The Effect of Changing Syllables to Facilitate Slurring by Middle School Trumpet Students

Author(s): Timothy A. Paul and Phyllis M. Paul

Source: Contributions to Music Education, Vol. 36, No. 1 (2009), pp. 41-51
Published by: Ohio Music Education Association
Stable URL: https://www.jstor.org/stable/24127217
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Contributions to Music Education Vol.36, No. 1, pp. 41-51.

Timothy a. Paul and Phyllis m. Paul

University of Oregon

The Effect of Changing Syllables

Facilitate Slurring by Middle Sch
Trumpet Students

This study sought to determine if using changing syllables would facilitate a smoother s

for middle school trumpeters playing ascending perfect fifths, both natural and valve

Participants (A/ = 42) were randomly assigned to one of two groups, control and expe

mental, and each performed a pretest and a posttest. Students in the control group recei

no instruction concerning the use (or non-use) of varying syllables. After the pretest, p
ers in the experimental group were instructed to utilize specific syllables ("tah" and "e

Results showed that trumpeters using changing syllables performed significantly better

<, .05) on the overall posttest than did those who did not use syllables. Although natur
slurred intervals had a lower probability than did valved slurs, both improved significan

(p < .01 and < .05, respectively). In addition, note (pitch) accuracy increased significant
(p < .05) for students in the experimental group.

The process of learning

tion to studying to play
and deciphering the anomenclature
brass instrument is multifaceted.
of music, students must In addi
acquire the basic physical aspects of sound production, including diaphragmatic
support, correct embouchure, and coordination of air to slide or valve change.
Many pedagogues purport that players also must learn to manipulate portions
of the oral cavity, such as the jaw, throat, and teeth. This study focused on the
function of the tongue as it relates to the production of various syllables and their
effects on slurring.

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Contributions to Music Education

An extensive review of brass and trumpet method books revealed mixed

perspectives concerning the use of syllables. Although a number of these teaching
guides included references to the contributing functions of several oral cavity
mechanisms, at least half of them did not mention employing syllables in any
capacity to assist playing (e.g., Fricke, 2002; Getchell,2002; Ruettiger, 1976;Weast,
1980). However, there is evidence that recommendations for the utilization of
varying syllables have existed for at least four centuries. Two early Italian trumpet
method books (Bendinelli, 1614/1975; Fantini, 1638/1972) include vowels and
syllables as a way to insure proper trumpet calls. Similarly, a number of well
known 20th century method books include references to the practice of changing
syllables (e.g., Arban, 1982; Clarke, 1915; Colin, 1980; Farkas, 1962; Gordon,
1965; Irons, 1938; Schlossberg, 1937).
As with method books, a broad search of pedagogical articles indicates no
agreement about the application of syllables to facilitate trumpet technique.
While some authors do not advocate the practice (e.g., Carter, 1966; Schneider,
1982; Stoutamire, 1972), others support the notion and offer various examples for
incorporating syllables into exercises and rehearsal (e.g., Fitzgerald, 1949; Jenkins,
1970; Lillya, 1991; McKee, 1962; Ridgeon, 1986; Whitehill, 1966). However,
there is a consensus among all of these practitioners indicating that the trumpet
can be divided into three ranges - low, middle, and high - and those that support
the use of syllables typically suggest "toh" or "doh," "tah" or "dah," and "tee or
"dee," correspondingly.
An examination of the literature reveals a dearth of documented research

regarding the use of vowels or syllables to enhance slurring techniques among

wind instrumentalists. In a recent study, Sullivan (2007) investigated the effects of
syllabic instruction on the articulation accuracy of high school woodwind players.
However, despite the centuries-long practice of utilizing changing vowels or
syllables to facilitate trumpet playing, there appear to be only four experiments that
have attempted to empirically analyze this practice. Hall (1954) used radiography,
spectrography, and photography to examine tongue, jaw, and throat actions
that accompanied transitions between low, middle, and high registers. Results
showed that where there were shifts between the middle and high ranges, the
nine accomplished trumpeters investigated moved the high point of the tongue
forward. All performers switched to an "ee" vowel formation in the altissimo
register (high Eb).
Haynie (1968) undertook a series of experiments in which he used a fluoroscope
and a videotape recorder to document a number of oral cavity operations that
contribute to trumpet technique. Approximately 100 university brass students, as well

