Blowing an ocarina correctly

It is important to blow an ocarina correctly to create a clean sound and this begins with your breathing. The human body has two patterns of breathing, shallow (clavicular) breathing where the shoulders raise/lower and belly (diaphragmatic) breathing where the belly moves in and out. You must use belly breathing while playing the ocarina. It allows you to play longer between breaths and improves your breath control.

Shalow breathing (bad)

Belly breathing (good)

Try taking a few full belly breaths without your ocarina. Open your mouth and close the nostrils. Place your hand on your belly. Inhale steadily through the mouth so that your hand moves out while the shoulders don't raise. Then exhale steadily through the mouth. Repeat this for a number of breaths until you become comfortable with it.

To further enhance your breath control engage your abdominal muscles, a cue being 'draw the belly button towards the spine'. This creates pressure in the abdominal cavity and pushes up on the diaphragm. It gives the muscle something to work against.

As sitting can negatively affect your posture I advise playing while standing. A slouched posture reduces the volume of the chest and limits how much air you can inhale. Consequently it limits how long you can play a note. To check your posture you can stand with your back to a wall, preferably one with no baseboard. Your heels, bottom, shoulders and the back of your head should all touch the wall.

If you cannot do this your body is out of alignment. This can be improved by lying flat on a hard floor. In this position gravity will move your body into alignment. You may feel tension in the chest muscles as it is common for them to become tight. If you do this for several minutes a day for a few weeks the muscles will start to loosen.

Controlling your breath

When playing a wind instrument you need to start and stop your breath to separate notes. The breath has to start and finish abruptly to create a good sound. This cannot be done with the diaphragm alone as it responds too slowly. The pitch ramps up, peaks and roils off. Listen to the sound samples below.

Bad blowing

Good blowing

To start and stop your airflow crisply you have to use the tongue. While you are exhaling you can touch the tip of the tongue to the top of your mouth blocking the airflow. As the diaphragm is still engaged the area behind the tongue is pressurized. Lowering the tongue releases this stored pressure causing the note to begin cleanly.

Now try practicing this. With your mouth partly open take a deep belly breath. Exhale steadily then block the flow with the tongue. Let some short pulses of air out by quickly lowering and raising your tongue. It is best to practice this without your ocarina.

Tongue lowered
Tongue raised

In addition to the tongue there is another valve in your thought called the glottis. This is what allows you to hold your breath with your mouth open. You can feel it move if you put your hand on your thought while holding and releasing your breath.

While playing the ocarina it is important to keep the glottis open at all times. Closing it introduces turbulence which creates a noisy tone.

on other wind instruments the glottis is sometimes used to create articulation. I don't recommend doing this on the ocarina. The glottis responds much slower than the tongue, creating a fast response requires holding it almost closed as a resting position. This creates turbulence which results in a noisy tone. It also restricts the airflow which is a problem as the high notes require a large volume of air.

The ocarinas embouchure

You may think that because ocarinas have a windway that they don't need a special embouchure. This is not the case as they are sensitive to turbulent airflow. You have to position your lips and tongue to create a smooth air passage or the tone will be noisy.

Firstly part your teeth. Roll your lips in slightly so they are flat with the teeth (blue arrows). Position the tongue level with the bottom lip covering the lower teeth (green line).

Form a small oval-shaped aperture between your lips. This should be of moderate size as it will create a noisy tone if too restricted. LIGHTLY touch the mouthpiece of the ocarina against the aperture using just enough pressure to create a seal. When playing the mouthpiece should not be fully in the mouth and should never touch the teeth.

To get the best sound you should angle the ocarina so you are blowing directly down the windway. Tilting it sharply up or down kinks the air passage and results in a noisy tone.

Playing long tones on your ocarina

Above I mentioned the importance of being able to start notes cleanly and hold them stable over there duration. It is good to practice this regularly using the long tone exercise.

Finger a note in the middle of the range. If you are playing an ocarina in C the note G is good. Stop the air with your tongue, engage your chest muscles and start to exhale, building pressure in your mouth. Release this pressure by lowering the tongue and the note will start crisply. As you are about to run out of air don't strain, finish the note cleanly with the tongue.

As the ocarinas pitch depends on your blowing pressure it is a good idea to check the note you are actually playing using a chromatic tuner. While fingering a G, you could be sounding anything from a F sharp to A. Raise or lower your breath pressure to get the note in tune. You may find that you have to use a great deal less or more pressure than what feels right. Resist any temptation to change it, it will start to feel natural after a few days.

While practicing this take note of how the position of your tongue affects the tone. If you raise the back of your tongue you will get a more noisy tone. Similarly positioning the tip of the tongue too close to the teeth results in a noisy tone. Position the tip further back along the roof of the mouth. Experiment to find a position which gives you the cleanest sound.

Rear of tongue raised (bad)
Tongue too close to teeth (bad)
Exercises

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