever sees it.
And when they do see it, they gloss over it to go out and take a look at it.
Never even in the name of God.
Or to plow it over by lip-finger.
Notice what he says.
My own method of tongue is rather unique.
My tongue is never rigid one way.
It rests at the bottom of my mouth.
The end pressed slightly against the lower teeth.
I then produce a stupado by the center of the tongue striking against the work of the mouth.
In other words, not the tip.
In other words, not the tip.
Now the center is front center.
Actually what he's striking is the back of the tongue.
Right behind the tip.
Not up to here.
Again, in the front.
This is the proper way to tongue.
This is the way all the greats tongue.
And this is the way the greats today still tongue.
Even if they don't understand what we like.
The problem there arises that some players when they start, for some reason or another, they automatically just tongue at me.
You know, I heard someone told me one time, they said, well, Clark had a speech with Heather, didn't he?
Yeah, I never heard it.
Yeah, I mean, you read that.
I thought that's the way he had some tongue.
I had another fellow come in my mind.
He went to every teacher in the 70 or 80 years that he was on.
That is, I would set him out to be.
He was tongue-tied.
He told me, never play.
I'll just go in and give him operation and get that tongue open.
I said, don't you do that.
Actually, he was, in a way, kind of fortunate.
The heart, the heart of his heart.
Yeah, he had to have the tongue out.
And by the time he learned to get it up in the front, it sounded like C.
He went back to school in that same year.
And he wouldn't let it happen until overnight.
Just all of a sudden, somebody opened the door and he couldn't believe what had happened.
He was playing in the house.
This was over with no effort whatsoever.
And he went down to the school and they had a bunch of little westbound origins.
And they put him on the first part of his playing.
He's going down to school.
So right away, what happened?
He put you, didn't he?
Any way, but the right way.
All right, now then.
That origin, he is the C in the front of your mouth.
All right, now tell him what's happening.
All right.
Okay, I want you to pick a G or a C.
And when you're, I want you to tell him.
Like that.
C.
C.
So he's swiping right back at you.
It actually feels, once you get into it and go in it naturally,
it feels like you're starting with the front of your tongue, not the tip.
But it's not the tip.
It's right behind the tip.
Now, in the book Total Level Exercise, it starts out on page eight.
There's some exercises for none of us.
Now, don't take this and try to go on the job and play everything.
It's unbelievable.
You've taken most out of the area.
This is a exercise you can practice.
Every day you spend so much time practicing in this way.
Every day you spend so much time practicing in this way.
It'll tell you when you want to use it because all of a sudden, that's the way it gets easy.
Carl Leach, in the first game with Carl.
It's okay, man.
He's in doing his own exercise.
Every day.
He's kept on month after month.
One day.
He's always like, telling that to me all the time.
He says, gee, this has been a good day.
All right, the tongue told me.
I said, well, you can finally do it.
From then on, he just went up like a balloon.
They all tongue this way and they know it from up.
I'd have to honestly know how to tongue that.
You can't take them down and sit there and really work it out for the first thing.
Gee, I didn't know that.
They are perfect.
Clark made a marvelous statement.
The tip of our, how do you work that?
The tongue rising in the mouth to make the mouth shallow is the knack of playing the high toes.
And that statement's in the book.
The tongue rising in the mouth to make the mouth shallow is the knack of playing the high toes.
It's been allowed.
This book is long gone.
What's going on?
In the very front, he makes a very noticeable statement.
He says, the very tip of the tongue.
Notice he said, he said, the very tip of the tongue.
Never rises above the lower teeth.
Now with the things we did, you can see that too and fro.
Here's the teeth.
There's the tongue right there in the top edge of the teeth.
It's just kind of an object.
That comes to be black.
There's an article that I teach you.
It's one guy, he's got no eyes.
He's got no eyes.
He's taking lessons.
He's got lessons.
He's taking lessons.
He's got lessons.
He's got lessons.
He's got lessons.
He made a statement in this book that says,
that I had this kind of a tongue that gave it up after a few days
because he couldn't do it.
After a few days?
No wonder he couldn't do it.
It took him many months before he could use that word.
Sometimes I find, gee, I'm talking about this.
But it does enough.
So he gave up.
That's why I always have problems.
He plays very well.
If you put him under pressure, if he falls down or something, he falls up.
Because he's tongue over the tip of it down up there.
Now let's bring something else up.
I'm putting that on a measure again.
Now we're telling you, when you get up there, the tip is on the lower teeth, right?
Yeah.
Don't change it.
We'll just talk about it.
