Pivot System - Don Reinhardt.pdf
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Y ocr nracticc shou’d be balanced a t all tim es, and ton*.’ -‘-.jr in various v a y s should be a daily ta sk . Tonguing will not bcc.'::ie a s t a r t if th is routine is followed. In m odern p la y i'g , m s t of th e daily work is in some form of slu r or legato, and it m ust be counteracted w ith tho various modes of tonguing in th e daily routine. To sum m arize, never tor.jrjc betwepn th<' teeth or lips, or «•:. lot- ; wit i th e tongue. and balance th e am ount of a tta c k proportionately by th e am ount of tone th a t follows th e attack . I f y^u follow tnese m echanics care fully daily, in a shr>-* ime phenom enal im provem ent will be your re w a rr. This su b ject will be b rought up la te r from an o th er njrle. i CC’ R f * MOUTHPIECE PLACEMENT AND THE A R T OF CREAT'H G THE IDEAL PIVO T FOR YOL'R T Y °E
T here a re ther< -<* fon *v‘* oa ‘ ypes: even teeth I nver teeth is top and bottom if ..pe o— p’ -u< t y -> •Tree; teeth rety p e tw o ; receding ower '•uding in th e ceding in th e n atu ra l positi'-n u t playing position is type four. I t m u st K ;ersto o d th at types one, two and th ree w ere described in th e ir natural positions, and type four was described first in its n atural position and th en in its playing position. T ypes two and four should find th e ir anchor-spot on th e bottom -lip and th e ir contro'.-point on th e top-lip. Type th re e finds th e anchor-spot to ‘he top-lip and th e control-point on th e bottom-lip. I t is evident from th e discussion so Far th a t I regard any system th a t trie s to teach one n'othod to everyone em phatically wrong. H um an differences are too g rea t to apply one plan to everyone; ‘he system of playing m ust be suited to th e type, not th e ty p e to th e s y s te m ,/
I believe th e m ost widely discussed subject o f all tim e ( am ong our brass-players is th e position of th e m outh piece on th e lips. And yet in o>der methods* th e re is only a very vaguely w ritten p aragraph o r tw o on th is ex trem ely im p o rtan t subject. It is my on;nion th a t ir m any cases th is position m a k '- tho d ^ e re n c e betw ecr success and failure. T here a re f o ir distinctly different rlassi'icntions •>' th e vari*” *- tv* < of !ins. ‘o<*tv , (.".hn r."d jrw s, fn d sd. o th e rs a r '- r o r ?r»»r*-. •••.? of th o O u r.
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T he above diaj—am s illu strate th e fo u r types of play ers. T he directii i of tho air-s’ -pam is indicated by th e arrow s. Type one, th e divided ?y v . is th e person w ith per fectly even teeth, to 1"' nr'1 :wositi<>-son w^ose lower te eth recede b eneath th e upp*-’* to*'U- wher. tno jaw is in its n atu ra l relaxed position. Aj I am no1 -of jr rin g to th e playirig position. Ty.pe four, or - he '• r -r-jaw t v i f , is th e person w ith a jaw slightly roc- li: ■- h e in i s rnf.ural position, b ’j ‘ slightly p ro tru i' ng 'v>on its pHyinjr position. D ia g ram s (a) a»id (!>' t’T' - r *\ j.<e ^ u r • lust ra te r«\specti\c!y th ese two pos;ti'j is. ,
T he PIVOT v th a t I ave used fo r y ears in my teach in g + now be ciescr ‘>ed, so th a t you m ay u n derstand exactly w hat I mean by th e word PIVOT in th e fu tu re p arag rap h s of th is discussion. PIVOTING is th e tran sfe re n ce of w h at little pressu re th e re is in playing from one lip to an o th er. W hen you first study it m ake a point of tiltin g or tipping th e in stru m en t and not th e head-position. By m oving th e head you cause a co n tractin g th ro a t and g re a t tension a t th e base of th e tongue. I su g g est using a m irro r so th a t you may see as well as feel your PIVOT. Do not g et th e impres sion th a t th is method of playing should make your in s tru m e n t wave like a flag in th e breeze a t any tim e. The in stru m e n t should tip or tilt ju s t enough to allow fo r th e tra n s fe r of th e pressure its'-lf and to g et th e tone a t its m ost open point. W ith some players th e in stru m ent m ovem ent is much less th a n w ith o th e rs; how ever, as relaxation and poise are acquired th e en tire process becomes quite sm ooth. W hen th e a r t of PIVOT ING is finally m astered, th e ac 'u al m ovement of th e in stru m e n t is reduced to a minimum, and w ith some players it is not visible. I do not believe in ‘he total use of th e so-called "sm il ing muscles.” W hen you are PIVOTING correctly your m outh corners tig h ten down ag ain st th e teeth , and th e curved form ation of th e te eth brings th e corners of your
th e top-lip. T he ancho r-sp o t should be on th e top-lip, and th e control-point th e bottom -lip. T h is ty p e, g en erally speaking, can successfully play a w et or d ry lip fo rm a tio n ; ho w .v er, th is p o in t will be discussed la te r in detail. You will • o ti/e th a . *ype th re e is ju s t th e re v e rse of th e p ro ti\u :.n g -ja w type. T h e re fo re it is m y opinion th a t any sy stem th a t gives all t y p e .- .s t u d e n t s th e sam e in stru c tio n is m.i.st em phatically w rong. I f you w ill.read som e o f o u r old-fashioned in stru c tio n m ethods and th e n do exactly w h at they tell you re g a rd in g m outhpiece placem ent, ^tc., you will im m ediately becom e one of our everyday su fferin g brass-m en. One book will s a y : place th e m outhpiece one th ird on th e top-lip, tw o th ir d s on th e b o tto m -lip ; th e n ex t book th a t you pick up will say two th ird s on th e top-lip, and one th ird on th e bottom lip; and still a n o th e r book says h a lf on th e top-lip and h alf on th e bottom -lip. E ach a u th o r of th e book did play th is w ay an d did achieve g r e a t success, and so passed on his m eth od to th e rea d er of th e book. I f th e stu d e n t happened to be th e ty p e of th e a u th o r, he m et w ith som e form o f success follow ing th e in stru c tio n s given in th e m ethod. B u t w h a t if he w as not ad a p te d to th e em bouchure s e ttin g th a t th e a u th o r had fpund co rre c t? I f ty p e th re e h as th e em bouchure form ed in a n a tu ra l, co rrect m a n n er the a ir-stre a m will tra v e l in a decidedly dow nw ard direction as it passes betw een th