TRUMPET & MELLOPHONE’ EDITION “Cadets aie 0 > 0 mM el 4) By ) fas i fe) a oy oO 0 is 0) mc oer roy 3 a BY wae Gino Wetec = eee a eo oN anosCadets Brass Rehearsa, Columbia Hix Music Department Breathing 3 @ Playing on the Mouthpiece/Buzzing 6 eee eee ee VE IPF IFIIDIOON INN VY HYUUVUUUY @ Tone Production ll Flexibility 16 & Tonguing 35 2 2 @ Finger Dexterity 44 Riffs 54 Cadets Brass Rehearsal Teciniques & Exeicises | 4DAA DDA ADD DD DD a ah ah ah a a a WD PP PAM EP EM AD MD DD OD DDD ODN Air is as vital to a brass player as itis to life. A wind instrument requires com- pressed air to produce atone. Webster's dictionary defines wind as “a natural movement of air of any velocity” This implies the need to move the air in large volumes and focus on allowing the body to expand naturally ~is the mastery of the breath that will dictate the success on the instrument. Exercises When working on these exercises, think of filing up the respiratory system completely. Try not to isolate each part of the thoracic quadrant {abciominale/chesti, but rather, fill up simultaneously throughout the quadrant Bring the eir in and allow the body to react naturally. Allow the respiratory system to expand effortlessly 2s larga amounts of air are being introduced, “Capping the Breath” ‘Think of the inhale and exhale as one movement, the air should either be moving into the systemn or out, never stopping between each motion and holding the breath. Imagine a baseball pitcher making a pitch to home base: the arm is either moving backwards or forwards, never stopping the motion in between. In breathing this will bing tension and affect the attack of the pitch, General Rules Keep good posture: Do not allow for any tension within the respiratory system. Do not permit the shoulders to lift: any movement of the shoulders should be induced by the expansion of the chest. Fr up:Try to expand the entire thoracic quadrant. The dynamic level should not dictate the amount of air to be taken in. Every breath should be as large as possible, Timing of the breath: Let the breathing become a part of the musical rhythm. If the attack is on beat 1, breathe on beat 4. In a fast tempo, think of breathing on beats 3 and 4 in order to play on count 1.Breathing Tension free: Uti Make sure all other muscles are at rest. are needed to complete the task Endurance: When the air is not working properly, the lips must work harder to compensate. This will put a strain on the lips and subsequently, the sound, causing your tone to suffer. Finale Mastery of the air will enhance performance abilities. Your air has to travel at the right speed and quantity to ensure good pitch control. Management of the respiratory system is a crucial part in the evolution of the fundamental. Work smart and consistently in order to achieve positive results ‘3 2 2 3 3 2 2 2 2 ee nee en enter rn Breathing Exercises Exercise # 1: ‘At 120 bpm Inhale for 4 counts. Inhale for 3 counts. Inhale for 2 coun Inhale for 1 count. Exercises #2: ‘At 120 bom Inhale for 4 counts. Inhale for 3 counts Inhale for 2 counts Inhale for 1 count. Exercises # 3: At 120 bpm Inhale for 4 counts. Inhale for 3 counts. Inhale for 2 counts. Inhale for 1 count. Exhale through the instrument for 8 counts. Repeat 3 times Exhale through the instrument for 8 counts. Repeat 3 times, Exhale through the instrument 8 counts, Repeat 3 times. Exhale through the instrument for 8 counts. Repeat 3 times, Exhale through the instrument for 8 counts. Repeat 3 times. {Exhale through the instrument for 10 counts. Repeat 3 times. Exhale through the instrument for 12 counts. Repeat 3 times. Exhale through the instrument for 14 counts. Repeat 3 times. Exhale through the instrument for 3 counts. Repeat 3 times, Exhale through the instrument for 4 counts. Repeat 3 times, Exhale through the instrument for 5 counts. Repeat 3 times. Exhale through the instrument for 6 counts. Repeat 3 times. Cadets Brass Rehearsal Te Breathing niques & Exercises 5Playing on the Mouthpiece Buzzing ‘The brass instrument simply acts