The most important issue, however, is to make use of a variety of exercises and texts so that the only routine is the actual time, and not the specific exercises. An important factor in designing and delivering imaginative and effective warm-ups is found making sure that the material you use is related to addressing and developing both long term generic skills and also addressing specific skills directly contained in the specific performance repertoire you are presently engaged in preparing.
It is our responsibility to model and introduce how to effectively use the time and material, while proving its value by demonstrating the success experienced when the strategies and material are used. The rest is up to them. The actual content found in method books, chorale books, rhythmic studies and technical etudes listed above is not as crucial as the learning process applied to the specific material, leading to successful outcomes. Instead, it is the actual learning process that is most significant and how it is applied to other musical or non-musical challenges.
Why is the exercise there in the first place, how does it fit into the overall learning sequence, and how can we assist students in identifying the embedded targets: how will the students know when they have met and achieved the implied targets found in in each exercise? Who ultimately is responsible for setting the outcome criteria? How does the exercise sound when it is right?
Why do we learn to master specific exercises if not to apply the process used in learning them to the technical and musical challenges? Do our students understand this principle? Mathematicians do not learn equations, save for their application and usefulness in the process of problem-solving. Thank you for taking the to read my thoughts And yes, posture and hand position play an important role in percussion performance, so once you have the templates clearly established, be prepared to remind your percussionists 70 X 7!
Sometimes we fail to understand how to employ the sequential and systematic learning approaches found in our method books, or lack proper materials, or instruments, to prepare our students to meet the challenges in our performance repertoire. What other section in our ensemble is presented with so many performance challenges? And do we actually know the different percussive sounds our individual scores demand? Can we describe them? Do we actually know what kind of sound the composer wishes to hear at a particular point in the score for each instrument?
Can we articulate it? Can we demonstrate the sound for which we desire? But, we need to know! Do we know where to find the answers, and is this important? However, it is a plain fact that the success of our bands and orchestras lie in the effectiveness of our percussionists to possess the techniques, reading skills and passion to cover and musically meet the challenges of modern ensemble repertoire.
And we still need to be able to articulate that special sound we wish our percussionists to produce. Another important point for consideration is the need for we musical directors to be able to build and encourage our percussion sections to become vibrant communities of shared challenges, learning journeys and ultimate joy of being a part of an important group of musicians within our ensemble. For the developing of an effective and engaged percussion section, it is essential that we hold in our repertoire of teaching strategies, the accurate physical and aural templates for percussion.
To this end I have chosen several video demonstrations and written articles covering what I consider to be the most important fundamentals of percussion performance. This next portion of my presentation for beginning and training knowledge acquisition, and development provides you with both written and video resources for percussion instruments technique. Also provided within this section are several approaches and specific exercises for introducing developing basic technique. The site also presents descriptive techniques and demonstrations that cover the major points of snare drum, bass drum, timpani, tom tom, cymbals - both suspended and crash, and triangle performance.
Also included is an excellent series of videos demonstrating most of the basic Latin and auxiliary percussion performance techniques. This is an incredibly comprehensive resource and I highly recommend it for broadening your knowledge of this absolutely essential and often little appreciated or understood section.
After all it is a topic fraught with difficulty, and there are many diverse philosophies swirling around this important issue By the way, just as a reminder, I have added several new articles for your consideration in my "Publications and Articles" section. However, you will need to obtain a password to access the section. Please contact me. I hope that you may find all of my resources useful! Thank you once again for reading!
My use of both visual and aural templates assists me in determining whether their present performance habits are being formed and successfully developing. The constant use of these templates allows for me to either reinforce acceptable habits, or correct and re-establish the proper performance response. What should the characteristic embouchures and mouthpiece placements for each instrument look like? However, it is only after we have effectively transferred these essential templates on to our students that we will begin to see student ownership and personal assessment opinions progress into significant rewarding and lasting success.
Simply put, cone shaped and cylinder shaped bores.follow
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The conical instruments respond best when the sound is not forced. Both the conical and cylindrical shapes are capable of singing. However, the cylindrical needs more attention. It is a little less easy to distort the cylindrical shape, but one still needs to be careful. The best way to develop a beautiful characteristic tone for both shapes is to find and listen to fine brass artists.
