The Iceman
1998 posts
Sep 04, 2014
6:49 AM
|
Milsson..
Not throwing sticks in fire.
Have asked for solid quantifiable explanations and/or something to really grab hold of regarding this technique as I'm always curious and willing to learn something new to improve my ability to formulate teaching techniques.
So far have not received anything other than long anatomical diatribes and suggestions to look at other muscle groups and draw some sort of parallel conclusion.
I teach throat vibrato to beginning students and none of them find it bitching hard to do. We don't find the body fighting us from the beginning. I suppose it has a lot to do with effective teaching technique.
As to the learning curve when you already know how to bend, I am actually more interested in how to teach this to a rank beginner. This is the only way to find out how valid an approach it is overall.
Why would my last sentence start a flame war? It is nothing more than a valid point and truism coming from a teacher and is his opinion.
Gipsy...
I can elevate my Adam's apple without swallowing and can easily swallow in a controlled fashion while not closing my lips. However, this doesn't give me any insight into "throat bending".
My "kuh" and "kah" sounds are made with the back of my tongue, which feels to me to be above the vocal chords.
What I am getting from these postings is frustration from those that insist on "throat bending" as a valid approach in the fact that I can't grasp this technique without more detailed and usable information.
Remember, I am a teacher and always hope to rethink and reinvent my approach.
----------
The Iceman
|
harpdude61
2098 posts
Sep 04, 2014
9:01 AM
|
I know I bend with my throat. Blow Bends, draw bends, and the bending of overblows and overdraws.
Either you don't like the sound, chose not to put the work in, are not physically capable, or simply choose not to. Fine on all counts.
I have no reason to fabricate lies. I don't have to prove it...but I have posted 3 videos trying my best to explain.
----------
www.facebook.com/catfishfryeband
|
The Iceman
2002 posts
Sep 04, 2014
9:18 AM
|
All I'm asking for is solid direction and info in order to effectively teach this technique, if it is indeed a valid one.
So far, have not received anything I can use...including your videos. Therefore, my conclusion still stands.
However, am still willing to learn if someone will provide me with something simple and substantial.
After all, I am a teacher of techniques.
----------
The Iceman
|
Gipsy
100 posts
Sep 04, 2014
1:48 PM
|
@iceman. You really don't get it. You don't make the kuh or kah sounds with your tongue. In fact it's not only the fact that you don't, it's the fact that no one does. As a laryngectomised patient to do it. He can't. No one in those circumstances can.
What you are doing, as are many others is to interpret the tongue position adopted by the throat as being the cause of the sound. It is not. That's a fact. End of. What the tongue is doing is helping to shape the raw sound made by the vocal chords into the desired sound. It's not rocket science.
As for anatomical diatribes. They are at least based in fact and not speculation.
|
The Iceman
2006 posts
Sep 04, 2014
2:05 PM
|
oops, my mistake. My "kuh" or "kah" sound I was referring to is one that does not include vocal cords at all. It's how I make a "K" sound. I am convinced it is my tongue that creates it.
Perhaps you were referring to something different than the "K" sound. In that case, we are talking about two different things and/or concepts. No harm done and confusion is cleared up.
Fact based anatomical discussion - cool. It still does not help me in my original query about "throat bending" - as a teacher of technique.
----------
The Iceman
|
Gipsy
101 posts
Sep 04, 2014
3:58 PM
|
@iceman. Taking the fact based discussion a little further. Some sounds are initiated other than through the vocal cords. The SSS type sibilants, the TH type sounds, the F type sounds, whoosh type sounds and I'm sure there are others.
However K type sounds don't. They involve exhaling against opposed ( closed ) vocal cords, which when opened allow the almost explosive expulsion of air, which initiates the K type sound. Modification by the tongue and oral cavity comes after.
Interestingly the T sound is primarily front of mouth or tongue based. The tongue creating the explosive release of air which initiates the sound.
Perhaps here we have the first clue as to serious common ground in all the posts. Perhaps it is some form of explosive release of air which triggers the elusive bends we are all trying to achieve. It may just be that we obtain this explosive release by different means, and use differing descriptions of our techniques.
|
harpdude61
2100 posts
Sep 04, 2014
4:46 PM
|
Thanks to Iceman and Gipsy both for making me think deep on this. Couple more thoughts......
No harp needed for this. If I keep my mouth almost closed, I feel like I can make the "k" sound off the roof of my mouth, with the tongue involved to shape a small chamber. Very much in the front of the mouth and similar to tongue bending. The sound I make is pretty much the "kkk".