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 Timothy A. Paul and Phyllis M. Paul

as professional musicians, played a variety of exercises in all registers. Data revealed

that all participants arched the tongue, and that there was a more exaggerated arch
for the soft, slurred arpeggio passages and less for loud tongued passages. Results
also indicated that when ascending into the upper register, the opening between the
teeth got smaller and tongue placement for articulation moved further back behind
the upper teeth. In a later study, Amstutz (1970) found that the tongue rises as
the pitch ascends and lowers as the pitch descends, suggesting that the back of the
tongue is a critical factor in extending range.
To date, it appears that only one investigation has attempted to ascertain if
the use of varying syllables can affect pitch. In Hiigels (1967) study, six musicians
-two trumpet, two horn, and two trombone players—performed a variety of
exercises. Three participants did not use syllables, and three did. In the low range,
players used "tah," in the medium range, "too," and in the high range, "tee." X-rays
showed that the tongues of all performers raised as the pitches got higher and
lowered as the pitches descended.
Since the 17th century, the use of changing syllables to affect trumpet
performance has been included in method books, and numerous pedagogical
articles have discussed the topic. However, there is a paucity of empirical data
regarding this subject and interestingly, it seems that no studies have been conducted
since Hiigel (1967), over 40 years ago. In addition, existing investigations have
only utilized collegiate and professional musicians, and none of the researchers
attempted to discover if specific instruction concerning employment of varying
syllables affects performance outcomes. As a result, the present study sought to
determine if changing the syllable, in an ascending slur of a perfect fifth, would
facilitate a smoother slur for middle school trumpet players. In addition, we
endeavored to ascertain if students would perform differently on natural and
valved slurs and if using varying syllables would improve note (pitch) accuracy.

Method

Forty-two middle school students, from one large school with a well
established comprehensive instrumental music program, were participants in this
experiment. The students chosen had been playing trumpet for a minimum of
three months. The two band directors at the school, seasoned teachers with 46
combined years of experience, determined that each student had the sufficient
playing range necessary to accommodate this experiment.
A researcher-designed set of examples was used for both the pre- and
posttests. Students played six different ascending slurred intervals as written for

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Contributions to Music Education

B-flat trumpet--C-G; E-B; B-F#; F-C; D-A; Bb-F; to counteract "learning the
test," examples were separated by five note scale patterns, alternating between
the C and F scales (see Figure 1). The interval of a fifth was selected because
it provided a good mixture of notes within the natural harmonics and valve
combinations on the trumpet.

Ex. 11

Ex. 2

Ex. 33

Ex 11:

Figure 1. Pre/Posttest (written for B-flat trumpet)

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 Timothy A. Paul and Phyllis M. Paul

Based on ability demonstrated during class participation, their middle

school band directors matched pairs of students with comparable performance
levels, and then each member of each pair was randomly assigned to either
the control (n = 21) or treatment (n = 21) group. Pre- and posttests, as well as
practice for the control group and instruction for the experimental group, were
conducted individually.
For the pretest, students in the control group were given 10 seconds to
study each example before performing it. During that time, they could rehearse
fingerings but were not permitted to play. Immediately following the pretest,
for each example, participants were given 10 seconds to name the notes and
simultaneously practice the corresponding fingerings. They received no directions
concerning the use (or non-use) of syllables. When the individual practice time
concluded, students performed the posttest examples.
Students in the experimental group completed the pretest in the same
manner as those in the control group. After the pretest, the syllables "Tah" and
"Ee" were added under the first and second notes, correspondingly, of the six
ascending intervals. Next, for each example, students were given 10 seconds to say
the indicated syllables while fingering the notes. Experimental group participants
then played the posttest. The syllables "Tah" and "Ee" were utilized with the
experimental group because (a) these students' band directors taught them to
articulate on the trumpet using "Tah" and using the status quo would remove
an additional variable, and (b) these young players may have been approaching
the top of their ranges, and the majority of the literature that addresses this issue
advises using "Ee" for the upper register (e.g., Arban, 1982; Crain, 1967; Libs,
1993; Schlossberg, 1937).
Students' performances were digitally recorded, after which the files were
edited to remove the scale patterns, leaving the 12 performances of ascending
perfect fifths - six from the pretest and six from the posttest. The files were
randomly ordered, and three university music professors, all brass players with
extensive public school and university teaching experience and adjudicator
credentials, evaluated the performances in terms of slur smoothness and correct
notes (pitch). A total of 500 files were evaluated (because of various issues, four
files could not be evaluated). The rating scale with which the judges assessed
student performance can be seen in Figure 2. Inteijudge agreement, computed
using Pearson Product-Moment correlation, yielded high positive coefficients (r
= .96, .99, and .98).