5-Minute Read: Unison Chorales to the Rescue! – Dr. Ward Miller
The human voice actually offers the best options! Trumpet : getting started: The size of the instrument does matter — The trumpet is relatively heavy , and as most wind instruments, basically designed for adult body shapes and hands. Check student hand sizes to ensure that their fingers can comfortably depress the corresponding valves and that the left hand can comfortably support the weight of the instrument.
It is the Left Hand that holds the instrument, allowing for the right hand 1st three fingers the ease of action without trying to carry the weight of the instrument and operate the valves simultaneously. These 2 combinations are physically too short and need extra length to compensate for the inherent sharpness. Its general usage is to steady the instrument; hold the instrument while turning pages or inserting and removing mutes. I generally discourage its use in young students, as they tend to pull on it to increase embouchure pressure or use it to support the weight of the trumpet.
I prefer the floating little finger. Furthermore, incorrect right-hand position can impact embouchure setting and stiff, tense fingering, causing further difficulties. The right hand thumb should be placed between the 1st and 2nd valve casing, under the lead pipe and opposite the 1st finger placement on 1st valve.
Be sure that the elbow is not too high or too low, but is following a natural looking angle down from the wrist. It will appear completely natural!
5-Minute Read: Unison Chorales to the Rescue!
The left hand starts in the same place, dropped to the side and then lifted to hold the valve casing between the thumb and fingers. Old mouthpieces can be turned into visualisers. Simply cut the rim off and have a little thin metal rod welded to the outside face of the rim. Conversely, you buy an expensive one from a music store supplier. In either way you will need 4 of them. The visualiser allows both teacher and student the opportunity to both see and feel the correct placement, and should be used regularly in the early learning stages to avoid incorrect habits to develop.
After demonstrating the proper mouthpiece placement, let the student now place the mouthpiece on their lips. Be sure to encourage the student to regularly check their mouthpiece placement with a mirror. If this is the case, the success rate for a student choosing to play a brass instrument can be greatly diminished and a second instrument should be suggested.
You will need to be committed to consistently checking and correcting embouchure on a regular basis! Look for it and correct it immediately! A good mouthpiece recommendation for getting started would be a Vincent Bach 7C.
This angle is very important, as an improper angle usually too low due to the weight of the instrument can lead to incorrect mouthpiece placement on embouchure; generally, too low on the lips. Overbite and underbite can be compensated by aligning the bottom and top teeth against the mouthpiece rim. Valves approved valve oil , at least once a week, and slides Vaseline Petroleum Jelly , once a month.
Be sure that the student presses the valves straight down and not from the side. Correct right hand and finger position will generally solve this issue. It is fingered with the left hand and basically supported by both hands; left hand pinkie; right hand inserted into the bell with the weight supported by the back of the right hand placed in the upper opening of the bell throat.
This right hand position will assist in shaping the sound and controlling intonation as the student progresses. Maybe controversial, but for smaller students it may be acceptable in the initial stage to rest the bell rim on their leg as long as the mouthpiece remains in the proper position. The instrument is set to play in F and then moved into Bb via the depressing of the thumb valve, operated by the left hand thumb.
The main advantage of the Bb side of the horn is improved intonation and accuracy of pitching. The bottom edge of the mouthpiece rim should be placed in the red of the lip. The mouthpiece is placed as close to the centre of the mouth as possible. A picture is worth a thousand words! Insert picture The valves and slides must be lubricated, just as in the trumpets on the same sort of schedule.
There are trombone slide extenders available which will assist in getting out to 6th and 7th positions. Right hand holds the slide, palm facing the chest and the 1st two fingers and thumb holding the slide brace towards the bottom of the brace. Make sure that the elbow is not too high or too low, naturally follows the angle from the wrist. The palm should be facing your heart. The trombone comes in three pieces and has to be put together and taken apart by the student.