However, if I open my jaw as wide as possible and make the "k" sound, it is all over my throat. By reshaping my throat (which will move the tongue a bit) I can add vowels and make sounds such as "kah" and "kuh".
Do it for a sec and you might feel you need to hock and spit. Another throat muscle control function.
I hope that helps with your instruction Iceman.
One more thought. Many players talk about doing the 2/5 draw split tongue blocked and bending the 2 draw down a step to get the octave. I can do it pretty good, but don't see how it is possible for anyone without bending with the throat.
----------
www.facebook.com/catfishfryeband
|
groyster1
2666 posts
Sep 04, 2014
8:32 PM
|
yes there are throat muscles to develop....closing off the epiglottis while breathing in is going against the grain...it tries to open to let air in the lungs...in trying to develop throat vibrato I have conditioned my throat to bend...good vibrato is still a goal
|
The Iceman
2008 posts
Sep 05, 2014
5:56 AM
|
with my jaw wide open, I still find that the "K" sound is made with the tongue deep down.
Giving you an example of quantifying using the tongue placement for bends, I have the beginner student phoneticize "T", "D", "Rrr", "K' and "Guh" and pay attention to where the tongue is placed. This gives them an awareness as well as specific target spots in creating the bend using the tongue.
Then I have them inhale while curving the tongue up (suggesting that they imagine the tip of the tongue is super glued to where the lower teeth and gums meet).
They pretty quickly find a placement to inhale bend on the 4 hole, which is in the area between "D" and "Rrr" for most.
Next I challenge them to discover just how little tongue movement is actually needed to instigate the bend. All they have to do is find their own specific "sweet spot".
Once they understand this, I teach them to "unbundle" the muscle control of the tongue from any throat muscles, separating them. Finally, I teach them to hold their throat open gently in the "pre yawn attitude" while exploring tongue position. This gives the optimum resonating chamber for deep tone.
Exploring hole 2 and 3 inhale, they learn to place that curve in the tongue a bit further back to achieve the lower bends.
Then they can memorize tongue curve placement based on these specific target points, thereby giving them very good control on the pitches. (I also have them nail and sustain the pitches at a very low volume to eliminate force from the equation).
So far, w/"Throat Bending", I can not determine anything that gives the student a consistent placement of internal muscles to control the pitch with target spots. As a matter of fact, I can not even bend without using the tongue.
So, developing muscles may be one thing. An awareness and placement for control is what I look for as a teaching aid.
----------
The Iceman
Last Edited by The Iceman on Sep 05, 2014 6:15 AM
|
mlefree
173 posts
Sep 05, 2014
2:19 PM
|
Gypsy, I am coming into this discussion a bit late after following it from its inception but I do know one thing. I beg to differ with your statement, "However K type sounds don't. They involve exhaling against opposed ( closed ) vocal cords, which when opened allow the almost explosive expulsion of air, which initiates the K type sound."
That's just bunk. What you've describe there is well-known as a "glottal stop." It can be done on both inhale and exhale to initiate (or attack) a note. It has nothing whatever to do with the "K" sound, which is clearly initiated and controlled by the tongue. I don't see where there is any room for argument or discussion about that.
As an aside, after inhabiting the harmonica forums for over a dozen years I am getting a bit weary of harmonica players who enter an online forum with a tone of unassailable authority on a subject that has been well-discussed by far more experienced and knowledgeable players who've devoted their lives to understanding the nuances of playing a harmonica. It's happening over on Harp-L in a discussion about standard embouchures. There's a guy over there who insists on reinventing well-established nomenclature according to his own way of thinking.
In this case, a little homework about speech and language would keep an interesting and productive discussion from getting derailed into the land of make believe. If nothing else, we should try searching this forum or the Harp-L archives before we start inventing new stuff about playing the harmonica.
At least that's the way I see it.
The old grump,
Michelle
----------
SilverWingLeather.com
email: mlefree@silverwingleather.com
|
Gipsy
102 posts
Sep 05, 2014
4:21 PM
|
@miefree. Check out glottal voicing. Sounds such as the K are articulated using the vocal cords. The ongoing sound such as the UH is voiced in the mouth and can be modified there by altering mouth shape etc. It can also be modified by the tongue. However the sound is initiated at the vocal cords. No argument there.
The explosive nature of the exhalation is therefore caused before or at the vocal cords, not after it as would be the case if it were done by the tongue.