as an acoustic amplifier. The sound informa tion thet the instrument receives through the process of buzzing the lips is amplified through tha instrument. So, it would make perfect sense that, by improving the buzz you will naturally begin to improve the sound. Buzzing is a technique that many teachers {and professionals highly recommend. itis astonishing however, that many brass technique books do not explore such an important tool for success. With so much at stake, it becomes imperative that you include some form of ‘mouthpiece buzzing in your daily routine, Mouthpiece buzzing enhances: Tone production: An unstable or a poor buzz will result in a poor sound. The time spent on improving the quality of your buzz will significantly improve the efficiency of tone production on the instrument. Accuracy of pitch: Without the aid of the instrume: it becomes more of a challenge to reproduce any Specific note. Therefore, you need to “hear” the Pitch in order to play it Range extension: Exploring the limits of the upper register alone on the mouthpiece will improve the Upper register when the instrument is added. Any pitch you can produce on the mouthpiece is a pitch You will be abie to reproduce on your instrument. Endurance: By improving the quality of your buzz as well as the mastery of your breath, you will notice improvement in your stamina Airflow: Because the mouthpiece gives more resistance than the instrument, playing on the Mouthpiece allows for a less restricted free- blow ing feeling, OMe aa wa. |Playing on the Mouthpiece Pressure “Don't use too much pressure” or “Use as litle pressure as possible” are phrases that we hear throughout our musical development. These phrases are a bit vague and misguiding ‘A good rule of thumb when setting the embouchure is to use enough pressure around the aperture to seal in the air. This technique will allow the lips to vibrate freely and in return ‘enhance your overall one production. Too much pressute wil eliminate the vibrations and lead to possible bruising of the lips. The looser the lips are within the confines of the cup, the more they will vibrate, The more the lips vibrate, the better the sound, Remember that any improvements made on the mouthpiece will directly transfer to your instrument. “Hah” vs. “Dah” Attacks Hah” attack on the mouthpiece is @ technique you can use to make sure the airflow is wo’ ing efficiently. Hah Hah a Hah ian anacks for Tunpet ees se POP VVUPvVVIIVIVIUUMUIIIUY 7 Hah Hah Hah Hab san atacs for Bartono , Hah Hah _ Hah ah tacts or Tuba Produce @ series of concert F's on the mouthpiece using a "Hah" syllable, This will allow you to eliminate the tongue and concentrate on the air as well as the lip vibrations. Remember, thet “+ the first point of resistance the air encounters is the lips. With this exercise, you can pin point 4. the initiation of the sound. The whole point is to alow the air to initiate the sound and not the tongue. Make sure that the lips follow the air to produce a well focused resonant buzz “Dah” attacks on the mouthpiece introduce the tongue to the equation. Ifthe air initiates the ‘sound, then the tongue defines the sound. Just as before, play a series of concert F's on the mouthpiece using a "Dah" syllable. Make sure the air flow is moving constantly as well as consistently. Ifthe lips follow the air, then it is right to say thet the tongue does as well 2) Cadets Brass Rohoarsal Te niques & Exercises | 7== Playing on the Mouthpiece Dah Dah Dah Dah Dah Attacks for Tumpot 5 Dah Dah Dah Dah Dah Attacks for Baritone Dah Dah Dah Dah Dab Attacks for Tuba Air leads the way...jips and tongue are along for the ride! In doing these basic exercises you will be training the air to do the work, the tongue only determines the force of the attack while the lips stay as loose as possible. Remember, that alr initiates the sound while the tongue defines the sound, “Slotting vs. Sliding” In order to work on your ear training you want to rake sure that you are slotting each individ- tal pitch and