Ze staan niet alleen op de .yamaha artist pagina's (
http://www.yamaha.com/artistmodelseries/index2.html) , ook Getzen doet op z,n best om ons leven te veraangenamen.
Dit trof ik aan in de Getzen Gazette:
By Dr. Leonard A. Candelaria
(Professor of Trumpet & Artist in Residence, University of Alabama at Birmingham)
Many players seem unaware of the fundamental concept that must remain foremost in the minds of all wind musicians. The concept is that, no matter the style, tempo, volume, or range of music being played, the sounds we produce on our instruments must always possess a vibrant and rich quality of tone that is the product of blowing air in a smooth, flexible, and continuous manner. The following ideas may be of benefit to most brass players.
Air Control
1. Always inhale air deeply, calmly and silently.
2. Be sure to inhale in time with the tempo of the music.
3. Think to yourself as you do the following; 1, 2, 3…Breathe…Play
4. Make playing feel as though you were sighing through the horn.
5. Always blow firmly or gently as needed with positive energy!
Practicing Tips
1. Always begin each practice session by playing soft, slow, and sustained middle-register tones. Never begin by playing loud and high. Without being comfortable in your ability to play your very best tone on each and every note in the mid-range, you should refrain from playing high, fast, or loud.
2. It is better to practice for several short sessions (20 -30 minutes at a time) rather than practicing only once daily for an excessively long period. Rest frequently during each session.
3. While you play each exercise or study, keep one goal in mind the whole time. Do not be satisfied with your playing of the exercise until you achieve your goal on a consistent basis, then pick another goal. Primary goals should always be the relaxed and efficient use of the breath, the production of a rich and resonant tone quality, clear and consistent articulation, and precise fingering.
4. Other basic musical goals are accuracy of pitch and intonation, precise rhythm, following dynamic indications, consistent phrasing, and control of width and speed of vibrato.
5. Always strive to make everything you play sound like beautiful music. This even applies to scales, scale drills, arpeggios, lip slurs, and articulation studies.
6. Repetition is the key to fine playing and effective practice. In order to do the correct things in the correct manner every time we perform, we must do them correctly many times in our practice before they become correct and automatic habits.
7. Remember, both good and bad playing are a matter of habit!
8. We play like we practice and we practice like we play. So practice often and practice well!
The Tongue
1. The air always starts the tone, the tongue just cleans up the front of the note by knocking the “fluff” off the sound.
2. Use the pointed tip of the tongue to articulate in most cases.
3. Flick the tongue positively and quickly as you blow and think of saying “Too”. Think of saying “Too” and “Hoo” as though they were two parts of one word: “Too-Hoo” then becomes “T-hoooooo.”
4. Now say “T-hoo” several times in succession with no spaces between the individual articulations. This is the basic manner most repeated articulations should be played.
5. Use “Too” for rhythmic styles of articulation and “Doo” for most melodic styles.
Fingering
1. The fingers of the right hand should be slightly curved with the fleshy pads of the fingertips directly over or touching their respective valve buttons. The thumb should rest under the lead pipe with the tip of the thumb touching the space between the first and second valve casings. Overall finger dexterity will be enhanced if the little finger is free to move without using the finger hook.
2. The fingers manipulate the valves so that the valves move as quickly as possible from up to down, or down to up. The action of the fingers should be smooth, firm, and positive.
3. Coordination between the air, the tongue, the fingers, the lips, and the tempo/rhythm is the primary concern.
4. Practice all difficult technical passages slowly and carefully many, many, many times before attempting to play at a faster tempo. Use a metronome to ensure accurate rhythm.
5. In fast passages, think of “banging” the valves down with good rhythm to clean up the execution.
The Embouchure
1. The lips must always be together and touching before the tone starts.
2. Firm the corners of the mouth by making “dimples” or by “krinkling” the corners of the mouth.
3. Buzzing the lips alone without the mouthpiece is commonly termed “free buzzing.” One or two minutes of “free buzzing” is an excellent way to begin each practice session. With the center of the lips firm (not tight or rigid) and lightly touching, blow firmly and steadily as you silently say the word “POO”. With a little practice, the lips should vibrate or “buzz” freely. You should be able to sustain the vibration for a few seconds. The vibration that results could sound like “P-uzz”. Whether the resultant pitch is high or low is less important than producing and sustaining a free and vibrant “buzz”. Later, superimpose the consonant sound of the letter “T” over the “P”, changing “POO” to “TOO”. Now use “TOO” to start tones.
4. To buzz on the mouthpiece follow the same approach as outlined above, but do these things on the mouthpiece alone. You may have to blow more firmly with the mouthpiece than you did with the lips alone. Keep the corners of your mouth firm and the center of your lips (inside the cup of the mouthpiece where the sound is made) should be relaxed but touching.
5. Learn to sustain high and low sounds on the mouthpiece as well as slurring from low to high and back down. Sustain the mouthpiece tone by sustaining the movement of the wind (the blowing of air). Also practice articulating connected repeated tones without creating space between the notes.
6. The sound quality of the mouthpiece tone is important. It must be free blowing and vibrant with lots of ‘buzz” in the sound. Use lots of air and play at mezzo forte or forte.
7. Practicing problematic passages on the mouthpiece, regardless of their technical nature or musical style, is often the fastest way to improve the playing of the same passage on the horn.
8. An effective approach is to play a passage, buzz it, and play it again.
Bron:
www.getzen.com/gazette
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