Texas Bandmasters Association 2013 Convention/Clinic
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1 Advanced Performance Techniques for Trumpet/High Brass CLINICIAN: Tim Andersen SPONSOR: TBA Texas Bandmasters Association 2013 Convention/Clinic 2013 Patron Sponsor JULY 21 24, 2013 HENRY B. GONZALEZ CONVENTION CENTER SAN ANTONIO, TEXAS
2 Advanced(Performance(Techniques(for( Trumpet/High(Brass( TexasBandmastersAssociation Tuesday,July24,2013 4:00pm Room214AB Thedifferencebetweenagoodtrumpetplayer/musicianandanoutstandingtrumpet player/musicianistheabilitytocreateanemotioninyourlistener.withoutwords,we haveafarmoredifficulttaskthanvocalists.fromvibrato,totechnique,toabeautiful singing style, young trumpet players need to develop these techniques in order to effectivelycommunicateemotiontoanaudience.playersthatonlyperformnotesand rhythms only have an elementary/rudimentary knowledge of the instrument and music and therefore will never attain the level of performance needed to reach the highestgoals. I will give you some techniques that will help the student performer achieve those goals.however,thismightbetoomuchforayoungplayertoattempteveryday.the goalistodevelop a practice routine that covers one or two of these techniques each day before moving on to etudes, solos, ensembles or other music that needs to be practiced. We(are(either(playing(a(song(or(a(dance( Tone:((Centered,(resonant(sound( a.mouthpiece(buzzing/vibrating Tone on mouthpiece This concept needs constant monitoring by the teacher. Itwill take some time for the student to grasp buzzing/vibrating with the correctresonant,vibranttoneonthemouthpiece. 1. Longtones 2. Smallsirensinthemiddleandlowregister.Makingsurethe tone stays resonant/vibrant between the highest and lowest pitchofthesiren. 3. Lipbuzzing/vibrating. a. Thisisacontroversialtechnique.Ithinkitshouldbe addressedonlyin higher level players. Itisthe most difficult technique to accomplish of the three techniques.play,mouthpiece,lipbuzz/vibrate.itmust bepracticedinfrontofamirror.playersshouldhave asnormalafaceaspossible. Youshouldlooklikeyou whenlipbuzzing/vibrating.no bitterbeerface
3 CollaborativePracticeTechniques WiffRudd IpracticethisbookbywiththeTonalEnergyTunerasmy playingpartner. collaborativexpracticexconcepts.html TheBuzzingBookXJamesThompson Goodbookwithaccompanimentforpitch. b.note(bending.refertopage6. c.tuning(slide(practice(techniques Pushthetuningslideallthewayinandpracticewithatuner.TheTonal EnergyTuneriswonderfulforthisasitproducesafairlygoodtrumpet toneandstudentscanthenmatchpitchtodevelopeartrainingaswellas practicingcenteredtone. Articulation(issues( a.directlyrelatedtotone Ifyouplayaboveorbelowcenter,youwillchip,crackandmissnotes. b.studentsplaytoopeckyandshortamajorityofthetime.theystartandend thenoteswiththetongueinsteadofonlystartingthenote.usingtheincentive( Spirometerisagreatwaytovisualizethelengthofthenoteandthestrengthof thestartofthenote. c.allnotesstartthesame,nomatterhowlongorshortthenoteisunlessthere isaneffectattachedtothenote.ie:accent,sfz,etc.astaccatomarkisnotan effect,justanotelengthchange. Think(lyrical,(sing! Arban,CompleteConservatoryMethodforTrumpet ChrisGekker,ArticulationStudies WiffRudd,CollaborativePracticeConcepts Mouthpiecebuzzingandtonguing IncentiveSpirometer, Multiple(Tonguing( Work slowly to match the K tongue to the T tongue. There are no tricks or shortcutstogoodmultipletonguing.usetonsofsmoothairandalotofshort,detailed practicesessions. a. Startwithawholenotethen,usingtheKtongue,play4quarternotes. Dothisanumberoftimes.Proceedtoplayingwholenote,4Ttongue quarter notes and 4 K tongue quarter notes. Matching the start of bothkandttongueisessential.practice8countexercises,16count, etc.proceedtotrading2 sthentrading1 sataslowtempo.ifthe soundofboththekandttonguearethesame,increasetempo.at the same time, work on changing notes. Only use two notes when beginningthisexercise. ( (
