Learn more about Chris Gekker in the Encyclopedia of Trumpet Players. For trumpet, french horn, trombone, and tuba: books, CDs, DVDs, interviews, online I first became aware of the great Chris Gekker as a student at the Eastman. Notes on Practicing Chris Gekker Constantly monitor your weaknesses and strengths, adjusting your practice accordingly. Focus on what you.
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Now and then, I will play for 30 minutes with only very brief rests; this is above all a test to see if I am playing loosely, without unnecessary tension. If playing heavy, strenuous concerts, practice lightly with frequent rests to refresh your chops.
Double and triple tongue sections of all the standard texts are also good for this. Sections can also be done at different times throughout the day. If I have time to really practice hours, though this time is usually in two or gekler segmentsI will occasionally write down what I plan to practice, perhaps loosely organized like the sections listed here. The soft practice will improve your sensitivity and give you confidence in touchy performance situations, and the loud “bursts” will condition your body and mind to relax in fortissimo passages, improving your tone and accuracy.
I suggest 20 minute sessions a week, similar to the dynamic contrast routine described later.
As hard as any of us practice, it won’t mean much unless we always keep listening, both while we play and also away from the horn, remaining open to new musical ideas and concepts. Learn to articulate at fast tempos, and also how to create motion within long notes. Soft, continuous playing, without metronome. Practice softly, keeping the embouchure fresh. Learn piano to study harmony, but also study harmony on your horn, learning to outline harmonic progressions by yourself.
Include louder playing only occasionally, Develop and strive for a concept of a warm, vocal sound. Experience rrumpet be necessary for most people to reach their potential, but I believe that the physical intensity involved is a big part of the problem.
Feel the stomach muscles clench; this is the only way to dynamically engage the torso muscles used in trumpet playing. The Clarke Technical Studies, properly done, can work quite well, especially if they have been memorized so the gekket can concentrate on proper feel. Gordon Tongue Level Exercises, Part3, 8, Walter Smith Lip Flexibility, 1, 2, 9, Discussion in ‘ Trumpet Discussion ‘ started by dbaconJun 4, Emphasize the use of harmonic slurring through all seven valve combinations, so that the trukpet does as much of the work as possible.
The possibilities are endless, but here are some suggestions: Pedals require very deep breathing and will do wonders for the embouchure, stimulating a wider area of upper and lower lip vibration and encouraging the lower jaw to come forward a bit.
Notes On Practicing-Chris Gekker. | Trumpet Forum & Trumpets For Sale
One etude a week, done with careful hard work, is plenty. Practice pedal notes in this fashion, too. Personally, I prefer to work in fairly intense periods of minutes, resting about 5 minutes between each.
The trmpet of two years on completing the Sachse book allows one to simply forget the problem. Porret 24 Etudes melodiques. Keep the little finger of your right hand out of the “octave key” on the leadpipe; even if you usually play with it in, use this book to exercise true finger extension, to keep your hand loose and strong.
Notes On Practicing-Chris Gekker.
Do six gemker 30 minutes, starting one every 5 minutes. As much as possible, our practice should connect us with that center which is our base for playing well.
Play slowly enough to finish each exercise perfectly. Schlossberg Daily Drills, 82, very slow, long last note, continue into pedal register.
Bone2Pick: Chris Gekker
Many trumpeters start off well, but fade quickly after a few minutes; other get off to a slow start and lack the stamina to hang in there egkker recover. Avoid relying on long, strenuous, rigid routines – there is plenty of hard work to do later, and we will benefit more from the required intensity if we are loose and relaxed.
Your name or email address: Gordon Systematic Approach, Lesson 8, Part 1. Consider that the limitation of not being efficient at transposition will handicap any player with professional goals. And the great jazz musician Charles Mingus, who often spoke of the heightened spontaneity he heard in performances by the Budapest String Quartet.
Long last note, squeezing air out. Clarke Characteristic Studies, 3. When I am playing all day long, I’ll still try to do a Clarke study, a few long tones squeezing all the air outseveral lip slur patterns through all seven valve combinations, and a few minutes of intensive single and “K” tonguing.
Each section 3x, working from back.