Your personal sound eventually results from many convergences, here are a few of them :
– your body and your instrument,
– your body and the ground,
– inhalation and exhalation,
– your air column and your diaphragm,
– your inner ear and your vocal cords,
– your neck and your waist back,
– your embouchure and your sound source,
– your sound source and your heels,
– your sound and your musical ideas,
and more globally, your own mental images and their subsequent physical support, like your trunk bottom and your verticality feeling, as Alfred Tomatis explains it in The Ear And The Voice.
As described in “air and breathing“, you may visualize that global convergence in your lower back, making you vibrate and forget about blowing, hence avoiding any disturbing stress : the control of the mental power on this matter is outlined in George Kochevitsky’s Art Of Piano Playing.
By freeing the tranverse abdominus muscle and letting it press on your “buoy“ surrounding your pelvis, you can then feel your internal sound flowing down to the ground (another proprioceptive image), and realize that you burn very little air. Such a richest vibration is produced from the optimal configuration of this transverse abdominus, seized at its lowest position thanks to letting it loose at the very end of your natural inhaling : the real sound is laid at this very moment, flowing down through your heels and spreading during this non-pushed exhaling.
The efficiency of those many convergences actually leads you to master your musical expression, together with achieving self-confidence and physical well-being : so radiates Dominique Hoppenot ‘s Inner Violin / Le violon intérieur.
Pull your neck from your back waist.
Build up musical phrases and
not a number of notes.
Your body/mind fusion appears as THE device making EVERYTHING work together.
Michel Ricquier, L’utilisation des ressources intérieures
(translated by Guy Robert)
The inner ear works in combination with the nervous system and brain in order to issue commands to the vocal cords.
David Liebman, Developing a Personal Saxophone Sound
Try to build your solos.