Learn more about Chris Gekker in the Encyclopedia of Trumpet Players. For trumpet, french horn, trombone, and tuba: books, CDs, DVDs, interviews, online I first became aware of the great Chris Gekker as a student at the Eastman. Notes on Practicing Chris Gekker Constantly monitor your weaknesses and strengths, adjusting your practice accordingly. Focus on what you.
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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. Learn how your teachers practice or practiced. In your practice, don’t discount the value of simply slurring between two notes, hundreds of times.
The throat is tightening to compensate for weakness at the gekkee of the tongue. Many trumpeters start off well, but fade quickly after a few minutes; other get off to a slow start and lack the stamina to hang in there and recover.
Use the metronome the way a track athlete uses a stopwatch: With as many as possible, learn on at least two different trumpets. An etude properly studied should gekkeer almost memorized, if only temporarily.
Sotto voce soft practice. Sections can also be done at different times throughout the day. As hard as any of us practice, it won’t mean much unless we always keep listening, both while we play and also away from the horn, remaining open to new musical ideas and concepts. For playing the big romantic and 20th century works, we need to build up our tolerance for playing at full volume. Ease of execution and a feeling of relaxed strength are the priorities here.
Even then, be careful about practicing very loudly more than two or three days in a row. Many players are too easy on themselves in the practice room and rehearsal hall, and too hard on themselves in performance on stage. Never strain; you might feel occasional fatigue but you should feel like you could play all day on these studies.
Single tongue chromatic triplets, slur arpeggios. Jan 8, 3. These are only suggestions. And when these articulations are truly mastered, any multiple tonguing will be easy.
Oliver Nelson Patterns for Improvisation, 49, 50, 51, 52, 53, Record and study your own playing, constantly working for clarity regarding how you want to sound. Each section 3x, working from back. True skill, the kind that will trumpey up under pressure, is reflexive, learned by experience and repeated exposure. And the great jazz musician Charles Mingus, who often spoke of the heightened spontaneity he heard in trumoet by the Budapest String Quartet.
This relaxation can be achieved by pushing back our barriers of volume farther than we would ever be asked to trumpeg. The possibilities are endless, but here are some suggestions: No, create an account now. When proper endurance has been built up, the throat the whole upper body will relax. Schlossberg Daily Drills, Warming up is a personal thing; everyone will need to find what works for them. When any of us are playing well, we commonly feel that we are playing from a “center” where we feel well-grounded, with a strong, secure presence behind every phrase.
Notes On Practicing-Chris Gekker. | Trumpet Forum & Trumpets For Sale
When working in the more traditional collections Boehme, Duhememphasize the etudes with four or more sharps or flats. Feel the stomach muscles clench; this is the only way to dynamically engage the torso muscles used in trumpet playing.
Do six in 30 minutes, starting one every 5 minutes. If possible, study musicology and composition, or at least search deeply into each piece you are interested in performing, learning all the parts and how they fit together.
Now and then, I will play for 30 minutes with only very brief rests; this is above all a test to see if I am playing loosely, without unnecessary tension. Play soft scales and arpeggios into the high register. Hold out the upper notes, building up the reflexive memory of those notes on your whole system.
Rest at least 5 minutes between sections. Reversing this tendency takes time but can evolve naturally: Since the tongue’s mobility is directly related to our flexibility, intensive articulation practice will make us more limber all over the horn. This loud playing should be as relaxed as possible so the tone will be warm and without strain.
Use the metronome to make your practices harder than performance conditions, so the concerts will seem easier.
At first, the indicated rest will gekkdr this routine seem easier, but the higher tessitura will eventually take its toll. Soft scales and arpeggios to high E, F, FG. Clarke Characteristic Studies, 3. Solo and quintet recitals.
Colin Lip Flexibilities, 3, 9, 14, Porret 24 Etudes melodiques.