They work just as well on ocarinas in any key. Both cuts and strikes will be described assuming C ocarina fingerings. They should be subliminal, in the same sense that you don't perceive the gaps created by tonguing, unless they are particularly long.įingered articulations come into their own when playing quickly as they respond faster than tonguing. If they are played too slowly, they stop sounding like articulations and are instead perceived as out of tune notes. Unlike tonguing, there is very little ability to change the duration of fingered articulations. When played well, fingered articulations do not have an identifiable pitch, and it does not matter if they are in tune. These are chosen not for their timbre or intonation but to make it easier to produce a short enough sound. To more easily achieve these goals, fingered articulations are performed using special fingerings and techniques. They should be as brief as your ability allows, and The duration of cuts/strikes should not change with tempo
In order for them to work effectively as articulations, the following points must be obeyed: They can be considered modifications to the attack of a note, similar to how a violinist can put pressure on the bow begin a note with a 'scrunch'. You should not think of these sounds as notes in the own right, and their use doesn't follow the same rules. The pitch can be higher (a 'cut') or lower (a 'strike'). These brief sounds can be used to separate two notes as you would using the tongue. Your browser does not support the audio element. The following audio sample demonstrates this idea. Rather, it is perceived as a percussive blip or click. This works because of a quirk of perception: when the duration of a sound is short enough, it stops sounding like a note. Ocarinas can separate notes by briefly sounding a higher or lower pitch. If you wish to articulate these without tonguing, fingered articulations can be used. Slurring two notes of the same pitch joins them into a single, longer note. Also, whenever two or more fingers move, they must move at exactly the same time.īecause the airflow is not stopped, slurring only articulates notes that have different pitch. To keep the instrument in tune, you must synchronize breath pressure with finger movement. While slurring, remember to both start the first note and finish the last note with the tongue. Slurring on the ocarina is done by raising or lowering fingers to change pitch without stopping your breath. Generally, you begin and end a slur using the tongue, playing two or more notes in a single breath.
NOTEA ON A F OCARINA SERIES
Slurring or 'legato' is playing a series of notes with no articulation. You don't want to be struggling running out of air as this sounds bad. Remember that the rhythm is determined by the start of a note, it doesn't matter if you cut a note short to take a breath. The initial pulse of air pressure gives an 'attack', a moment when the sound quality is different from what you get with steady blowing. Lowering it again releases this stored pressure and restarts the note cleanly. This stops the airflow and causes the area behind the tongue to pressurise. Tonguing is done by touching the tip of the tongue to the area behind the upper teeth, as if making a consonant like 't', 'l', or 'd. Your browser does not support the video tag. Legato and staccato are not absolute there is a spectrum ranging from only briefly stopping the sound to an extreme staccato where the gaps between the notes are longer than the notes themselves. When the air is stopped for longer, the gaps become clearly audible-this kind of phrasing is 'staccato'. The sound can be flowing (close to legato), if you briefly stop the airflow. Varying how long the air is stopped creates a different effect. It is the standard method of articulation on all wind instruments. Tonguing separates notes by briefly stopping the airflow with the tongue. The instrument cannot easily vary the volume of a note, so varying your articulation is essential to create phrasing and interest in your playing. Making use of varied articulation on the ocarina is especially important. Momentarily changing the pitch by lifting or lowering fingers. Interrupting the airflow with the tongue or diaphragm. Ocarinas let you articulate, or separate, notes in several ways:
NOTEA ON A F OCARINA HOW TO
This page assumes that you know how to blow your ocarina correctly.
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