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 jntributions to Music Education

Smoothness
Smoothness of Slur
of Slur Correct
Correct Notes
Notes
(Pitches)
(Pitches)
Points
Points Points
Points

33 ==perfect
perfectslurslur
(smooth
(smooth
connection
connection
between pitches) 11 ==correct
between pitches) correctnotes
notes
(pitches)
(pitches)

22 ==adequate
adequateslurslur
(somewhat
(somewhat
smooth smooth
connectionconnection 00 ==incorrect
incorrectnotes
notes
(pitches)
(pitches)
between
between pitches)
pitches)

11 ==weak
weakslur
slur
(connection
(connection
betweenbetween
pitches is pitches
not is not
smooth)

0 = no slur (both pitches tongued)

Figure 2. Judges' Evaluation Rubric

Results

After judges' scores were summed for each student across all trials (combining
slur smoothness and note accuracy), we used a Mann-Whitney U test to compare
the two groups' overall pre- and posttest scores. As can be seen in Table 1, we
found no significant difference between control and experimental pretest scores,
indicating the two groups were comparable. In contrast, comparison of posttest
scores revealed that participants in the experimental group performed significandy
better (z = -1.98, p < .05) than did those in the control group. For additional
analyses, we extracted scores for the following subcategories: slur smoothness (SS),
note accuracy (NA), natural slurs (NS), and valved slurs (VS). Results, analyzed
via a series of Mann-Whitney U tests, showed no significant differences between
groups for any of the pretest subcategories. However, posttest comparisons of the
subcategories SS (z = -2.11,p < .05), NA (z = -3.04,p < .01), and NS (z = -2.22,
p < .05) showed a difference between the two groups, with experimental group
scores significandy higher than those of the control group (see Table 1).
We used a Wilcoxon Matched-Pairs Signed-Ranks Test to compare within
group overall pre- and posttest scores (see Table 2). Control group results showed
no significant pre/posttest difference, but data indicated the use of changing
syllables significandy increased the posttest performance of the experimental
group (z = -3.18, p < .01). We then used separate Wilcoxon Matched-Pairs
Signed-Ranks Tests to analyze group pre/posttest scores within subcategories
(SS, NA, NS, VS). As can be seen in Table 2, comparisons indicated no significant
difference between control group pre- and posttest performances in any of the
subcategories. In contrast, experimental group posttest scores, in every subcategory,
were significandy higher than those on the pretest: SS (z = -3.06,p < .01); NA (z =
-1.88,/ < .05); NS (z = -3.04,/ < .01); and VS (z = -2.17,/ < .05).

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 Timothy A. Paul and Phyllis M. Paul

Table 1
Pre- and Posttest Comparisons between Experimental and Control Groups
Experimental Control
Subcategories z
M(SD)
M (SD) M(SD)
M (SD)
Pretest

Overall»
Overall* 28.87 (13.13) 28.13 (17.22) -0.64

Slur Smoothness+ 15.40 (11.66) 15.80 (14.12) -0.53

Note Accuracy 13.47 (3.02) 12.33 (5.02) -0.47

Natural SlurA 8.87 (5.93) 8.93 (7.27) -0.19

Valved SlurA 6.53 (5.97) 6.87 (7.99) -0.81

Posttest

Overall 45.53 (15.92) 29.87 (19.36) -1.98*

Slur Smoothness 29.80 (15.89) 17.33 (14.63) -2.11*

Note Accuracy 15.73 (2.84) 12.53 (6.33) -3.04**

Natural Slur 16.40 (7.63) 9.20 (9.58) -2.22*

Valved Slur 13.40 (9.52) 8.13 (5.87) -1.48

Note: 'p < .05; **/> < .01.

• Out of 72 points possible (sum of 6 examples x 3 points for each slur + sum of 6 examples x 1
point each for notes x 3 adjudicators).
+ Out of 54 points possible (sum of 6 examples x 3 points each x 3 adjudicators),
n Out of 18 points possible (sum of 6 examples x 1 point each x 3 adjudicators).
A Out of 27 points possible (sum of 3 natural or 3 valved examples x 3 points x 3 adjudicators).

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 jntributions to Music Education

Table 2
Pre- and Posttest Comparisons within Experimental and Control Groups.
Control
Subcategories
M(SD) ^ontro, wj|coxon ^
Experimental
Wilcoxon W
Subcategories z
M(SD)

Pretest
Pretest

Overall»
Overall* 28.87 (13.13)
28.87 (13.13) 45.53 (15.92)
(15.92) 4.0
4.0 -3.18**

Slur Smoothness+ 15.40

15.40 (11.66)
(11.66) 29.80
29.80 (15.89)
(15.89) 6.0
6.0 -3.06**

Note Accuracy 13.47 (3.02)

13.47 (3.02) 15.73
15.73 (2.84)
(2.84) 15.0 -1.88*
-1.88*

Natural
Natural SlurA
SlurA 8.87
8.87 (5.93)
(5.93) 16.40
16.40 (7.63)
(7.63) 4.0 -3.04**