It has a bell, slide and mouthpiece combination. The slide section being inserted into the bell receiver pipe and connected together by the use of a threaded circle. Beware of the slide coming in contact with the bell rim as this can dent the slide, making the instrument inoperable. It has 7 positions, just as the valved brass has 7 basic valve combinations, nevertheless, the positions are slightly different on every trombone. Unlike the double French horn, the trigger trombone is in Bb the F side is engaged when the left thumb depresses the valve.
It expedites the slide requirements, simplifying the slide shifts by often replacing the need for using 6th and 7th positions. There is insufficient space to go into great detail here regarding the various pros and cons. Other developments include the introduction of the new plastic trombones called P-Bones, coming in various bright colours.
The main slide and tuning slide s must be lubricated on the same schedule for the trumpet and horn. However, the slide lubrication is of a special nature and must be demonstrated. Bach Slide Cream. The instrument is supported by the left hand and the valves are operated by the right hand. In the case of English and European instruments, if there is a 4th valve, it is most likely located on the right side of the instrument half way down the bell tube. In this arrangement, the left hand forefinger is used to depress the valve.
The euphonium will be either be 'upright bell' or 'bell front'. More advanced euphonium models have a 4th valve, as already mentioned. This is a 'double' instrument arrangement: shorter side in Bb and longer, 2nd side in F. The instrument suffers from the valve issues mentioned in the trumpet as well as the problems brought on by its conical shape, which compounds the intonation issues. A long torso will require a cushion under the bottom of the instrument. If the torso is too short, then the angle of the instrument will have to be adjusted. Just as in the trumpet, the correct finger alignment is very important to developing quick and secure fingering.
Make sure that the right thumb and elbow are in the right place: Be sure that the elbow is not too high or too low, but follows a natural looking angle down from the wrist. Tuba: the basics - The Size of the Tuba matters: The tuba is a heavy instrument: Holding the instrument is problematic, depending on the size of the student. These provide easier handling options allowing for younger students to get started. The Eb tuba option sets up minor transposition issue when reading bass clef. When reading from a Bb method book the student has to remember that on an Eb instrument G equates to concert Bb.
If you choose the Bb tuba option there are no transposition issues. Again, be sure to check body shape and hand size. Carrying the instrument can lead to creative cartage options such as a little handcart, shock cords on a skateboard, etc. More advanced Tuba models have a 4th valve option, as already mentioned. This too is a double instrument arrangement: shorter side in Bb and longer 2nd side in F. This arrangement is a cross between the need for improvement in intonation and improved valve combinations.
Just like the euphonium, the tuba suffers from the valve issues mentioned in the trumpet as well as the problems brought on by its conical shape, which compounds the intonation issues. Make sure that the right hand position is set by properly aligning the thumb under, the 1st and 2nd fingers, and keeping the wrist from collapsing to the valve casing. Understanding the development of air support is crucial for all wind instruments.
However, the topic of air support needs a separate discussion as there are many approaches to this important topic and equally many points of view and equal number of strategies. Many have merit and some are really contradictory and confusing. Some people talk about the diaphragm in incorrect terms and function.
Symphonic Warm-ups (Grade 2)
Proper air intake, delivery and control are essential for a rewarding engagement with the wind family. I hope to address this subject in a future post. In my next instalment I hope to continue our discussion of acquiring and using the visual templates for the Percussion families. I also hope to discuss some basic ideas for addressing 'breathing for winds: a can of worms for sure! By the way, In my website I have added several new articles for your consideration in my "Publications and Articles" section. I hope that you may find them useful! However, before we can start addressing the technical and musical issues of the above points, we need to begin by consistently demonstrating the basic foundational playing habits of posture, hand position and embouchure and ensure that they are firmly in place.
What should the characteristic embouchures and mouthpiece placement look like for each instrument? Employing the various visual templates requires: An understanding of the overall importance of proper formation of posture, hand position and embouchure An active, on-going attention to the specific details. And, what are the details anyway?