Last Edited by Gipsy on Sep 05, 2014 11:32 PM
|
Frank
5219 posts
Sep 05, 2014
4:29 PM
|
This is rather fascinating :)
Last Edited by Frank on Sep 05, 2014 4:29 PM
|
mlefree
174 posts
Sep 05, 2014
11:34 PM
|
Gipsy you are so far off the wall I'm left with no alternative but to assume that you are some sort of troll who gets their jollies pulling people's chains on forums like this.
Just on the off chance that this is not the case I'm going to give you the benefit of a little elementary use of Google so that you can educate yourself about glottal stops and the formation of consonants in the English language.
1) The glottal stop, your new phonetic friend
The above article makes a clear distinction between the glottal stop and the use of the "T" consonant.
2) English Phonetics
This comprehensive overview of English phonetics details the various articulations that involve stops or plosives (/p/, /b/, /t/, /d/, /k/, and /g/) as opposed to fricatives ( /f/, /v/, /s/, /z/, and /h/, etc.; the difference being whether the alteration of air flow is complete or not).
You can read for yourself where in the mouth or throat the sounds are produced, but I'll draw your attention to the fact that the glottal or laryngeal space is used ~only~ to produce the 'h' sound. None of the other consonants are produced in the glottal space. Period.
Now, next time before you waste a lot of sincere forum member's time by posing as an expert, please do us the courtesy of taking the time to be accurate. If that requires a little middle-school level internet research, that's on you my friend.
Gipsy, I only cited these references out of a courtesy to the rest of the forum members who may read this thread in an attempt to undue some of the misinformation you've distributed so freely. As far as you are concerned my involvement ends here and my advice to the rest of the list is to summarily ignore you as well in regards to the remainder this thread. I must now also assume a similar level of veracity in the rest of your posts as well.
That is all.
Michelle
----------
SilverWingLeather.com
email: mlefree@silverwingleather.com
Last Edited by mlefree on Sep 05, 2014 11:49 PM
|
Gipsy
103 posts
Sep 05, 2014
11:44 PM
|
@miefree. I'm sorry for this delayed completion of my previous post, but my flight was called.
I entered this debate as a medical doctor with 35 years experience. The knowledge and experience was gained by study of evidence based writings, and peer reviewed articles, who happens to enjoy playing the harmonica in my spare time, at a very lowly level. My knowledge was not gained from browsing forums. Forums in which speculation or one person's opinion can sometimes be received as the truth.
I wouldn't dream of questioning illustrious and excellent harp players, unless perhaps as a student. However when the discussion wanders into a field in which I do hold expertise, I will feel free to add my comments. As a scientist I abhor speculation masquerading as fact.
|
The Iceman
2014 posts
Sep 06, 2014
4:06 AM
|
All pedigrees aside, in examining Michelle's postings and reading Gipsy's, my intuition and personal experience lead me to side w/Michelle on this issue.
Society has elevated a Doctor's status pretty high up there, but have found that they are human as well and are not always 100% correct. (personal opinion)
----------
The Iceman
|
Komuso
400 posts
Sep 06, 2014
4:50 AM
|
Glottis - From Wikipedia, the free encyclopedia
The glottis is defined as the vocal folds and the opening between them (the rima glottidis).[1]
Function
As the vocal folds vibrate, the resulting vibration produces a "buzzing" quality to the speech, called voice or voicing or pronunciation.
Sound production involving only the glottis is called glottal.[citation needed] English has a voiceless glottal transition spelled "h". In many accents of English the glottal stop (made by pressing the folds together) is used as a variant allophone of the phoneme /t/ (and in some dialects, occasionally of /k/ and /p/); in some languages, this sound is a phoneme of its own.[citation needed]
Skilled players of the Australian didgeridoo restrict their glottal opening in order to produce the full range of timbres available on the instrument.[2]
The vibration produced is an essential component of voiced consonants as well as vowels. If the vocal folds are drawn apart, air flows between them causing no vibration, as in the production of voiceless consonants.[citation needed]
The glottis is also important in the valsalva maneuver.
Voiced consonants include /v/, /z/, /?/, /d??/, /ð/, /b/, /d/, /?/, /w/.
Voiceless consonants include /f/, /s/, /?/, /t??/, /?/, /p/, /t/, /k/, /?/, and /h/.
