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Basics Plus - Studies for 1 or 2 Trombones (Euph/Tuba) by Guggenberg

Basics Plus - Studies for 1 or 2 Trombones (Euph/Tuba) by Guggenberg
Tilgjengelighet: På lager
Varenummer: MVSR3009
620 kr
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Basiscs Plus ( W. Guggenberger) Studies


Innhold:   


Thinking in Sound  II


How to use BASICS PLUS !  III


Explanation of terms  V


01. Mouthpiece-Studies  p. 001


02. Long Tone Studies  p. 011


03. Flow Studies 1  p. 025


04. Flow Studies 2 p. 037


05. Sound Development p. 047


06. Arpeggio 1  p. 051


07. Arpeggio 2  p. 057


08. Arpeggio 3  p. 065


09. Scales 1 p. 079


10. Scales 2  p. 087


11. Interval Study  p. 097


12. Lip Flexibilities  p. 103


13. Range Studies 1 p. 123


14. Range Studies 2  p. 133


15. Warming Down 1  p. 139


16. Warming Down 2 (Pedal Tones)  p. 145


List of Sources p. 150


 


How to use:


Specific performance instructions are introduced in every chapter. Follow every practice Step, and also pay attention to the hints containing tips for attentive observation of your playing. With the removable pages you can review these instructions while practicing. Feel free to find your own practice routine and modify the performance instructions to your own individual needs.  


 


Solo      


When practicing alone, the 2nd Part serves as a preliminary exercise to the main one. It is always based on the principle of simplification, in order to allow for the most musical and tonally consistent result possible. Transfer these experiences to the 1st Part, and follow the same musical impetus. Make sure that tone quality and ease of playing dont get lost. For a satisfying result when playing as a duo, it is very helpful to practice the exercises in the solo version as well.


   


Duo


You can use the two-part version together with a friend or a colleague, in a lesson (teacher and student), or in a group.


 


The advantages of the two-part version are obvious:


 Any inconsistencies in your own playing, including purity of tone, intonation, dynamics, and rhythmic accuracy, are revealed immediately in ensemble playing.


 You automatically direct your attention more to the music and learn to listen to your duet partner.


 Duet partners can motivate each other and give each other tips.


    


 Variation


 When you have mastered the fundamental exercises you can increase the difficulty level. The possibilities are limited only by your own imagination!


    


Note


One important remark, which will lead to a methodical understanding of your technique: the instructions always refer to trumpet technique in general and are not limited to the chapters in which they appear.


   


Visualization


Analytical thought in our left brain (intellect) often has a crippling effect on our bodys natural functioning. Mental pictures activate the right brain, which is so important for musical imagination, and have an immediate effect on our bodys physical activity. They support intuitive reaction.


 Use the power of your thoughts and give your entire mental space over to the mental picture, so that distracting secondary thoughts no longer find a place there. Observe your reaction and decide for yourself how you can integrate this technique into your playing.


   


Practical exercise


Exercises without the instrument are important in order to create new physical experiences that often, because of the strength of old habits, cannot happen with the trumpet in ones hands. It is important to use the suggested exercises regularly and to transfer the newly acquired physical


 feeling immediately to the instrument. Trust the new feeling, even if it seems strange to you!


 


 


Thus our body awareness is in our ear: distribution of tension in the body, cramping or relaxation, muscle tone, posture, motor function and fine motor skills are all verified by the ear as regulating organ. One speaks of a cybernetic regulating cycle: mind (command) - muscle (execution) - ear (verification) - mind (correction of the order)


 Alfred A. Tomatis from The Conscious Ear


 


The most important sensory organ for you as a musician is your ear. The goal of this book is to put listening to yourself more at the center of your practicing.


Through the routine of daily exercises we run the danger of limiting our concentration to mechanical procedures. Learning happens mostly through our senses: seeing, feeling, and hearing. The complex physical processes of playing a musical instrument can, however, only function when the analytical, logical thought of the left brain is in balance with the emotional, pictorial thought of the right brain. It is exactly this balance which is guided by our capacity for musical imagination.


 Every note we play is an expression of our individual personality and has a life of its own. This is the reason for the fascination that the trumpet exudes. We should give the same musical attentiveness to so-called warm-up exercises that we give to the study of etudes and concertos. (After all, the E-flat Major concerto of Joseph Haydn begins with a simple scale figure).


 


The two-part nature of the present exercises programs our concentration to focus our thinking on the essential. The fundamental idea is always simplification, given by the 2nd Part or the preliminary exercises, and by the blending of the two parts, into which we are submerged.


Embark, therefore, on a new way of thinking in sound, according to the motto Dale Clevenger, solo hornist of the Chicago Symphony Orchestra, so aptly formulated:


 


Your two best friends are your ear and your air!



