Date: Sat, 5 Jul 1997 01:37:06 -0400 (EDT)
Subject: Re: syllables vs resonance

About five people have said that they think that Mr. MacBeth and I are talking about the same thing but in different ways. I don't think so.

The maggio system uses the syllables to:

"create the correct air streams for different registers."

The next paragraph of the book contains:

"After a while you should be able to hear the syllable distinctly in the sound."

This is not at all what I'm trying to do. I don't want my listeners to hear any change in my sound from one note to the next. I am far from where I want to be on this subject, as a player, but I know that consistency in the oral cavity is part of the answer.

I did mention in my first post on this subject that I've found that I get my best tone when the tongue is high enough to enhance the resonance. I did not say that this height changes from one note or register to the next. For notes below low C, I use the same tongue arch as I do for the next two C's above it.

And I certainly do not use the tongue arch to change pitches. For the way I play and the direction I'm moving this is the responsibility of the lips, not the tongue nor the air velocity.

I'm not saying that the Maggio System is wrong or no good. Quite the contrary. That system has been very  successfull for a lot of people. It's just not consistent with my needs as a player. I encourage everyone on the list to at least learn about the Maggio System. Mr. MacBeth is on the list and I think it's a fantastic opportunity for many people to hear what he has to say. I don't dissagree with Mr. MacBeth's teachings. My only dissagrement was with his wording in his post.

Eddie Lewis
Houston, TX