+
Velar consonant
Voice Acoustics: an introduction
----------
Paul Cohen aka Komuso Tokugawa
HarpNinja - Your harmonica Mojo Dojo
Bringing the Boogie to the Bitstream
Last Edited by Komuso on Sep 06, 2014 8:24 AM
|
harpdude61
2106 posts
Sep 06, 2014
8:32 AM
|
What I gather from all the recent technical posts is that we can now confirm that throat bending is legit. Thanks for your help ladies and gentlemen. I have worked hard the past year to move this forward as a technique that may work best for many players.
It is not easy and takes time. If you are a player that seeks maximum control of pitch, big sound, overbends, and bending overbends, you may want to give it a shot.
I was hoping Iceman and others would comment on the 2/5 draw split octave. I can do it throat bending but not tongue bending...but that does not mean someone else cannot.
----------
www.facebook.com/catfishfryeband
|
Komuso
401 posts
Sep 06, 2014
8:38 AM
|
I'd add Place of articulation to the list
If throat bending is possible then I'd have to ask, considering how much harder it seems to be to articulate (ha! see what I did there?) how to do it (which means teaching it would be harder unless..well..articulated...) then what's the benefit over easier to teach techniques?
There's always more than one way to skin a cat (or bend a note) but ultimately it's a musical instrument we're talking about so...what benefits does it give over other techniques?
Sound examples please. Talking about music technique is no substitute for side by side sound examples illustrating exactly what you mean, especially related to tone/technique.
Edit:
ah,sorry missed your video
and this
But musically, is there really any difference?
----------
Paul Cohen aka Komuso Tokugawa
HarpNinja - Your harmonica Mojo Dojo
Bringing the Boogie to the Bitstream
Last Edited by Komuso on Sep 06, 2014 8:58 AM
|
The Iceman
2015 posts
Sep 06, 2014
9:15 AM
|
Harpdude..
Can do 5 inhale 2 inhale second bend octave split, but it is my tongue position that creates the bend.
Glad you see validation for "throat bending" from the technical posts, and yet I have found nothing of the sort so far.
A Teacher's Opinion... a technique without a way to teach that technique is not very useful.
----------
The Iceman
|
Frank
5224 posts
Sep 06, 2014
10:25 AM
|
Playing the 2/5 draw split while bending the 2 draw down two steps by using only the throat would be amazing doing that on an "A" harp or lower type harp -
If you can, then I would imagine you could get the 1 draw bend fairly easily on a key of "C" Hohner 364 Marine Band 12 Hole Harmonica?
Last Edited by Frank on Sep 06, 2014 12:20 PM
|
harpdude61
2110 posts
Sep 06, 2014
10:31 AM
|
Komuso....does it have benefits over other techniques?... I have yet to see a tongue bender bend overblows or even play overdraws. It's about a certain style.
Iceman...no one taught me...but I can sit down with a student and teach them. I've posted how to teach it many times. You choose to ignore it and look upon me as some amateur that carries no validity in anything he says. I won't write it all out again.
At 2:13 in this song you hear me sustain a 6 hole overblow on a high "F" harp, throat bending at the same time. Please show me a tongue bender that does this. Maybe they do?
https://soundcloud.com/catfish-frye-band/the-sky-is-crying
At 1:31 and again at 1:41 you hear a little run that includes the 6 overblow (twice) and the 7 overdraw as the highest note on an F harp. Tongue benders?
https://soundcloud.com/catfish-frye-band/crossroads
----------
www.facebook.com/catfishfryeband
|
The Iceman
2016 posts
Sep 06, 2014
10:49 AM
|
Your videos are not too articulate. I am not choosing to ignore, but commenting as a teacher of technique.
Why not prove me wrong and offer an example here...reference what I did above regarding tongue controlled bend technique and its brief "lite" explanation. Do something short and easily understood to promote your technique philosophy.
Once laid out here for all to experience, you may get a lot of converts as long as the technique is clearly and easily explained.
----------
The Iceman
|
The Iceman
2017 posts
Sep 06, 2014
10:49 AM
|
Duplicate
Last Edited by The Iceman on Sep 06, 2014 10:52 AM
|
Thievin' Heathen
389 posts
Sep 06, 2014
10:53 AM
|
Hey Guys, I am more than just a little lost here. Somewhere along the way, I came up with the notion that I am bending notes and effecting reed action by adjusting the angle of the air stream I put into the chamber, through the slot and across the read. I really have no idea and hardly pay any attention to what is going on with my tongue or in my throat. I kinda thought it was a combination of everything, but to read this thread it sounds like there are 2 completely different schools of thought, similar to the old lip purse/TB debate.
