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EUPHONIUM SYMPOSIUM
The secret: blow fast air through a small aperture to make high-frequencies. Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing EUPHONIUM SYMPOSIUM: 2012 Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% of your success as a player comes from how well you move the "wind", the remainder coming from the actual instrument. THE "10 COM-BAND-MENTS": the conductor, and position your stand to help a peripheral view so you can be together on each downbeat at least. HOW TO BECOME A BETTER EUPHONIUM PLAYER Spend more time playing your instrument outside rehearsals. You will improve. How long did it take for you to learn "walking"? Or "drivinga
EUPHONIUM SYMPOSIUM: IT'S AS NATURAL AS BREATHING Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% EUPHONIUM SYMPOSIUM: MAY 2015 What should you practice? The stuff you're not good at, of course! But do it the "perfect practice" way: play slowly enough that everythingyou do is perfect.
EUPHONIUM SYMPOSIUM: HOW TO PLAY HIGH NOTES! The secret: blow fast air through a small aperture to make high-frequencies. Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing Consider stringed instruments. Oh yeah, they have it easy! Guitars, cellos, etc., they play notes by making the string vibrate.EUPHONIUM SYMPOSIUM
The secret: blow fast air through a small aperture to make high-frequencies. Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing EUPHONIUM SYMPOSIUM: 2012 Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% of your success as a player comes from how well you move the "wind", the remainder coming from the actual instrument. THE "10 COM-BAND-MENTS": the conductor, and position your stand to help a peripheral view so you can be together on each downbeat at least. HOW TO BECOME A BETTER EUPHONIUM PLAYER Spend more time playing your instrument outside rehearsals. You will improve. How long did it take for you to learn "walking"? Or "drivinga
EUPHONIUM SYMPOSIUM: IT'S AS NATURAL AS BREATHING Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% EUPHONIUM SYMPOSIUM: MAY 2015 What should you practice? The stuff you're not good at, of course! But do it the "perfect practice" way: play slowly enough that everythingyou do is perfect.
EUPHONIUM SYMPOSIUM: MAY 2015 What should you practice? The stuff you're not good at, of course! But do it the "perfect practice" way: play slowly enough that everythingyou do is perfect.
EUPHONIUM SYMPOSIUM: HOW TO PLAY HIGH NOTES! The secret: blow fast air through a small aperture to make high-frequencies. Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing Consider stringed instruments. Oh yeah, they have it easy! Guitars, cellos, etc., they play notes by making the string vibrate.EUPHONIUM SYMPOSIUM
The secret: blow fast air through a small aperture to make high-frequencies. Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing EUPHONIUM SYMPOSIUM: 2012 Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% of your success as a player comes from how well you move the "wind", the remainder coming from the actual instrument. EUPHONIUM SYMPOSIUM: JUNE 2015 Euphonium Symposium: June 2015 THE "10 COM-BAND-MENTS": the conductor, and position your stand to help a peripheral view so you can be together on each downbeat at least. HOW TO BECOME A BETTER EUPHONIUM PLAYER Spend more time playing your instrument outside rehearsals. You will improve. How long did it take for you to learn "walking"? Or "drivinga
EUPHONIUM SYMPOSIUM: MAY 2015 What should you practice? The stuff you're not good at, of course! But do it the "perfect practice" way: play slowly enough that everythingyou do is perfect.
EUPHONIUM SYMPOSIUM: IT'S AS NATURAL AS BREATHING Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% EUPHONIUM SYMPOSIUM: HOW TO PLAY HIGH NOTES! The secret: blow fast air through a small aperture to make high-frequencies. Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing Consider stringed instruments. Oh yeah, they have it easy! Guitars, cellos, etc., they play notes by making the string vibrate.EUPHONIUM SYMPOSIUM
The secret: blow fast air through a small aperture to make high-frequencies. Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing EUPHONIUM SYMPOSIUM: 2012 Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% of your success as a player comes from how well you move the "wind", the remainder coming from the actual instrument. EUPHONIUM SYMPOSIUM: JUNE 2015 Euphonium Symposium: June 2015 THE "10 COM-BAND-MENTS": the conductor, and position your stand to help a peripheral view so you can be together on each downbeat at least. HOW TO BECOME A BETTER EUPHONIUM PLAYER Spend more time playing your instrument outside rehearsals. You will improve. How long did it take for you to learn "walking"? Or "drivinga
EUPHONIUM SYMPOSIUM: MAY 2015 What should you practice? The stuff you're not good at, of course! But do it the "perfect practice" way: play slowly enough that everythingyou do is perfect.
EUPHONIUM SYMPOSIUM: IT'S AS NATURAL AS BREATHING Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% EUPHONIUM SYMPOSIUM: HOW TO PLAY HIGH NOTES! The secret: blow fast air through a small aperture to make high-frequencies. Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing Consider stringed instruments. Oh yeah, they have it easy! Guitars, cellos, etc., they play notes by making the string vibrate. THE "10 COM-BAND-MENTS": the conductor, and position your stand to help a peripheral view so you can be together on each downbeat at least.EUPHONIUM SYMPOSIUM
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HOW TO PLAY HIGH NOTES! The secret: blow fast air through a small aperture to makehigh-frequencies.
