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  • Alkay High Register e

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    Gideon Barbosa Machado
    21 Ansichten3 Seiten
    Tecnica

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    21 Ansichten3 Seiten

    Alkay High Register e

    Hochgeladen von

    Gideon Barbosa Machado
    Tecnica

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
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    Yamaha clinic 2002 High Register Exercises Alastair Kay Most musicians | know are looking for ways to improve their high range. However, there are two main problems to overcome in that quest. One is physical limitations: having problems with embouchure strength, air support, closing of throat, or too much mouthpiece pressure. The other is psychological; being afraid of the upper range (fear of missing the higher notes), no patience (it takes time to develop proper techniques), and the fear of possible criticism from teachers, colleagues, audition panels, or the audience. You have to address these two major eoncems when planning a practice routine. Setting up strength exercises is the casier of the two, and as you gain lip strength, your confidence will increase as well. Positive feedback from friends and teachers is also very important, You will eventually change your attitude about high notes. The idea of "going for it”, despite what the result is, is one of ny main philosophies. Here are a few ideas and excereises to help you increase lip strength and confidence. Harmonics: (Slurred- tongue the first note only) Start slowly at, first Keep the entire exercisemp at the most ~ no crescendos! Squcezeup to the next note, avoiding using "air bumps", closing of the throat, too much mouthpiece pressure, or too high a tongue level. simile Keep adding another note. (FER w PES Don't stop! Go as high > al as you cant 2 = = — [2] Air: (Big crescendo to top note, use lip compression - don't let the Tips blow out!) All examples - 6th glissed up to Ist, position w Lip trills ; (Exercises the "squeezing! lip muscles. Start ttills slowly, then speed up) or by ™p Go up by 1/2 steps as high as possible. Always approach the high register from a low or middle range note to keep one embouchure, Avoid switching embouchures half way up! roe OS scale: be be ne ft = “wwedlKey.ca -2- 4a_| Sound production : (Creating a sound that matches your middle range.) be Start the note, then concentrate on air supply (use firm abdominals}, check lip compression-can Sou relax your lips (drop the jaw slightly) 10 help open up the sound? Repeat the note if you want, mf -Try pulling the trombone off your lips -Move the back of your tongue up and a2 ‘slighily to hear if it improves the sound. down - the lowest. position should be best. ‘= -You don't have to stop = here, go higher! Using the techniques discussed above, play this exercise, keeping the sound open and beautiful! Work on the Gi Back of tongue down, check mouthpiece e2et £ pressure, jaw down a bi?, consistant air, etc. “Shur the scale - dest worry about sloppy playing. Just keep blowing perfect ai! a ~Continue, going LE pin 12 sups. re edt [5] Play real musie 1 (Play a ballad such as "Stell a By Starlight”. Play rubato, don't worry about the time feel, and concentrate on the techniques above on every note, Fix problems as you go}

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