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    Ілля Баковецький
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    11 views84 pages

    Pushkarev - Aperatura Yazyka

    Uploaded by

    Ілля Баковецький

    Copyright:

    © All Rights Reserved
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    Sa bE ANEPTYPA A3bIKA ®opmupoBaunve vu pa3sButTue npu urpe Ha Tpy6e TONGUE APERTURE METHOD Formation and development for trumpet COJEPXKAHHE 4 Menuet ssbika 5 @opwuporane nrpowork mosMUNH sSBIKA nonocti pra 8 Aneptypa ssbika H aprukynauna u SaykonsmneyeHne 15 PASHEM 1 TOJTOPbI OKTABBI 16 Paswunika T 18 Coeanuenne peruerpos 27 ‘Asuixonoe BHOparo 28 Apruxyaans, 38 PASE I ABE OKTABbI Cocamnenite HitkHero M BepxHero perHeTpoR. 39 Paswasika IL 48 Ynpaxnerns Ha aeraTo 61 Jlononimrerpneie ynpaxnenns 67 PASE IL PA3BUTHE BEPXHETO PELHCTPA Paswnika HL CONTENT 4 Tongue’s muscles 5 Forming the tongue playing position in the mouth cavity 8 Tongue aperture and articulation " Sound production 15 CHAPTER I ONE-AND-HALF OCTAVE 16 Warm-up 1 18 Combination of register Long notes 27 ‘The tongue vibrato 28 The articulation 38 CHAPTER IL ‘TWO OCTAVES Combination of the low and high registers 39 Warm-up I 48 Slur exercises or CHAPTER IT DEVELOPMENT OF THE HIGH REGISTER Warm-up Il (06 asmope... ‘ BO BpeMA Mrpbl COrOB (da, dio, du) TIpu- HatOT PasIM4HOe MONOXKeHHE ASbIKY, YTO MOMOTacT HCMOJIHHTeEO (OPMHPOBaTb WM KOHLCHTpHpoBaTE BOSIYUIHbIi MOTOK B pOTOBOM NONOCTH B HYKHOM 8 The various articulatory movements of the tongue while playing differ noticeably from the articulation in speech. The pronunciation of the consonants f, d, k or vowels u, a, i in speech have a remote resem- blance to the mental "pronunciation" of the same speech phonemes during playing brass instruments. The articulatory techniques of the mental "pronunci- ation" of syllables (da, du, di) while playing, put the tongue into different positions, helping the performer to form and concentrate the air stream in the mouth cavity in the necessary direction, thus influencing themodification of the shape and elasticity of lips and JU Hero HaNpanneHus, okaIMBAN TeM caMniM BIMSINMe Ha H3MeHEHMe (bopMEL M ynpyrocTH TYG ux yHKuMOHUpOBAHHe. Mexons 13 9t0r0, apruKy- Asus M opMHposaKe HrpOROH nosMHNM AsBIKA ODKHE GuITe B TeCHOIt BSAMMOCESIK C aneprypoit 190, TO ect sIRAATECH KAK Gb ee CocTaBHOM YaCTBWO. Ha cxewax (Puc. 5), Koropste mepepuconanht © PeHTTeHOBCKHX CHHMKOB, ASIKA, HIDKHE! eMOCTH, EIOTKH H HaropraHHiKa BO BPEMA NpoMSHECEHUs TIACHBIX — ue, 4,0, y B pew, ToKasano nosoxKeHHe tongue lover rest 1. The rest Tloxoti, a <6 DONIC 7 Puc. 5 Thacubte 8 pewmt (noxoil, u, e, a, 0, y) Kak sino, mpi sannem dbopmuponannns sauKa (@, 0 ¥) ropran onyekaetea Hastrop- TAHHMK nIpHKpHinaerca, ueatocth or XOMMT Hasad BMeCTe c jMIPKEHUEM ABLIKa. [po- bas, HUH MCXOANT He ToAPKO HapymleHMe cno6oaHoro NPOXOXTCHHS BOSAyMIHOTO