4 2, Long Tones Breathe in a natural manner that allows your playing to be relaxed, centered, and in control. Connect the tone smoothly change notes. Keep your tone quality and intonation stable from the beginning of the note to the last moment it s. regardless of register or dynamic. Avoid playing on one breath to the end of your air capacity. Playing on stale air Len squeczed tone and unwanted tension. Use a metronome and tuner to assure shythmic and intonation stability. Afte fermata take four beats of rest before continuing. Slowly J=.60 Hoa the lst ro bars a minimum of 10° mp mf— 3. Low-Mid Range Intervals Bessie where necessary. Wi take ano eighth note zest at the barline, then proceed with the next note, Use your ‘wich increasing efficiency, eve scending the number of bars you are able to play correctly with one breath, As with the Jong tones ;¢ best nat to play on stale air Make sure yous intonation is centered and your sound is consistent and connected. Wher working with intervals, avoid telegraphing (ic, foreshadowing) the direction in which you're heading, Concentrate on sciing the air through the entice duration of the note you are coming from in order to set up the note you are travelling 10. ‘Wock zowards « smooth and even sound throughout. Use a metronome and tuner to assure rhythmic and intonation stability. After each fermata take three beats of rest before continuing. I Stowiy = 60 Variations for I(1) and (3) * optional note bend aer60 , ibe Poca a eee tga ‘Vasiations for 1(2) and (4) * optional note bend | ta 2. | poe osama Poot “See Chapter lS (Note Bending, page 37) 35076 I Stowly. = 60 Variations * optional note bend a A ee. 4s to 0s “0 4. Articulation Place all notes deliberately and solidly, presenting the tone with clarity, Focus on a good balance between tone and art ‘Vary the lengths of notes and the degree of articulation. Think of the eighth/sixteenth notes as leading to the half note += 88-96 269-84 5. Lip Slurs Strive for an even, centered sound and smooth connections as you travel between the different registers on all lip slur ‘Make sure that the upper register doesn't become pushed but is merely a natural outgrowth of the lower range. Conver care that lower range notes don't sag or spread when moving downward from the upper register. Use natural tongue mo: assist the airflow in creating a smooth, even sound. I (Nottoo fast) = 92-120I Long Note Drills Very slow LS ad! wa? en a? 1 a? ten md wy ad ea md etc tats tema titg een ie ll aaa aly = ——— r SS as oe an md O18 my BARB ow SESS o . 2m? 1 Ad 12 AD BRON 48 AD 188 >) 7 =) #8 gS . => P nf? 2 28 ots a-t29 : eee 2 aA? a A? aD ALY ai p= == af P $3 A) Aa 28 AD = 3 S (88) py OB) py BHCHRB Ag (n-9) 9° sien md ad 88 AD 12 2 seam 9 Copyright © 1937 by JF, Hill & Company, Inc. Copyright © Assigned 1938 to M, Baron, Inc, New Yorke Cogyright © Assigned 194] to M. Baron Company, New York Copyright © Renewed 1965 by M. Baron Company, New YorkEuphonium Cichowicz/adapted Olt Flow Studies Fach line should be done in one breath, making the phrase use the whole ‘breath, Evenness of sound and timbre should be maintained at all times. Study #1 a ail ee 2S Of Sea 5 aFlow Studies Study #2 a = PD —$—$— SeFlow Studies Study PB es _ _ = PP ce PpFlow Studies Study #4 Eee 106,Study #5 Flow Studies Be eereeg reece Cea erred eee eee eeepcStudy #6 Flow StudiesStudy #7 Flow Studies 253. —_—Study #8 Flow StudiesStudy #9. Flow Studies 378,Study #10 Flow StudiLip Flexibilities forall brass instruments Bai Lin I. © Copyright 1996 Bai Lin. Assigned to Balquhidder Musle, 1996I.Lip Flexibilities 1718 Lip FlexibilitiesCHAPTER 8 Group Exercises The following exercises, constructed by Rob Roy McGregor, from material in this Bai Lin book, may be played by tvo, three, or four players (or multiples thereof). They are excellent ways to check intonation and blend of sounds. If you want to make them longer, then repeat them and each player should move to the next line (perhaps resting between each line). Play them in all valve combinations. You can even mix the keys if you wish. Experiment. Rotate the iPad 90° to play the exercises on the next six pages In that orientation, move to the following page by swoiping from bottom to top. aaucre2 2 J oe rs + o oe ft ee 6@ e re & i) a e a, @ 118 fa a"a FIRST STUDY ry softly. By practicing in this we result, bree drops of medicine whit xy your lips will always be fresh ‘and the lips may bepermanently [All these exercises must be played ¥e ich will and under control, If they are played loud ‘The principle is the same as that of a physici | the opposite effect ma) injured, ian prescribing tt sire, whereas a spoonful will Kill sence cack exercise erght to ataleen times in one breath, Press the fingers down firmly and keep the fips moving, Contract the lips slightly in ascending, relax in descending. a 28785-60C3: —= = —— 20765-50Cd 92 Technical Studies Technical Studies The following studies should be practiced fongued os well as slurred. Bang the valves down hard! This wil promote accuracy and rhythmic clarity. Do not be put off by dificull keys. Have the self-confidence and Siscipline fo work on them. They will gradually become easier and easier. Tempos should range from very slow to as fast as possible. Use a metronome to promote evenness and to document progress. Tete Nga gt ah © pow Major 5% SAR aTechnical Studies 33 ee= 178 Double Tonguing J.92 —160 779 77. qwkutakuts taltokute [Fise2 7] 2 tu ktuleuts tu hata bu oo Gee eee vies a — Tofu eat eu tfc tle 78. ‘79. 3:90 — 26 «090 ‘l Fy ‘fet ea to ta es tf fa ‘Refer top 15316 / Ji 82/62 r Sonne J, L; ( 83. eh ‘kr (a kutu ha tu ku fk fuk te to ot tron fa feu fu ert end et Jeu dnt Tne tn' 158 Triple Tonguing * d= 64 — 126 ‘utc Kf tu fa J: 192 — 86 ‘tu tu ku tatu kute @ e fe Pret Ss SSP = deus— dss ‘twtukutatukuty dee ~ 29 for tau t-ta ku tute ku te errr Rete wo p53.156 $28 17) jai tel ta tuk tute katate ute ‘te tuk fu taku fu Gu ke te fu tu leu tubs ku tortake ts tw fuku tu fue te tolu tutus tuThe Silver Swan Moderato 4:00 oe ORLANDO O1880NS Ed of af of Lo, Country Sports Allegro J 144 * THOMAS WEELKES f7p eres 7 Fine 10 oweyamr? 16