See, when you get up there, ah, eee, the tongue is right across.
And that won't come up, right?
We'll just leave it.
The tongue is in a position, you know, it won't change.
All right, so when he spurs up, eee, make that tongue in the right position.
Now what happens if you let go of that position?
He'll put the tip of the tongue up here.
Now you've lost that position.
But in order for that note to come out, that's where it has to be.
So when you tell T, up here, the tongue has to work so fast you flip down there so that the note doesn't come out.
So you're giving an action like this, and this is why so many attacks are missed.
But when that tongue is locked in there, that's the note, and that's the whole thing that's going to come out.
So when you go T, P, say T, with the strike, you've got to find a way to always make use of it.
T, above the strike, above the tongue strike.
Every book will tell you that.
Now notice when you say T, where does the tongue go?
It goes right down to the bottom, you know.
Well, now when it doesn't make much more sense, you leave it there all the time.
So I'll try it again.
Slip the sword down again.
And then when you hold it again, start to try it.
But I'm going to put the tongue back up when you use the tongue above the tongue.
And yep, that's the way we talk to tongue.
It's wrong.
The very tip of the tongue never rises above the lower teeth.
That is not off sometimes, because you get to play and relax.
Sometimes it gets like it feels like it's just golden.
But the basic position is there.
Now, I'm going to mention where to go.
I didn't finish it.
You don't have to, AJ.
There's an exercise to start that.
And read pages two and three until you understand and get the idea.
That's where the tongue goes.
Study pages two and three.
And there's no more to talk about.
Now, the exercise starts on a G, second line.
And there's a mistake in the book.
They rep the repeat marks.
You keep tongue to tongue.
With the tip, slightly against your lower teeth.
Tip near the top edge of the lower teeth.
And then you try it.
And you keep doing that a while.
With the horn off, go to A flat.
And then a while, go until the tongue of your tongue goes down and around the air at the top.
It goes to A. It goes up to middle C.
And you always take the syllable T.
That syllable two is the worst syllable with any device.
That was a mistake in translation.
Because the French, how do they get to T?
T, I'm going to say that in Chinese.
It's Q.
Yeah, but they have it tomorrow.
Q, Q.
T, Q, Q.
But their tongue has always stopped going.
You're trying to get a picture that says off.
They're always going, go home.
So when they translate it into English, they use the syllable T.
And actually, I don't think there's two syllables.
As you go up to T, as you go down, they fall.
And let the tongue fight.
You can't outcast the tongue.
You can't say, oh, that's far.
Two, tap, tip, T.
Or you can change it.
T, T.
Or you can change it.
Take E, going up, they fall, coming down.
Now let's have a look.
All right, now this is E.
Notice where I can tell you this.
All of this is final, but that's where you get your resistance.
Right back here.
Now, I'm showing you that so many teaching this is,
well, if you go up, you say, oh, so you get a big fall.
How are you going to go higher by saying, oh, oh, oh, oh, oh, oh, oh?
There's no way.
And yet, how many of you have tried to keep what we call an open throat and go higher?
There you go.
The tongue is over.
But the tongue is up in the front, right here.
Now, the professor at one of the schools down there,
they made a statement that when you say E, you raise the back of the tongue.
Right?
Yeah.
That's what this professor said.
He made a big deal out of it.
He's wrong.
He doesn't understand what he's talking about.
The tongue rises in the front of the mouth as an insane E.
And this is wrong.
Now, this does fall off the head.
Like that.
Like that.
Put the other one back up.
Without it, it's a natural correct way.
But when you're working on these things, what's the number one?
The chest is up.
That brings two rules.
Prepare those to work.
And what we just discussed, the tongue channels a ditch.
Now, just to show you how involved that tongue is,
prepare a mouth, not many of them, but two, three or four of them.
And force it flat.
So the tongue channels a ditch.
If you're playing flat, the tongue is not going to fall off.
If you're playing sharp, it's probably going to fall off.
Tongue needs bite.
You want that kind of thing?
How many of them?
I'm good.
Do you want to try something?
I don't put tongue in on this one.
By the way, we have Walgreensmiths with flexibility here.
Anybody else?
Okay.
Let's get those out.
Let's get them all out.
Dan, do you have any Smith books there?
Walgreensmiths?
You don't have the flexibility.
Any of you that can, Roger.
Yeah.
Any of you that's coming out, crowd around.
All right.
Remember when we got the whole thing again.
You got what?
Three of them.
You got what?
That one's through there.
Crowd around here, man.
So that you can all see.
