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    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    313 views60 pages

    Cadets Brass Book Tuba

    Uploaded by

    Luis Rocados
    Study Tuba

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    TUBA = ee ed Cadets Brass Rehearsal Techniques CBE eat : \ Teh fe) et eha oil Ae lolE oles ELIOT a & £ = ne Nera al at at el ro BY awe ino Cipriani (ee ee see Exe Jolsrola) eet i" a Sect vee eee UUVUUUUUUUUUU UU UUUUULULUUULUUUEUE Cadets Brass Rehearsal Techniques Breathing @ Playing on the Mouthpiece/Buzzing 6 ™ Tone Production » Flexibility @ Tonguing ™ Finger Dexterity Riffs Cotumabia High School & Exercises 11 16 35 44 54 Cadets Brass Rehearsal Techniquas & Exercises i 7 SMM vee eee UGs | Air is as vital to @ brass player as it isto life. A wind instrument requires corn pressed air to produce @ tone. Webster's dictionary defines wind as “a natural movernent 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 (abdominals/chest), but rather, fill up simultaneously throughout the quadrant. Bring the air in and allow the body to react naturally, Allow the respiratory system to expand effortlessly as large 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 system 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 bring 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 lft: any movement of the shoulders should be induced by the expansion of the chest Fil up:Try to expand the entire thoracic quadrant. The dynamic level should not Cictate 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. Cadets Brass Rehearsal Techniques & Exerc Breathing Tension free: Utilize only the muscles that are needed to complete the task. Make sure all other muscles are at rest. 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. Cadets Brass Rehearsal Techniques & Exercises ANNANANANANAAAAAARAAAARARAAAAAH in AARARAKARAARARS vvuwe ee eee eee eae eae eee ae ae eae eae eee eae er ererrrerwrrrwrwrwrwrwvve Breathing Exercises Exercise # 1: At 120 bom inhale for 4 counts, Inhale for 3 counts. Inhale for 2 counts. Inhale for 1 count, Exercises # 2 ‘At 120 bpm Inhale for 4 counts. Inhale for 3 counts. Inhale for 2 counts Inhale for 1 count, Exercises # 2: ‘At 120 bpm Inhale for 4 counts Inhale for 3 counts Inhale for 2 counts. 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 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. ts. Repeat 3 tim Exhale through the instrument for 10 cou 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 § counts. Repeat 3 times. Inhale for 1 count...Exhale through the instrument for 6 counts. Repeat 3 times. Cadets Brass Rehearsal Techniques & Exercises Playing on the Mouthpiece Buzzin, The brass instrument simply acts as an acoustic amplifier. The sound informa- tion that the instrument receives through the process of buzzing the lips is amplified through the 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. It is 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 buz: g enhance 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 6 | Cadets Brass Rehearsal Techniques & Exercises efficiency of tone production on the instrument. Accuracy of pitch: Without the aid of the instrument 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 mouthpiace is a pitch you will be able 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, Ali flow: Because the mouthpiece gives more resistance than the instrument, playing on the mouthpiece allows for a less restricted free- blow- ing feeling ARAAAAARARAARARARAAAAAKEAHAAAHOHAEREAREAROOND ins BVUVUUUUUUUUUUUUUVUUUUUUUUEVUEUUEUUUUEUEUUELUEUUUELUS 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 wil allow the lips to vibrete freely and in return enhance your overall tone production. Too much pressure will 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 a technique you can use to make sure the airflow is work ing efficient. Hah Hah Hah Fra tah Atacks for unpet Hah Hah Hah Hah Han Attacks for Bartone Hah Hah Hah Hah Hah Attacks for Tuba Produce @ series of concert F's on the mouthpiece using a "Hah syllable, This wil allow you to eliminate the tongue and concentrate on the air as well as the lip vibrations. Remember, that ‘the first point of resistance the air encounters is the lips. With this exercise, you can pin point the initiation of the sound. The whole point is to allow the air to initiate the sound and net 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. If the 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, If the lips follow the air, then it is right to say that the tongue does as well Cadets Brass Rehearsal Techniques & 7 Playing on the Mouthpiece Dah Dah Dah Dah