Basiscs Plus ( W. Guggenberger) Studies


Innhold:   


Thinking in Sound  II


How to use BASICS PLUS !  III


Explanation of terms  V


01. Mouthpiece-Studies  p. 001


02. Long Tone Studies  p. 011


03. Flow Studies 1  p. 025


04. Flow Studies 2 p. 037


05. Sound Development p. 047


06. Arpeggio 1  p. 051


07. Arpeggio 2  p. 057


08. Arpeggio 3  p. 065


09. Scales 1 p. 079


10. Scales 2  p. 087


11. Interval Study  p. 097


12. Lip Flexibilities  p. 103


13. Range Studies 1 p. 123


14. Range Studies 2  p. 133


15. Warming Down 1  p. 139


16. Warming Down 2 (Pedal Tones)  p. 145


List of Sources p. 150


 


How to use:


Specific performance instructions are introduced in every chapter. Follow every practice Step, and also pay attention to the hints containing tips for attentive observation of your playing. With the removable pages you can review these instructions while practicing. Feel free to find your own practice routine and modify the performance instructions to your own individual needs.  


 


Solo      


When practicing alone, the 2nd Part serves as a preliminary exercise to the main one. It is always based on the principle of simplification, in order to allow for the most musical and tonally consistent result possible. Transfer these experiences to the 1st Part, and follow the same musical impetus. Make sure that tone quality and ease of playing dont get lost. For a satisfying result when playing as a duo, it is very helpful to practice the exercises in the solo version as well.


   


Duo


You can use the two-part version together with a friend or a colleague, in a lesson (teacher and student), or in a group.


 


The advantages of the two-part version are obvious:


 Any inconsistencies in your own playing, including purity of tone, intonation, dynamics, and rhythmic accuracy, are revealed immediately in ensemble playing.


 You automatically direct your attention more to the music and learn to listen to your duet partner.


 Duet partners can motivate each other and give each other tips.


    


 Variation


 When you have mastered the fundamental exercises you can increase the difficulty level. The possibilities are limited only by your own imagination!


    


Note


One important remark, which will lead to a methodical understanding of your technique: the instructions always refer to trumpet technique in general and are not limited to the chapters in which they appear.


   


Visualization


Analytical thought in our left brain (intellect) often has a crippling effect on our bodys natural functioning. Mental pictures activate the right brain, which is so important for musical imagination, and have an immediate effect on our bodys physical activity. They support intuitive reaction.


 Use the power of your thoughts and give your entire mental space over to the mental picture, so that distracting secondary thoughts no longer find a place there. Observe your reaction and decide for yourself how you can integrate this technique into your playing.


   


Practical exercise


Exercises without the instrument are important in order to create new physical experiences that often, because of the strength of old habits, cannot happen with the trumpet in ones hands. It is important to use the suggested exercises regularly and to transfer the newly acquired physical


 feeling immediately to the instrument. Trust the new feeling, even if it seems strange to you!


 


 


Thus our body awareness is in our ear: distribution of tension in the body, cramping or relaxation, muscle tone, posture, motor function and fine motor skills are all verified by the ear as regulating organ. One speaks of a cybernetic regulating cycle: mind (command) - muscle (execution) - ear (verification) - mind (correction of the order)


 Alfred A. Tomatis from The Conscious Ear


 


The most important sensory organ for you as a musician is your ear. The goal of this book is to put listening to yourself more at the center of your practicing.


Through the routine of daily exercises we run the danger of limiting our concentration to mechanical procedures. Learning happens mostly through our senses: seeing, feeling, and hearing. The complex physical processes of playing a musical instrument can, however, only function when the analytical, logical thought of the left brain is in balance with the emotional, pictorial thought of the right brain. It is exactly this balance which is guided by our capacity for musical imagination.


 Every note we play is an expression of our individual personality and has a life of its own. This is the reason for the fascination that the trumpet exudes. We should give the same musical attentiveness to so-called warm-up exercises that we give to the study of etudes and concertos. (After all, the E-flat Major concerto of Joseph Haydn begins with a simple scale figure).


 


The two-part nature of the present exercises programs our concentration to focus our thinking on the essential. The fundamental idea is always simplification, given by the 2nd Part or the preliminary exercises, and by the blending of the two parts, into which we are submerged.


Embark, therefore, on a new way of thinking in sound, according to the motto Dale Clevenger, solo hornist of the Chicago Symphony Orchestra, so aptly formulated:


 


Your two best friends are your ear and your air!



Produktspesifikasjoner
Fabrikat-Forlag Rundel Musikverlag
Produkt Trombone, Euphonium, Tuba
Komponist-Forfatter Guggenberger, Wolfgang
Sjanger Undervisning/Etyder/Teknikk
Produktspesifikasjoner
Fabrikat-Forlag Rundel Musikverlag
Produkt Trombone, Euphonium, Tuba
Komponist-Forfatter Guggenberger, Wolfgang
Sjanger Undervisning/Etyder/Teknikk
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