NOTOKA, HeOGxomH- MOTO BO HpeMsI HIEpE, HOM HaMeHeHMe ma PaaslexbHocTH nepemHux 3yGon BepxHeli 1 HIDK- Hei Yemoctn pu opamporansmt posnoit m10- their functioning. Hence the articulation and forma- tion of the tongue playing position must be closely related to the lip aperture, i.e. as if they were its com- ponent. The schemes (Fig. 5) that are drawn after the X-ray pictures, show the position of the tongue, lower jaw, larynx and epiglottis during the pronouncing of the vowels & in speech. Fig. 5 The vowels in speech (the rest,, 8.2..5,60 One can see that in case of the rear formation of the tongue, (45,60) the larynx goes down, the epiglot- tis is partly closing, the lower jaw recedes with the tongue movement. Not only the free passage of the air stream, necessary during playing, is disturbed, but also the position of the teeth changes while forming the flat area for the mouthpiece support. OF course, fone can intentionally pull out the lower jaw and thus ensure that the teeth are parallel, keeping mean- 9 WalkH WI OMoOpbl MyYHAWTyKa. KoHetHO MOXXHO HCKYCCTBCHHO BbUIBHHYTb HHDKHIOIO YesIOCTh UW oOecneyHTb TEM CaMBIM [apasVICIbHOCTh MmepeHAXx 3y60B, OCTaBHB MpH 9TOM 3anHee cbopMHpoBaHue a3biKa (KaK TIpH pedH), HO MIpH 3TOM B MBILILMax HWwxKHeH YemIOCTH H ryO6HOM alimapare tWosBMTCA JIMLUHee HalpsdkKeHHe, KOTOPOE OTPHLaTeIbHO CKa- xKeTcA Ha urpe. OT noNoOxKeHHA KOPHA A3bIKa 3aBHCHT HaCKOJIbKO cpo6oreH GyteT LocTyM BOSLyxXa H3 NerKHX Yepes ropTaHb M TOTKy B MomocTb pra. KopeHb A3bIKa HMEeT MBILUCYHbIe COeMMHEHMA C HaTOpTaHHHKOM. Ip H43KOM MOIOX%KCHHH KOPHA A3bIKa HallropTaH- HK TIpHOmMxKaeTcA K 3allHeli CTeHKe [MOTKM KM OFr- paHuunpaet cBobogHbI BByOX. Puc. 5 (4-5). Ecan Xe KOPeHb A3bIKa OyAeT BbLIBHHYT BIepey M BBEpX, TO TIpM 9TOM MOOKeHMH HalropraHHHK OysleT vMeTb Oonee OTKPLITOE MOMOXCHHE, YTO LacT BO3Ly- XY MIPOXOZHTb Yepes TOpTaHb UM TAOTKY Gomee CBO- 6onHo. IIpH TaKOM BbICOKOM MOJIOXKCHHH KOPHA s13bIKa B MONOCTH PTa JOJDKHO NOABHTbCA OLLYILeHHe cBobosHOrO, OTKPLITOTO Tropsla WIM OLyleHMe uv B ropuie. PeHTreHOBCKMe CHHMKH MOKa3biBaloT Gowee OTKPbI- Toe MOMOXKeHMe HalropTaHHuka u GoT_UIHi OGbEM B PMOTKe MIpH MpOW3HECeHHH U, TAK KaK 3BYK 4 IIpO- H3HOCHTCA TIpM MepesHeM ykKilaie A3bIKa, MIpH KOTO- poM KOpeHb IlepeuBuraetca Biepea u oGecnedMBaeT CBOGOAHBI MpOXOM BO3LYXa Yepes TOPTaHb M PIOTKY. Puc. 6 Tlepeauee tpopmupopaHve A3bIKa 1. [Hoxoui. 2. Mepednee chopmuposanue azvika. 10 while the rear formation of the tongue (as in speech), but in this case it will result in exces- sive tension of the lower jaw and lips muscles, which will adversely affect the playing. The degree of easiness of the air access from lungs through the larynx and the throat into the mouth cav- ity depends on the tongue's root position. The root of the tongue has muscular conjunctions with the epiglottis. In the low position of the tongue root the epiglottis approaches the throat rear wall and restricts