not sliding, Slotting is the ability to travel from one pitch- center to the next with ‘nothing in- between the note. (Sliding is the opposite. Think of a tromibone moving from one position to the next slowly ~ that's the sound we are trying to stay away from with these : exercises.) Imagine falling off the cliff moving from one note to the next, that is the motion you are trying to recreate in your playing “Note to note"... “Pitch center to pitch canter’ Bumps in the road When traveling from pitch to pitch, the goal is to achieve a smooth transition. Using too much air and not enough back of the tongue can cause @ very bumpy ride. Listen to your sound and make sure you arrive effortiessly at each pitch, The key word is "smooth" The smoother the ride becomes, the better coordination is achieved. Finale ‘These exercises will help you coordinate air, tongue and aperture. All three facets need to be ‘well coordinated in order to make these effortless changes. Time well spent on the mouth: piece will result in an astonishing amount of growth fundamentally on your instrument. A few minutes of buzzing each day will enhance all aspects of playing. Remember thet the quality of your practice is more important than the quantity of practice. Be patient and stick with it; you will impress yourself on with your vast improvements! al Techniques & Exercises Brass RehParad at ab abalbalalabal al ala ed GUO YU ar rar var iv an cy any Werte woud Playing on the Mouthpiece Buzzing ‘Alternet between playing and buzzing each exercise. Make sure to slot each individual pitch and not slide between shotes. Remember, to keep a constant ar flow and the right amount of pressure around the aperture, Ls Hah" aback, a Cadets Brass Rehearsal Techniques & Exercises10 Playing on the Mouthpiece Buzzing + 86-116 Cadets Brass earsal Techniques & Exercises CAAVIVADADANAAAAANAAAAAIAAAAIIIIIIIIAAAOIIIAAYLIYVODVIIIIIIVIIVIIVIVVVIVVVVVIUVVVDVVVUVUVDUVULULVUYUOYS Long Tones The thought of doing long tone exercises can seem a bit unappetizing and dull to seasoned musicians. Because of this, we tend to stay away from hese types of tedious exercises. However, there is no denying that if per- formed property, long tones will improve your overall sound. A change in technique may be needed so rather than playing one sound for an extonded period of time, you can play several sustained pitches as you travel through the instrument. This will not only make the exercise more interesting but it will continue to work on the marriage of the elements (air, tongue and pressure) Benefits of Long Tones 4, Works on tone sonority. 2. Works on air flow and air management. 3, Works on the efficiency of lip vibrations 4, Werks on pitch accuracy. 5. Works on stamina, 6. Works on proper release of the tone. Physics of the instrument ‘When a valve is pressed or the slide is extended, the instrument increases in length, triggering a need for more air from the player. On a valve inst rent, each time a valve is pressed down a chamnbar is opened and in order to compensate for the extension in length, the air stream needs to be manipulated. Think of it as increasing the air speed slightly to engulf the extra tubing. This practice will not only help with tone production, but also with pitch, There needs to be continual compensation for the changes in length of the instrument through air stream manipulation. For every chamber that is activated or slide that is elongated, the air flow must be managed accordingly Tone ProductionTone Production Details * Be extremely meticulous on the production of each pitch (Pitch center, tone auality, air speed) ‘= Approach each individual note like it's the only note to be played, ‘= Be meticulous not only on the quality of front end of the note but on the back end as well ‘= Be conscience of how you leave one note to arrive at the next. ‘© Make sure that the end of the note does not suffer in order to produce the next tone, This will work not only on the purity of each tone, but also on solid ifying proper lip