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    Brass Basics

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    n'cep
    Junior Gaul

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    Re: Brass Basics

    Post by n'cep on March 27th 2011, 7:29 pm

    waduh,mesti ngubah bahasa dulu nih. Question bounce
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    emadeus
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    Re: Brass Basics

    Post by emadeus on March 15th 2011, 9:09 am

    itu jatah ente boss,. ente yang kudu posting bhs indo. (bahasa gaul bahkan)
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    Re: Brass Basics

    Post by Admin on March 14th 2011, 11:27 pm

    sorry komandan, sebaiknya diterjemahin dulu tuh. Smile Smile Smile
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    emadeus
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    Brass Basics

    Post by emadeus on March 14th 2011, 3:55 pm

    Ditulis Oleh:
    Philip T. Cansler

    These simple practice tips can lead to
    better playing – and a fuller life.We live in a busy world, but brass
    players, like all musicians, need to set aside sufficient time each
    day to practice. It lays the firm foundation on which we build our
    musicianship. By working on what is most important to improve our
    playing, we can practice smarter – more efficiently – and have more
    time for living.
    Tone is the most important aspect of playing any instrument, and
    making tone a priority is essential to longevity as a brass player.
    During practice sessions, devote fifteen minutes each day to tone
    development. Here are three areas to cover daily.
    Mouthpiece practice
    James Stamp can be credited for popularizing mouthpiece practice. I
    have found that students with tone problems improve vastly with a few
    weeks of mouthpiece playing for five to ten minutes a day.
    A brass instrument is an amplifier: when the lip vibrates into the
    mouthpiece, the instrument amplifies the sound. Some players have a
    technique producing a sound that may be acceptable on the instrument
    but horrid on the mouthpiece alone. If you make sure the lips start
    together and then gradually work the lower lip into the mouthpiece,
    the tone improves dramatically on the mouthpiece alone. When you
    place the mouthpiece back on your instrument, you will sound like a
    different player. Practicing on the mouthpiece immediately after your
    warm-up will focus your ear on tone.
    The embouchure we should strive for can be characterized as having
    the lower lip pouting inside the mouthpiece, which creates the
    beautiful, rich sounds we hear from great brass artists. Maynard
    Ferguson tells students that he plays high notes by gripping the
    mouthpiece. He is essentially talking about gripping the inside of
    the mouthpiece with his lower lip.
    To develop your tone, try practicing any arpeggio exercise or passage
    (but avoid the high register). First play the passage on your
    instrument. Now create the clearest tone possible on the mouthpiece
    alone by working your lower lip into the mouthpiece. Once this
    mouthpiece tone has been improved, play it again on your instrument –
    and be prepared to hear a noticeable difference.
    Lip bends
    Practicing lip bends is actually a continuation of the concept learned
    from mouthpiece practice. It is an isometric exercise to develop the
    lower lip so it can grip the mouthpiece. Isometrics have been known
    for years as a solid means of building muscle. Yoga exercises, for
    example, are based on isometrics, toning and firming muscles through
    daily repetition. Similarly, for the brass player, lip bends
    isolate and strengthen the lower lip muscles.
    Lip bends are actually note-bending exercises. Practice by playing a
    middle C (on the trumpet), then the half-step-lower B (second
    valve), then back to C. Now play the C, and use the lower lip muscle
    to push into the mouthpiece, which bends the C down to the B
    (without using the second valve). As you withdraw the lower lip, the
    C comes back again. Avoid kissing the mouthpiece with both lips.
    Practice the lower lip roll first by pouting in a mirror. Once you
    have isolated the lower lip muscle, apply the technique to your
    instrument. Go down by half steps, recreating the half-step lower
    notes with your lower lip. The notes that are lowered without the
    new fingerings should sound almost as good as the ”real” notes.
    After going through all seven positions, return to C and lip down two
    half steps.
    After the muscles begin to develop and you start feeling some control
    in the lower lip (usually in one to two weeks), you can start on
    second line G (for trumpet) and bend the notes down by half steps
    through the seven positions. Each week, as you feel the progress in
    your lip, you can start on a higher open note.
    Notes produced by bending will not be used during gigs. But the
    excitement you will feel when playing a high C – with the lower lip
    gripping the mouthpiece so firmly that you know the high C won’t
    crack – will have you going back to practice lip bends for years to
    come.
    Warm-down
    One of the most critical practices to follow before putting the
    instrument away is the warm-down. Few of us are able to play for an
    extended period, put the instrument away, and encounter no problems
    the next time the horn comes out of the case. Brass players have
    consistency problems mainly because they bypass the warm-down. Lip
    muscles get tight after extended play and need to relax before
    stopping.
    It takes only three to five minutes to relax the lips. Pedal tones
    are a great lip massage and will relax the muscles. Try playing a
    middle C, then drop the air speed and pull the mouthpiece off the
    lip slightly. The note should fall off to approximately an octave
    below, and the entire lip in the mouthpiece will pulsate. Continue
    through the seven positions, dropping an octave.
    Next, try soft chromatics. Starting on middle C, go down through all
    seven positions and back up as softly as you can. If notes cut out,
    your lip is not relaxed enough and the lips are separating. Go back
    and do more pedal tones. Once you are able to play the lowest seven
    notes on your instrument softly without response problems, your lips
    are relaxed enough to put the instrument away.
    If you are preparing for a special performance, warm down ten minutes
    the night before, with soft, low playing. The next day, your lips
    will be highly responsive.
    So rethink your practice. Adding new concepts to your daily routine
    can improve your performance immensely.
    Remember, it is not the time on the instrument that counts, but what
    and how you practice. Practice more efficiently, and you will not
    only notice improvements in your playing, but you will also find
    more time for that elusive balanced life.
    Dr. Philip T. Cansler has taught in the performing and fine arts
    department at the University of Portland for 25 years and has
    published several books and numerous articles on the trumpet and
    brass playing. He can be reached at // [email=cansler@up.edu.]cansler@up.edu.[/email]

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    Re: Brass Basics

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      Waktu sekarang September 23rd 2017, 3:46 pm