Dan Attacks for Trumpet Dah Dah Dah Dah ah Atacks for Barter Dah Dah Dah Dah Dan Attacks for Tuba Air leads the way...lips 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 air initiates the sound while the tongue defines the sound “Slotting vs. Sliding” In order to work on your ear training you want to make sure that you are slotting each individ al 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 trombone moving from one position to the next slowly — that's the sound we are trying to stay away from with these exercises.) Imagine faling 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 center” 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 a very bumpy ride. Listen to your sound and make sure you artive effortlessly 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 effortiess 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 that the quality of ‘your practice is more important than the quantity of practice. Be pationt and stick with it; you will impress yourself on with your vast improvements! 8 | Cadets Brass Rehearsal Techniques & Exercises NAAAARARAAAAAAAAARAAAAAAAAARAARARARRLARARLES VV Veer Playing on the Mouthpiece Buzzing Alternate between playing and buzzing each exercise. Make sure to slot each individual pitch and not slide between notes. Remember, to keep a constant air flow and the right amount of pressure around the aperture dt6 "Hah" atack "Dah" attacks Cadets Brass Rehearsal Techniques & Exercises Playing on the Mouthpiece Buzzing d-86-116 10 | Cadets Brass Rehearsal Techniques & Exercises Moreeeneneaeaeagnganagagnanagganaangagaageecanaceeres veuuMeee Vee Vee eEVUUeEVUUUUUUUUEUUULUEULUUULLUULEOUS 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 these types of tedious exercises, However, there is no denying that if performed properly, long tones will improve your overall sound. ‘A change in technique may be needed so rather than playing one sound for an extended 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 (ar, tongue and pressure). Benefits of Long Tones 1. Works on tone sonority 2. Works on aii flow and air management 3. Works on the efficiency of lip vibrations. 4. Works on pitch accuracy. 5. Works on stamina, 6. Works on proper release of the tone. Physics of the instrument When a vatve is pressed or the slide is extended, the instrument increases in length, triggering a need for more air from the player. On a valve instr ‘ment, each time a valve is pressed down a chamber is opened and if 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 enguif 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 the 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 duality, air speed! * Approach each individual note like it's the only note to be played. * Be meticulous not only on the uality 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 oniy on the purity of each tone, but also on solid- ifying proper lip vibration. Releases The tongue is sometimes mistaken for a shutoff valve. 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’ inale Long tones or tone production exercises should not be a length-of-note marathon, they should be a detailed assess- ment of sound, Focus in on each individual note and a contin- uing pursuit of tonal perfection. Quality in your approach wil lead the way to tonal success, Be persistent! Brass Rehearsal Techniques & Exercises AMARA A AAAAABAAAAAKAAAAAAHAAHARHARAARARAHLEES @vvve vee eK iw vv vv uUuUuvuuUuuUuUUUeS Tone Production I ‘Throughout the tone production exercises, make sure to maximize the purty of each tone, Constant air speed and air flow is a must. 60 Cadets Brass Rehearsal Techniques & Exercises 13 Tone Production at So be SSS —— ts oS ~ 2 14 | Cadets Brass Rehearsal Techniques & Exercises PRMAAHHEAAOHEHEEHO HHO HHH OHOAAAHAAAARE RELA RES VIIIIIIVIIVVIVVVUUYUUYUUUUKDUUEVUEVUUUYUUUEE Uo Tone Production ite Cadets Brass Rehearsal Techniques & Exercises 15 suI>-aleubhnays 16 Suurtng in the Upward Direction Sluring in the Downward Direction et Without question, lp flexibiity is one of the staples of playing a brass instrument, Lip slurs not only help one move fluidly and effortlessly throughout the entire range of the instrument, but also help 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 facilitate 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 ai. During this process, the aperture becomes bigger as the lins 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 comers of the mouth firm. Lip slurs should occur mostly within the confines of 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” for the low register, "aw" for the middle register and “eh” for the upper resister. Make sure not to ‘telegraph* your