e v ib ra tin g p oints o f th e lips into th e m outhpiece. You m ay prove th is f a c t by w ettin g , y o u r fo re fin g er an d placing it di rectly a g a in st th e fro n t of y o u r chin and fo rm in g y o u r em bouchure, aiid th e n blow ing a s you would fo r a to p F or G. You will notice th a t th e a ir-strc a m will h it y o u r finger, an a th a t th e h ig h e r th e note played th e th in n e r th e a ir-strc a m becomes, w ith m uch g r e a te r a ir-p re ssu re h ittin g closer into th e chin th e h ig h e r you ascend. You will also notice th a t th e h ig h e r you ascend th e m ore th e red p a rt o f th e bottom -lip will go in an inw ard d ire c tio n ; so much so, t h a t if you ca refu lly check th is on a tr a n s p are n t m outhpiece you will find th a t th e top-lip w as slig h tly o v erlapping th e bottom -lip an d t h a t th e top-lip p ro tru d e s slig h tly m ore. Y ou can plainly see t h a t w ith thi.-. fo rm ation th e a ir-stre a m e n te rs th e m outhpiece in a ^ery p. ^nounced dow nw ard d irection, and w ith th e extrem e r^gh ‘ ones th is becom es so m ark ed t h a t th e air-stream actu ally h its th e cup w h ere it jo in s th e rim of th e m outhpiece. In p lay in g low er n o te s th e a ir-stre a m h its close.- to „he th r o a t of th e m outhpiece. W e can th e re fo re .nakv th e follow ing r u le : th e h ig h e r th e note th e closer th e a ir-stre a m h its to th e rim of th e m o u th piece, an a the low er th e no te th e closer th e a ir-s tre a m h its to th e th r o a t of th e m outhpiece, an d in b o th cases th e air-strea m is in a dow nw ard direction. T h is is t»‘..s d ire c t opposite of ty p e tw o. By C O R R EC T PIV O T IN G I m ean p u ttin g th e co rrec t p re ssu re on th e co rrec t lip, a t th e co rre c t tim e, th e re b y elim in a tin g a n y o b stru ctio n in th e a ir-stre a m as it passes betw een th e lips in to th e m outhpiece. Hence, th e in s tru m e n t should n o t be held in fixed horizontal position w ith th e ex p e ctatio n t h a t th e .so-called "sm iling m uscles” in th e co rn e rs of th e m out.. can ta k e care of th e trem en d o u s re g is te r req u ired o f tri- m odern b rass-p lay er. C u ltiv a te T H E P IV O T TO F U N C T IO N W IT L T H E MOUTH COR N E R S , AN D YOU W IL L M AKE YOUR P L A Y IN G A PLEA SURE.
I f ty p e fo u r h as th e em L ouchere form ed in a n a tu ra l co rrec t m a n n er th e a ir-s tre a m w .11 trav el in a decidedly up w ard d irection ,.s jl p asses betw een th e v ib ratin g p o in ts o f th e lips i ..o trie n.outl.piece. T he an ch o r-sp o t should be on th e bottom -lip a n a th e contrwi-point th e top-lip. T h is ty p e, g en erally spc-iking, should play w ith th e top-lip d ry and th e bottom -lip w et. T h is ppint will be discussed in d etail la ter. T he detailed playing m e chanics of ty p e fo u r a re alm o st identical w ith ty p e tw o. T he n a tu ra lly receding ja w s >n ty p es th re e and fo u r m ake co rrect ty p e an aly sis difficult a t tim es. I t can be m ade th r o iv '" -nt m outhpiece. Il’ th e bot t o m - . a t . g i K i y -jverlapa and p ro tru d e s, th e p lay er is ty p e fo u r. If th e top-lip slig h tly overlaps and p ro tru d es, th e p la y er is ty p e th ree . T y p es tw o and fo u r (th e u p strea m ty p es) arc found to be tru m p e t p lay ers m ore o ften th a n trom bone play ers. T he addeii size of a tro m b o n e m outhpiece and th e low er p lacem en t p rev en t a p ro p er low er-lip contact, because o f th e in te rfe re n c e cre ate d by th e chin h ittin g th e bottom o f th e trumbi,..v. m outhpiece r im ./i
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WET AND DRY IIP FCr.i-lATIOIlS T h ere seem s to be a g re a t deal of discussion as to w h e th e r o r not a brass-p!;.ye should adopt a w et o r a d ry em boucnure. In t ’r :TV>)T SYSTEM , because of ty p e differences, th e re .e r ain gen eral ru les, b u t first th e fc u r d ifferen t ty p e «,f v e t and d ry em bouchures m u st be th o ro u g h ly u;.r. rst< od. b y th e te rm w et lips* or w et em b ouchure, I .... th>. o u t s i t of th e lips under th e rim of th e m outhpiece s .ould be com pletely sa tu ra te d , so m uch so, th a t th e .-.outhpiece could actu allj spin aro u n d on th e lips w ith . any sen satio n of grip o r pull. N ex t, we have th e t. »vhic because of odd te e th o r an odd lip o r gum fo rm a t: .. .n u st play with
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Scan: Donizeti Fonseca 2010
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23
The Divot m ust work in conjunction w ith the mouth corners. Remember th a t the eventual goal of th e pivot is the lip-pucker. Do not smile to ascend.
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Practice all notes in the same drill with the positions indicated in the form . The drill is intended to be a lip slur. Do not over play your upDer register. Concentrate on diaphragm p ressu re, not on Hq pressure
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Scan: Donizeti Fonseca 2010
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28
Scan: Donizeti Fonseca 2010
Practice
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This slurring may also be practiced in quarters, eighths, triplets, sixteenth and sextolet values. Strive to eliminate the bumps or breaks between the notes in the slurred grouos. Use a minimum of mouthpiece pressure. The tongue-level also changes when slurring.
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Pedal tones provide adequate relaxation afte r every group of drills. When sta rtin g th e practice period always play softly and increase in volume gradually until all phases of dynamics have been covered. Learn to balance all form s o prac ice.
Scan: Donizeti Fonseca
35
Breath and Slide Synchronization
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From the hips up you should have the same slightly arched spine (backward) and should keep the head back whethi standing or sitting, as this is correct brass playing posture.
Scan: Donizeti Fonseca
P osition Study* S triv e to m a tc h to n e q u a lity a n d to a tta in a c c u ra c y o f in to n a tio n . U se th e p o sitio n s in d ic a te d .
