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Calling all brass musicians... [Dec. 29th, 2005|10:29 pm]

I found a short article on building strength and increasing range - do these ideas look like they make sense to you?

(If anyone would like to have posts about euphoniuming filtered away from them, please comment.)

PS - thank you to everyone who's been advertising nou_cooks - only eightfour new mutual friends to go!

[User Picture]From: sulkyblue
2005-12-29 10:55 pm (UTC)
I'm not sure about the whole "overtone" thingy - never heard of that one. The second suggestion playing through scales makes sense though.

Trumpet players were encouraged to use mutes to improve strength and volume issues. Can't say as I've ever seen a euphonium mute though ;0)

I think I might have to actually dig my cornet out of the cupboard and see just how bad i sound after not playing for nearly two years!
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[User Picture]From: nou
2005-12-29 11:10 pm (UTC)
Thanks for the comments.

I have a euphonium mute! Because of the whole "living in a flat" thing I always have a practice mute in when I play.

If you would like to play some very simple duets some time (and you know somewhere we could play without annoying the neighbours) then please let me know.
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From: ewtikins
2005-12-30 08:31 am (UTC)
Yes, those exercises make sense to me. I do something very similar as part of my horn warm-up, and can explain/expound a little more in person.

What do you use as your standard warm-up?
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[User Picture]From: nou
2005-12-30 04:58 pm (UTC)
Standard warm-up is as-long-as-possible notes going up in semitones from middle C to the G above that, and back down again, a couple of times. Then single-octave scales at moderate speed, with starting notes ranging from the F (or sometimes the G) below middle C to the E (or sometimes the F#) above middle C - I alternate major and minor on different days, and I include all the scales, including the ridiculous ones like C# and C-flat major. Then some tongueing - generally various triplet patterns, again going in semitones between middle C and the G above, and vice versa.

Some days I stop there though and don't do any more specific practice, if I'm pushed for time - I don't like to play too late because of the thin walls and neighbours thing, and I have to put work before practice.
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[User Picture]From: nou
2005-12-30 05:00 pm (UTC)
Oh - and I arrange the scales by key, rather than by doing C then C# then D, etc. So I generally go C#, F#, B, E, A, D, G, C, F, B-flat, E-flat, etc, etc, C-flat - or the other way around.
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From: rik
2005-12-30 12:35 pm (UTC)
trying to get more out of a euphonium? what happens if your neighbours get so annoyed that they beat you to death with it? would that be euphonasia?
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[User Picture]From: nou
2005-12-30 05:01 pm (UTC)
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[User Picture]From: rjray
2006-01-01 11:20 pm (UTC)
This stuff is dead-on. When I was in college, my French Horn prof worked me over on overtone series constantly. The scales bit is pretty basic, too, though it is being done with an emphasis on dynamic range as you go up, so the scales are actually secondary. What you're doing is increasing dynamic as you increase tension in the lips.

(gods, I miss playing...)
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[User Picture]From: nou
2006-01-08 10:44 pm (UTC)
Play again! Do you still have your horn?
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[User Picture]From: rjray
2006-01-08 11:03 pm (UTC)
I never owned one... they're far too expensive. I always used school gear.
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