vibration, Releases The tongue is sometimes mistaken for a Remember the tongue acts to determine the intensity of the attack, not to help release a specific tone. When the tongue is used to release a pitch, the note becomes harsh and. unpleasant to listen to. Think past the individual note and don't choke the sound off with the tongue. Keep in mind that the tongue defines the sound” hutoff valve. inale Long tones or tone production exercises should not be a rathon, they should be a detailed assess- ment of sound, Focus in on each individual note and a contin- Luing pursuit of tonal perfection, Quality in your approach wil lead the way to tonal success. Be persistent! length-of-note mi 12 8 Exercises 1 MIPIVADDANDNDANADDADDDADADADNADAANANANANAAA DAITone Production 2 ANNDDAIDNAANAAAANAAANAAALD vorcises | 13 a Cadets [2 OOPHHEEOLEEOLELEHEOOOEVIIIVIVIVVIVIVVVIIIIIIIIIIIIIIIVIIV 00000 UUUS I Tone ProductionPee ee ew VY VV VIIIIIIDYYDIIVUVIVIVUVVUVUYIVIIVYS Tone Production ut Cadets Brass Rehearsal Techniques & Exercises 15sUKcp-@Lentninys Without quest instrument. 1, lip flexibility is one of the staples of playing @ brass: Lip slurs not only help one move fluidly and effortlessly throughout the entire range of the instrument, but also helo build embouchure strength and endurance. Routines should be geared towards improving the elasticity of the embouchure on a daily basis Here are some guidelines to think about when practicing lip flexibility: Slurring in the Upward Direction Increase the air speed while raising the back of the tongue. Through this motion, the aperture becomes smaller as the tissue within the confines of the cup of the mouthpiece becomes taut. This will help to Slaring inthe Upward Direction {aciltate an effortless sound as you move through the partials. Slurring in the Downward Direction Lower the back of the tongue and increase the volume of air, During this process, the aperture becomes bigger as the lips inside the cup of the mouthpiece become more relaxed. This creates less tension within the cup allowing the lips to vibrate generously and produce an unforced sound throughout the entire register of the instrument. Helpful Hints to Help Flexibility Be sure to keep the corners of the mouth firm. Lip slurs should caccur mostly within the confines af the cup, with as little movement of the corners as possible. Using different vowel syllables will help ‘accommodate the register in which one is playing. For example, “ooh” {or the low register, "ew" for the middle register and “ech” for the upper register. Sturing inthe Downward Direction Make sure not to “telegraph your direction of the slur. Stay on the pitch to the last possible moment until it's time to move to the next note. Think of @ pitcher trying to keep a runner on first base. A good pitcher doesn't telegraph his movement to first base, giving himself a better chance to get the base run- ner out. The same principle applies to playing an instrument. Not changing the back end of the note before it's time will give you a more mature sound. ‘Another saying to remember is, “don't leave for the party unti it's time to be there. Leaving @ pitch too soon will deteriorate the back end of the note, giving an immature sound. 16 | Cadets 8 chniques & Exercises Ago RADADIANNAHOOOHHHOOOOOOHOEE OHOOOOHOHOOOEEFlexibility Just as discussed in the buzzing, don't slide from one pitch to the next, rather slot “Pitch center to pitch center” and/or “Note to note Troubleshooting If the coordination breaks down between air, tongue and aperture, an obstruction will occur between the notes. When the coordination among all the elements are in sync, effortless, unforced, mature sounds are created on the instrument. For best results, flexibility exercises should be performed regularly. This will help increase your ability as a brass player and help you perform at a higher level Finale Remember that tone quality, as well as tonal focus, is the priority when playing these exercises. Be careful not to rush through each exercise and