For what specific sorts of things should we be looking and listening? Only after we have effectively transferred our passion for these essential templates to our students will we begin see the transformation. For starters, let me introduce you to some helpful woodwind teaching points you should be aware of, and be actively engaged in introducing and reinforcing in each rehearsal.
Sale Price. The book contains instruction and exercises designed to promote "natural performance" which will lead one to reach their full potential. The Tipbook Company, , PB, pages. This is a "hardware" book about the instruments and is especially recommended for anyone who wants to learn more about or needs a reference on the physical aspects of the trumpet also cornet and flugelhorn and trombone. This may include adult beginners, parents of clarinet students, teenage students, non-brass playing music education majors or band directors, etc.
The book is very well illustrated and includes chapters on buying an instrument, mouthpieces, mutes, steps to take before and after playing, maintenance, how they are made, the brands of brass instruments, the family of brasswinds, etc. The Brass World, , SS, 80 pages. The author has selected scales, chords, note markings, tonguing and rhythms from the body of performance techniques.
They have been reduced to their simplest form and presented in exercises that feature repetitions. This books is for all brass players and all exercises are in both treble and bass clefs. M Christmas Memories. A collection of seasonal favorites arranged for all vocal or instrumental ranges with sumptuous accompaniments. Limited supply.
Summy Birchard, , SS, 95 pages. A treatise on the problems and techniques of horn playing, explained to the fullest extent, the secrets of successful horn playing. Covers choosing the mouthpiece and horn, care and maintenance, playing position, fingering, tuning, embouchure, breathing, practice, tonguing and articulation, tone, phrasing, range, endurance, dynamic range, mouthpiece pressure, accuracy, transposition, lip trills, muting and stopping, etc. Includes 10 pages of etudes and a number of exercises. Alfred, , PB, pages. Douglas Hill is professor of music at the University of Wisconsin- Madison, past president of the International Horn Society and respected teacher and clinician worldwide for over 30 years.
The 27 chapters in this book cover topics from getting started to preparing for college and professional auditions. The "chapter on creativity and the complete musical self" includes composing, as well as improvising. Seven chapters on repertoire and reviews of music and texts are the most comprehensive of any horn or any other instrument text to date. The process of learning and teaching is extremely insightful for any serious student or the most experienced instructor.
International Music Diffusion, , PB, pages. This book is based on a series of lectures given by Bourgue during the s and early s, giving it a different slant than the typical instrument book. Subjects covered include the history of the horn and its variations, acoustic principals and transpositions, pedagogy and musical interpretation, respiration and relaxation, the horn and Mozart and the horn and Messiaen, repertoire, and a selected bibliography.
Includes numerous photographs and musical examples. This introduction to the early horn provides a historical account of the instrument's development during the eighteenth and nineteenth centuries as well as a practical guide to playing techniques and principles of interpretation. The book aims to help performers to play in a historically appropriate style and provides a series of case studies including major works from the horn repertoire by Bach, Haydn, Mozart, Beethoven, Schubert, Schumann and Brahms.
It includes chapters on the historical background of the instrument, its design and development, and choice of instrument today. HR Horn by Barry Tuckwell. Written with the sensibility of a soloist, orchestral player, and conductor, this musical tutorial explores the history of the horn and modern techniques for writing and playing. Useful advice is given on all aspects of learning, practicing, and playing for the beginner, amateur, and teacher. The difficulties of building and maintaining the instrument, the practicalities of the craft, and the life of a professional horn player are covered.
A classic guide to all aspects of horn-playing, with chapters on tone-production, exercises, legato and staccato playing, the art of practicing, and notes for composers and conductors. The second edition has an enlarged repertoire list, and corrections and updating throughout.
Schott, , PB, pages. Translated into English by William Melton. Mastery of the French Horn is for intermediate to advanced players, for improving technique and finding new levels of musical expression. The parts are in the included Adobe Acrobat. Click on the cover image to view the Table of Contents in Adobe Acrobat.