the free exhalation. Fig. 5 (4-5). If the root is put out forward and upwards, in this case the epiglottis will have a more opened position, allowing the easier air passage through the larynx and throat. With such a high root position in the mouth the sensation of free opened throat must appear or the sensation of $ in the throat. The X-ray pictures show a more opened position of the epiglottis and a greater volume of the throat while pronouncing @, because the sound @ is pronounced with the tongue in the front position, when the root moves forward and provides a free passage of the air through the larynx and throat. Using this natural position of the tongue without overstraining the muscular structure of all the tongue or of its part (radix or apex), the player must "remove" all the body of the tongue in the fore posi- tion beginning from the tip, bringing it nearer to the tip. The forming of the tip in the playing posi- Fig.6 The front forming of the tongue. 1. The Rest. 2. Front forming. Hcnoassysi a10 ectecraeHiioe nonoxenie samIKa, He Nepelarnparad MBIUIeYHYI CTpyKTYpy BCeTO s13bIKA WH OtAeNBHOIL ero YaCTH (KOPHA ILI KOHSIMKA), Tes JJODKeH KAK GB MlepemBHHyTs BCE ‘Teno s3bika & MlepemHee MOnOXxeHHe, HAMHHAA OT KopHia, npnOmnxas ero kK KOHWMKy. DopmmponaHHe KOHUNKA S3HIKa B HIPOBYIO MOSHLMIO LOKHO OCy- UlecTARATSCR MPH MaKcIMANBHOM HcrIOmBsONAHIK ecrecTBeHHOTO NloAOXeHH AIbIKA B TlOOCTH pra, Sto nepeatee opwuposanne sAsbiKa HM HOKEH BGWTb 3a OCHOBY HeMONHMTeIb, KAK HeOGxOAHMOe yenosue np ¢opauponanun urposoit nosnuni sabia. (Puc. 6) Tepeaniece (bopmuponanme urponolt nos saLIKa © MaMpaBteHHBIM ZBHEXCHHEM Briepes cpemHell ac TH H KOH S3BIKA SBAAIETCR OCHOBHOH 1 rocront- Holt, anHeMuMe HaMeHeHHs 3ByKOBLICOTHOTO O- JOXCHIGL ASEIKA H PASIMYHMe apTHKYAMLNOHHEIE HIpHeMM B MIpouecce HEH OcyINecTRAMOTEA TOI1bKO TepeaHell WacTbIO ssbiKA, phe COT Oke 0 7: Tposepnr» npaswisHo an ccopyupovana urponas MOSHUMS 361K Tepe SBYKONSHIEYEHHEM MOxHO ceayioumiM oGpazoM: (eM. pc. 7), tion should be accomplished with the maximum use of the natural position of the tongue in the mouth. ‘This front forming of the tongue the player must take as the basis, as the necessary condition in form- ing the tongue playing position. (Fig. 6). The front forming of the playing position of the tongue with the forward movement of the midsec- tion and root of the tongue is basic and permanent. ‘The subsequent changes in the pitch-dependent Position of the tongue and various articulatory tech- niques during playing are accomplished only by the fore section of the tongue. SOUND PRODUCTION It is possible to check whether the playing position of the tongue is formed correctly by the following way: (see fig. 7). Puc. 7 Suykousnteuenne 1. Ly6e eopmupowan 4 ueposyro noua; 2. Mepoduue 396i eepxnell u museneil venoemeid commnymss axodamen na odwol sunuu, napaaseasno dpye Opyey’; 3. Kona ssa eopauposan asicoxoii uepoeoil nosuuut, Inpurcacasce x nepedmum aepraun 4 muocHuM ayGam W aa conan (nawasy Wé6a); 4, Pasmecas odnogpemenno sy6u u ey Gerreyno npour- Fig. 7 Sound production 1. The lips are formed into playing position. 