On the back page, what page did you do?
Page 19.
Page 19.
Thank you.
Now, here's part of the danger that Smith did.
I'm going to tell you part of the danger story.
The Mad Masters have mentioned a lot.
A part of all the types.
But we still won't.
And they have three of the world's greatest.
Of course, there's still a lot.
There's a lot to study for them.
This is the whole thing.
And Dell Singers.
All right.
We've got one of them.
That's that one.
Singers and another one.
And Walter Smith.
Now, Walter Smith was a young man.
You know.
He was important.
A guy that's 42.
And had a spine band.
You know that.
But an absolutely unbelievable player.
Now, part of the trio from the Mad Masters.
The Mad Masters.
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Okay, that's the one I want for next time.
There you go.
Good.
That's mine.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
That's the one I want for next time.
Is there anyone who wants to come up to the side?
Anybody?
No one?
No one?
No one?
No one?
No one?
No one?
No one?
No one?
No one?
No one?
No one?
No one?
No one?
I'm going to do that for everyone.
And very similar to that.
Very similar.
And I'm not showing those slides.
They're just kind of six.
Back in those days, these guys all played cards.
They didn't play cards today.
But today with the election of course, they just played.
And you have to pick it up and blow it first.
Right?
You have to pick it up and blow it first.
And you have to pick it up and blow it first.
And you have to pick it up and blow it first.
And you have to pick it up and blow it first.
And you have to pick it up and blow it first.
And you have to pick it up and blow it first.
And you have to pick it up and blow it first.
And you have to pick it up and blow it first.
And you have to pick it up and blow it first.
Okay.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
Now I'll get on with that.
All right.
I'm nervous.
I'm nervous.
A JavaScript move.
Wow!
This is the most amazing part.
I see the word that完全 booted!
Notice that the jaw is going to move.
Wow, this is the most amazing thing I've seen.
The jaw is moving. Every time you go from E to O,
hear that E, O. What are you trying to do?
Yes, the jaw is dropping.
Before the jaw drops, the lips have to adjust.
So the lip does move.
And some more than others.
I was just thinking about a problem my friends aren't aware of.
We started to build. We built really well.
A question from one of my friends said,
why do you all play dogs?
And we built.
And you see a dog.
So it looks like a dog.
You have to analyze the correct place on it.
The reason the dog moves is because the tongue changes.
The tongue sets up everything.
And you don't.
You don't think about that.
You don't think about that.
All right.
Now.
I want to introduce you to the other people already.
Thank you.
So let's have a round of applause.
John, how many years have you studied before you moved here?
Wow.
So it doesn't have to happen that much.
This wild desire to have it happen by next week is a very dangerous thing.
Don't worry.
John Fry is graphically the biggest warrior in the world.
If they don't have anything to worry about, they'll find something to worry about.
All right.
He's doing very well.
I'm not going to get anywhere.
Thank you.
You know what I'm saying.
It's been a few weeks.
It's been more than half a month.
And then it's been a couple of weeks later.
Oh yeah.
And then they get the idea.
Something's wrong.
I said, what do you mean something's wrong?
You're putting it in the wrong place.
You're putting it in the wrong place.
I said, what do you mean something's wrong?
You're putting it in well.
He said, something's wrong.
It's too easy.
He wanted it to be hard again.
He wanted to worry about something.
So all of you, I'll tell you.
You've been struggling for it.
I've been with thousands and thousands of lessons.
And I bet you I could hang out and survive for a single and then make money.
Just some brass players.
There was one cartoon that I saw.
One guy with the funniest thing each other.
The guy with this big picture.
A big one.
Probably riding feet up there.
A little friend.
And inside you could see another piano.
In the corner.
It was a music teacher.
So inside,
there was a musical gap.
There was a little crowd coming up.
Basically a gap.
And behind him, here's a teacher.
A whole core group.
I want to discuss Brad Ketchum.
Brad is a marvelous great artist.
He's been doing auditions for some of the major symphonies.
And believe me,
you'll get there in less than a minute.
You never get an audition when you first go out.
You go out and you get an audition.
And there's many factors.
It's not always,
you don't pick up a symphony job
always by how you play.
Lots of times they'll have their
players pick up before the audition starts.
But they go too long in motions.
Sometimes you will.
Brad
And there's, on this,
there's something that's very nice.
I've spent before very long
going to hear an awful lot about that.
I don't know many home players, but from here.
Now this is a study
out of the world's method.
Which actually is also
our
It's a French
It's really
unbelievable.
It's very complicated.
