TEACHERS WELCOME.


TEACHERS WELCOME!



Since we all are teachers, whether ultimately "our own teacher", teaching others privately or teaching the youth in a school setting such as Middle School, High School or College level, I will be gearing FixYourBrass to include teachers and performers. My posts will have various "topics" (Range, for example), with information for development and maintaining these categories as well as problems that may arise. The posts may be followed by my own "comments" and as to solutions to these problems watch for follow-up posts. So please add your own comments as to create a dialogue regarding said posts as well as any "personal problems" that I can help with. Looking forward to this exchange.

Dave

Sunday, September 12, 2010

BRINGING THE TOP DOWN

To further our development of the upper register and overall range in general, this is what Dr. Reinhardt would call a "sound" drill.

"This is definitely NOT a Warm-up. This group of studies is intended strictly for the performer who has succeeded in developing consistent high register responses, even though the sound in this register has been too thin and nasal to be of any significant performance value. This serves, also, to eradicate unwanted 'transitional spots' while ascending and descending the range of the instrument."
-D.S.Reinhardt

DRILL ONE (Trombonists: play all pitches presented a major second lower.)
Play a good solid high E on trumpet and with the "open horn" descend by slurring "partial-wise" to the middle E (fourth space) and return in identical fashion to the high E (High E - D - C - Bb - G - Middle E descending and return). This must be accomplished on a single playing inhalation. Even though this drill is slurred, each note must have the same difinite core in the sound as the initial high E.Some performers achieve this by utilizing the "college cheer principle" ( a synchronized breath emphasis on each slurred note). If no strain is present, practice this several times.

Conclude the drill with rapid, low, slurred chromatics ( from low C to low F# and return many times) and then rest. Assuming that you have carried this out in a satisfactory manner, play all notes in the drill in a detached, tongued, marcato manner. Wind-up on the low slurred chromatics as before and rest. For the low, slurred trumpet chromatics, the trombonists should substitute four, sustained Bb pedal tones before resting.

Note: The above may be carried out with a good solid High C in place of the E above for an undeveloped embouchure that can make a good solid high C.

Drill Two:
Identical to drill one but this time add the third space C to the study just presented as the bottom of the contrapuntal peak.

Drill Three:
Now, augment the drill by adding the second line G.

Drill Four:
Finally, add the low C to the ever-expanding partials.

Drill Five:
Play a good high E (C?) once more but this time on the same breath" slide down" to the starting note on any contabile phrase (Concone or ballads from The Reinhardt Routines book)and at the conclusion of the phrase SLUR UP TO THE STARTING E (or C as the case may be). Work several phrases in this manner and conclude the entire drill.

Questions are ALWAYS welcome.
Dave

2 comments:

John said...

Is there any real difference between "Bringing the Top Down" and the "No Transition" exercises?

FixYourBrass said...

John,
The real difference is with The No Transition work after the 1st part. Part 2-3-4 & 5 + a Double C addition sets the drills apart. What is involved with the No Transition is including inhalation techniques on the low C before ascending. I will post the remaining drills after part 1 if there are requests from more advanced players than I think are coming to these posts.
Dave