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Scan: Donizeti Fonseca
2010
A IR C H A M B ER S I t is the purpose of this chapter to give you a thorough understanding'of the relationship between correct falsepositions and the air-chambers of the instrum ent, thereby showing the proper use and various combinations of the false-positions. When speaking of an air-cham ber, I am referring to the seven original chromatic positions used to descend from low B flat to low E :
(1)— (2 )— (3)— (4 )— (5)— (6 )— (7). S tartin g from any open tone on the
instrum ent and descending six semitones or half-tones, using the above positions in the same numerical order; or by playing a glizzando (sm ear) from any open tone using the positions from (1) to (7) to descend chromatically, constitutes one air-chamber. Every open tone on the instrum ent represents the first tone of a new air-chamber, and if the above procedure is followed, all false-positions will be covered. You should use false-positions for the following reason s: 1. to simplify the awkward position combinations th a t
to aid intonation in certain keys. The smallest degree
arise in the playing of certain progressions in a
of pitch recognizable by the human ear is called a
rapid technical passage.
comma. A diatonic whole-tone, for instance C to D,
2. to facilitate in slurring by using a position combina
consists of nine commas. A diatonic half-tone, C to
tion th a t provides a closer air-cham ber to the next
D flat, consists of four commas, and a chromatic half
tone to be played. If you slur middle D -(l) to high
tone, C to C sharp consists of five commas. Hence C
A -(2 ), and then repeat the same slur using D-(4) to
sharp is one comma sharper than D flat. To the
high-A(2),you will notice th a t the la tte r position
average good musician the ear takes care of these
combination makes the slur less difficult. When you
p etty deviations. The Tempered Scale, as found on
use the (4) position for the middle D, you are using
all fixed-pitch instrum ents (piano, etc.,), is void of
a p art of the F, above middle C air-chamber, thereby
these differences; therefore, the Ju st Scale is the
m aking the slur one air-cham ber less. By adopting a position in a closer air-chambcr you can often pre
only tru e scale. This can be easily proved on a chromatic stroboscope.
vent cracking or breaking the slur, especially when 1 to play in certain keys where the open or (1) position would be found too flat in pitch.
your lips arc fatigued. 3. to blend tonal color: for example, a phrase may end
40
middle E flat to D, in which case it is b etter to use
* to produce rapid or smooth execution on any tech
the (3) to (4) positions not breaking the air-chamber,
nical passage softer than a forte. When the false-
than to use the (3) to (1) positions breaking the
positions are played too forte, the tone sounds nasal,
air-cham bcr, because the tonal color does not change.
stuffy and choked. A false-position should seldom
The slur can lie made sm oother in this manner.
be used when a tremendous volume of tone is desired.
Scan: Donizeti Fonseca 2010
r A ir C ham bers F a ls e P o s itio n s
Group VIII. 1. Slurred. 2. Staccato. (T\ 22
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T his staccato form is to be applied to all A ir C ham ber Drills.
T he purpose of th is routine is to acq u ain t you thoro u g h ly w ith th e false positions on th e in stru m en t. F alse positions are valuable in certain rapid passages, and a ssist in ironing o u t a sm ooth flowing m elody; of course, th e intonation m u st be checked a t all tim es. W hen playing fortissim o, it is good policy not to use false positions as th e tone q uality suffers con siderably. In ce rtain keys th e first position may be found to be too flat; in th is case, a false position will also aid correct in tonation in th e J w l scale. S can: D onizeti F o n s ec a
47
2010
A ttack Illustration
1A. = 3 = TA A A
TOOO
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Slurred Illustration
1. By the enunciation of the above syllables the tongue acquires different levels, thereby gauging the size of the air-stream as it passes between th e tongue-level and the roof of the mouth. Tongue-level helps to elim inate any undue stra in on th e entire embouchure form ation and rem em ber th a t th is m ust be borne in mind a t all tim es until the entire process becomes a n atu ral reflex action.
2. The tongue-level and diaphragm-level m ust co-ordinate a t all tim es. This entire process m ust synchronize. (Up to ascend, down to descend.)
3. Crescendo while ascending, decrescendo while descending.
4. Practice standing and sittin g and guard ag ain st a faulty posture.
5. Keep the head back, and arch th e spine no m a tte r w hether you are standing or sitting. Do not overlook relaxation.
6. Use th e pivot to ascend, but do not over-pivot.
7. Positively never allow the tongue to p enetrate between teeth or lips.
1
Slurred \ Slide Positions Staccato ) Increasing Volume^
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E very drill is played eig h t tim e s; fo u r tim es slu rred , and fo u r tim es staccato , w ith th e dynam ics as designated. Stop and re s t freq u en tly , as th is is q uite stren u o u s. C oncentrate on th e syllables TA AA , TOOO, T E E E , and rem em ber th a t th e tongue-level changes w hen slu rrin g even though no d irect a tta c k is made. Play four tim es slu rred , a h alf tone low er every tim e, and then, fo u r tim es staccato, a h alf tone lower every tim e. R epeat every group a t least once, b u t continue as long as th e am o u n t of b re a th p erm its. T ry to increase th e length of th e drill daily, as th is is very im p o rtan t.
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45 Scan: D onizeti Fonseca
2010
B reathing (S y n c h ro n iz atio n o f th e T o n g u e a n d D iap h rag m Levels)
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P ractice standing and sittin g in correct posture.
Do not allow your mouthpiece to slip from th e anchor-spot w henever you are playing long interval skips. > & >
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Do not attem p t any drill beyond your reg ister, as you are try in g to build up, not te a r down.
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Scan: Donizeti Fonseca
2010
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1. Play two beats, then rest two beats, and during the rest do not breathe or raise th e m outh piece (this prevents any sh iftin g of the mouthpiece position). As th e attack is made on th e upper tone, the level of the tongue and the level of the diaphragm move up to the (T E E E ) position. The upper tone is produced by the tongue-level moving up in th e m outh when (TEEE) or (E E E ) is enunciated and sim ultaneously th e level of th e diaphragm m ust move in and up. This entire process m ust synchronize. If high tones are played in th is m anner, the mouthpiece pressure on the lips is greatly reduced. C oncentrate on diaphragm pressure, not on lip or mouthpiece pressure.
2. "Use the pivot but do not over-pivot."
3. Use a minimum of mouthpiece pressure a t all tim es. However, slightly more pressure is essential to play a tongued passage than a slurred passage.
4. R est frequently, as th is group is very strenuous.
5. Never attem p t th is group until you have completely passed th e “warm ing-up" stages.
6. The tongue-level also changes when slurring.
■ ■«■■ (TOOO— E E E — OOO) etc.
Scan: Donizeti Fonseca
2010
V
Attack & Tongue ( T h e L e n g th o f th e T o n g u e S tr o k e )
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Single Tongue Staccato (Binary Form)
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This form may also be used later in double tongue fashion (T-K) — Rest frequently—
48
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Apply th e sam e rules a s in I. Single Tongue Staccato (T e rn ary F orm ) a .__ cl p
p
P
p
Y . m
HB
—
etc. descend and ascend as in IV
T his form m ay also be used la te r in trip le tongue fash io n (T-T-K )
Single Tongue S taccato (B inary Form ) etc. descend an d ascend as in IV T his form m ay also be used la te r in double tong u e fashion.
. 1. ( p p ) Allegro (a sh o rt, pointed note, w ith a sh o rt len g th of tongue stro k e)
To be applied to th e above to n g u in g routine
2.