Click on the cover image to view the the Table of Contents in Adobe Acrobat. There are 81 pieces in Volume 6 of which 77 have horn parts in Adobe Acrobat. Partis include Mozart 16 symphonies, 14 piano concertos, 3 violin concertos, 8 overtures, 3 divertimenti, 5 serenades, and more and Haydn 23 symphonies, The Creation, and The Seasons. Click on the cover image to view the complete Table of Contents for horn for this volume in Adobe Acrobat. Volume 7 contains 46 orchestral works. Click on the cover image to view the Table of Contents for this volume in Adobe Acrobat.
Volume 8 contains 48 orchestral works. Volume 9 contains 50 orchestral works. Volume 10 contains 53 orchestral works. This volume includes works by J. Bach, Handel, Arne, C. Another Special. Choose the ones you want and we will apply the discount when we process your order. Wind Music Inc. Milan Yancich had a distinguished career as an orchestra hornist, music educator, and publisher. This is a complete method including the basics of great horn playing through comprehensive exercises and discussions on all aspects of a musical approach to the french horn.
Music Educators will find valuable suggestions as to choice of mouthpieces, warm-up exercises, exercises for development of range, and many other areas of technique involving student musicians. Horn Music composer order. These were written for a concert in by Giovanni Punto. Includes a forward in German, English and French and alternate parts for cello. Special price. G Sonata "No. International Music Co. Debussy's original plans conceived in to write for this unusual combination were cut short by his death in Musicologist and harpsichordist Kenneth Cooper reimagines what Debussy might have written using three Debussy pieces; 1.
Mouvement - Images I. Preface includes 6 pages of background information. College level. As a composer, Alexander Glazunov was as at home in the late Romantic symphony as he was in chamber music forms. Glazunov was himself a good horn player and played in several orchestras as a young student. It was at this time that Glazunov composed this highly romantic work in which he showed off the melodious qualities of this instrument to their best advantage.
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It is an effective recital piece, even for advanced pupils, and is being published for the first time as an Urtext edition; alongside the first edition Henle also consulted Glazunov's autograph in the National Library of Russia in St Petersburg for the first time. Here is an audio recording. Introductory price. Except other items with free shipping. Editions Combre, , SS, includes piano score with vocal part and individual instrumental parts. Alain Margoni is a French composer, conductor and music educator.
The four songs are I. Chant d'Amour, II. Chant de Prison, III. Chant sur l'eau. This is intended for a female vocal performer. The range is from the A below middle C to the G just above the staff. Here is an audio recording of the first song with tenor saxophone the other songs are also available. Click on the cover page to view a sample page which is also from the first song. This was apparently written with the horn as the primary instrument but the score has the clarinet part in C.
It begins with a typical florid introduction by the instrumentalist and piano, followed by an Allegro featuring the vocalist, and three variations the vocalist is tacit on the first. This is a college level work for the instrumentalists and has a very challenging vocal part. In this case, the French horn player Henri Chaussier provided the impulse. Chaussier's invention did not gain acceptance amongst horn players - although the Morceau de Concert did! Here is a video of a performance. Commissioned by the Texas Music Teacher's Association.
In four movements: The first, Molto tranquillo, begins with an arching horn melody that sets the mood of the piece. The second movement is light and airy with a pastoral feeling in its central part. The third movement starts serenely but dissolves into an agitated and dissonant middle section, then builds to a climax, followed by a quite reassuring song. Playful and humorous, the last movement ends in a burst of high spirits. Despite the commissioning source this a college level work that only the very best high school students could perform. One copy left at this price. This piece was inspired by the timeless beauty of the paintings of the 17th century Dutch master Jan Vermeer.
In each movement the composer has tried to utilize the evocative sonorities of the horn to create a musical counterpart to the feelings generated by the portraits. This piece was inspired by the Holocaust as a result of a trip by the composer to Eastern Europe. The Shofar is the ram's horn which is part of Jewish ritual and worship. Throughout this piece the horn conjures up the sound of the Shofar. It refers to the traditional calls, but beyond that serves as an elegiac voice of mourning.