2. The front teeth of the upper and lower jaw are closed and positioned on one line, being parallel fo each other: 3. The tip of the tongue is formed in a high playing position, ‘touching the front upper and lower teeth and alveols (the beginning of the palate) 4. Opening simultaneously teeth and lips pronounce silently the sylable pil 1 BMecte c HWKHEM YeNIOCTHIO OMyCKaeTCA ABBIK, He MeHAH CBOCTO MBILIeYHOTO (POpMMpoBaHHA, T.e. ASbIK OCTACTCH B MpeKHEH BbICOKOM HPpOBOH MO3H- uu. Ilpx stom o6pa3yerca cBobomnHOe TIpOctpaHct- BO M@XJtyY KOHYMKOM A3bIKa, NepeqH4MU BepXHHMH 3yOaMu HM @IbBeOaMH, TO KOTOpoMy ycTpemuiseTcA BbUIOX K allepType ry6. Jaa toro, uro6pt ocyiecTBUTB OOBIMHYIO A3BIKOBYIO aTaky, H@YMHAIOULyIOCA CO crora dio WIM mo, Roc- TaTOYHO MOCI€ Ppa3sMbIiKaHMA YesOCTei BepHYTb KOHYHK A3bIKa B HCXOJHOE MOIOXKeHHE, T.c. CerKa MPHKOCHYTbCA KOHYHKOM A3bIKa K BEPXHHM 3y6aM 1 Hayaly Hé6a, He CMbIKa# TIpH STOM YemocTH. JiBu- XKCHHE ASbIKAa JOJDKHO ObITb MAHHMaJIbHBIM H TOJIb- KO B HepeaHeii ero yacTu. Ec ry6pi chopMHpoBaHbI MpaBHIbHO Ha KOHKperT- HY! BBICOTY 3BYKa, TO NOCTAaTOUHO Merkoro BbLLOXa Ad O6pa3s0BaHua BHOpalMH B ryOax H BOSHMKHOBe- Hua 3ByKa. Ho npH TakKOM 3ByKOU3BIeYeHHH (6e3 y4acTHA A3bIKa), HAYA 3BYKa TPyTHO KOHTpOsIMpo- BaTb M HET rapaHTHH TOFO, YTO 3ByYK HayHeTCA HMeH- HO B TOT MOMEHT, Kora 3TO TpebyeTca. KoHunk s3bIKa, ero JBIDKeHHe KOHKpeTH3upyer Ha- 4ajlO BbIOXa, CHHXPOHH3UPYA 3TOT BBbIOX Cc Haya- JIOM BHOpallHH B ry6ax. Maouanb npukocHoBpeHHa A3bIKa TPH 3BYKOH3BIeC4YeHHH, H€34BHCHMO OT BBICO- Tbl 3BYKa, XapakTepa M CHJIbI BCera OCTACTCA MOCTO- AHHOK. (Puc.8). The tongue lowers together with the lower jaw without changing its muscular shape, i.e. the tongue remains in the previous high playing position. In this case a free space appears between the tip, front upper teeth and alveols, by which the exhalation rushes to the lip aperture. To accomplish an ordinary tongue attack beginning from the syllable dd or 14, it is enough after the opening of the jaws to return the tip to the starting point, i.e. to touch lightly the upper teeth and the front of the palate with the tip without closing the jaws. The tongue movement should be minimum and in its fore part only. If the lips are correctly formed for the true pitch of the sound, a slight exha- lation is enough to form the lips vibration and the sound production. But with such sound production (without the participation of the tongue) it is diffi- cult. The tip, its movement determines the beginning of the exhalation, synchronizing this exhalation with the start of vibration of lips. The area of tongue's contact remains always the same regardless of the pitch, character and force of the