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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These drills should develop a high degree of flexible strength, of limber power; they are ideal for ascending to our highest notes. Use the metronome the way a track athlete uses a stopwatch: When proper endurance has been built up, the throat the whole upper body will relax.
When practicing “K” tonguing gekier players experience a tightening of the throat area, especially when this drill is rather new. Exceed the demands made upon you in this area.
Soft, continuous playing, without metronome. If you have a heavy rehearsal and performance schedule, complement the demands being made upon you.
Search Media New Media. Learn piano to study harmony, but also study harmony on your horn, learning to outline harmonic progressions by yourself. Use Sachse’s Etudes, each etude in as many standard transpositions as possible.
Notes On Practicing-Chris Gekker. | Trumpet Forum & Trumpets For Sale
Notes On Practicing-Chris Gekker. If performing light repertoire, even if it is fairly constant, include some very loud drills in your practice, though not daily unless you find that this agrees with you. Clarke Technical Studies, 6th Studysingle tongue.
Intonation will correct itself with patient practice and playing these tones too loudly will forfeit many of the benefits. Never strain; you might feel occasional fatigue but you should feel like you could play bekker day on these studies. This loud playing should be as relaxed trumet possible so the tone will be warm and without strain.
Clarke Technical Studies, 7th Study.
Chris Gekker | School of Music
Trujpet addition to slurring them, practice single and “K” tonguing. Hold last note until all air is gone, then squeeze the last bit out. Ease of execution and a feeling of relaxed strength are the priorities here. See the routines listed. Strengthening the tongue in this fashion will make all playing more limber, relaxed, and flexible.
Then we can perform within a zone of relative comfort. Almost every piece is written in a language, and we should immerse ourselves in that language to gain a fundamental understanding, from which true originality can evolve.
Notes On Practicing-Chris Gekker.
Schlossberg Daily Drills, Personally, I prefer to work in fairly intense periods of minutes, resting about 5 minutes between gekke. Simply improvising scales, arpeggios, slurs, and different articulations is also good. Use etudes to practice single and “K” tonguing, even if they are marked slurred. You must log in or sign up to reply here.
Do six in 30 minutes, starting one every 5 minutes. As John Coltrane advised a young musician seeking help, “Just start playing your whole horn, and never stop.
Double and triple tongue sections of all the standard texts are also good for this. The Clarke Technical Studies, properly done, can work quite well, especially if they have been memorized so the player can concentrate on proper feel. This relaxation can be achieved by pushing back our barriers trmpet volume farther than we would ever be asked to play.
Sotto voce soft practice. And the great jazz musician Charles Mingus, who often spoke of the heightened spontaneity he heard in performances by the Budapest String Quartet. Don’t pucker the lips to produce these notes and don’t “bark” from pedal C downward, trying to get these pitches in tune. At first, the indicated rest will make this gekkr seem easier, but the higher tessitura will eventually take its toll. The thirty-minute sessions of almost nonstop playing is what I recommend.
No, create an account now. Loud – warm up with Schlossberg 30, building volume throughout. Musically, it will help achieve the kind of rhythmic discipline from which we can develop a sense of true rubato. And when these articulations are truly mastered, any multiple tonguing will be easy. These are only suggestions. Memorize from the last movement or page to the beginning, even if you use music when you perform.
For particular performance situations, here are some suggestions: Make concentrated, quality work your goal.
Once or twice a week, play louder than you have ever been asked, but for very short periods, resting more than you play. True skill, the kind that will stand up under pressure, is reflexive, learned by experience and repeated exposure.
Use both Bb and C trumpets for all excerpts, when possible. Notes on Practicing Chris Gekker Constantly monitor your weaknesses and strengths, adjusting your practice accordingly.