The horn also uses some extended techniques to evoke the choked off cries and sobs of the Holocaust's victims. Alexander Scriabin was a Russian composer and pianist. Scriabin is mainly known for his mystic-visionary piano works today; but his Romance for horn, which he composed at a young age possibly in , is also a charming chamber music work. The technically not very demanding horn part with its opulent piano accompaniment means that it is a very effective recital piece, even for young students.
As the work was not published during the composer's lifetime, the autograph is the sole source for our edition. It was prepared in collaboration with the Moscow Scriabin scholar Valentina Rubcova. G Quartet in E-flat major Op. Amadeus Verlag, , SS, includes parts and score. The horn part is in F. This is one of six quartets that make up Op. The melody may be played on a C clarinet or flute instead of the oboe.
It is in three movements: Allegro, Andante, and Rondeau Allegretto. This work is appropriate for advanced high school, early college, or adult amateurs. HR Concertino Op. Includes horn parts in E and F. But Weber did more than give the instrument important solo parts in his operas; he also wrote a virtuoso concert piece that to this day is regarded as one of the most difficult in the whole horn repertoire - not least because the soloist has to play three-part chords!
This Henle Urtext edition is based on the autograph, the engraver's copy checked by Weber himself and the first edition, and so offers the best possible musical text for those wishing to learn this highly effective virtuoso piece. The Preface also for the first time provides biographical details of Sebastian Rauch, the Munich horn player who commissioned this Concertino.
Note: See our woodwind music page for woodwind quintet and ensemble music and our woodwind page for woodwing literature reference books that include horn. These carols can be played by any combination of bass clef instruments. Includes performance notes and shows the range of each part. Contents: Coventry Carol; Shepherds, Rejoice! Click on the cover image to view a page of the score. Summy-Birchard, , SS, pages.
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This book is written for the trombonist, beginner or advance, who is always a student at any stage of proficiency. It covers selection and care of the instrument, breath, embouchure, mouthpiece practicing, tone, volume, slide technique, detached playing, legato and legato tonguing, daily exercises, intonation, rhythm, musical interpretation and style, and selected literature.
There are many exercises and musical examples throughout this book. Includes both trombone and saxophone part. Frank Martin was a Swiss composer who created a synthesis of the chromatic and twelve-tone techniques without, however, abandoning tonality. Ballades were a specialty and he wrote them for a number of instruments.
This is a sectional piece with many changes in tempo. Lots of tenor clef. Duration about Henle, , SS, includes score and parts. Composed at the request of the music director in Linz in to celebrate All Souls' Day, this staple of the trombone repertoire was later sung in an arrangement for male chorus at Beethoven's own funeral. Parts are both in the original C and in modern bass clefs. Includes notes on the piece and editing in German, English and French. Sale price! This familiar carol has been arranged for trio and can be played by any combination of instruments in this series available in C, B-flat, E-flat, and bass clef.
This familiar carol has been arranged for quartet and can be played by any combination of instruments in this series available in C, B-flat, E-flat, and bass clef. The trombone came into its own as a solo instrument with the Cavatine, composed in It displays here its lyrical, romantic side. The Cavatine, an effective recital piece, is a milestone in the solo literature for advanced trombone players.
The Henle Urtext edition is the first to take into account also the autograph in Paris. Carl Fischer, , SS, 45 pages in score format. The intention of Compatible Christmas Duets is to provide instrument players the opportunity to play fifty popular Christmas carols in arrangements for two instruments. These duets will work with any combination of any two instruments, so you can play carols with your friends no matter what instrument they play. There are endless possibilities for using duet combinations for fun and entertainment around the holidays.
You can play for family, friends, or in a concert setting. We have editions for instruments in C, B-flat, E-flat, and bass clef and can order the versions for Horn in F and Tuba if requested. G Compatible Duets for Winds Vol. Carl Fischer, , SS, 48 pages. Continuing with the success of the popular Compatible series, Compatible Duets for Winds Volume 2 contains 29 duets in a variety of styles that can be played with any combination of two wind instruments.
Students can develop their chamber-ensemble skills while playing with their friends, no matter what wind instruments they play. Typical difficulty US grade 3.
Related Warm-Up Chorales for Band - E-flat Instruments
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