BRASS TECHNIQUE BARITONE

Transcription

1 BRASS TECHNIQUE BARITONE

2 REHEARSAL CHECKLIST The following is a list of items that you should bring to every rehearsal: 3-Ring Binder, 1/2 to 1 inch, with several clear insert ages to kee all of your music in Any Music that has been assigned, check the website and rint all of your arts, including this book Mechanical Pencil Valve Oil Towel big enough to lay your horn on a gym floor or other hard surface Gloves (can be urchased at rehearsal) Tuba layers may want stronger work-out tye gloves Water Jug filled with ice water, at least a half-gallon Baseball style Hat Running shoes Sunscreen Li Balm Workout tye clothes that are weather-aroriate; be reared to be outside all day. No jeans! Mouthiece for your instrument Don't forget your Instrument!

3 Baritone (Treble Clef ) Fingering Chart FOI Gb G G#/Ab A A# / BI, B C 6 -cy 6J 15 i', C C# / DI, D Dt#/ El, E F J ea O C I #51 Oen #6.1.1 Ft# I GI, G G#/ AI, A Att / Bb B 6 O J i t I 6 O P 2 Oen J C t) Oen r C# / DI, D DI / El, E F 1-2 1, r 1 P 2 Oen 1 t) P F# / GI, 6 P 2 G A Oen 2-3 A 1-2 A# / Bb 6 1 B _CL 2 C Oen I

4 The Overtone Series When you are working on these tyes of exercises, use one fingering for each set of exercises, in order to train your embouchure to move smoothly from one artial to the next. This means that some of the notes will use an alternate or "false" fingering. There are seven sets of fingerings or "ositions" that allow you to lay all the notes. The notes in arenthesis are alternate fingerings and may be out of tune, but they are useful in embouchure develoment when used in these tyes of exercises. To save sace, the exercises will only be written in the Oen Position, but ractice them in all fingering combinations. *Secial Note: In order for the Mellohones to get the same benefits from these exercises, they will lay the same written art as the Trumets, unless otherwise instructed. This means that they will not be laying in unison, but in arallel fifths from the rest of the Hornline. 1. FIRST POSITION (also known as Oen Position) is layed oen. r The following notes are layed: C, G, C, E, G, (B-flat), C. b. 2. SECOND POSITION is layed with the second valve. The following notes are layed: B, F-shar, B, D-shar, F-shar, (A), B. 3. THIRD POSITION is layed with the first valve. The following notes are layed: B-flat, F, B-flat, D, F, (A-flat), B-flat. 4. FOURTH POSITION is layed with the first and second valves. The following notes are layed: A, E, A, C-shar, (E), (G), A. J r -6, 5. FIFTH POSITION is layed with the second and third valves. The following notes are layed: A-flat, E-flat, A-flat, (C), E-flat, (G-flat), A-flat. r 6 6 r 6. SIXTH POSITION is layed with the first and third valves. The following notes are layed: G, D, (G), (B), (D), (F), G. Tr 7. SEVENTH POSITION is layed with all three valves. The following notes are layed: F-shar, C-shar, (F-shar,) (A-shar), (C-shar), (E), (F-shar).

5 SECTION 1 BREATHING EXERCISES The following exercises are taken from the Breathing Gym, and can be used as art of a warm-u routine or to address secific issues such as Dynamics, Articulation, and Phrasing. Work on these exercises just ast the oint of ease and slightly into discoort without over-exertion. PRELIMINARY CONSIDERATIONS Maintain a roer and consistent oral shae for maximizing the benefits of these exercises. During the inhale/exhale, the inside of the mouth should feel like a big yawn The back of the throat is to remain oen and unobstructed Monitoring each breath ensures correct execution. All exercises are to be erformed in a relaxed manner with no tension in the body. If light-headedness occurs, sit down and gently breathe in through the nose and out through the mouth for a few moments. The inhale and exhale are to be erformed continuously with no break (unless otherwise instructed). INHALE Form the right hand like a karate cho, but fold the thumb flat against the alm Place the index finger just under the ti of the nose, with the to li against the middle knuckle and the bottom li against the big knuckle (aroximately) EXHALE (remove the right hand before the exhale) Form a slight embouchure with the lis, but with very little tension (like whistling) Push the air out in one constant, steady flow THE EXERCISES FLOW STUDIES used to stimulate regular breathing atterns used while laying. Monitor the consistent flow of air (coortably full to coortably emty) Float the Paer Airlane (iano), Toss the Dart (mezzo forte), and the Bow Arrow (forte) Quick Breath Full breath on the last beat of a measure before exhaling Exercises with varying lengths of Inhalation and Exhalation THERAPIES used to insire better airflow by creating roblems to overcome, such as resistance and susension Inhale Theray Exhale all air (sizzle), lace the back of the hand against the lis while inhaling (fight for air), remove hand and inhale as much as ossible, susend the air for a set number of counts with mouth and throat oen, then exhale in 1 quick burst down to a sizzle Oral Shae Theray Inhale/Exhale with the mouth and throat oen in varying rhythmic atterns, monitoring the consistent flow of air STRENGTH AND FLEXIBILITY focus on exanding and contracting the lungs to their extremes In, Si, Si Out, Push, Push. "In" = full inhale in 1 beat while raising arms overhead, "Si" = Lift arms higher and si more air, "Out" = full exhale while lowering arms, "Push" = force more air out Power Breaths Power Bow Arrow

