I think thatsome ofthe reasons that practicing long tones can be helpful
are as follows:
1. By eliminating all other factors such as fingers
and tonguing, you can concentrate solely on tone production, which is a
function of the balance of air and aperture. Striving for the most relaxed
embochure
setting which will create a good sound at a given volume and velocity
of air and listening for the tone with the most overtones and resonance
is a very good discipline.
2. When we want to learn consisitency, the mind
seems to learn best at an ultra slow pace. Long tones therefore help
us to really know the feel and sound of each note, especially if you take
the oppurtunity to see the note on the page, audiate the sound, think its
name, feel it in the chops, etc.. The proper air speed and embouchure
setting have a chance to become truly engrained. Eliminates guessing
and just reaching for a note.
3. Use long tones to develop control of the air
speed and aperture with crescedo/decrescendo exercises, being careful to
stay in the center of the pitch at all times and to maintain a consistently
good, clean sound.
4. Finally, moving to other notes, slurred, slowly,
finding the resonant center of each pitch, especially when moving through
the notes at the bottom and top of the staff, helps to create a uniform,
centered tone.
My experience is that with 15-25 minutes a day of long tones, as a part
of your warm up, over a few months your sound will improve significantly,
You can wean down to 10 minutes over time because the skills that you
programmed through slow repetition become automatic.
I have to give credit to Jim Thompson, of the ASO, for helping me understand
how to use long tones effectively, He has published a book/tape called
Buzzing Basics which is a very ingenious adaptation of
Sclossberg, Stamp, Caruso type exercises. On the companion tape,
available for C or Bb instruments, he demos each exercise and there is
accompaniment throughout so that you will be sure to be playing in tune.
Very helpful when buzzing. It is available from the publishing side
of the Atlanta Brass Society which can be reached at (404)875-TUBA.
Sorry to be so long winded!
Rich Ita