antici pate the direction of the slur. The better you can center each individual pitch, the quicker you will improve and enhance your brass fundamentals. Good Luck! ‘And remember, i's the quality of your practice, not the quantity..be patient! VUUVVVVVVUVUDUVULULUELLULYOLOEYU Cader: IVDVIVIVVIIVE DVD18 Flexibility Group I Remember to increase the tension of the lips to slur up, decrease the tension to slur down. Be careful not to rush through each exercise and anticipate the direction of the slur. When practicing, choose one to three exercises from each group. Techniques & Exercises COCCCOECECOEEECOEECOCEECOEEEEOOHOOHEEEOEEODNHDODAG nn000000rll llr cl lel S&S «|S ll Flexibility Group I Cadets Brass Rehearsal Techniques & Exercises 19$HOHHIDTILIVILGHVHVL0000V000000 00000 000000000000 Flexibility Group I 20 | Caos Biss Raber Teciaues & Execsal Techniques & sets Brass fe Flexibility Group I ww 3 AANAAANANANANAANANAAANAAAAAAAaAaataaaawaaatarearwraanSIV VVIIVIVIVIVOVYVOVVVLVGOVVOVHBOVOLLEEUCLGYYE Flexibility Group I Cadets Brass Rehearsal Techniques & Exercises 22 |PIVIIIIIVVIVVIVIVIVIVIIVIVIVIVVVYUVYUYUDELE HOUnns Flexibility Group 1 ooo on ee ST 1s Brass Rehearsal Techniques & Exercises | 239ITV0HIIIIIIIIIIIVIIIIVIIVIV VII VIVVIVIIVDVIIIIVVV O04 Flexibility Group 24 | Coles Brac ten sal Techniques &3 2 ey eae. 2 Flexibility 2 5 Group II 2 2 a a a a a wUULs Cadets Brass Rehearsal Techniques & Exercises | 25 5 2 a By a 3 2 a 2 a 2 a 3 2 > 2 2 3 > ? ? aVIILAIOIIIIIIIII III VVVVVVVVVVV VV OV VU VOLOLVV LOU Flexibility Group IT Las & Exorcis27 's Brass Rehearsal Techniques & E Flexibility Group II on ANNNDAADADANDNDADADANANADANDANNAANRDNDNANNAANANANAHAHAOHHKHHEECHHECEEE EE55 yy¥9999V9999IVVHVVVHHVVVVUVVVULOLOOULUUUES Flexibility Group IT29 Ww NANAHNANANAANHAHROANALCKCEC COC CO COCOCOOCEOCOOCECE CECE CEEH:Flexibility Group II Cadets Brass Rehearsal Techniques & Exercises 30PYUVVVVVIVVVVVVVVVVVVVVVVVVUVEVVVULUUULLUDOUYEY Flexibility Group III ney aaa EY Pr re aan TP Cadets Brass Rehearsal Techniques & Exercises | 31Jeo ovssovevvovvvv9VLHLVLHLLLOLLLYBLULELLLELEE Flexibility Group IIT 32 | Covets Bass Rehearsal Techiaves & ExeFlexibility Group IT are 3 annnnnanannnnnnnnna % Ky ict l U [N E : my \ th f & 7 0 oO q g 4 d 4 i by ] I b jo fe eo jo ANKANANCALALEHEEOOECEHEHE \~ iehearsal Techniques & Exercises CSOOOOYVIVVIVIVIVVVVV VV VV VV U0 V0 V00VVBVOV00U00U Flexibility Group II 34 | Codes Brass Rehoorsa Techniques & Brerises oeFlexibility Group IIT Ve LVOYLVEVLUVOUVLEULVLULYLY q Cadets Brass Rehearsal Ta ues & Frercises. | 35 sar@aaaaTonguing Tonguing is best described as a musical technique used by a brass pieyer that involves the interruption of the air column. The method of tonguing on a wind instrument follows the same principles as the slurring technique: keep the a flow consistent ust as in flexibility, but now the tip of the tongue is utiized instead of the back of the tongue. One of the most important parts of tonguing is remembering that the tongue never stops the ai flow, but rather, disrupts the air stream to create a clear, crisp and well-timed attack. Imagine a water hose with the water flowing constantly, Now, imagine passing a hand through the water stream as fast as possible. As the hand passes through the stream of water, the hand interrupts the stream, but the stream stays a constant flow ~ ignoring the fact that the water is being disrupted. The same principles apply with tonguing; the hand is the tongue stroke, the water stream isthe flow of ai When the tongue strikes, the air ignores the fact and continues to flow con- stantly In addition, the tongue should not become an auuible focus of the music fr exercise. Instead, think of using the tongue as @ too! to help create the musi- cal ideas and concepts. Vocalization When producing a tongued attack, articulate the syllables “Dah” or “Tah; this will allow the tongue to contact the gums above and behind the upper teeth. After the breath, immediately drop the tongue straight down into a relaxed posi- tion to release the