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Embouchure Builder has been designed as a supplementary study to be used along with any standard trumpet instruction book. The studies herein are excellent for use in the warm-up period prior to each daily session of practice. The technicality of the fingerings is comparatively simple and the studies can be used to advantage by a young student with only a few weeks of formal study. This book contains much valuable material essential to successful performance not found within standard instructional material.
This book has been designed as a supplementary study to be used along with any standard method book. The studies contained herein are excellent for use in the warm-up period prior to each daily practice or performance session. The technicality of the fingerings is comparatively simple and the studies can be used to advantage by the young student with only a few weeks of formal study. This book contains much valuable material essential to successful performance not found within standard instructional material.
This book has been compiled to aid teachers and students in the development of the French Horn embouchure, particularly in the important period following elementary development. It is based upon the theory that, mechanically, nearly all of the problems to be met by the player in the orchestra, band, chamber ensemble, etc., can be covered by a comprehensive daily routine of practice. Various drills have been devised, with no claim to originality, to cope with the various mechanical problems of embouchure with which the player is faced in the field.
There are many books written for the Piano, Violin, etc., entirely devoted to Technic. This Work is especially written to enable the Student, by practice and application, to overcome any obstacle which may occur in musical passages written for the Cornet. By controlling the Wind Power to play these Exercises as written, in one breath, the Student will acquire ENDURANCE without strain or injury. Train the Muscles which control the Lips, to make them elastic and strong, as only a slight pressure is necessary, and not brute force. The highest as well as the lowest notes can be played with equal tone quality if practiced according to the instructions that precede each Study. Every Cornet Player should have reached a degree of excellence before attempting to play these Exercises. To become an Expert on the Cornet, one should be familiar with as many Cornet Methods as possible, and so gain the experience of each. Every Exercise in this Book is possible, and not so very difficult if practiced slowly at first, and not too long at a time. I have used them for my daily practice for years, and they have been the means of my reaching the highest notes after playing a two-hour Concert, also of preserving my lips so that they never tire, and what has been a help to me is surely good for other Cornet Players. You cannot expect to attain the highest point of excellence without hard work and perseverance. Never be perfectly satisfied with yourself. Try to make some improvement each day, feeling that it is a pleasure to have conquered that which seemed an impossibility at first. Do not neglect to correct immediately the least fault you make. Bad habits are easily formed, but are difficult to remedy. There are few Celebrated Cornet Soloists, although thousands play the instrument. Most players abuse their practicing by not knowing the proper way, and neglecting to pay more attention to the elementary work. These Studies have been found to be excellent for Clarinet Players as well as Cornet Players. The Clarinet being a Wind Instrument also, all these Exercises will appeal to the Player of that Instrument by following the same instructions.
Woodwind Basics: Core concepts for playing and teaching flute, oboe, clarinet, bassoon, and saxophone is a fresh, no-nonsense approach to woodwind technique. It outlines the principles common to playing all of the woodwind instruments, and explains their application to each one.The ideas in this book are critical for woodwind players at all levels, and have been battle-tested in university woodwind methods courses, private studios, and school band halls. Fundamental questions answered with newfound clarity include:- What should I listen for in good woodwind playing?- Why is breath support so important, and how do I do and teach it?- What is voicing? How does it relate to ideas like air speed, air temperature, and vowel shapes?- What things does an embouchure need to accomplish?- How can I (or my students) play better in tune?- What role does the tongue really play in articulation?- Which alternate fingering should I choose in a given situation?- How do I select the best reeds, mouthpieces, and instruments?- How should a beginner choose which instrument is the best fit?Woodwind Basics by Bret Pimentel is the new go-to reference for woodwind players and teachers.
The Horn Player's Audition Handbook provides a handy, one-volume reference guide to the literature, especially for those players preparing for an imminent auditions, containing, as it does, the repertoire most frequently asked for by American orchestras. Since audition lists almost always include a few "non-standard" works, the well-versed student will also want to have employed the more comprehensive collections of excerpts in the course of his/her general preparation for an orchestral career. However, the advantages of having the most "important" audition material under one cover will readily be appreciated and makes this book a welcome addition to the literature.
First to be published in the series was The Art of French Horn Playing by Philip Farkas, now Distinguished Professor Emeritus of Music at Indiana University. In 1956, when Summy-Birchard published Farkas's book, he was a solo horn player for the Chicago Symphony and had held similar positions with other orchestras, including the Boston Symphony, Cleveland Orchestra, and Kansas City Conservatory, DePaul University, Northwestern University, and Roosevelt University in Chicago. The Art of French Horn Playing set the pattern, and other books in the series soon followed, offering help to students in learning to master their instruments and achieve their goals.
These etudes transcribed from the vocalises of Bordogini have been specially prepared for use by the trombonists, to perfect their technic generally and in particular to develop style in the interpretation of melody in all its varied forms of expression.
"A "must" guide for the brass student and teacher relating to the total physical output that goes into playing any brass instrument. The same technique althletes use to develop their physical control as applied to musicians"--Back cover