tuba scales in thirds

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I’m going to take a slightly contrarian view here. It’s embarrassing to have your scales perfect only to have your fingers confused in a rehearsal because a run starts on the fifth scale degree instead of the first. I’d spend some time on tricky bits of any of those.

Rest shouldn’t be underestimated as well. The best use of Arban, in my opinion, is to learn the characteristic studies and a few of the solos at the back. You should understand why you’re doing each thing. If you only take one thing away from this article, it is that you should not just mindlessly churn out the hours in hope of improving. These things shouldn’t be discarded when playing technical things, but they often are. [/Pattern /DeviceRGB] You should know what you’re going to practice before you start. << /Length 5 0 R /Filter /FlateDecode >> I’m going to take a slightly contrarian view here. This is the easier one to talk about. I’d have the number of the Clarke study across the top and the key going down the side. Major Scales in Thirds? %PDF-1.3

>> We presumably love music, and it’s probably not because we heard a tuba player execute a scale perfectly. I used to create big grids on a sheet of paper.

So, I practiced euphonium a few times a week. After you’ve hit your target (16 notes, perfectly even, at 144 bpm or something), I really don’t think it’s a good use of time to keep this up. As far as I can tell, there’s essentially two main technique books for brass players: Arban and Clarke. Don’t even bring your phone into the practice room with you. Visualization exercises to work on focused air streams to. /Type /Page

Think about the lines. These don’t have to be as fast as the scales but should be internalized (not an intellectual exercise in memory recall).

12 0 obj Don’t get me wrong. That was eye opening. It looks like someone wrote down a one common pattern and then transposed it to every key. I was really into reading, learning, composing, learning other instruments, playing in various bands, and even athletics. Poston Scale Packet Tuba Jenn Bock Concert F Major One Octave Scale and Arpeggio Full Range Scale Scale in Thirds Arpeggio Exercise Concert Bb Major One Octave Scale and Arpeggio Full Range Scale Scale in Thirds Arpeggio Exercise Concert Eb Major One Octave Scale and Arpeggio Full Range Scale Poston Scale Packet- Tuba- Jenn Bock 2 0 obj But, it’s all about how you use this book.

/CSpg /DeviceGray Those practice sessions consisted of warming up, running through a Rochut etude for the week, and then running through whatever solo material I had. Here are a few to get a feel for it: I highly recommend doing some form of this at the start of every practice session. /F7 7 0 R 1 o n W i n d o w s 7

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)��Ό��8��#�;��M[zn���f�����T�u�6�`�� ��O�����X����x��J���פ��z��}N2?X~��˃��P��Ǐ?���ꦣ���[μ� z�~�!����?����N���$~��͛�(A�����w�oE����E@|p]��:ΐ���-=�����b�o[w�Z,G~�� ��fJ|�i��'�� W��0�[���}ᷭO�QL蠟���bV���f�}"�����S�D�������. b? Did I hear where to place each note before playing it to land on perfect intonation? Were my attacks all focused and the same? I’m talking about Herbert L. Clarke’s Technical Studies if you’ve never seen the full name. Know all your scales in thirds and all your major, minor, and dominant 7 arpeggios. endobj >> If it’s so important, why does no one practice it? << We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. I’m partial to Rochut (Book 1 can be found here), but these are quite lyrical. First, it’s getting these common patterns under your fingers to be clean and even. My teacher use to have me write a number over every two beats (or whatever is natural) of a lyrical etude. It’s amazing the number of times I can’t seem to play something. You never know when an audition or performance opportunity will require you to quickly get one of those in shape. My teacher took one of the early exercises and had me play it perfectly. First off, I think you should play something lyrical and something technical every practice session. Scales, plus other scalar exercises that we’ll discuss later, are part of a process of internalizing keys. When I got to college, my lessons didn’t consist of much more than what I was used to, but it was recommended that I practice 15 hours a week (or something like that). /CA 1.0 Most people will never go beyond this point.

This article is what I wish I had available to me back then. There’s a hundred musical things to be thinking about, and it’s important to practice these ahead of time. There’s diminishing returns that aren’t worth it after a point. If you have another one, you should be able to extrapolate what I say here to that one by thinking about the types of exercises it has. Let’s divide this up into two main types: technical and lyrical. I lay out a deliberate practice guide in my article for learning how to Play in Tune. /ca 1.0 Learn all scales in two octaves. /CSp /DeviceRGB It’s my personal thoughts on the usefulness of certain common practice regimens and technique books. This is why I don’t suggest using them as a primary way to learn the technique. /F9 9 0 R b Scale In Thirds- Advanced? >> Range Study F Tuba; Range Study Variations; Tonguing and Technique Scales. They serve almost no purpose than to perform something flashy (so they are often used as audition pieces). This is why I do not recommend just plowing through all of the first set and then moving on to the next.

>> Muscles fatigue. Baritone Sax. If you find some etudes that seem rigid and dry, then this is all the better! The technical stuff happens automatically with Clarke studies or scales or shedding the hard parts of Carnival of Venice. It looks trivial. Practice seems to do nothing.

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