Teaching Brass Instruments -for the non-brass major-
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-for the non-brass major-
This session is for instrumental music teachers/band directors who are not brass majors, and who desire to become better equipped to teach and train brass players more effectively and successfully. It will include essential practical topics, several of which are not covered in standard lesson books.
Presenter: David R. Marowitz, Toms River Regional Schools
Projecting the sound
17. Warm-up-Cool Down
Daily Embouchure Drills
Easier way to start low brass players
23. YOUR QUESTIONSTeaching Brass Instruments(for non-brass majors) Topics in This Session:
This session will:
On Which to Build
-for ear training
-for ear training, time keeping, functioning in an ensemble
-to establish foundation in and focus on music fundamentals without having to deal with the technical difficulties of brass instruments.
Mechanics of Playing Brass Instruments
Give students photos that demonstrate proper handling of the instrument, posture, embouchure, etc. to imitate during home practice sessions.
This promotes quick and accurate learning.
(TIP: use pinky ring for holding
the trumpet only-NOTwhenplaying)
[Click on graphics to be directed to photo example on the web}
Students should imitate posture from a photo
during home practice sessions.
Pipes equivalent to the instrument
Bag equivalent to lungs
Left arm equivalent to diaphragm muscle
(another analogy: squeeze tooth paste from bottom of tooth paste tube)
sit up tall (or stand) shoulders back with your hands behind your head (forces air to bottom of lungs) Don’t raise shoulders while inhaling.
Using a metronome:
The above exercises teach breath control
in addition to learning how to breathe when playing
-Trumpet: two-thirds of the mouthpiece on the
lower lip and one-third on the upper lip.
Too Much Pressure Impairs:
*flexibility *endurance *range.
Symptoms of Excessive Lip Pressure Include the Following:
RULE of THUMB
Take into account that works best for one individual player will not always work best for another. Unique difference in teeth, lip shape and texture, the jaw, and other anatomical factors will affect how the brass player's embouchure will work at its most efficient. Must take into account the physical characteristics of the individual.
1. Flat chin. ( tell students to think of pointing their chins
toward the ground.)
Click below for: for:
practice in front of a mirror to check embouchure, posture and prevent puffing of cheeks
1. buzz lips (moisten lips first)
2.buzz lips into mouthpiece:
interrupting the buzz at all.
3.Repeat # 2 with mouthpiece in the instrument
cause lips to align properly to cause free unhindered buzzing
cause student to find their proper mouthpiece placement on their lips
produce a good sound and will prevent splitting, cracked tones
PROMOTES AVOIDING COMMON EMBOUCHURE PROBLEMS SUCH AS:
Too much mouthpiece pressure
Air "Choking" tendencies (closing the larynx and restricting air flow),
which are frequently accompanied by "grunting.
Lips not freely buzzing causing player to twist mouthpiece to bring lips
together to buzz
Bunched chin (impossible to do when buzzing lips without the mouthpiece.
Smile embouchure (stretched lips tend to produce a thin, hard tone,
endurance also suffers)
(Listen to professionals)
Click here for tonguing exercises
late note beginnings,
explosive note beginnings
inhibited speed at which articulation can be executed.
A relaxed tongue:
will prevent excessive jaw movement or "chewing" which results in a heavy, thuddy kind of note beginning.ARTICULATION
tonguing syllable: “Taw”
tonguing syllable: “Too” or “toe””
tonguing syllable: “Tee”
To prepare lips muscles for playing and reinforce proper playing habits
Warm up softly and slowly
Include lip buzzing, long tones, lip slurs, tonguing, finger (slide exercises
Pay attention to reinforcing:
proper posture, handling of instrument, breathing, breath support, buzzing, etc.
to relax lip muscles
Pedal tones are a great lip massage and will relax the muscles.
Play long tones softly on low pitches
Makes lip more responsive the next dayWarm Up/Cool Down
a) Play a musical selection
stop when beginning to feel tired and rest.
b) Continue to play from where you left off.
c) Continue this process until selection
d) Done daily and will enable to play for
longer periods without stopping for rest.
Click Here for Range Exercise
Range Development Info.
STEP ONE: Stretching Exercises
USING A METRONOME:
STEP TWO: a) inhale (stand, with hands on back of
head), fill belly with air in 8 counts
b) exhale completely, buzzing the lips;
(repeat with 4 counts , then 2 counts)
STEP THREE : repeat STEP TWO except buzz lips into the
STEP FOUR: repeat STEP TWO except buzz lips into
STEP FIVE : a) set up embouchure as if saying “mmm”
b) breathe through mouth corners while
maintaining center of upper & lower lips touching
c. buzz lips*
*(1st time without mouthpiece, 2nd time with mouthpiece)
STEP SIX: repeat STEP FIVE except with the instrument:
1st time: produce a tone with breath *(“haa”) attack
2nd time: produce a tone with a tongue (“toe”) attack
(including long tones, lip slurs, flexibility, tonguing,
technique, according to student ability, then to music)
Long Tones (for muscle building and tone improvement)
Lip slurs (for flexibility and tone)
Intervals (for ear training and flexibility)
For Best Results:
Play slowly and rest after each line (remove mpc. from lips.)
When student masters Level One, replace with Level Two
for daily warm-up (etc.)
While playing, concentrate on proper breathing, mouthpiece
placement, mouth corner inhaling and attack as done in
“The Bull Pen”. Aim for a quality tone.
Low Brass Players
mellophone (bell front)
alto horn (altonium)
This eliminates need to use 6th & 7th positions
by Reynold Schilke
Heavy Top Mouthpiece
A working 3rd valve throw ring/slide is desirable.
(Mouthpiece: Bach 7c mouthpiece. Older students
upgrade to a Bach 3c mouthpiece)
(Mouthpiece: Bach 11)
(Mouthpiece: .Bach 7C, older students upgrade to a Bach 6 ½ AL)
(Mouthpiece: Helleberg 17)
Al Cass (fast),
or Pro Oil
Slide-O-Mix and Trombotine
are excellent trombone slide lubricants
Maurice Andre : trumpet
Dennis Brain : f. horn
Joe Alessi: trombone
Roger Bobo : tuba
Arturo Sandoval :trumpet
Giovanni Hoffer: horn
Carl Fontana :trombone
Bob Stewart: tubaView/Listen to Professionals www.YouTube.com
BLOW UP A BALOON
[Click on pics to be directed to website]
pub. By Summy Birchard
Brass Instrument Methods
Brass Player Magazine
Brass World International
Wind player Online
Texas School Music Projectwww.tsmp.org
Hold a pencil tightly in your mouth straight out —(this helps to strengthen the aperture and control the embouchure.
Other Off-Horn Exercises
(applicable to all brass)
F. Horn Exercises
Advanced Trombone Warm-Up (1)
Advanced Trombone Warm-Up (2)
Roy Stevens Isometric Exercises
Cool Down Exercise
Trouble ShootingFor More Advanced Brass Players
-each week, as you feel the progress in your lip, you can start on a higher open note to improve range and tone quality.
THISPOWERPOINT PRESENTATION AGAIN
ON MY WEBSITE:
(the link to this presentation is on my homepage)