GEKKER TRUMPET PDF

Tygogul For particular performance situations, here are some suggestions: Charlier 36 Etudes, Avoid all-out sessions on consecutive days, if possible. Hold the last note until all air is gone, then squeeze the last bit out. I suggest 20 minute sessions a week, similar to the dynamic contrast routine described later. Sachse Etudes, on C trumpet. Strengthening the tongue in this fashion will make all playing more limber, relaxed, tekker flexible. Emphasize the use of harmonic slurring through all seven valve combinations, so that the tongue does as much trympet the work as possible.

Author:Dourn Mikaramar
Country:Uruguay
Language:English (Spanish)
Genre:Spiritual
Published (Last):20 February 2016
Pages:237
PDF File Size:8.29 Mb
ePub File Size:2.37 Mb
ISBN:270-2-82963-846-6
Downloads:54624
Price:Free* [*Free Regsitration Required]
Uploader:Bazahn



Dulkis If playing heavy, strenuous concerts, practice lightly with frequent rests to refresh your chops. Your name or email address: Learn piano to study harmony, but also study harmony on your horn, learning to outline harmonic progressions by yourself.

Write exercises and etudes dealing with problems you have. Using metronome, trumpt one takes 4: Solo and quintet recitals. Spend some time working on one phrase at a time, even one measure at a time when necessary. You must log in or sign up to reply here. For particular performance situations, here are some suggestions: Schlossberg Daily Drills, Two or three a week for four to six ttrumpet is good; the intensity is similar to me to a hard two hour concert.

Chris Gekker School of Music Long last note, squeezing air out. Use the metronome gekker make your practices harder than performance conditions, so the concerts will seem easier.

Avoid relying on long, strenuous, rigid routines — there is plenty of hard work to do later, and we will benefit more from the required intensity if we are loose and relaxed.

Clarke Characteristic Studies, 3. Notes On Practicing-Chris Gekker. Balance the loud practice with soft playing as shown. Even then, be careful about practicing very loudly more than two or three days in a row. Soft scales and arpeggios to high E, F, FG. These drills should develop a high degree of flexible strength, of limber power; they are ideal for ascending to our highest notes.

Jun 4, 1. If performing light repertoire, even if it gekkef fairly constant, include some very loud drills in your practice, though not daily unless you find that this agrees with you. Chris Gekker Single tongue chromatic triplets, slur arpeggios. This way you will always get stronger and stronger as you perform the piece from trummpet beginning.

Clarke Technical Studies, 6th Studysingle tongue. Simply improvising scales, arpeggios, slurs, and different articulations is also good. An etude properly studied should be almost memorized, if only temporarily. Exceed the demands made upon you in this area. Concentrate on Studies I through 8, at least one a day. Goldman Practical Studies, 1 through 4, single tongue. Be able to play ten to fifteen of the most standard by gekekr at any time.

At first, the indicated rest will make this routine seem easier, but trumlet higher tessitura will eventually take its toll. If I have time to really practice hours, though this time is usually in two or three segmentsI will occasionally write down what I plan to practice, perhaps loosely organized like the sections listed here. The first three months will be the most difficult, but the weekly time investment gets smaller and smaller after that.

Each phrase several times, resting between each. The point is to enter a zone of fatigue and stay there, remaining as relaxed and efficient as possible. Do you already have an account? Clarke Technical Studies, 7th Study. Good for building strength. You may benefit for a while, but remember that no muscle in our body responds well over an extended time to high-intensity demands on a daily basis — some kind of breakdown is inevitable. For playing the big romantic and 20th century works, we need to build up our tolerance for playing at full volume.

Find the most difficult passages and make them your priority in practicing; when they become relatively easy, your inner feelings about performing the piece will undergo quite a change. One etude a week, done trumpwt careful hard work, is plenty. Loud — warm up with Schlossberg 30, building volume throughout. As much as possible, our practice should connect us with that center which is our base for playing well.

Related Posts

ISO 15371 PDF

GEKKER TRUMPET PDF

CG: My parents were both European, so I grew up hearing a lot in our house. My father was a fine amateur pianist, his favorites were Schubert, Schumann, and Brahms. In Alexandria, Virginia, we had great public school teachers: my band directors, Robert Baden, George Randall, Roy Smith, and Jack Dahlinger, all fine performers who could get up in front of an audience and really play. Roy and Jack were trumpeters, Robert a percussionist, George on French horn. I went to Eastman, studying with Sidney Mear. During summers I studied with Adel Sanchez, who taught me about flow studies, playing Bordogni, Caffarelli, and Getchell, really important to me.

BRONCONEUMONIA FISIOPATOLOGIA PEDIATRIA PDF

Interview with Chris Gekker

Dulkis If playing heavy, strenuous concerts, practice lightly with frequent rests to refresh your chops. Your name or email address: Learn piano to study harmony, but also study harmony on your horn, learning to outline harmonic progressions by yourself. Write exercises and etudes dealing with problems you have. Using metronome, trumpt one takes 4: Solo and quintet recitals. Spend some time working on one phrase at a time, even one measure at a time when necessary. You must log in or sign up to reply here. For particular performance situations, here are some suggestions: Schlossberg Daily Drills, Two or three a week for four to six ttrumpet is good; the intensity is similar to me to a hard two hour concert.

EL ARTE DE SOPLAR LAS BRASAS LEONARDO WOLK PDF

Chris Gekker

Taran You must log in or sign up to reply here. This relaxation can be achieved by pushing back our barriers of volume farther than we would ever be asked to play. Gkker strain; you might feel occasional fatigue but you should feel like you could play all day on these studies. Learn piano to study harmony, but also study harmony on your horn, learning to outline harmonic progressions by yourself. One etude a week, done with careful hard work, is plenty. The thirty-minute sessions of almost nonstop playing is what I tgumpet. Oliver Nelson Patterns for Improvisation, 49, 50, 51, 52, 53, Play slowly enough to finish each exercise perfectly.

Related Articles