(m /) Modcrato (a sh o rt, pointed note, w ith a m edium len g th of tongue stro k e)
3.
(# ) Adagio (a sh o rt, pointed note, w ith a long len g th of to n g u e stro k e)
4. p ^ 5. f 6.
v
~ { (a sh o rt, pointed note, w ith a g rad u a ted len g th of ton g u e stro k e) -----------r (a sh o rt, pointed note, w ith a g rad u ated len g th of tongue stro k e) (a sh o rt, pointed note, w ith a g rad u a ted len g th of tongue stroke)
I f in doubt th e stu d e n t should re fe r to th e tex t,
Kftlax the base of the tongue, and keep the head all the way back.
Form Studies (Articulations)
' s .<*
1b ’
: FMajor (Drill) , ^
^
D Minor (Harmonic)
U \ f \
D Minor (Melodic)
D Minor (Arpeggio)
ip
TO.
F Chrom atic (Major)
Modes of Form Study Practice (A New Key A Day) F Major D Minor /
If
o
. ti; « X ■f
E Major j-q E
Cf Major At Minor » ' = B . =
»»W -a
W
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a
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8
= —
Gb Major Eb Minor
G Major E Minor
Ab Major F Minor ~
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1 ■> K~h-----r . — — 1 —
A Major F | Minor
u
B Major G | Minor
Cb Major Ab Minor
C Major A Minor
t VII
■J‘ ¥
Db Major Bb Minor
D Major B Minor
Eb Major
I
W
q
Bb Major G Minor — g-iiV
lb Q
j
1
Ft Major d Df Minor
= l¥
Study in the Following Rotation of Forms .
■- • j .
Study the Form Studies in all Major and Minor Modes using the Rotation of Forms for the Articulations. Write out the Forms in the various keys if necessary. Principal Forms to be Practiced Slowly, Strictly in Correct ‘ ’ Form
.
X
*
j
Adagio
= 6 0 (TEH )
p-
1. 8taccato
2. Medium */ ‘ <*aT" i
"T” attacks, the difference being the length of the note.
Adagio
• 8. Tenuto or Soitenuio »/ i'tr Adagio 4. Semi-Legate
nf Adagio
“D” or soft attack to start, then “L" to continue.
5. Legato Tongue
Adagio
6. Legato Without the Tongue
Breath and Slide Synchroniiation (No Tongue Used)
SI
Allegro
*> 7. Two Slurred, Two Staccato
Allegro
mf Allegro 9. One Staccato, Two SlujTed, One Staccato
r a — n w — #— m— ^ :rn _
Do Not Sacriftce Accuracy for Speed. Play Every Group at Least Three Tiroes.
Allegro 10. Three Slurred, One Staccato j - !■ -
11. One Staccato, Three Slurred
V
■ ■
'I
s
12. Four Slurred, Four Slurred
ss
• J
■
I '. 18. Four Slurred, Four Staccato » /
. • Allegro 14. All Rapid Slurring
g
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Allegro
i— 16,. All Rapid Staccato
^
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The Word “Slurred” Refers to Legato Tongue (in This Particular Case)
Adagio J > = 6 0 A 16. Sustained Attack
To be Practiced Slowly, Strictly for Correct Form
8oai«nuto Fortiaaimo
ir Adagio 17. Piccato. Attack
r i l L f £■ fj Adagio
■v ■ . . . r
IB. Accented Attack »
mf
A Vary Short Staccato Fortiaaimo An Accented Attack The Point of the Attack ’ Being tha Loudeat P art of_the
Graduated Articulations
• / ‘p T T -
1. Piccato Attack — Written
I
2. Staccato Attack — Written
S. Medium Attack — Written
M
Played
Played
4. Tenuto or Soetenuto Attack — Written -
hi 6. Accented Attack — Written
Played /= -/»
6. Heavy Accent — Written
Played *
7. Sustained Attack — Written (Broad Soetenuto Accent)
Played 7
—
The ambitious student may also apply the graduated articulations to the Form Studies.
Some Common T ernary Form s (To Be Applied to the Form Studies I and VIII on Page 50) AUegro
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E L K A N -V O G E L . IN C . ’
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Y ocr nracticc shou’d be balanced a t all tim es, and ton*.’ -‘-.jr in various v a y s should be a daily ta sk . Tonguing will not bcc.'::ie a s t a r t if th is routine is followed. In m odern p la y i'g , m s t of th e daily work is in some form of slu r or legato, and it m ust be counteracted w ith tho various modes of tonguing in th e daily routine. To sum m arize, never tor.jrjc betwepn th<' teeth or lips, or «•:. lot- ; wit i th e tongue. and balance th e am ount of a tta c k proportionately by th e am ount of tone th a t follows th e attack . I f y^u follow tnese m echanics care fully daily, in a shr>-* ime phenom enal im provem ent will be your re w a rr. This su b ject will be b rought up la te r from an o th er njrle. i CC’ R f * MOUTHPIECE PLACEMENT AND THE A R T OF CREAT'H G THE IDEAL PIVO T FOR YOL'R T Y °E
T here a re ther< -<* fon *v‘* oa ‘ ypes: even teeth I nver teeth is top and bottom if ..pe o— p’ -u< t y -> •Tree; teeth rety p e tw o ; receding ower '•uding in th e ceding in th e n atu ra l positi'-n u t playing position is type four. I t m u st K ;ersto o d th at types one, two and th ree w ere described in th e ir natural positions, and type four was described first in its n atural position and th en in its playing position. T ypes two and four should find th e ir anchor-spot on th e bottom -lip and th e ir contro'.-point on th e top-lip. Type th re e finds th e anchor-spot to ‘he top-lip and th e control-point on th e bottom-lip. I t is evident from th e discussion so Far th a t I regard any system th a t trie s to teach one n'othod to everyone em phatically wrong. H um an differences are too g rea t to apply one plan to everyone; ‘he system of playing m ust be suited to th e type, not th e ty p e to th e s y s te m ,/
I believe th e m ost widely discussed subject o f all tim e ( am ong our brass-players is th e position of th e m outh piece on th e lips. And yet in o>der methods* th e re is only a very vaguely w ritten p aragraph o r tw o on th is ex trem ely im p o rtan t subject. It is my on;nion th a t ir m any cases th is position m a k '- tho d ^ e re n c e betw ecr success and failure. T here a re f o ir distinctly different rlassi'icntions •>' th e vari*” *- tv* < of !ins. ‘o<*tv , (.".hn r."d jrw s, fn d sd. o th e rs a r '- r o r ?r»»r*-. •••.? of th o O u r.
