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The Low Brass Player's Guide to Doubling is a guide for low brass players who wish to learn a different low brass instrument. By performing well on several instruments, doublers become more complete musicians, regardless of the instrument being played at any given moment. Taking up a secondary instrument will introduce you to new composers, repertoire, and ideas that will enhance your musicianship. Doubling necessitates more thoughtful playing and leads to more thoughtful teaching; your resulting instruction becomes more effective on every instrument you teach. Playing more instruments will also increase your earning potential!The Low Brass Player's Guide to Doubling includes chapters devoted to: tenor trombonists doubling on bass trombone; bass trombonists doubling on tenor trombone; trombonists doubling on euphonium; trombonists doubling on tuba; tuba players doubling on euphonium; euphonium and tuba players doubling on trombone; alto trombone; contrabass trombone; bass trumpet; and cimbasso. Also included are fingering charts, overtone series charts and targeted fundamentals for each instrument. The targeted fundamentals are designed to help players learn the new instrument efficiently by extracting fundamental skills unique to the new instrument.
This book is a result of Eli Epstein's 18 years in the Cleveland Orchestra and 30 years of Conservatoire teaching. It breaks down into four parts, dealing with Technique, Musicianship, Warm up and Exercises and finally Applying the Method. It is both innovative and inspiring and presents his theories in a clear and understandable way, which gives the reader much to think about and practical ideas to help improve one's playing. An excellent addition to any horn enthusiast's collection.The third edition presents MRI images and data of an elite group of horn players, including Stefan Dohr, Fergus McWilliam, Sarah Willis, Stefan Jezierski (all of the Berlin Philharmonic), Marie-Luise Neunecker, Jeff Nelsen, and others. MRI films confirm that what we do internally, inside the mouth, pharynx, and thoracic cavity is just as important as what we do externally. And, just as there are hallmarks of healthy embouchures that most professional horn players employ, there are many consistent internal movement patterns among the elite group. Epstein presents tried and true methods to learn and teach these exemplary biomechanics. "Without a doubt the most physiologically correct book ever published on horn playing." ~John Ericson, Horn Matters
An explicit, logical approach to important basic factors that contribute to superior brass instrument performance.
Written by a jazz teacher for jazz teachers, "The Real Jazz Pedagogy Book" is based on the premise that successful jazz teachers must be constantly working four main areas: 1) the wind instruments-including tone production, intonation, and section playing skills; 2) playing styles correctly-such as rhythmic and time feel approach, articulation approach, and phrasing; 3) the rhythm section-playing the instruments, time feel and concept, coordination of comping, harmonic voicings, drum fills and setups, stylistic differences; and 4) the soloists-developing improvisational skills (both right brain and left brain), jazz theory, the ballad soloist, and the vocal soloist. Ray Smith, who has taught and directed jazz ensembles, including the acclaimed Brigham Young University group, Synthesis, and given private lessons for over forty years, also discusses the details of running school programs. Smith's YouTube channel complements "The Real Jazz Pedagogy Book."
This book provides an in-depth account of the fascinating but far from simple actions and processes that take place when a brass instrument is played. Written by three leading researchers in brass instrument acoustics who are also experienced brass players, it draws together the many recent advances in our understanding of the subtly interrelated factors shaping the musician's control of the instrument's sound. The reader is introduced to models of sound generation, propagation and radiation. In particular, the current understanding of the behaviour of the player's lips, the modes of vibration of the air column inside the instrument, and the radiation of sound from a brass instrument bell are explained. The functions of the mouthpiece and of mutes are discussed. Spectral enrichment arising from nonlinear propagation of the internal sound wave in loud playing is shown to be an important influence on the timbre of many types of brass instrument. The characteristics of brass instruments in contemporary use (including cornets, trumpets, french horns, trombones and tubas) are identified, and related to those of the great variety of instruments at earlier stages in the evolution of the brass family. This copiously illustrated book concludes with case studies of the recreation of ancient instruments and some of the current applications of electronics and information technology to brass instrument performance. While most of the material presented is accessible by a general readership, the topic of musical instrument modelling is developed at a mathematical level which makes it a useful academic resource for advanced teaching and research. Written by three internationally acknowledged experts in the acoustics and organology of brass instruments who are also experienced brass instrument players. Provides both an accessible introduction to brass instrument science and a review of recent research results and mathematical modeling techniques Represents the first monograph on the science underlying the design and performance of musical instruments of the brass family
Baby and his family make some jazzy music.
Teaching Brass helps music education students learn to play and teach brass instruments. It is unique in combining exercises, instruction, and reference material that students can use after they move into their teaching career. Written by five brass players, it addresses the problems of learning and teaching each instrument from the view of an expert teacher on each instrument. - Back cover.