Or, expressed as a formula: Fast air + small hole = high notes. I'm quite sure this is a physics thing... Consider stringed instruments. Oh yeah, they have it easy! Guitars, cellos, etc., they play notes by making the string vibrate. What do they do to play high(er) on the same string? They shorten the length of the vibrating part of the string by moving their hand up the fingerboard/fretboard. Can't string players also alter pitch by tightening or loosening the tension on the string? Sure, they do this all the time during tuning, and yes, they _can_ produce higher frequencies by applying more tension. But what happens to that length of string when _too much tension_ is applied...? Catastrophic failure! Snapped strings! (By the way, I know of no guitar model or method designed to allow a musician to play higher and lower notes using this "tension" method.) Is there an analog for us as brass players here? Absolutely! Our lips are the "string", right? We blow air through a space between our lips to make them vibrate. Depending on airspeed and muscle tension, we control the frequency, which is how we achieve pitches. Some players achieve higher pitches by stretching or thinning their lips (the "smiling" technique), and this would be like how a guitar tunes into pitch by adjusting tension on the same length of string. For brass players, using this technique to play higher is ineffective and dangerous. There's a real risk we'll either damage or break the"string"!
If you stretch a muscle out, it causes more strain to apply the required force. For example, pick up a chair, and lift it over your head. Then, stretch your arms out perpendicular to your body, and repeat, trying to lift the same chair to the same height. Not as easy, is it? What's different? How you're using your muscle.Things to consider:
* Snakes coil for strength. They don't attack from a stretchedposition!
* How do you make a small area for your lip vibration? * How can you make your lips buzz faster without changingairspeed?
* What could you do to blow slow(-ish) air, and yet make your lips vibrate faster? * If you blow pure air, how do you make a larger or smaller aperture through which air passes? * What does all this look like in the mirror? See what happens if you apply these considerations in your practice!Stay tuned!
Posted 3rd June 2015 by AnonymousLabels: Euphonium
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HOW TO BECOME A BETTER EUPHONIUM PLAYER Spend more time playing your instrument outside rehearsals. You will improve. How long did it take for you to learn "walking"? Or "driving a car"? It takes time. There are no shortcuts. You need the horn onyour face more.
What should you practice? The stuff you're not good at, of course! But do it the "perfect practice" way: play slowly enough that everything you do is perfect. Firstly, perfect rhythm, then add to it perfect notes, and finally, perfect accent marks, etc. Make perfection your goal every time you play. Increase speed only when you have masteredthe music slowly.
Rinse, repeat.
Next time, I'll share the secret of playing high notes!Stay tuned...
Posted 27th May 2015 by AnonymousLabels: Euphonium
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THE "10 COM-BAND-MENTS": The rules for success in band ensembles!1. Always listen...
... for rhythm, togetherness, and pitch. ... for other parts. If you can't hear what they're doing, play softer until you can, because you're too loud. ... for pitch, and be "in tune" with the ensemble versus being "in tune" with a tuning device. Tuners do not make music. ... to blend your sound with similar instruments and parts, unless you have a solo line. Don't stick out! ... to figure out how important your part is at the moment. Generally, motifs we've heard before are less interesting, and are less important than new ones. ... for balance with other ensemble parts in volume, pitch and rhythm. A pitch- and volume-balanced ensemble sounds stronger, and individuals don't need as much effort to play.2. Always watch...
... the conductor, and position your stand to help a peripheral view so you can be together on each downbeat at least. 3. Always subdivide... ... longer-valued notes in your head, and listen for other parts for subdivision cues. 4. Always breathe for phrases or lines, never individual bars. 5. Always anticipate... ... what the conductor or lead voice will do. Being a better follower makes you a better musical leader. 6. Always read ahead... ... and never be looking at the note you're making. 7. Always give full values... ... generally, a note ends at the start of the next note. 8. Always play a line... ... the way a good singer would sing it. 9. Always remember the order of importance: right rhythm, right notes, right markings (dynamics, accent marks, etc.) 10. If in doubt, leave it out. Posted 21st May 2015 by AnonymousLabels: Band
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IT'S AS NATURAL AS BREATHING Wind instrument. The two main components in making music with one of these are the "wind" and the "instrument". I believe better than 80% of your success as a player comes from how well you move the "wind", the remainder coming from the actual instrument. In fact, many of the problems I see with students is the mechanisms and/or habits they develop to compensate for their lackingair support.
Self-awareness is key here. Make careful observation of how you breathe when your horn isn't at your face, and then do the same when it is. Note the differences. Apart from the volume of air, and how long it takes for you to fill up and then empty, everything should be the same, natural and relaxed. A lot of the time our breathing muscles tense up as soon as the horn gets close to our face. Fight this! This tension constricts the free flow of air, which is the opposite of what you need! Imagine an airplane reducing its supply of fuel at the very moment the engines rev up for take off... The plane would never leave the ground! So it is with air supply to a wind instrument. Natural, relaxed breathing is key to success with a wind instrument. For more on this, check out "The Breathing Book" (Vining) and "The Breathing Gym" (Sheridan/Pilafian). Both are excellent resources! Posted 21st April 2012 by AnonymousLabels: Breathing
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