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T he above diaj—am s illu strate th e fo u r types of play ers. T he directii i of tho air-s’ -pam is indicated by th e arrow s. Type one, th e divided ?y v . is th e person w ith per fectly even teeth, to 1"' nr'1 :w
T he PIVOT v th a t I ave used fo r y ears in my teach in g + now be ciescr ‘>ed, so th a t you m ay u n derstand exactly w hat I mean by th e word PIVOT in th e fu tu re p arag rap h s of th is discussion. PIVOTING is th e tran sfe re n ce of w h at little pressu re th e re is in playing from one lip to an o th er. W hen you first study it m ake a point of tiltin g or tipping th e in stru m en t and not th e head-position. By m oving th e head you cause a co n tractin g th ro a t and g re a t tension a t th e base of th e tongue. I su g g est using a m irro r so th a t you may see as well as feel your PIVOT. Do not g et th e impres sion th a t th is method of playing should make your in s tru m e n t wave like a flag in th e breeze a t any tim e. The in stru m e n t should tip or tilt ju s t enough to allow fo r th e tra n s fe r of th e pressure its'-lf and to g et th e tone a t its m ost open point. W ith some players th e in stru m ent m ovem ent is much less th a n w ith o th e rs; how ever, as relaxation and poise are acquired th e en tire process becomes quite sm ooth. W hen th e a r t of PIVOT ING is finally m astered, th e ac 'u al m ovement of th e in stru m e n t is reduced to a minimum, and w ith some players it is not visible. I do not believe in ‘he total use of th e so-called "sm il ing muscles.” W hen you are PIVOTING correctly your m outh corners tig h ten down ag ain st th e teeth , and th e curved form ation of th e te eth brings th e corners of your
th e top-lip. T he ancho r-sp o t should be on th e top-lip, and th e control-point th e bottom -lip. T h is ty p e, g en erally speaking, can successfully play a w et or d ry lip fo rm a tio n ; ho w .v er, th is p o in t will be discussed la te r in detail. You will • o ti/e th a . *ype th re e is ju s t th e re v e rse of th e p ro ti\u :.n g -ja w type. T h e re fo re it is m y opinion th a t any sy stem th a t gives all t y p e .- .s t u d e n t s th e sam e in stru c tio n is m.i.st em phatically w rong. I f you w ill.read som e o f o u r old-fashioned in stru c tio n m ethods and th e n do exactly w h at they tell you re g a rd in g m outhpiece placem ent, ^tc., you will im m ediately becom e one of our everyday su fferin g brass-m en. One book will s a y : place th e m outhpiece one th ird on th e top-lip, tw o th ir d s on th e b o tto m -lip ; th e n ex t book th a t you pick up will say two th ird s on th e top-lip, and one th ird on th e bottom lip; and still a n o th e r book says h a lf on th e top-lip and h alf on th e bottom -lip. E ach a u th o r of th e book did play th is w ay an d did achieve g r e a t success, and so passed on his m eth od to th e rea d er of th e book. I f th e stu d e n t happened to be th e ty p e of th e a u th o r, he m et w ith som e form o f success follow ing th e in stru c tio n s given in th e m ethod. B u t w h a t if he w as not ad a p te d to th e em bouchure s e ttin g th a t th e a u th o r had fpund co rre c t? I f ty p e th re e h as th e em bouchure form ed in a n a tu ra l, co rrect m a n n er the a ir-stre a m will tra v e l in a decidedly dow nw ard direction as it passes betw een th e v ib ra tin g p oints o f th e lips into th e m outhpiece. You m ay prove th is f a c t by w ettin g , y o u r fo re fin g er an d placing it di rectly a g a in st th e fro n t of y o u r chin and fo rm in g y o u r em bouchure, aiid th e n blow ing a s you would fo r a to p F or G. You will notice th a t th e a ir-strc a m will h it y o u r finger, an a th a t th e h ig h e r th e note played th e th in n e r th e a ir-strc a m becomes, w ith m uch g r e a te r a ir-p re ssu re h ittin g closer into th e chin th e h ig h e r you ascend. You will also notice th a t th e h ig h e r you ascend th e m ore th e red p a rt o f th e bottom -lip will go in an inw ard d ire c tio n ; so much so, t h a t if you ca refu lly check th is on a tr a n s p are n t m outhpiece you will find th a t th e top-lip w as slig h tly o v erlapping th e bottom -lip an d t h a t th e top-lip p ro tru d e s slig h tly m ore. Y ou can plainly see t h a t w ith thi.-. fo rm ation th e a ir-stre a m e n te rs th e m outhpiece in a ^ery p. ^nounced dow nw ard d irection, and w ith th e extrem e r^gh ‘ ones th is becom es so m ark ed t h a t th e air-stream actu ally h its th e cup w h ere it jo in s th e rim of th e m outhpiece. In p lay in g low er n o te s th e a ir-stre a m h its close.- to „he th r o a t of th e m outhpiece. W e can th e re fo re .nakv th e follow ing r u le : th e h ig h e r th e note th e closer th e a ir-stre a m h its to th e rim of th e m o u th piece, an a the low er th e no te th e closer th e a ir-s tre a m h its to th e th r o a t of th e m outhpiece, an d in b o th cases th e air-strea m is in a dow nw ard direction. T h is is t»‘..s d ire c t opposite of ty p e tw o. By C O R R EC T PIV O T IN G I m ean p u ttin g th e co rrec t p re ssu re on th e co rrec t lip, a t th e co rre c t tim e, th e re b y elim in a tin g a n y o b stru ctio n in th e a ir-stre a m as it passes betw een th e lips in to th e m outhpiece. Hence, th e in s tru m e n t should n o t be held in fixed horizontal position w ith th e ex p e ctatio n t h a t th e .so-called "sm iling m uscles” in th e co rn e rs of th e m out.. can ta k e care of th e trem en d o u s re g is te r req u ired o f tri- m odern b rass-p lay er. C u ltiv a te T H E P IV O T TO F U N C T IO N W IT L T H E MOUTH COR N E R S , AN D YOU W IL L M AKE YOUR P L A Y IN G A PLEA SURE.