sound. Puc. 8 |, Haowads azbika, npuKacaiowanca K eepxiuMm 3y6aM Ut anb- ée01am & MOMeHM 36yKOUZeAe4eHUA. 2. Hnowads sy60e u anbeeon KoHMaKMuUpylOWan C AIbLKOM. Ha Puc. 9 w306paxen s35IK — Bua cnepean. B ne- PpemHeli “acTM a3bIKa HMMeeTCaA yriyOeHHe B MbI- We4HOH TeKcType A3bIKa. Ota npHpomHat cbopma A3bIKa (yrtyOleHHe), MOMOTaeT He TONBKO cbopmMu- POBATb allepTypy A3bIKa, Yepe3 KOTOPYIO MpOXOLUT BOS3IYX TIPH Mrpe, HO H KOOPAMHMpoOBaTh TBWKEHUA A3bIKA IPH 3BYKOH3BICYeHHH. 12 Fig. 8 1. TThe area of the tongue, touching the upper teeth and the fore alveolar part during sound producing. 2. The area teeth and alveols contacting the tongue. Fig. 9 shows the tongue - the front view. In the fore part of the tongue there is a dent in the muscle tis- sue. This natural tongue shape (a dent) helps not only to form the tongue aperture, through which the air passes during playing, but also to coordinate the movements of the tongue for sound production. Puc. 9 ‘Asx ~ miu crepes 1. Merytizenue @ seumediois meanu x30. Kaxum 2ke o6pasom nponcxoar Koopamaniia ABWKeHMIt #3DIKA NpH SByKOUSBACICHUN? Ecan neniommTex mpostsHecer Ges crpymerta HecKOABKO pad TIOAPAL Ha OAHOM BLIOXE OYKBY 10 (10-10-10-10-10), TO. APTHKYARUMONNBE ABIOKCHH AGIKa NpH epeaonanIM 40 MoyHaIOTeA TONLKO B eHTpanbuiofi repeat ac aSKa, TaM rae HaXo: avtea yray6nenne. HikHst MacTs KOHMMKA.stsIKa TPH 9TOM MMpuKacaeres! K MepesHHM syGaM HIDKHEIt YealocTH (9BUIK ACKHT Ha AKE pra, KaK pH OOH HOM paccaaGaeHHoM cocrosmn). Menuesinie co- KpalleHH KONUIKa s9bIKA YReAMMMBAIOT HLA YMeHBULAIOT 9TY KAHABKY BLOM AKA, OcyUIeCTH ‘991 IPH ITOM ApTUKYARUO GyKREL 10. Eeai Te Xe apTUKYASUMOHHBIC ABIKEIINGE KOHUHKA saika, c(hopMUpORAMHOTO DB HTPOBOH HOSMLNN, HO ye 6e3 mponatiecenits: B rONOC, a TO.TBKO Ha OaHOM BDUNOXe, BocHPONAHECTH. ryOHDIM HIM MyHAUITy'~ univ GasaniHrOM, lepeays MpousHoutentNe GYKBLL 10 a 3aTeM calora 9, TO TONXHA MoayuNTECH TerKa araxa, Tipu Geasnysiom enponstouenuns raacuoli 10, ASLIK He TlepeKpHineT H He OCTAHABAMBACT BBLIBI- xaeMylo Crpylo, a AMUlb yruwoTseT ee — noaysacT~ ca sauiKopoe BHOpATO. Tpit cnore 30 KOHMK s13bt kab APTHKYNANH 40, HO CHETKA, MYTH-HYTS NPHKAcACH er Te Xe CAMBIC JBHKCHUA, KAK HM MIpH k bepxHinac syGaM M anbBeomiaM. S70 181K BEUILIXAEMyIO ka Ha MFHOBeHHe ocTaHaninBact eTpylo, oTsesitsi OM sByK OF Apyroro. Moao ABIKCHHE SIMKA H O.DKHO GbITs B38TO 3a OCHOBY IPH HaRIENEHHN 3HyKA, PeKoMenstauiit «MBICTeHHOrO MpouSHOUIeHHs WAH 4MBICNeHHOTO MPeACTARIEHHs CNOTOE BO BPEM Hr- 1, A dentin the muscle tissue. How does the coordination of the tongue move- ments during sound production proceed? Ifa performer pronounces without an instrument on a single breath the sound @-0-0-0 in a sequence, then the articulatory movements of the tongue will be only in the centre of the front part of the tongue, just where the dent is. In this case the lower part of the tip touches the front teeth of the lower jaw (the