Re: Re: Re: Breaking through that Barrier


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Posted by Bill (Long Post) on January 24, 2003 at 10:35:54:

In Reply to: Re: Re: Breaking through that Barrier posted by Matt A on January 23, 2003 at 17:31:33:

Lip slurs. Mostly lip slurs from one partial to the next (no moving valves), but also some melodic studies like Bach Cello Suites (on F tuba as written) or Rochut/Bordogni etudes (on either horn).

I took my first lesson with Chester Schmitz in 1999. He noticed that my chops moved too much when I played. Other teachers had noticed this, but didn't know what to do besides say, "Don't do that". Chester had me play the best, most resonant c (middle of the staff) and then slur up to e without moving my chops. (Claude Gordon's methods are very good with this, just disregard the notion of breathing from the diaphragm.) Always focusing on that resonant sound I would continue the study. The study goes like this: I played a slur study with a rhythmic pattern of 4 quarters at mm=50 open on CC tuba (c-e-c-e) [The pitch pattern remains throughout] then 8 eighth notes, then 12 triplet eighths, then 16 sixteenths, then 24 triplet sixteenths, ending on a whole note c. Then the same rhythm pattern with 1-2 combination (c#-e), then valve combinations 1 (d-f), then 2 (d#-f#), open (e-g), 123 (e-f#), 13 (f-g), 23 (f#-g#), 13 (g-a), 23 (g#-a#), 12 (a-b), 1 (Bb-c), 2 (b-c#), open (c-d), 2 (c#-d#) , and finally open (d-e). And yes, I would need to breathe in the middle of the exercise (after the triplet eighths). I would only play this once a day, don't wear yourself out, muscles build when you are resting, not when straining. After two or three days of this, I would move the metronome up to 55 and do that for a few days. And so on. Remember, if the day after you do this your chops don't respond the same way, you may want to skip a day of this type of playing. Weight lifters don't work the same muscle group two days in a row, no reason you should. Strength building takes time, it will not happen overnight. It will not happen if your air is not flowing and if your playing is not relaxed. The muscles come because they are forced to do the work. If your jaw compensates, your muscles will not act in the most efficient ways.

Rochut excercises and Bach Cello Suites are also great musical ways to reinforce the correct embouchure usage. Valve slurs are not as demanding as lip slurs, but are still necessary. You could play 10-12 Rochut's in one sitting (down one octave) and just reinforce correct valve slur technique (relaxed, easy playing; lots of air).

I play slurs like you hear horn players, when they rip through the entire overtone series. I only do this open, but I'm sure benefits would come from working through different valve combinations.

Chester taught me another excercise where you start at middle c and lip slur up to e and g then back to c to e to g and repeat, gradually getting faster in a loop. Then start at the next partial (e to g to Bb) and continue the pattern.

Do Clarke-Gordon Technical Studies, especially the first three excercises. These are great valve slur studies and will help tremendously.

I also might do 10-15 minutes a day of mouthpiece buzzing. Glissando scales: first degree to second, first to third, first to fourth, and so on. Usually in G and in two octaves (do first degree to eighth and then start up an octave, I don't go first degree to ninth). And then a c scale on a trumpet mouthpiece (true middle C up to c in the treble clef). Immedialtely after that play some low range stuff on the horn.

I play octave slurs also. This didn't work for me at first, too much jaw movement. For some people this may come easier. It took some time for me. These are great excercises for the Mahler #6 solo which has to be smooth.

I hope this helps. I can't think of any other excercises right now. Obviously hours of playing time a day is great. Knowing what to focus on will improve your efficiency. And after wind and song, embouchure strength is what makes great tuba players great. Great musicianship is another discussion.

Bill Nazzaro


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