I'll leave it there.
It's terrible.
But
it's very difficult.
Look at this.
You want to sit down, Brad?
Do you want to sit down?
Perfect.
I know
when you sit down, it's less.
But if you play a foot note,
it's a natural
position.
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
Ah
You're going to hear them all come out in the next few years or so.
Okay.
Yeah.
Yeah.
Yeah.
You've got to follow his way in there, and you want to go ready to kick him.
But when you go out, and all through Clark's books, all through Tomo,
as you know, he's going to grab play with me and up him.
Always a little supportive.
You go about, whee, whee, whee.
You kick the top note. What I mean by that is a push of the edge.
Much more understood when you say kick.
Whee, whee, whee.
All of Clark's exercises. Whee, whee, whee.
Now if you're singing and exercising yourself, and you're going baa, baa, baa, baa,
you've got to ride on it.
Whee, whee, whee, whee, whee.
You kick the top note quietly.
The air does the work.
It's like an airplane. How does an airplane fly?
Again, by the force of midwinter, which plays the last instrument.
You take off, and you're flying, maybe you're flying at 8,500 feet,
as an amateur, for a common opportunity.
You fly along, and you've got a stick to pull back on.
You pull back on that stick.
That's the flat table that goes up.
And when it goes up, the airplane will go like that.
That's all it can do.
It just stays like that.
Now then, the wind is hitting on the bottom of the positions.
So the airplane will start slowing down.
You're still holding the stick back. It starts slowing down.
When it starts, that means it's not going to fly anymore.
Because the airspeed's too low.
And what happens then, it'll mush around and then it'll go,
whoosh, doesn't have any time.
And that'll scale to the day that time.
The first time that happens.
But that's the way you learn to fly. It stops.
Hundreds of them, in various attitudes.
But sometimes you get in trouble.
That's how you learn to fly.
They told me the airplane wouldn't spin.
You know, you can't spin it.
Don't believe me.
That was pretty scary.
Of course they're not on earth.
But anyway, you're in an odd temperature.
Hey, try it out.
Try it out.
All right?
It won't fly.
What do you have to do to make it fly?
You give it more power.
And it's exactly the same in a fly system.
The elevator is your tunnel.
You raise it.
Now you're still a captain.
And if you're up higher, you're a new star.
I've heard lots of times when a star flies up.
Nighty-ya!
Either the tongue drops or the air support drops.
That's why the chest follows up.
Now then, the elevator comes up.
You have to give it more power to climb.
So when you get it stronger, you kick.
Nighty-ya!
Because the air does the work.
The tongue drives the pitch.
So that's why you practice this all the time.
That's trommels, stretch ones.
It's all the same.
The same thing is going on all the time.
So when you practice electric trot,
that's why it's possible to breathe.
You have nighty-ya, nighty-ya, nighty-ya,
nighty-ya, nighty-ya, nighty-ya.
You kick the top note always.
Breathe, breathe, breathe, breathe, breathe, breathe.
Now, some music professor might criticize that.
He'd say, no, no, get that spoon.
All right.
In time, you get a spoon.
But at first, you must hear that kick.
Eventually, when you get the map and you play it easily,
then you can get the kick without suffering.
That's it.
Everything adds up to practice.
So you get the map.
Remember Clark's statement.
The tongue rising in the mouth to make the mouth shout
is the knack of playing high-fives.
He told all of the students after.
Yeah, I see guys who claim they studied with Clark
saying they promised things.
Got their students buzzing, pushing their stomach up.
But what it comes down to later in the study,
they took a few lessons.
That's not strange.
As it takes four to five years to turn out a player,
now, when you've got a lot, you get some experience.
Four to five years.
That's not very long.
You used to not think you'd go to college for four years.
Maybe eight.
And then you come out and stop that question.
That's not very good.
But in four years, if you really work and do it right,
you can start to get off and play.
You get some experience.
And that's not hard to get out of college.
That's just a few facts.
Mike, how many kids do you know who want to go to school?
You came out of school.
Yeah.
How's your partner?
Me college?
Yeah.
Me, yeah.
Yeah.
And now he's trying to play for you.
I mean, it's a shame that you can swipe that.
They're angry, but I had guys that could see him
if he'd done this 20 years ago.
Well, they're awesome.
That's right.
None of us learned like that.
But one time, and I'm not afraid to say it,
one time, I was playing with the Revengers.
They're practicing on the ground.
They're practicing on the ground.
Some guys won't admit that they didn't play good.
But a lot of the greats would come out,
and you have an idea that they always play that way.