6 Score Sonus Brass Technique 1. F Stretch 4 # w w w b w Bryk 13 w # w w w Bb Stretch w b w w 31 b w w w Flexibility w # w bw w 5 4.Areggios w # # w bw # w Flex-eggios Ó # # # Ó 67 b Ó # Ó

7 2 Sonus Brass Technique 73 Air Flow #1 w # # # 79 # w # # # # # # # 85 w 91 w # # # 97 Air Flow #2 w 13 w # # # 19 bw 115 w # # #

8 Sonus Brass Technique Air Flow #3 Ó Œ 128 Ó Œ # # # # # # # # # # 135 Ó Œ b 142 Ó Œ # # # # # 149 Air Flow #4 Ó Œ j # w 154 Ó Œ j # # # # # # w 159 Ó Œ j w 164 Ó Œ j # # w

9 4 Sonus Brass Technique Li Slur #1 169 Π# # ΠΠ# ΠLi Slur #2. Li Slur #3 Π# # #. Πb. Π# # # # ΠΠ#. Π# # ΠΠ193 Li Slur #4. Π# #. Πb. Π#. Π21 Seed Slur #1 j # # # j 25 j b # j # 29 Vizzutti Concert F #.. w n b 212 b.. b b b b w 215 Vizzutti Eb Vizzutti Gb bb b b.. n n n n w

10 Articulation Studies Variations in musical style can be achieved by altering the duration and/or emhasis (stress, weight) of notes. e thdvgihe use of the syllables listed in this chart. Articulation Syllable Difference from the normal enunciation normal legato staccato marcato :J :J :J. ~ dah doo N/A Smoother beginning and more connected accented J y dah Same beginning as normal with half the length Dah Twice the emhasis with half the length Dah Twice the emhasis on the beginning of the note, a slight decay 6. Quarters and Eighths J= 12 (all the notes should touch)»if ' ~1 J JJJI JJJJJJJJI }z # I JJJJI WWWW; WWWI Jx t I (continue to ascend) 7. Forklift (in unison) J= 12 (dah) (dah) (dah) (dah) (doo) (doo} (doo) (doo) (dah} (dah} (dah} (dah} 'J J J J IJ J J J IP»if P (Dah} (Dah} (Dah) (Dah} J J It i i i (kee the volume consistent from measure to measure) JJJ JJJ JJJ JJJ I J J IJ J J J IJ J J J IJ J J J I - J J J IJ J J J IJ J J J IJ J J J - 22 II (continue to ascend)

11 Sonus Brass Technique Articulation #1.. - Œ - Œ Œ 222 #. Œ. - # Œ - #.... #. Œ b. Œ b. - Œ b b-.. b.. b.. - Œ 23 Œ. Œ Œ... - Articulation # Œ 238 #.... #.... # # #... #. Œ b.. b.. b.. b.. b... b.. - Œ # Œ

12 " Sasquatch Trurnet tt 1 Trumet 2 Tnrmet 3 Mellohone.,"ffi.ffi "' :"ffi, :.ffi,.ffi + _o_ "ffi + 1 Baritoae 2 Euhonium Tuba,"ffi -ffi * *9f + Tt. 1 TL.2 Tt.3 :"ffi "ffi Meltro. I Mello. 2,=ffi,r, * - + Bar" "ffi 1 Mellohoce 2 Baritone,',,ffi Biat 2 Euh" Tlrba,"-:rffi 33

13 Power Exercise # 2 Trur*ef Mellohone Bariton / Euhoniuna Metlo" Bar / Euh" Tuba Tt. Mells. Bar" leuh. Tuba Tt. Mello. B,at /Euh. Tuba 29

14 7: i )). O A SECTION 7 TUNING SEQUENCES SCV Tuning 1,41 -- bq 8 Bari 6 t. CI CI 8 CD #3 Concert F Tuning ft a CI if - 11 if Bari A H Concert B-Flat Tuning 8 C.1 if C) 8 if Bari C) TV C) A A O CI 8 if Play, Sing, Boom! e Bari CD Ei A if if Sonus Brass Theater

15 SECTION 8 WARM-DOWN PEDAL TONES Play these at the end of the day or when your chos tire, followed by rest. Use as little mouthiece ressure as ossible. 1 Slowly and Light Tr; I : i - r J J rtt J. J -- inir X1;4 J J J J J 1-3 J ol # #43-6. "CF J 9. JG bcr be 1.