Looking ahead, I think I see a fork in the road.
|
The Iceman
2018 posts
Sep 06, 2014
11:20 AM
|
Thievin...
It's great to start examining inwardly exactly what is going on.
An intro to tongue placement/awareness in bending technique can be found in my posting above...sept. 5 with the "T", "D", etc tongue discussion.
----------
The Iceman
|
Frank
5225 posts
Sep 06, 2014
11:20 AM
|
Is it safe to say that bend manipulation of the lower 4 holes using the throat is much more noticeable when playing "high keyed harps" like E,F,D etc... and while bending the high end on a lower keyed harp like A, G or LF?
Or are you also easily able to throat bend the first 4 holes on " lower keyed harps" like A,G, LF etc...without utilizing the tongue?
Last Edited by Frank on Sep 06, 2014 11:25 AM
|
Gipsy
104 posts
Sep 06, 2014
12:09 PM
|
@iceman. I'm more than happy to confirm I'm not correct 100% of the time. No one is.
|
Milsson
156 posts
Sep 06, 2014
12:21 PM
|
@frank. For me throat bending realy shines when play low tuned harmonicas.
|
Frank
5227 posts
Sep 06, 2014
1:29 PM
|
Wow - you are the throat bending man...truly impressive! What roll does the tongue play when your shifting between bends like B to Bb to A to Ab etc and the micro bends between those?
Last Edited by Frank on Sep 06, 2014 1:33 PM
|
groyster1
2668 posts
Sep 06, 2014
4:30 PM
|
this thread has traveled 40 miles of bad road....but yes throat bending can be done....I do it and so could the vast majority of you who question it.....it is second nature to me....BTW harpdude did not start this thread but was called in as a consult.....I rest my case and harpdude probably has too
|
The Iceman
2019 posts
Sep 06, 2014
4:38 PM
|
Aside from those saying it can be done, why not venture forth and explain how it can be taught.
I'm willing to learn, but everything so far has been rather vague and I still find my tongue engaged - even if it is the tongue that extends down into the throat.
At some time in the future (at a harmonica event?), perhaps the teacher of "throat bending" and someone like myself that expounds "tongue control for bends" can each grab a rank beginner, spend an hour or so with them and compare results.
----------
The Iceman
|
harpdude61
2112 posts
Sep 07, 2014
8:51 AM
|
Iceman...Throat Bending is not a quick fix kind of thing that can have a beginner playing in two weeks. It is an advanced technique that takes time to develop the muscles whether teaching a beginner or intermediate player. Do you want to be mediocre now and be able to delight your family and friends or take the time to build a solid foundation and become a proficient player with a big sound that could possibly delight the masses.
How in the world do you expect me to explain to you in print, how for you to teach something that you cannot do? I would need to sit you down in person, watch you, and tell you what you are doing wrong or not doing at all. It would be very tough because your muscle memory and technique are deeply embedded in your brain. A beginning golfer can be taught a good swing from day one, but it takes a pro up to three years to change an existing swing. He knows his game will be less than stellar in the meantime. However,I would be willing to help you if you want to put in the work and the time. You need to be able o play for your students what you are trying to teach.
I hope your stubbornness does not outweigh your logic in this matter. You are totally ignoring the fact that many players are chiming in and agree that throat bending is what they do. Three threads that say so are on the front page of the forum right now.
A player that many, including myself, consider the greatest blues diatonic player to ever walk the planet even chimed in on one of the threads.
If you are ever passing thru east TN let me know. I would welcome you into my home to compare notes, styles, and techniques. I know there is much I could learn from you.
----------
www.facebook.com/catfishfryeband
|
Komuso
402 posts
Sep 07, 2014
9:11 AM
|
**SNIP
Throat Bending
Last Saturday I had a bit of a video tutorial spurt and posted 3 to my YouTube channel.
I want to start with this one which uses whistling to help explain how to start bending notes using the throat. Trying to explain how to bend is notoriusly hard, I certainly struggle. Things get even harder when you get the nuances of the technique. So I'm pretty chuffed with the whistling analogy I discuss in this video (perhaps up there with my feather glass analogy for tone) . No doubt someone somewhere has used this before but I have not come across it before. If you have no idea what throat bending is or you've wanted to try it but can't seem to get going with it, then this video might help.