tongue lies at the bottom of the mouth as in the natural relaxed state). The muscu- lar contractions of the tip increase or decrease this ditch” along the tongue, while articulating the sound & If the same articulatory movements of the apex formed in a playing position are performed with no sound in a single exhalation with the lip or mouth- piece buzzing, alternati sound G with the syllable zi, we will have a slight several times \e pronouncement of the attack. By voiceless “pronunciation” of the vowel @ the tongue doesn't overlap or stop the exhaled air stream, but only condense it - so we get the tongue vibrato, With the syllable 27 the tip accomplishes the same movements as with the articulation of Z, but slightly, touching the upper teeth and front of the palate. This movement of the tongue stops for a moment the exhaled air stream separating one sound from another, This movement of the tongue must be taken as a basis of the sound production, The recommendations of the «mental pronunci- ation» or «mental imagination» of syllables while playing have a condition consonants when articulated in speech dif- fer from the muscular forming of the same | character. Vowels or 13 PbI HOCST ycNOBHDI XapakTep, OHM M Te xe TIaC- HbIe WIM COMMaCHble Mp apTHKyJIALLMH B ped OT- JIMYaoTCA OT MbILUeYHOrO (POpMMpoBaHHA TeX %e (POHEM TPH «MbICICHHOM MIPOH3HOLICHHU» BO Bpe- Ms Mrpbt. Tipu peyeBom MpOHSHOLUeHHK BeCb A3bIK (KopeHb, Te10, KOHYHK) MpHHMMaeT AKTHBHOe y4a- cTHe B BOCMpOH3BeseHuM TOrO HIM MHOrO 3ByKa. [pv MrpoBOM MpOH3HOLUCHHH TOJIbKO KOHYHK s3bI- Ka yuacTByeT B Mpouecce 3ByKOOOpa30BaHHs!. HackosbKo 6bICTPO HCHOAHHTEb CMOXKET apTuKy- JIMpOBaTb MoBTOpsiouLyrocs’ GykBy fo Ge3 MHCTpy- MeHTAa (10-i0-10-H)-10...), HACTOJIbKO ObICTPO OH CMO- XKeT MIpaTb MpocToM OAMHAapHO! aTakoit Ha HH- cTpymeute. Ecim mpoucxossT ABHbIe PacCXOKACHHA B CKOPOCTH DBYWXKCHHA A3bIKa, He B MOJIb3y Hpbi, TO MIpM4HMHy Halo HCKaTb B HEMpaBHIbHOM oOpMHpo- BaHHM HIpOBO MOSMHUMM KOHYMKa A3bIKa WIM ero Ype3MePHOM MBILUeYHOM HallpsoKeHHH. NogzBous UTOr, MOXHO ClelaTb CeAYIOWIMM BbIBOL. OcHOBHBIMM yCNOBHAMH MPH pasBHTHH TeXHHKH (POPMUpOBAHHS MH ABOKEHMS 13bIKa NOK ObITb: 1) @opmuposaxue anepmypet ey6 don%HO coom- eemcmeosamb KOHKpemuoll BbICoMe 36YKA U 63a- UMOCEH3QHO C anepmypoil 13bIKa; 2) @opmupoganue anepmypot s3b1Ka OoANCHO OCy- imecmeaambca om KOpHA NO Hanpaenenuro K KOH- 4uky, mo ecmb nepeduee dopmuposanue noAovice- HUA AI3BIKA; 3) MoI! KOPHA A3bIKa U eopmanu npu deusice- HUU Bneped-Beepx OCMAIOMCA OMHOCUMeNbHO CBO- 6odHbIMu, 4) deuscenue A3bIKa Npu 36yKOUZ6NeNeHUU OCyUe- cmensemca moabKO 6 Nepeduelt Yacmu A3bIKA, cpeduaa 4acmb U KopeHb 13b1Ka OCMaHwmMcA Heno- OBUMCHbIMU, COXPaHAA ONpedereHHoe nosomceHue ABOIKA; 5) paccmosuue mewcdy KOHYUKOM #3bIKa U nepe- OHUMU BepXHUMU 3yV6aMU MUHUMAaAbHOe, COpazMe- pennoe ¢ eenu4uHolt anepmypot 2yG; 6) 6 MOMeHm 36yKOUZeNe4eHUA KOHYUK AZbIKa npukacaemca Ko @celi