air. Remember that the breath and the initial drop of the ‘tongue should be one continuous motion. As discussed in breathing, “Capping” the breath will increase tension and hinder the attack. Air, tongue and fingers This is a technique that can be used to coordinate these different elements. Frequently, sloppy and inaccurate tonguing is caused by inadequate coordination between the air, tongue and fingers. The air flow must move steadily while the fingers and tongue arrive simultaneously on a particular pitch. Otherwise, the rote will not speak clearly and accurately, To develop this coordination, try play ing these exercises without activating the lip vibrations. Meaning, all one should hear is air and tongue placement on each specific valve combination. Make sure to use @ metronome to expose any deficiencies between tongue and fingers. ale Don’t rush these exercises - take the time to create good habits and well-cen- tered notes. The intial attack of the note should be as clear as the middle and tend of the note. Keep in mind the fact that the note is created by the air and not the tongue. The air initiates the sound, the tongue simply defines it. DNDDNDDADDNANADADAADAAANAAAAAAAA AANA AAANAD AN ANDHEONAAAA aTonguing I YVUUYY Remember to work on the coordinaton between the air, tongue and fingers. The air flow must move steadily while the fingers and tongue arrive simultaneously on each individual pitch. yyuvvVUUIVYVVIY uv Jv Cadets Brass Rehearsal Techniques & Exercises | 37YPVOV GOO IIIIIIJ II IIII I VU GUO OOLELELLLOLLUGLLELLG ELLY ss Tonguing ILA 38 | Cadets Brass Rehearsal Techniques & Exertisesrags Rehearsal Techniques & Exercises | 39 Tonguing y} ° I> ANANDA OHDDDADADOADADAAADAAAANANANNANAANANANANAAAHAKHHAHAAAHESSO VIIYY_L_VVYVOVV LL ELELOLLEBELEBLEBE EEE | Tonguing I-B iques & Exercises 40 | Cavers Bos ReaCadets Brass Rehearsal Techniques & Exercises | a Tonguing OHNHDDHHADHHOHOHHHHHHNDHNHHDHDNDDDAHADANHANKNAAKAAAAAAAAATEVIVIVIVIIVIVIVIVIVIVVVVIVIV UU UU UU UU 0000 VLUBEUELLEUUE Tonguing Mi Reheersel Techniques & Exercises 42 | Codets BrRehearsal Techniques & Exercises | 43 Tonguing AAAANAAAANANNANAANAAANAA HAMA AMA AAA E AAA AananneVOOM UVVVVVYUDVVVDVVVDDVIDVBDUVVDODUVDUULLUUUOKULUOY Tonguing IV 44 | Cede Bre Rebel TechniquTonguing AANHHONDND0O ale Cadets Brass Rehearsal Techniques & \OOO OOO CC CEC CCECOCOOCOOOOOOL LOOK ARR AesFinger Dexterity 46 The ability to make pr tant component of playing a valve instrument. How well the buttons can be pressed is just as important as all the other elements of playing. Sloppy or lazy fingers can result in inaccurate and poor performances. So, developing great finger technique will only enhance great fundamentals. isely coordinated movements of the fingers is an impor- Quick Fingers ‘The fingers must move as quickly as possible - whether the valve is moving inthe upward or downward direction should not dictate the speed of action. Be careful not to allow the tempo of the music to dictate the approach. Slow tempo does not mean slow valve action and visa versa. The fingers should move as quickly and precisely as possible no matter what the tempo marking Poor Fingers Cause 1), Poorly executed notes 2), Articulation issues 3), Rhythmic discrepancies 4), Inaccurate slurs dots Brass Rehearsal Techniques & Exercises CANHEEHDAOOG AAAADAAAAADAAAANNAGAS annnnnAnanaaagVVUVYUYVUVVIIIIIIIUIUIVVVUUYUYUVYUYUYUUYUYUUVUYUUUYUUULTUULUULYYY Hand Placement While one hand supports the weight of the instrument, the ather is respon- sible for the valve action. The hand that is pressing the valves should be in ‘the form of the letter C, Curve the finger so that the balls of the fingers rest lightly on the valve caps. Think of gripping a baseball and how the fingers curl around the ball. Make sure to have an extension from the elbow through the wrist. This will help eliminate any tension in the wrist area. Do not allow the palm to rest on the lead pipe or the wrist to break. Keeping ‘the fingers curled and loose will help maintain good finger