4 ( Vibrato( Measuredvibrato.Relatedtolipbending.Refertop.7 Listentovocalistsandgreatperformersonyourinstrument ( Technique( Scales Practicetone,phrasingandarticulationwhenprac ticingscales.refertop.8x10 ClarkeStudies,TechnicalStudiesfortheCornet Arban,CompleteConservatoryMethodforTrumpet Lip(Slurs( CharlesColin,AdvancedLipFlexibilities Arban,CompleteConservatoryMethodforTrumpet BaiLin,LipFlexibilities LEARN(TO(PLAY(THE(HORN,(NOT(THE(NOTES( Give%them%a%fish%and%they%eat%for%a%day.%%Teach%them%how%to%fish%and% they%will%eat%for%a%lifetime.%% Teach%them%an%etude%and%they%will%be%able%to%play%for%an%audition.%% Teach%them%to%play%the%instrument%and%they%will%play%for%a%lifetime.% Solos( The following is a list of Class I solos that should be approached by advanced trumpet students. There are numerous solos on the Class I list, however, these are wonderfulpiecesthatareoftenneglected. Fantaisie(Brillante( Arban( Concerto( Gregson( Proclamation( Bloch( Intrada( Honegger( Concerto( Bohme( Sonate( Hubeau( Credo( Chance( Nightsongs(for(Flugel(and(Trpt( Peaslee( Solo(de(Concours( Charlier( The(Hollow(Men( Persichetti( Sounds((from(the(Hudson)( Clarke( Concertino( Porrino( The(Bride(of(the(Waves( Clarke( Concertino( Riisager( From(the(Shores(of(the(Mighty(Pacific( Clarke( Fantaisie(en(Mi(Bemol( SaintHSaens( Sonata( Dello(Joio( Carnival(of(Venice( Staigers( Legende( Enesco( Sonata( Stevens( Boutade( Gabaye( Three(Bagatelles( Tull( Feu(d'Artifice( Gabaye( Second(Concerto( Williams(
5 ( Recordings CLASSICAL( PhilSmith"ContestSolosforYoungTrumpeters"isreallygood,sinceitcontainsseveral selectionsfromthelistxbuti'mnotsureifit'savailableotherthantomembersoftheitg.his "OrchestralExcerptsforTrumpet"isalsoverygoodandstillavailable. Smith/dp/B JG/ref=sr_1_1?s=musicie=UTF8qid= sr=1X 1keywords=phil+smith+orchestral GerardSchwarzXCornetFavoritesXhasalotofcontestsolos(esp.theClarkesolos) Schwarz/dp/B000005IYD/ref=sr_1_1?s=musicie=UTF8qid= sr=1X 1keywords=gerard+schwarz HåkanHardenberger's"TheArtofTheTrumpet"isafantasticmultiXdiscset,andat$27on Amazon,it'sastealfortheamountofincrediblemusicitcontains. Hardenberger/dp/B000SSPL1M/ref=pd_bxgy_m_img_y MauriceAndréXTheTrumpetShallSound Andre/dp/B00008ZPE9/ref=sr_1_2?s=musicie=UTF8qid= sr=1X2 SergeiNakariakovXNoLimits Saens/dp/B00004SX2J/ref=sr_1_5?s=musicie=UTF8qid= sr=1X 5keywords=sergei+trumpet MalcolmMcNabXExquisite McNab/dp/B007BY33IO/ref=tmm_other_meta_binding_title_0 Nocontestsoloshere,butthisisjustsomeridiculoustrumpet playing! JAZZ( LouisArmstrongXTheBestoftheHotFivesandHotSevens(compilation) Recordings/dp/B0026OIBK4/ref=sr_1_2?s=musicie=UTF8qid= sr=1X 2keywords=louis+armstrong+hot+fives+and+sevens DizzyGillespieXKenBurnsJazz(compilation) Gillespie/dp/B000050I3P/ref=sr_1_4?s=musicie=UTF8qid= sr=1X 4keywords=dizzy+gillespie CliffordBrownXTheDefinitiveCliffordBrown(compilation) Brown/dp/B00006IQON/ref=sr_1_17?s=musicie=UTF8qid= sr=1X 17keywords=clifford+brown
6 MilesDavisXKindofBlueX LeeMorganXTheBestofLeeMorgan(compilation) Morgan/dp/B000005HES/ref=sr_1_1?s=musicie=UTF8qid= sr=1X 1keywords=lee+morgan+the+best ClarkTerryXOscarPetersonPlusOneXClarkTerry One/dp/B000TJ6CPY/ref=sr_1_3?s=musicie=UTF8qid= sr=1X 3keywords=clark+terry WyntonMarsalisXStandardTimeVol.1 1/dp/B /ref=sr_1_11?s=musicie=UTF8qid= sr=1X 11keywords=wynton+marsalis NicholasPaytonXFingerpaintingXTheMusicofHerbieHancock McBride/dp/B FK/ref=sr_1_11?s=musicie=UTF8qid= sr=1X 11keywords=nicholas+payton
7 Note Bending No w a. b. c. d. # w w w # w w w # w w w # w w a. Play on the instrument. Use normal fingerings b. Play on the mouthpiece. Breathe as necessary. Observe the physical changes. Remmeber the "feel" of the vowel and lip shape c. Play on the instrument. Use note bending for the half step. Use the same feel as above. Allow the same physical chages to occur as in b. d. Play on the instrument. Use normal fingerings. Allow the same "feel" to occur as in b. and c. Always listen for correct intonation and physically adjust as necessary. 5 proceed chromatically: # w # w w w w w w # w w bw w w w 4 # w w # w # w w 11 No. 2 Play 4 times as in No. 1 4 # œ # œ œ œ œ # œ œ œ œ œ œ œ w. 15 No. 3 Play 4 times as in No # œ # œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ w. 19 No. 4 # # œ # œ œ œ œ # œ œ œ 23 œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ # w
8 Vibrato Exercise - Start each line at mm=80 - The lower pitch is not to be played a half step below the starting pitch. That is simply a way for me to show you the rhythm. start with an exagerated vibrato. As the student progresses in their development, narrow the width of the vibrato as the speed of the vobrato increases. - Practice each line slightly faster each day to devlop the feel for vibrato. - When the half notes are at mm=160, move to line 2 and start at mm= Line 1 # # # w 5 œ Line 2 # œ œ œ œ # œ œ œ œ # œ œ œ w 9 Line 3 œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ w 13 Line 4 œ# œœœœœœœœœœœœœœœ œ# œœœœœœœœœœœœœœœ œ# œœœœœœœœœœœœœœœ w
9 Scale/Articulation Exercise Andersen 4 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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