NAowWadU NepedHUX BepxHUX 3y6oe u Hayany Héba; 7) npukocHoseHue KOH4UKa A3bIKa K 3y0aM npu amake Ooascno bomb AeeKUM, O6ecne4ueaA 4em- KylO apmukyaauuio Havana evidoxa; 8) xapaxmep amaku (uumpuxu) 6 Ooavmueli cmene- HU 3aeuCHIN OM Xapakmepa BbIdOXa, 4eM ON xa- pakmepa Oeuscenua A3bIKa. 14 phonemes during the «mental pronunciation» while playing. In speech pronunciation the whole tongue (radix, corpus, apex) participates actively in the reproduction of a sound. During playing (« B MBE ofl TRAM ry COXpAHKIeTes staxe MpH HABIECHHH anykon mpemeabHo WN3KOrO perHicTpa — NesLANBHBIX snykos, Oreyrernie ympyrocrh & ryGHLIX. MomNtax (aneprype ry6) smiierea npx¥nHOM nponuKHone- ut otoi sacri ry BHYTPD MAMUKH MyHALITYKa, STO onpaxaetes Ha KaviecTHe JHYKONSWIEEHMA 1 38 ‘pymiiaer cocannenie 1DKHerO ¢ Goce BLICOKHMIL pernerpavn (em. pute. 10) cro cnoxHoit mpodsemo ONHMTER, O- IPH Tlepexonte 13 Tie mastering ofcierent register and their com- bination is correlated with the development of the performer's playing organs - with the rational forming of lips and tongue aperture, elasticity and strengthen- ing of lips muscles, strengthening of respiratory ongans muscles. In chapter I we give the exercises that the low and the middle registers. Although the low register is not so much a complicated prob- em for a performer, ter and its combination with more high registers requires certain skills connected first of all with the right, rational forming of the vibrating part of the lips and the tongue playing position in the mouth cavity conn jet the developing of this regis While combining the low notes with the middle ones the volume of the vibrating part of the lips and the volume of the mouth cavity decreases. The only one thing remains constant - the area for the mouthpiece support, ie. parallelism of the front teeth of the upper and the lower jaws and parallelism of vibrating part of the lips. The increase of the volume of the lip aper~ ture while passing on from the middle register to the Jow one goes on only by moving the lower jaw down; letting it go down causes the increase of the lips and mouth cavity aperture. The tongue remaining in its playing position goes up and down together with the lower jaw (see p. 11 = 12) The performer should pay close attention to the forming of the vibrating part of the lips closed with the rim of the mouthpiece and prevent its complete muscular relaxation while playing in the low register. «Elasticity modulus» in the lip muscular tissue remains even while producing notes of the maximum. low register - the pedal notes. The lack of elasticity in lip muscles (in lip aperture) is the cause of the pene- tration of this part of the lips into the mouthpiece cup that affects the quality of sound production and makes difficult the combining of the low register with the higher ones (see fig. 10) 15 Ay “

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