<< Tenor Sax. b? Everyone who takes music seriously ends up memorizing all their scales. We’re not machines. I consider this essential reading for anyone considering music school. But, it’s all about how you use this book. 5 0 obj /ColorSpace << Also, they’re nothing special. x��}K�%9��>�Y�h��a`�=c����1�ccp�pc���G�C��PD^/�%㓂�(�b����?^���^��o�������훚TP���^3b6�������߾���_������o����)â��KJ�WTq��D�̓R�k E���a������O������O�_Y�~���~ ������F?$5yR�����$��?�~��o>O6�`Kǿ����Ҏ6:4=8�����4BW�o�ѧIG]��3*'��Zr�������i�ܑ�o"�Ƙ���cz*�ߺO�m���~��M�'����I���?K;\��vo�gis��ʵ�?H;�D�Z�F,�ٖe�8���X� ��V�O�:ja�}�c��Z�oz��>-�m���0:��۟��7���D�חy������L�@֝�z�R��^�o��\ʆhf)&�I�Z��h�el2�e. Baritone Sax. /Producer (�� Q t 4 . First off, I think you should play something lyrical and something technical every practice session. /PCSp 5 0 R There’s no magic number for speed, but know that the band arrangement of Shostakovich’s Festive Overture gives the violin part to the euphonium. It’s probably a good idea to start this book before finishing the above “Scales” section. Lyrical etudes give us a chance to work on our musicality, tone quality, intonation, and more. We presumably love music, and it’s probably not because we heard a tuba player execute a scale perfectly.

I just have to bring this up, because it’s an article about what to do during a practice session. 10 Unconventional Tips for Music Auditions, 5 Steps to Playing in Tune (the hard way).

After you work them out, they need rest to recover and grow stronger. Absolutely use a metronome and record yourself to listen for any unevenness. For me, technical etudes pretty much never make the cut.

/CA 1.0 Technique is developed slowly, over time, with scales and technical studies, as listed above, and encountering it in the standard repertoire. The only time I use to use technical etudes was when something scared me. 4 0 obj Feel the natural agogic stress and make conscious musical decisions about how heavily to draw them out. Let’s divide this up into two main types: technical and lyrical. He taught us a bunch of exercises from this book, and I started to use them. endobj What more is there to do if they’re already memorized? Here’s an example of how I’d incorporate them into my practice regimen. What more is there to do if they’re already memorized? You should know what you’re going to practice before you start.

Did you follow the numbers or did you get lazy and treat 5,6,7 as roughly the same? Other aspects of your practice will be how you truly internalize keys, and once they’ve been internalized, there isn’t a lot of benefit to playing them mindlessly. /F7 7 0 R I used the book for double and triple tonguing, but there’s really not that many exercises on it. x�����q���)z)�I�/��6 ��YYLdMlG��=�yʼOV���Hvk��!y���BԱ�M֍uc�O�o�?5-����Y����柛O�_����y���_m��{��{7M�4N����o��_��ܵC3t���������i��x�m����w���w�4�Ҽ��o�al������o��m�ͻ_7�zǪ��m�_~��/,B[�]���ح]��44������"�4� ������ w�4%`k�����oq\�v�˽� �f{~�l}y��q�>.����/��x�����c����9�,���;�@��1��@�,����l��/;��5}yӸ��.q���q �2O�˽� ����8F`��qᗍ�Ӛ��8m��pZ6� ��$��htָ���cٞ���I�� ؕ�#&ў�~H�>.6:/���,��q��o`ۗ��=3z/۸��I�02���#L{�T+���gO+�*��рEgp�� m�/���/۞�-}l3.v��aφ�:`0�mՁ��� ��r�0���low=_v��ƅ���[���x����O��� �t�X�:��g���/�s������m�+紀�gW c�/�؀��lHJ�0L͞�:w���4�ڭa��va� k�6�^�%~������ If you only take one thing away from this article, it is that you should not just mindlessly churn out the hours in hope of improving. ) Visualization exercises to work on focused air streams to. Let me clarify before a bunch of professional musicians and teachers jump down my thr… [ ] They will know what is best for you. << I could get through my lesson material in 1/3 of that time. >> 13 0 obj This isn’t good. I know this sounds paradoxical, but resting and taking breaks is when you learn the most.

This article probably won’t apply to you if you’ve never asked yourself this question. They serve almost no purpose than to perform something flashy (so they are often used as audition pieces). /GSa 4 0 R Everyone who takes music seriously ends up memorizing all their scales. I’d then fill in the grid with how fast I got each one so I could check when I came back to the key if I could push it faster. %��������� Poston Scale Packet Tuba Jenn Bock Concert F Major One Octave Scale and Arpeggio Full Range Scale Scale in Thirds Arpeggio Exercise Concert Bb Major One Octave Scale and Arpeggio Full Range Scale Scale in Thirds Arpeggio Exercise Concert Eb Major One Octave Scale and Arpeggio Full Range Scale Poston Scale Packet- Tuba- Jenn Bock

endobj But it goes beyond that. /ca 1.0 Spot check for maintenance every now and again, but there are far better uses of your time. Scales absolutely must be worked on to a point, but I think they are a bit overemphasized in the music world in general.

The spiral bound bass clef version can be found on Amazon here. �v�~9�,�k�&I�y����n����o�a�/�L�u^"����f���^��|g�#��Ÿ>7�9�e0��$���I���.����nm{���n�f��?�%�K�f|ۼ��[�%���}�Y��ۈ��?L>�vo(�6eΚ�ƅ�[��r+X�5�J=~Wc`o樝�`�b�n7n;,������k�8;-�vn9�#�#1z����珉�7%���{? I was really into reading, learning, composing, learning other instruments, playing in various bands, and even athletics. I’m talking about Herbert L. Clarke’s Technical Studies if you’ve never seen the full name. Practice what your teacher tells you to practice. It’s been internalized. Never go faster until it is perfectly even and clean. 10 0 obj The breath is everything for a wind instrument. Know all your scales in thirds and all your major, minor, and dominant 7 arpeggios.

Then I wake up the next day and play it with ease. 8 . >> 12 0 obj You’ve got a ways to go, and you definitely should have scales as part of your practice regimen. Two numbers in a row were not allowed to be the same. My teacher took one of the early exercises and had me play it perfectly. This book can be so frustrating at first, because some of the exercises look trivial. >> Any. Did I hear where to place each note before playing it to land on perfect intonation? The point of the exercise was to demonstrate how hard it is to make everything perfect at the same time. Were my attacks all focused and the same? I could have just as easily used a technique book written for fourth graders. Working too hard with too little rest will only make you improve slower.

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