![]() ![]() ![]() The most common varieties chosen seems to be the air and variations format (ex. Many trumpet/cornet players play cornet solos. Scott Beleck – fun and interesting exercises (Yes, I LOVE LIP-FLEXIBILITIES!!) “AIR OF MANHATTAN” Composer Nicola Ferro – Principal Brass Quintet New York Philharmonic. Tchaikovsky Competition – for the FIRST TIME!!! Trumpet, Horn, Tenor Trombone and Brass Quintet Contact: International Brass Competition August 6-16, 2019 The solo part and piano accompaniment are available now. You need this great addition to your solo possibilities. Expand your repertoire and thrill your audiences. Paul Mayberry has done major research into the repertoire of the Eb Cornet and keyed bugle and has now made available a collection of 50 solos. José Real trumpet, HARMONIE ENSEMBLE – Director: Salvador Sebastiá Be creative in your practice.Įric Aubier trumpet, Orchestre symphonique de Bretagne How do the performers tell the story differently and what is the emotional impact on you the listener? How can you create emotion without dynamics or by tempo? Try to expand your ideas and possibilities when making your musical statements. Yes tempo, but also style of attacks, any articulation differences, the sound, and clarity of the musical story. Notice the differences in approach to the piece. Here are two wonderful performances for your consideration. ![]() A little less know work, but a good piece for an audience is his Le Gay Paris. If you go to many trumpet recitals, the Sonatine by Jean Françaix should be a familiar piece of the trumpet repertoire. Keeping the tongue slightly arched and forward as with the English word “die” may prevent the note from having a bump or not speaking at all. Keep the air speed steady until the lower note speaks. Too little air or poor tongue placement may make an accurate and smooth slur difficult to accomplish. The descending third is helpful in understanding the balance between playing softly but playing an accurate descending interval. This interval was practiced using a scale pattern and then transposed to all keys. Samuel Krauss, he had a slight variation on the above which I believe is very helpful to add to your practice. Irons Twenty-Seven Groups of Exercises for the Trumpet or Cornet) Most often I see examples involving one pitch for the crescendos and diminuendos.Įxample (Earl D. The practice of doing crescendos and diminuendos is a common practice to develop your sound, acquire air control, and thereby refine the control of your dynamics. If we want a flexible sound and better control of the trumpet, we need to focus on the way we use our air. A procedure that can be organized in a step by step process is ideal. Keeping the solution to a problem simple helps the mind to approach the solution willingly and with clarity. Practice is really about problem solving no matter what you are trying to learn or accomplish. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |