The Musician Sound From Lows To Highs
The broad breathing allows the sound column to vibrate homogeneously over the whole tessiture.
Upper And Lower
The low pitch vibration spreads in the ground and in space from your posture stabilized on your roots, as if you were sitting on the sound source. Keeping concentrated on this balanced position, you release then your whole body at the very end of your exhaling, to let your spontaneous inhaling come in, maintaining this fat and low voice on a full vibrating pitch : you develop this fat and vibrating sound from practicing the overtones control, as recommended by Joe Allard and by David Liebman.
You can quietly play upper and upper notes in the pitch range, reaching the higher register and the related overtones, still driving this low vibration from your heels, and above all, without modifying anything between your embouchure and your diaphragm : any unwanted alteration of the sound must be avoided by letting loose and relaxing down to your breathing center point, even reaching down to your heels !
Doing so, the high register sound can be kept rich and homogeneous by extending the downwards feeling to your roots : keep thinking low in the highs !
This way, and counter to some misconceptions, carefully dismissed by Alfred Tomatis in The Ear And The Voice, you ensure the sound fullness by maintaining from lower to higher pitch this body configuration of your air column and of your embouchure throughout the whole range : among other benefits, this brings a gratifying comfort feeling and allows the legato playing between the end-notes of the tessiture.
Anticipating the vibration of the sound column from your heels fosters your verticality and brings a rich and consistent voice throughout the tessiture, reflecting the body-space trade amplified by the musician’s instrument : the invariance of this body attitude ensures an easy emission of lower and higher notes as well.
listen to your enjoyment
The homogeneity of the sound material to be sculpted makes the whole pitch range available to your fingers’ work (combined with the tongue of the wind players) : on this ground, the musician’s personal speech leans on the spectral richness of the overtones of his inner vibration, thanks to a uniform technical ease ignoring the alleged difficulties related to playing low or high notes.
During that process, as Robert Pichaureau used to say, “You should behave like a statue ! “ and “Mastering your inner vibration is a treat“. This way, you realize how practicing your instrument brings you enjoyment and self-confidence.