direction of the slur. Stay on the pitch to the last possible moment unti it's time to move to the next note. Think of a 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 runner ‘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 a pitch too soon will deteriorate the back end of the note, giving an immature sound, Brass Rehearsal Techniques & Exercises PEO RARARAARARAARAAHRARHAAAHAAAAAAARAAKAAHARES BVVVVVVVUVVVVVVVVV VV VV tv do ¥ vVVVOY OSV 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 Con 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 2 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! Brass Rehearsal Techniques & Exercises | 17 18 Flexibility Group 1 Remember to inciease the tension of the lips to shir 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. Cadets Brass Rehearsal Techniques & Exercises AAA AAAAARAAAARAARHARAAAAAARHAHAARAAAAARAAAARS vee eee eee eee eee eee eee eee eee rere ieee aaa Flexibility Group 1 Cadets Brass Fenearsal Techniques & Exercises 19 20 Flexibility Group I Cadets Brass Rohsarsal Techniques & Exercises HARAAARAARAAARAAAAAAAAAAAAAARARARAAAARARAARAR Cadets Brass Rehearsal Techniques & Exercises | 21 Flexibility Group 1 -w BANA AAA AAA AAA AA AAA ALAA EER EAN MOLEC R RAR ANEKRAAKAA IVI IVI VV VV VV VV VIVVVVVVVVVVVVBUVUBVUVUVUUU Flexibility Group 1 22 | Cadets Brass Rehearsal Techniques & Exercises Cadets Brass Rehearsal Techniques & Exercises | 23 Flexibility Group I CAAA A AAA AA AAA LA ARR E ERO mE AM AM CVIVVVVTVVVIIIIVIVIVIVIVIVVVVVVVVVUVVVUVUEEED Flexibility Group 24 | Cadets Brass Rehearsal Tachniquas & Exercises VV Vode ed od Idd IV VV Flexibility Group IT Cadets Brass Rehearsal Techniques & Exercises 25 Flexibility Group II 2 Se 26 | Cadets Brass Rehearsal Techniques & Exercises ornorcecennononnennececeneencnemne nner e ene’ 27 Cadets Brass Rehearsal Techniques & Exercises Flexibility Group 11 a BAAAAAAAAAAAAA AAR APRA PARRA ERE ELEM RE RRR EBA BRK 28 Flexibility Group IT —_—— EEE 4 SSeS Cadets Brass Rehearsal Techniques & Exercises AAAAAAHAHARKAARKAAKAKAKKaenneKneneoeeeececeeeeeeles Flexibility Group II VUvVv bev vb bebe w ¥ al a a a a a 2 Cadets Brass Rehearsal Techniques & Exercises | 29 wwe oe oe Flexibility Group II Cadets Brass Rehearsal Techniques & Exercises AARARAARAARARARAAAAARAAARARAARARRARARARARRAARARRRR Flexibility Group II Te /: BE Cadets Brass Rehearsal Techniques & Exercises | 31 > > > > > > > > > > > = a = = = = a a a a a a a a a a a a a a a = a = a = = 2 = 2 a > PIVIVIVIVIIVIIII Vv vVVIIV VI VV VVVVVVVVVVVVVVVIVVVI Flexibility Group III Cadets Brass Rehearsal Techniques & Exercises 32 2 Cadets Brass Rehearsal Techniques & Exercises Flexibility Group 1 oa RAR AAA RA AA AAR A AAA AAA AMAA AAA AMA MAMA MP MMF FMF MHOAAa VDIIVIIIIVI IV I IIVVIVI VV VVVVVVUBUOULULOELULLELLLELLY Flexibility Group IIL 34 | Cadets Brass Rehearsal Techniques & Exercises a Nn Flexibility Group IIT Oo Cadets Brass Rehearsal Techniques & Exercises | 35 36 Brass Rehearsal Techniques & Jonguing is best described as a musical technique used by a brass player that involves the interruption of the air column. The method of tonguing on a wind instrument follows the same principles as the sluring technique; keep the air- flow consistent just as in flexibility, but now the tip of the tongue is utilized instead of the back of the tongue. One of the most important parts of tonguing is remembering that the tongue never stops the air flow, but rather, disrupts the air stream to create a clear, crisp and welltimed attack. Imagine a water hose with the water flowing constantly. Now, imagine passing a hand through the water stream as fast as possible. AAs 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 is the flow of ar. When the tongue strikes, the air ignores the fact and continues to flow con- stantly In addition, the tongue should not become an audible focus of the music or exercise. Instead, think of using the tongue as a 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 8 technique that can be used to coordinate these different elements. Frequent, 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 artive simultaneously on a particular pitch. Otherwise, the roto will nt speak clearly and accurately To develop this coordination, try pay- ing these exercises without activating the ip vibrations. Meaning, all one should hear is air and tongue placement on each specific valve combination. Make sure to use a metronome to expose any deficiencies between tongue and fingers. Finale Don't rush these exercises - take the time to create good habits and well-cen- tered notes. The initial attack of the note should be as clear as the middle and ‘end 