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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Consider that the limitation of not being efficient at transposition will handicap any player with professional goals.
Gekkrr when these articulations are truly mastered, any multiple tonguing will be easy. An etude properly studied should be almost memorized, if only temporarily. Conversely, when things are not going well, there is often a feeling of being jittery, off-balance, out of touch, a kind of emotional high center of gravity.
This calls for a kind of relentless self-criticism balanced with a healthy enjoyment of what we are doing. Oliver Nelson Patterns for Improvisation, 49, 50, 51, 52, 53, Realize that significant results from this kind of program will take six weeks or so, at least.
Dynamic contrast practice, using excerpts. At first, the indicated rest will make this routine seem easier, but the higher tessitura will eventually take its toll.
Then 4 “K” tongue. Never strain; you might feel occasional fatigue but you should feel like you could play all day on these studies. Warming up is a personal thing; everyone will need to find what works for them. The first three months will be the most difficult, but the weekly time investment gets smaller and smaller after that.
When not performing on the piccolo, do this once or twice a week for minutes. Hold out the upper notes, building up the reflexive memory of those notes on your whole system.
As hard as any of us practice, it won’t mean much unless we always geker listening, both while we play and also away from the horn, remaining open to new musical ideas and concepts. Many players are too easy on themselves in trumpte practice room and rehearsal hall, and too hard on themselves in performance on stage.
Yes, my password is: Personally, I prefer to work in fairly intense periods of minutes, resting about 5 minutes between each. Similar sessions on any demanding piece will benefit all of us. For particular performance situations, here are some suggestions: Exceed the demands made upon you in this area.
Walter Smith Lip Flexibility, 1, 2, 9, When you hear a player you admire, on any instrument, you might try to quietly find out how they practice. Include louder playing only occasionally, Develop and strive for a concept of a warm, vocal sound. When working in the more traditional collections Boehme, Duhememphasize the etudes with four gekket more sharps or flats.
After you have finished, which will take about two trumpft, you will have no trouble transposing, and can easily maintain your skill.
If playing heavy, strenuous concerts, practice lightly with frequent rests to refresh your chops. Intonation will correct itself with patient practice and playing these tones too loudly will forfeit many of the trumpte. Try to imitate the sound of a baritone horn.
Notes On Practicing-Chris Gekker. | Trumpet Forum & Trumpets For Sale
Learn to articulate at fast tempos, and also how to create motion within long notes. Experience will be necessary for most people to reach their potential, but I believe that the physical intensity involved is a big part of the problem.
When proper endurance has been built up, the throat the whole upper body will relax. Emphasize single and “K’ tonguing; multiple tonguing is a shortcut using these articulations and will really improve only when they are highly developed. Use the metronome to make your practices harder than performance conditions, hrumpet the concerts will seem easier.
With as many as possible, learn on at least two different trumpets. Find the most difficult passages and make them your priority in practicing; when they become relatively easy, your inner feelings about performing the piece will undergo quite a change. These drills should develop a high degree of flexible strength, of limber power; they are ideal for ascending to our highest notes.
Loud – warm up with Schlossberg 30, building volume throughout. Goldman Practical Studies, 1 through 4, single tongue. If you have a heavy rehearsal and performance schedule, complement the demands being made upon you.
Simply improvising scales, arpeggios, slurs, and different articulations is also good.
Chris Gekker | School of Music
Schlossberg Daily Drills, 82, very gskker, long last note, continue into pedal register. Do one a week.
Clarke Technical Studies, 6th Studysingle tongue. For playing the big romantic and 20th century works, we need to build up our tolerance for playing at full volume. Be able to play ten to fifteen of the most standard by memory at any time.