I f ty p e fo u r h as th e em L ouchere form ed in a n a tu ra l co rrec t m a n n er th e a ir-s tre a m w .11 trav el in a decidedly up w ard d irection ,.s jl p asses betw een th e v ib ratin g p o in ts o f th e lips i ..o trie n.outl.piece. T he an ch o r-sp o t should be on th e bottom -lip a n a th e contrwi-point th e top-lip. T h is ty p e, g en erally spc-iking, should play w ith th e top-lip d ry and th e bottom -lip w et. T h is ppint will be discussed in d etail la ter. T he detailed playing m e chanics of ty p e fo u r a re alm o st identical w ith ty p e tw o. T he n a tu ra lly receding ja w s >n ty p es th re e and fo u r m ake co rrect ty p e an aly sis difficult a t tim es. I t can be m ade th r o iv '" -nt m outhpiece. Il’ th e bot t o m - . a t . g i K i y -jverlapa and p ro tru d e s, th e p lay er is ty p e fo u r. If th e top-lip slig h tly overlaps and p ro tru d es, th e p la y er is ty p e th ree . T y p es tw o and fo u r (th e u p strea m ty p es) arc found to be tru m p e t p lay ers m ore o ften th a n trom bone play ers. T he addeii size of a tro m b o n e m outhpiece and th e low er p lacem en t p rev en t a p ro p er low er-lip contact, because o f th e in te rfe re n c e cre ate d by th e chin h ittin g th e bottom o f th e trumbi,..v. m outhpiece r im ./i
PLAYK-S
SSL:
BASIE Oil ;;rJUfJDAT)ON
TYPES (I), 11,12 U^Dua/m,
__ A n p i
WET AND DRY IIP FCr.i-lATIOIlS T h ere seem s to be a g re a t deal of discussion as to w h e th e r o r not a brass-p!;.ye should adopt a w et o r a d ry em boucnure. In t ’r :TV>)T SYSTEM , because of ty p e differences, th e re .e r ain gen eral ru les, b u t first th e fc u r d ifferen t ty p e «,f v e t and d ry em bouchures m u st be th o ro u g h ly u;.r. rst< od. b y th e te rm w et lips* or w et em b ouchure, I .... th>. o u t s i t of th e lips under th e rim of th e m outhpiece s .ould be com pletely sa tu ra te d , so m uch so, th a t th e .-.outhpiece could actu allj spin aro u n d on th e lips w ith . any sen satio n of grip o r pull. N ex t, we have th e t. »vhic because of odd te e th o r an odd lip o r gum fo rm a t: .. .n u st play with
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S ta rt playing very softly using a minimum am ount of mouthpiece pressure against th e lips, but do not tolerate a pinched, nasal tone quality. During the rests do not breathe, or raise the mouthpiece p ressu re; th is develops control of the breath.
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Maintain a goo. t i n e quality in the lower r e g is te r by slightly increasing the guk. i.* of m e air-strea m . Avoid any form of strain when sta rtin g daily practice. Use ju s t enough mouthpiece i>res>ure uga.nst the lips to insure a firm lip contact, but use
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Do not allow a bump, or jolt between the slurred notes in the above drill. Slightly reduce the mouthpiece pressure as the slur is being executed. The level of the tongue and level of the diaphragm moves up to ascend and down to descend in a slurred passage.
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H}CL6 ^CCHxrHO The minus sign — means shorten the position Tooo ---------- 1
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Do not attem pt drills th at cause you to strain or resort to a great deal of mouthpiece pressure. Attack the first note with the syllable (TEEE).
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Omit XI an? XII if your present register does not permit their execution.
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Do not attem pt to ascend beyond your comfortable range. Positively do not overbreathe when playing the top-register.
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Playing low tones following high tones promotes necessary relaxation mentally and physically. Do not tongue between the teeth or lips. „ " tW ^ - ^ € C ff/c a t,. 7Cfc< a ie t'tifft t* T M ?& #./£
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Do not use a vibrato in the early stages of a w arming-up routine. When you do use it, use the hand vibrato, NOT th e lip, jaw, head or diaphragm type.
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Do not practice immediately afte r eating. Practice w ithout concentration is ju st a little b etter th an no practice a t all.
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Do not play with the legs crossed; serious physical injury may be the result.
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Regardless of w hether you play a wet or a dry lip form ation, you m ust learn to m aster th e feeling of relaxation. 21
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Strive to blend the tone quality in the different registers. Use ajgood solid accented attack, remembering not to tongue between the teeth or lips.
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Pivoting is the transfer of w hat little pressure there is used in playing from one lip to another. This assists in getting the different registers with an open full tone. The instrum ent is slightly tilted to get the tone a t its most open point. This* positively does not mean shifting or sliding the mouthpiece. Move the instrum ent, not the head position. Scan: Donizeti Fonseca 2010
23
The Divot m ust work in conjunction w ith the mouth corners. Remember th a t the eventual goal of th e pivot is the lip-pucker. Do not smile to ascend.
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Practice all notes in the same drill with the positions indicated in the form . The drill is intended to be a lip slur. Do not over play your upDer register. Concentrate on diaphragm p ressu re, not on Hq pressure
PEDALS
m > Low tones produce necessary relaxation following high tones.
74
Scan: Donizeti Fonseca 2010
Group III.
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Do not breathe, or raise th e mouthpiece pressure during th e rest. Please observe all dynamics.
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W hen you become more advanced extend th e value of th e r e s t b ar up to twelve c o u n ts; th is prom otes b rea th control and builds reserve. TEEE
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75 Scan: Donizeti Fonseca 2010
(Also an octave higher if within your range)
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26
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Do not use th e tongue o th e r than to make th e attack in th e above drills. S lurring is accomplished in th is ro u tin e: 1. by a rapid but smooth slide motion, 2. by slightly easing up on th e breath between the notes, 3. and by a slight em phasis on the note itself. This prevents a glizzando or sm ear between th e notes.
28
Scan: Donizeti Fonseca 2010
Practice
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—Rest frequently 29 Scan: Donizeti Fonseca
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Scan: Donizeti Fonseca 2010
31
This slurring may also be practiced in quarters, eighths, triplets, sixteenth and sextolet values. Strive to eliminate the bumps or breaks between the notes in the slurred grouos. Use a minimum of mouthpiece pressure. The tongue-level also changes when slurring.
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Positively do not attem p t any drill beyond your register. This m ust be built up over a long Deriod of tim e; any strain reta rd s progress.
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Scan: Donizeti Fonseca 2010
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Pedal tones provide adequate relaxation afte r every group of drills. When sta rtin g th e practice period always play softly and increase in volume gradually until all phases of dynamics have been covered. Learn to balance all form s o prac ice.
Scan: Donizeti Fonseca
35
Breath and Slide Synchronization
Group VI.
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When playing pianissimo do not permit a pinch in the tone.
(Moderato) Use the positions indicated and strive to avoid the "bumps" in slurring. Do not use the tongue other than to attack the first note.
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37
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From the hips up you should have the same slightly arched spine (backward) and should keep the head back whethi standing or sitting, as this is correct brass playing posture.
Scan: Donizeti Fonseca
P osition Study* S triv e to m a tc h to n e q u a lity a n d to a tta in a c c u ra c y o f in to n a tio n . U se th e p o sitio n s in d ic a te d .