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. CAOKRAAHHAKEOOOEOOOEEEE aAAAnAAnAAnARAnAANaANAaaano Se a Tonguing I 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. Brass Rehearsal Techniques & Exercises 37 PIIIIIIIIV IVI VVVVVVVVV Ue eV ULLLULY Tonguing ILA Cadets Brass Fiehearsal Techniques & Exercises 3e Tonguing H1-A RAR AAA AA AAA AAA AAA AAA AAA RRR RRR Tonguing I-B = a ———5 te ay aa 40 | Cadets Brass Rehearsal Techniques & Exercises HEHEHE EHHHHEHOHOOHHOOHOOHHHOHHHHHHHEHOHOHCEELE eceecceecs eee eee eee eee ee ee eee ee ee ee ee ee eee ee eee eee eee sees eeesee Tonguing II-B Cadets Brass Rehearsal Techniques & Exercises a pavavuvuvUUUBUNvUVUVUVUNUNELEUEUUUUUUULUUUUUY Tonguing ul a2 | Cadets Brass Rehearsal Techniques & Exercises Cadets Brass Rehearsal Techniques & Exercises | a3 Tonguing I RRR RARARRA RRA CER KEE ERK AMMA RARER RRR ABA 44 yO Cadets Brass Rehearsal Techniques & Exercises Tonguing ULB AAAAAAAAMANAANAANAAAAANAAAAAAKAAAKAAAAAAgACgaS CPP OVee EE eeeeesesesesesrverrsevvvvevsevvvvevevvevueseeseeupee Tonguing III-B Cadets Brass Rehearsal Techniques & Exercises 45 Finger Dexterity 46 Cadets Brass Rehearsal The ability to make precisely coordinated movernents of the fingers is an impor tant component of playing 2 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. Quick Fingers The fingers must move as quickly as possible - whether the valve is moving in the upward or downward direction should not dictate the speed of action. Be careful not 10 allow the tempo of the music to dictate the approach Siow temnpo 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 chniques & Exercises AAA AAA AAR AA HAHAAAHAAAAAANKKKE OH OOO EEE Eee eee OQVIVIVVI VV Peed edd Ved Kv KU Hand Placement While one hand supports the weight of the instrument, the other 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 the fundamentals can only inspire ‘great performances, Cadets Brass Rehearsal Techniques & Exercises Finger Dexterity a7 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 & Exercises @ @ @ Gc c c c c ce e ce ce ce ec ce e ce c e e e e ce ce e e« « e. ce c. €. €. ©. ce € e« e € € e e © € Finger Dexterity = 2 a a a 2 a a a a a a a = a a a a 2 a = a a = = = a ~ a = = = a = a a = = a Cadets Brass Rehearsal Techniques & Exercises. | 49 50 Finger Dexterity LB Cadets Brass Rehearsal Techniques & Exercises RAAT AAAAAAAAAAAAAAAAAAAAHARARA EEO OEE EEE CEES CVU eV ODUM HKD DTH DOK KKK UK UUUEEHEEUEEEUE Finger Dexterity Cadets Brass Rehearsal Techniques & Exercises 51 VIII IVI VV VVVVVEBEVUVENVOHUUVUULOYLUULUUULEY Finger Dexterity I 52 | Cadets Brass Rehearsal Techniques & Exercises 83 & Exc Cadets Brass Rehearsal Techniques Finger Dexterity il SAARAARAAAAAAARAAAARAARAARARAAAAAMAAARARARABAR Finger Dexterity nM ANANnenaaeaanceccecccecs 54 | Cadets Brass Rehearsal Techniques & Exercises 55 Cadets Brass Rehearsal Techniques & Exercises Finger Dexterity Vv CRAP RRR OR RN ONUUNNONNNHNNO 56 ‘These short etudes are riffs 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 wiich the most ificut part of music can stil be performed well. Tackle the ‘most challanging measures first, working through them siowly. 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 siow tempos down where- as the ease of a rhythm wil, at times, cause the ‘same musician to speed up. The use of @ metronome will help you keep the integrity of each rhythm. Improve through repetition - practice small phreses at first and then increase to large phrases. The more repetitions that re made on the difiot sections, the more rapid improvement you will see boing 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 afraid to practice just with the fingers and valves, not only will this practice give your face a break, it will develop great finger coordination. ale “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 wll only help tO ciramatically improve your performance. Think performance and not notes/thythms in order to witness the transformation of your approach. When ail else fails, just try to sound great! Cadets Brass Rehearsal Techniques & Exercises ARAMA aan WVVVIIII VI dIVV dv ved ddd ddd eee Riffs Have the patients to start at a slow tempo. Bump the tempo up in small increments. Remember, focus on each note to speak clearly and accurately. J=160 Cadets Brass carsal Techniques & Exercises 87 PIII IIIFIIIFIIIIVVIVIVIVIVIVVVIV VV VV EV EUEEEEE EEE EOS ) ) ) ) + Riffs 5 & Exercises igus 192 Rehearsal d VIVII Md dd eed dV OK Kv woody Riffs oT gt bees @ eee see eisai, SE Be aS Na a Cadets Brass Rehoarsal Techniques & E o Coe tt ee fet (ob oh ¢ GF Ve Ce (0% 08 00 BED GG HED 3 ERG GED. Chew eRe RRS ee eee eee ibe “ete cet pe Kelton

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