Well, they didn't.
Because they can't play like they play anyone else.
And some of them would say,
oh, why'd you just play like that?
Well, you can't.
You can't.
All right, now, is there any questions
or anything you don't understand
about what we've done today on the level?
Anyway.
Is there anything you don't understand about tongue
with the tip of the tongue behind the teeth?
Key tongue, yes, that's very fine.
But I used to take this to me,
and I would not mention the tongue with the tongue with the tongue.
I had it in the K tongue for a long time.
Then I tell it on, I'm going to modify it in the K tongue.
And in particular, it is the same key with the tail.
So it's a natural part of the tongue.
The K is from the back of the tongue.
You must take the same syllables.
Key and the upper nose.
And when you double tongue,
you're in this proper way of tongueing,
you're going to double tongue right in the front of your mouth.
That's it.
It's not TK, TK, TK, TK, like that.
It's right in the front of your mouth.
Oh, you can do it so fast.
I had a few words.
No, he's not.
Dan McBurton.
He's pretty good at talking like this.
He did a lot of speaking.
He did it the other day.
Now, when I had, talking about tongueing,
I had my tongue in 144.
Has anyone done that before?
Good.
Tongue itself is a thing.
There.
Did you all hear that?
That's 144.
Now, I could tongue 416th most of your tongue.
I could do that for one solid minute in one breath.
Single tongue.
That was a pretty good tongue.
I could tongue faster than that for a short period.
But for one solid minute,
I could take the practice.
I had the muscle in there.
I had a sweet hand on the clock.
And I'd sit there and tongue without deviating
for one minute in one breath.
But for three years, you get the rest of your tongue.
But that was a practice.
Some days, you get so you figure,
you can't do it in practice.
But it does.
Now, Dan McBurton, I can't go for a minute.
But he came in one day.
And for each trial, he could tongue a tongue of 160.
Now, that's pretty good tongue.
Liberally, they're strong for tongue of 160.
But they could do it in practice.
But I mean, when anyone did it, we did it better.
I don't have 180.
I only have 176.
Well, I can explode.
But I could do it indefinitely in 180.
Single tongue.
Single tongue.
It was unbelievable.
That's right.
That's easy.
That's easy.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
Now, you know how to staff when it comes to character.
I want to show you that in Santa Claus.
In fact, you can't see that just going one way and then one way.
Going on about this, you go back to Antoine's book that is setting up, there's an exercise that Ford developed, that's the one I worked on.
I worked on it until I started out, I think I started out in 96.
As soon as 96 got comfortable, it's got about one notch.
Now, generally everybody in there, even if it's going to hit a couple of several notches, it won't work.
One notch. Now you can hardly notice that, but it's faster because it's tight.
Alright, as soon as I got that comfortable, we'll do about one more notch.
Never admit that some days that was hard, we actually not, but I stayed with it.
In three years, I could do 144 in depth.
And that took me all the time to plan for it, because you can turn it faster than that, too.
So I'm going to leave, but I'm bored.
Now, Saint-Jacques is a book of models.
This one exercise on page 157, the English studies for the tongue level.
On the first variation, he has 22 different models.
This one.
22 models.
Now, most players though, they look at that and they play the exercise and that's it.
Everybody get the job done.
You have to do every one of those models until they work easily and correctly.
Rich is a real treasure that way.
He calls me out when he needs me.
Is it alright if I do some more models?
In other words, maybe not more.
That's great.
And more models are better.
That's what the one day when they come in there, so it's a phenomenal training machine,
is because he doesn't do it just in the eyes of the book.
He takes on some of the darndest models, the difficult ones, and then he practices them.
But it fades off.
The only person I ever heard of came in there.
Oh man, that's, you know, the trouble is though, he sounds like a Mexican.
I said, he is a Mexican.
I'm wrong.
I'm pretty sorry.
Man, that's quite a fan.
But I want to tell you something.
If you want to play jazz, you'd be unhappy with what you do.
You could take those violin songs and play them better than violins.
But that wouldn't make you happy.
If you want to play jazz, you'd be smuggled with us to get you.
I remind you of Joe Bernoulli here.
You remember Joe Bernoulli, the jazz violinist?
Unbelievable jazz violinist.
Tremendous jazz.
Maybe you can't lie.
I can't lie.
But he made that statement too.
He says, the only way you can make a violinist swing is at the end of a rope.
So sometimes that's the only thing you don't feel.
That's what others do.
Okay, I guess that time is up now.
Thanks for being with us.
Good audience.