Group VII. The plus sign + means lengthen the position
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Scan: Donizeti Fonseca
2010
A IR C H A M B ER S I t is the purpose of this chapter to give you a thorough understanding'of the relationship between correct falsepositions and the air-chambers of the instrum ent, thereby showing the proper use and various combinations of the false-positions. When speaking of an air-cham ber, I am referring to the seven original chromatic positions used to descend from low B flat to low E :
(1)— (2 )— (3)— (4 )— (5)— (6 )— (7). S tartin g from any open tone on the
instrum ent and descending six semitones or half-tones, using the above positions in the same numerical order; or by playing a glizzando (sm ear) from any open tone using the positions from (1) to (7) to descend chromatically, constitutes one air-chamber. Every open tone on the instrum ent represents the first tone of a new air-chamber, and if the above procedure is followed, all false-positions will be covered. You should use false-positions for the following reason s: 1. to simplify the awkward position combinations th a t
to aid intonation in certain keys. The smallest degree
arise in the playing of certain progressions in a
of pitch recognizable by the human ear is called a
rapid technical passage.
comma. A diatonic whole-tone, for instance C to D,
2. to facilitate in slurring by using a position combina
consists of nine commas. A diatonic half-tone, C to
tion th a t provides a closer air-cham ber to the next
D flat, consists of four commas, and a chromatic half
tone to be played. If you slur middle D -(l) to high
tone, C to C sharp consists of five commas. Hence C
A -(2 ), and then repeat the same slur using D-(4) to
sharp is one comma sharper than D flat. To the
high-A(2),you will notice th a t the la tte r position
average good musician the ear takes care of these
combination makes the slur less difficult. When you
p etty deviations. The Tempered Scale, as found on
use the (4) position for the middle D, you are using
all fixed-pitch instrum ents (piano, etc.,), is void of
a p art of the F, above middle C air-chamber, thereby
these differences; therefore, the Ju st Scale is the
m aking the slur one air-cham ber less. By adopting a position in a closer air-chambcr you can often pre
only tru e scale. This can be easily proved on a chromatic stroboscope.
vent cracking or breaking the slur, especially when 1 to play in certain keys where the open or (1) position would be found too flat in pitch.
your lips arc fatigued. 3. to blend tonal color: for example, a phrase may end
40
middle E flat to D, in which case it is b etter to use
* to produce rapid or smooth execution on any tech
the (3) to (4) positions not breaking the air-chamber,
nical passage softer than a forte. When the false-
than to use the (3) to (1) positions breaking the
positions are played too forte, the tone sounds nasal,
air-cham bcr, because the tonal color does not change.
stuffy and choked. A false-position should seldom
The slur can lie made sm oother in this manner.
be used when a tremendous volume of tone is desired.
Scan: Donizeti Fonseca 2010
r A ir C ham bers F a ls e P o s itio n s
Group VIII. 1. Slurred. 2. Staccato. (T\ 22
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T his staccato form is to be applied to all A ir C ham ber Drills.
T he purpose of th is routine is to acq u ain t you thoro u g h ly w ith th e false positions on th e in stru m en t. F alse positions are valuable in certain rapid passages, and a ssist in ironing o u t a sm ooth flowing m elody; of course, th e intonation m u st be checked a t all tim es. W hen playing fortissim o, it is good policy not to use false positions as th e tone q uality suffers con siderably. In ce rtain keys th e first position may be found to be too flat; in th is case, a false position will also aid correct in tonation in th e J w l scale. S can: D onizeti F o n s ec a
47
2010
A ttack Illustration
1A. = 3 = TA A A
TOOO
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TOOO
TAAA
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Slurred Illustration
1. By the enunciation of the above syllables the tongue acquires different levels, thereby gauging the size of the air-stream as it passes between th e tongue-level and the roof of the mouth. Tongue-level helps to elim inate any undue stra in on th e entire embouchure form ation and rem em ber th a t th is m ust be borne in mind a t all tim es until the entire process becomes a n atu ral reflex action.
2. The tongue-level and diaphragm-level m ust co-ordinate a t all tim es. This entire process m ust synchronize. (Up to ascend, down to descend.)
3. Crescendo while ascending, decrescendo while descending.
4. Practice standing and sittin g and guard ag ain st a faulty posture.
5. Keep the head back, and arch th e spine no m a tte r w hether you are standing or sitting. Do not overlook relaxation.
6. Use th e pivot to ascend, but do not over-pivot.
7. Positively never allow the tongue to p enetrate between teeth or lips.
1
Slurred \ Slide Positions Staccato ) Increasing Volume^
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Scan: Donizeti Fonseca 2010
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E very drill is played eig h t tim e s; fo u r tim es slu rred , and fo u r tim es staccato , w ith th e dynam ics as designated. Stop and re s t freq u en tly , as th is is q uite stren u o u s. C oncentrate on th e syllables TA AA , TOOO, T E E E , and rem em ber th a t th e tongue-level changes w hen slu rrin g even though no d irect a tta c k is made. Play four tim es slu rred , a h alf tone low er every tim e, and then, fo u r tim es staccato, a h alf tone lower every tim e. R epeat every group a t least once, b u t continue as long as th e am o u n t of b re a th p erm its. T ry to increase th e length of th e drill daily, as th is is very im p o rtan t.
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45 Scan: D onizeti Fonseca
2010
B reathing (S y n c h ro n iz atio n o f th e T o n g u e a n d D iap h rag m Levels)
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Do not breath e or lift th e mouthpiece position during th e rests in this drill. > a. fT \ *
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P ractice standing and sittin g in correct posture.
Do not allow your mouthpiece to slip from th e anchor-spot w henever you are playing long interval skips. > & >
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Do not attem p t any drill beyond your reg ister, as you are try in g to build up, not te a r down.
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Scan: Donizeti Fonseca
2010
TOOO
/ / TOOO
TOOO----- EEE— ---- - OOO a X t o V v r : i— 1— ------------ H —p P ^= = o TOOO ----- SEE ------- — OOO
T
,
TEEE
TOOO 'T '
— z j i — !---------- “ -------Jf TOOO
r — j/ JEEE
— jf TOOO
Jj TBBB
—
=
ff TOOO
F
O-
■
= 1 p —= f = = — p TOOO-------EBB----------- 000
1. Play two beats, then rest two beats, and during the rest do not breathe or raise th e m outh piece (this prevents any sh iftin g of the mouthpiece position). As th e attack is made on th e upper tone, the level of the tongue and the level of the diaphragm move up to the (T E E E ) position. The upper tone is produced by the tongue-level moving up in th e m outh when (TEEE) or (E E E ) is enunciated and sim ultaneously th e level of th e diaphragm m ust move in and up. This entire process m ust synchronize. If high tones are played in th is m anner, the mouthpiece pressure on the lips is greatly reduced. C oncentrate on diaphragm pressure, not on lip or mouthpiece pressure.
2. "Use the pivot but do not over-pivot."
3. Use a minimum of mouthpiece pressure a t all tim es. However, slightly more pressure is essential to play a tongued passage than a slurred passage.
4. R est frequently, as th is group is very strenuous.
5. Never attem p t th is group until you have completely passed th e “warm ing-up" stages.
6. The tongue-level also changes when slurring.
■ ■«■■ (TOOO— E E E — OOO) etc.