Being able to throat bend is a useful thing to be able to do whether you are lip pursing or tongue blocking. Why? Because it powers the bend from deeper within your anatomy and helps avoid the sound thinning out. I hear this particularly when people try to play half step bends on the draw 2 and 3 which requires greater accuarcy then say cranking the note all the way down on the draw 4 or draw 2. On the half steps, there's a tendancy to panic and say "this bend requires more control therefore I must use my lips more". When you do that the sound thins out. Keeping your "bending engine" stable and powering pitch variation from the throat will help you when you what to keep you tone phat and warm. Which for me, is pretty much most of the time.
You will sound like a complete weirdo doing this exercise but give it a try and please do let me know if the analogy is useful!
Note what he says about tongue, Lips etc in the video and comments:
Jacky Blacky
1 year ago
Hi Lee. Most harmonicateachers, like, for example, David Barrett, say that bending happens by using the tongue to change the shape of the mouth cavity. ( by raising the tongue up to the roof of the mouth ) According to these teachers, the throat is not involved in bending. Confusing stuff ;-)
Lee Sankey
1 year ago
in reply to Jacky Blacky
Yes it is confusing. I'm not suggesting here the tongue is not involved at all or there's one way to bend. As you change your throat cavity your tongue naturally moves anyway. My main message here is about focusing from the throat if you want a bigger sound when bending. David is awesome. He is working with people at Standford Uni on producing a X-ray style video using MRI showing the mouth, tongue and throat anatomy when playing.
----------
Paul Cohen aka Komuso Tokugawa
HarpNinja - Your harmonica Mojo Dojo
Bringing the Boogie to the Bitstream
Last Edited by Komuso on Sep 07, 2014 9:23 AM
|
The Iceman
2023 posts
Sep 07, 2014
9:34 AM
|
Hdude sez...
"Do you want to be mediocre now and be able to delight your family and friends or take the time to build a solid foundation and become a proficient player with a big sound that could possibly delight the masses."
Why do you assume that tongue control results in a mediocre sound?
Don't understand this statement (unless it is an unfounded one meant to bolster your philosophy).
Have stated many times that tongue control is combined with an open throat in a "pre yawn attitude" for best resonance.
Also, even some of the "best harmonica players on the planet" haven't focused on understanding and minimizing muscle control for maximum results, as they are players and not primarily teachers, no matter how many "how to" videos they put on youtube.
As Lee Sankey states, "I'm not suggesting here the tongue is not involved at all or there's one way to bend. As you change your throat cavity your tongue naturally moves anyway."
My conclusion is still that it is the tongue, which is where I put my attention, with the throat following.
Seems to me that it is really the same thing as focusing on the throat and having the tongue following, except this orientation is one step removed from the pure essence of the technique.
Really, not being stubborn, but still haven't found changing my focus from tongue to throat to have any benefit over understanding what is going on.
If anything, it slightly clouds the issue.
----------
The Iceman
Last Edited by The Iceman on Sep 07, 2014 9:37 AM
|
Milsson
159 posts
Sep 07, 2014
10:16 AM
|
@frank as I stated earlier the clip was to prove a point. The bends does not sound all that good and playing with your tongue sticking out is quite a challange! Like many people stated before, and what Sankey says are correct for me. It's more of initiation from the throat and the toungue and lips plays a big role.
I know harpdude does obs ODs and blowbends the same way and i'm NOT there yet. Fast passages I still make with my toumgue and microtonal adjustments I do with the toungue.
What's important to know is that I rarely articulate with my tongue when I bend. Between the bends in the clip above I do an "inwards cough" to hit the bend.
|
Frank
5230 posts
Sep 07, 2014
11:46 AM
|
Yes that's my experience too - where the muscles of the face, lips, neck, tongue, throat etc...all work as a unit to get the results needed for each particular tune, and technique.
The more a player advances, and these playing muscles are developed and strengthened, it becomes more and more a symphony of them working together in sympathy to one another.
Often these muscles corporate at lightning speeds making miniscule adjustments for certain tones, bends, runs, riffs and phrasings.
Here are a couple of kinda close ups where you can see at least externally some of these muscles in action :)
|
The Iceman
2024 posts
Sep 07, 2014
12:18 PM
|
Haven't found a need to strengthen these muscles. Rather, to become aware of them and learn to unbundle them to control them separately.
Once one has this knowledge, it is far easier to understand how to make them work together in the most efficient way.
Kinda like breaking them down to their simplest forms and putting them together again.
----------
The Iceman
Last Edited by The Iceman on Sep 07, 2014 12:18 PM
|