technique and reduce the room for error. Finale Improving finger dexterity improves the performance. Remember, the fingers play just as important a role as all the other elements of brass playing. Making a point to perfect your fingers is taking care of the fundamentals. Taking care of great performances. fundamentals can only inspire Cadets Brass Rehearsal Techniques & Exercises Finger Dexterity 4748 Finger Dexterity LA Move the fingers as quickly as possible. Place each finger down firmly to assure good finger technique. Cadets Brass Rehearsal Techniques & Exero'ses DQODOHODANODOOOOODOG no - a ie - e ce s s Pg - oeeEEePOV OUUD VEL OVVVOUVLVULOUOUUUYOULULELLECOLUEN Finger Dexterity Cadets Brass Rehearsal Techniques & Exercises 49OVOOVOIIIIIIVIVIVIDD UU UU UU ECC CGECGEEELLEEEE EEL Finger Dexterity LB Reeheareal Tochniques & Exercises 50Cadets Brass Rehearsal Techniques & Exercises | 51 Finger Dexterity DVVVDA DD DD DAVDVDVAVAD DDD DD DP DDD DDD AD ADVI IA AAGFinger Dexterity n DNV OOHOHKHO GOO OO OE CE VIVIAN 52 | Cadets Brass Rehearsal Techniques & Exercises AODDDDADIADYACadets Brass Rehaarsal Techniques & Exercises | 53 Finger Dexterity Il \ i 2 2 fe ° je co [pReeRRRe meee grees eee tetera ae a aaa eaiaaias54 Finger Dexterity Vv Cadets Brass Rehearsal Techniques & Exercises LANDA DANHHHAOHHHHHHHOHHOHOHOHKHE HE EE OOOO a7Cadets Brass Rehearsal Techniques & Exercises | 66 Finger Dexterity Vv 2 3 o ° 3 ° ! |e RAAAAAA AANA AANAANAAAAANAANAAAAAITAAAVAAAVANThese short etudes are ffs taken from the Cadets’ repertoire. These riffs are designed to challenge and improve the technical abilities of the performer while enjoying some of the great passages of the past. Consider all technical aspects of playing as you tackle these short phrases; continue to pursue great tone quality, proper phrasing, and correct articulations to enhance the perform ance of the short phrases. Practice Suggestions Have the patience to start slowly and work up the tempo. Choose a tempo in which the most dificut part of music can stil be performed well. Tackle the most challenging measures fist, working through ‘them slowly, Make sure to increase the tempo in ‘small increments as your proficiency improves. ‘Work with a metronome to keep from pulling or pushing rhythms. The difficulty of a rhythm will some times cause a musician to slow tempos down where- as the ease of a rhythm will, at times, couse the ‘same musician to speed up. The use of a metronome ‘will help you keep the integrity of each rhythm. Improve through repetition - practice small phrases at first and then increase to large phrases. The more repetitions that are made on the difficult sections, the more rapid improvement you will see being made. Make sure to stop and work through all mistakes ~ do not ignore them. Continue to practice the tricky measures first until the proficiency has improved to the level of the remainder of the rif. Don't be aftaid to practice just with the fingers and valves, not only will this practice give your face a break, it will develop great finger coordination. Finale Try to get every note to speak clearly and accurately by thinking of each pitch as if itis the only note played. That kind of attention to detail will only help to rematically improve your performance. Think performance and not notes/thythms in order to witness the transformation of your approach. When all else fails, just try to sound great! ques & Exercises NOHDADHN HANAHAN AH EEEEAOOOEO gn 99 NNNNNNNAAIAIIAIAIANIIAIYWOO OOOOOOOOOOOOOOOOOOOOOOOOOCOSOOCOOCOCECECUCOCUCEY 1 aoe Riffs Have the patience to start at a slow tempo and as you improve, bump the tempo up in small increments. Remember, focus on each note to speak clearly and accurately. ¢=160 — — eo J=190 Cadets Brass Rehearsal Techniques & Exercises 87OVI OIIIIIII IIDIGD GIG GGGOUGEOGUG GECLEL Riffs d=1s2 ( ( ( ( ( ( ( ( Brass Rehearsal Techniques & Exercises 8 | caseyso Cadets Brass Rehearsal Tachniques & Exercises fe LDA DDD 1FDDVD’AD AA A™N DAA DAA AAD AIDADA|AASID/ AD DHAD VASP AP AAAAAAAE