Scan: Donizeti Fonseca
2010
V
Attack & Tongue ( T h e L e n g th o f th e T o n g u e S tr o k e )
Group XI. A ndante
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.
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V
V CL
ilA
V a :
i . 3 i
/p p
/P p
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/P P
/ / ZP
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v b-e-
/P p
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f f zp
/P P
v o.
/P P
v >.0 . /P P
/P P
/ f zP
>
v
/p p
Z fzP
/p p
/p p
v 1m& -
/ / zp
/p p
Stop and rest if the slightest strain is noticed. Use a long, very rapid tongue stro k e; and do not allow the tongue to penetrate between the teeth and lips. Strive for equality of tone and evenness of attack.
Single Tongue Staccato (Ternary Form)
etc. ascend and desccnd as in I This form may also be used later in triple tongue fashion (T-T-K)
Single Tongue Staccato (Binary Form)
ry
bk0 0 0 0
This form may also be used later in double tongue fashion (T-K) — Rest frequently—
48
etc. ascend and descend as in I
A ndante by-v V -------- j—
*
1V0L ^
--- -]-
o
*
V >
-
V
o
t
>
V >
o
f—
V
■
jU L . fJ
xP
f /
zP
J
J
ZP
v
fJ
z P
f J
2 P
J
V
u ■*-_________ N VO f
f
7
ZP
J
/
J
P
J
ZP
fJ
V
___ ^ |?t-5 zP
V
V
.........................................f
f
zP
f
f/
zP
J
f zP
f J
z P
*
'
—
e>------J
p
p
b
J
..
o
J
2P
J
.-
-
P
*
V '
•> i f o
P
ff *
>
=
i f P
p
#
e
M
v * ------ - o ■
J
f zP
2 P
J
J
ZP
v w ---
—
p
P
/ v — >------- — >--------
J J
* P
1
-
f
f
°
X 0
S
~
f zP
-------
—
J
J
* p
-------------------
~
2P
r
-P
---- —
V
V
------------------ ---------P
t e r
\
b
o
J
J
^
zp
Apply th e sam e rules a s in I. Single Tongue Staccato (T e rn ary F orm ) a .__ cl p
p
P
p
Y . m
HB
—
etc. descend and ascend as in IV
T his form m ay also be used la te r in trip le tongue fash io n (T-T-K )
Single Tongue S taccato (B inary Form ) etc. descend an d ascend as in IV T his form m ay also be used la te r in double tong u e fashion.
. 1. ( p p ) Allegro (a sh o rt, pointed note, w ith a sh o rt len g th of tongue stro k e)
To be applied to th e above to n g u in g routine
2.
(m /) Modcrato (a sh o rt, pointed note, w ith a m edium len g th of tongue stro k e)
3.
(# ) Adagio (a sh o rt, pointed note, w ith a long len g th of to n g u e stro k e)
4. p ^ 5. f 6.
v
~ { (a sh o rt, pointed note, w ith a g rad u a ted len g th of ton g u e stro k e) -----------r (a sh o rt, pointed note, w ith a g rad u ated len g th of tongue stro k e) (a sh o rt, pointed note, w ith a g rad u a ted len g th of tongue stroke)
I f in doubt th e stu d e n t should re fe r to th e tex t,
Kftlax the base of the tongue, and keep the head all the way back.
Form Studies (Articulations)
' s .<*
1b ’
: FMajor (Drill) , ^
^
D Minor (Harmonic)
U \ f \
D Minor (Melodic)
D Minor (Arpeggio)
ip
TO.
F Chrom atic (Major)
Modes of Form Study Practice (A New Key A Day) F Major D Minor /
If
o
. ti; « X ■f
E Major j-q E
Cf Major At Minor » ' = B . =
»»W -a
W
0
~
1*
a
' —
8
= —
Gb Major Eb Minor
G Major E Minor
Ab Major F Minor ~
iM n i,
1 ■> K~h-----r . — — 1 —
A Major F | Minor
u
B Major G | Minor
Cb Major Ab Minor
C Major A Minor
t VII
■J‘ ¥
Db Major Bb Minor
D Major B Minor
Eb Major
I
W
q
Bb Major G Minor — g-iiV
lb Q
j
1
Ft Major d Df Minor
= l¥
Study in the Following Rotation of Forms .
■- • j .
Study the Form Studies in all Major and Minor Modes using the Rotation of Forms for the Articulations. Write out the Forms in the various keys if necessary. Principal Forms to be Practiced Slowly, Strictly in Correct ‘ ’ Form
.
X
*
j
Adagio
= 6 0 (TEH )
p-
1. 8taccato
2. Medium */ ‘ <*aT" i
"T” attacks, the difference being the length of the note.
Adagio
• 8. Tenuto or Soitenuio »/ i'tr Adagio 4. Semi-Legate
nf Adagio
“D” or soft attack to start, then “L" to continue.
5. Legato Tongue
Adagio
6. Legato Without the Tongue
Breath and Slide Synchroniiation (No Tongue Used)
SI
Allegro
*> 7. Two Slurred, Two Staccato
Allegro
mf Allegro 9. One Staccato, Two SlujTed, One Staccato
r a — n w — #— m— ^ :rn _
Do Not Sacriftce Accuracy for Speed. Play Every Group at Least Three Tiroes.
Allegro 10. Three Slurred, One Staccato j - !■ -
11. One Staccato, Three Slurred
V
■ ■
'I
s
12. Four Slurred, Four Slurred
ss
• J
■
I '. 18. Four Slurred, Four Staccato » /
. • Allegro 14. All Rapid Slurring
g
m
i e j - y
Allegro
i— 16,. All Rapid Staccato
^
T— =
The Word “Slurred” Refers to Legato Tongue (in This Particular Case)
Adagio J > = 6 0 A 16. Sustained Attack
To be Practiced Slowly, Strictly for Correct Form
8oai«nuto Fortiaaimo
ir Adagio 17. Piccato. Attack
r i l L f £■ fj Adagio
■v ■ . . . r
IB. Accented Attack »
mf
A Vary Short Staccato Fortiaaimo An Accented Attack The Point of the Attack ’ Being tha Loudeat P art of_the
Graduated Articulations
• / ‘p T T -
1. Piccato Attack — Written
I
2. Staccato Attack — Written
S. Medium Attack — Written
M
Played
Played
4. Tenuto or Soetenuto Attack — Written -
hi 6. Accented Attack — Written
Played /= -/»
6. Heavy Accent — Written
Played *
7. Sustained Attack — Written (Broad Soetenuto Accent)
Played 7
—
The ambitious student may also apply the graduated articulations to the Form Studies.
Some Common T ernary Form s (To Be Applied to the Form Studies I and VIII on Page 50) AUegro
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