Valved SlurA 6.53

6.53 (5.97)
(5.97) 13.40
13.40 ((9.52)
9.52) 14.5
14.5 -2.17*
-2.17*

Posttest
Posttest

Overall 28.13 (17.22)

(17.22) 29.87 (19.36)
(19.36) 40.0 -1.14

Slur Smoothness 15.80 (14.12)

15.80 (14.12) 17.33
17.33 (14.63)
(14.63) 30.0 -1.41

Note Accuracy
Accuracy 12.33 (5.02)
12.33 (5.02) 12.53 (6.33)
12.53 (6.33) 32.0 -0.09

Natural Slur 8.93 (7.27)

8.93 (7.27) 9.20
9.20 (9.58)
(9.58) 48.5 -0.21

Valved Slur 6.87 (7.99)

6.87 (7.99) 8.13
8.13 (5.87)
( 5.87) 6.0
6.0 -1.04
-1.04

Note: *p < .05; "p < .01.

• Out of 72 points possible (sum of 6 examples x 3 points for each slur + sum of 6 examples x 1
point each for notes x 3 adjudicators).
+ Out of 54 points possible (sum of 6 examples x 3 points each x 3 adjudicators),
n Out of 18 points possible (sum of 6 examples x 1 point each x 3 adjudicators).
A Out of 27 points possible (sum of 3 natural or 3 valved examples x 3 points x 3 adjudicators).

Discussion

This study sought to determine if utilizing specific syllables would assis

middle school trumpet students in playing a smoother ascending slur of a perfec
fifth. We also endeavored to discover if participants using syllables would perfo
differently on natural and valved slurs, and the effect on note (pitch) accuracy. For
two students were randomly assigned to a control (n = 21) or experimental (n = 2
group. Participants in the experimental group received instruction concerning th
use of syllables while those in the control group were given no additional trainin
When overall between-group posttest scores (those combining judges' scor
for slur smoothness and note accuracy) were compared, results showed that
use of syllables significantly improved the students' performances. Furthermore
analyses of subcategories - slur smoothness (SS), note accuracy (NA), and natural
slurs (NA) - revealed significant posttest differences in favor of the experiment
group. Valved slur ( VS) performance was the only subcategory that did not show
significant posttest difference between groups. In addition, we compared within

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 Timothy A. Paul and Phyllis M. Paul

group pre- and posttest scores. Although data indicated no significant differences
for control group performances, results showed significant improvement, across
all subcategories, for students using syllables. Natural slurs had a lower probability
than did valved slurs, but given the increased number of challenges that influence
the playing of valved slurs (e.g., different combinations of valves being pressed
and varying corresponding musculature, coordinating the speed with which
valves are compressed with the speed of air and alignment of changing syllables,
compensating for the changing tube length), this is not a surprising finding. As
with Sullivan's (2007) investigation, which revealed that a multisyllabic approach
improved woodwind articulation accuracy on both rehearsed and sight-read
music, the current findings seem to offer positive outcomes concerning the use of
syllables, here in relation to slur smoothness and pitch accuracy.
The present data appear to indicate that utilizing syllables to increase the
smoothness of ascending perfect fifth slurs can be effective with very short
instruction time. Students in the experimental group verbalized the suggested
syllables, while simultaneously fingering the corresponding notes, only one
time before playing the posttest. Again, these results are consistent with those
from Sullivan's (2007) experiment, which showed a significant improvement in
woodwind articulation after minimal direction involving the use of syllables.
Results of this study should be considered within the context of its
limitations. First, data show that students from both groups improved under all
test conditions, so it is likely that repetition of the task produced some of the
improvement. However, the statistical analyses indicate a significant differential
effect in favor of the syllable group, whose practice time was not greater than the
control group's. Second, since the participants here were middle school trumpet
students, investigations with more advanced players or performers on different
brass instruments may not reveal the same results. Also, the interval was limited
to a perfect fifth and caution should be taken when generalizing these results
to different intervals or instruments. Last, considering the number of inferential
analyses conducted, there is always the possibility of Type I error.
Given that teachers of brass players at all levels are constantly searching for
ways to develop more effective teaching and rehearsal techniques, future research
could replicate the present study with larger samples of students of diverse ages,
on different instruments, and with varied intervals and pitches. Also, technology
could certainly assist with research involving the oral cavity. The only way to
truly know if students in this study were employing the indicated syllables, or
just improving because of practice, would have been to photograph their internal
oral mechanisms while they were playing; these techniques are not uncommon

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Contributions to Music Education

in vocal research. Another interesting area of research might involve the use o
syllables not rooted in languages with a western European foundation. However
even with all these possibilities, the data would seem to indicate that the use o
syllables is supported in efforts to improve slurring by trumpet players and is an
area well worth pursuing, both for didactic and research purposes.

Accepted August 15,2008

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