Nevertheless one can perform on the serpent, by means only of its mouthpiece, a few simple bass notes, it is the only resource that this instrument offers to non-musicians for use in lectern service; But since this is not the only goal that one should set when studying this instrument, we insist on careful study of fingering.
In order to obtain clarity in execution, care must be taken to place your fingers on the instrument so that they can act freely and effortlessly as necessary, they must be held against the holes so that each must close and open, taking care, in their action, that they do not slip, but strike precisely.
ON THE FORMATION OF SOUND.
The sound is the result of the introduction of the player's breath into the serpent tube through the bocal. This breath produces an air column that receives the action of the tongue, lips, and fingering, with various modifications that determine the sounds that can be obtained from the instrument. See the fingering chart.
ON ARTICULATION.
The action of the tongue alone, used as a valve in the emission of the breath, determines the articulation, without which the sound would be loose and monotonous; Not only do they give strength and clarity to the sound, but they have the advantage of sparing the performer, by only requiring the volume of air from the chest sufficient for the articulation of each sound.
It is understood that by saving the breath one prolongs the duration, a generally important objective for those engaged in the study of wind instruments, but even more so for the serpent because of the volume of its tubing.
The syllable du is used for the slurred sounds and tu for the detached sounds.
Example.
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