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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Discussion in ‘ Trumpet Discussion ‘ started by dbaconJun 4, Notes On Practicing-Chris Gekker. Jun 4, 1. Notes on Practicing Chris Gekker Constantly monitor your weaknesses and strengths, adjusting your practice accordingly. Focus on what you need to improve, without neglecting general fundamentals.
Suggestions for a practice routine Ease of execution and a feeling of relaxed strength are the priorities here. Never strain; you tru,pet feel occasional fatigue but you should feel like you could play all day on these studies. Play slowly enough to finish each exercise perfectly. Keep the little finger of your right trumprt out of the “octave key” on the leadpipe; even if you usually play with it in, use this book to exercise true finger extension, to keep your hand loose and strong.
Concentrate on Studies I through 8, at least one a day. In addition to slurring them, practice single and “K” tonguing.
Strengthening the tongue in this fashion will make all playing more limber, relaxed, and flexible. And when these articulations are truly mastered, any multiple tonguing will be easy. These include single notes and sustained exercises that end with a long tone. Hold the last note until all air is gone, then squeeze the last bit out. Feel the stomach muscles clench; this is the only way to dynamically trumpdt the torso muscles used in trumpet playing. Practice pedal notes in this fashion, too.
Pedals require very deep breathing and will do wonders for the embouchure, stimulating a wider area of upper and lower lip vibration and encouraging the lower jaw to come forward a bit. This will help upper register power. Don’t pucker the lips to produce these notes and don’t “bark” from pedal C downward, trying to get these pitches in tune. Intonation will correct itself with patient practice and playing these tones too loudly will forfeit many of the benefits.
Try to imitate the sound of a baritone horn. Refer to these books: These are really “tongue level” exercises – the tongue channels the air to produce every note.
Gekkrr the feeling by whistling two notes, back and forth.
In your gdkker, don’t discount the value of simply slurring between two notes, hundreds of times. Emphasize the use of harmonic slurring through all seven valve combinations, so that the tongue does as much of the work as possible. These drills should develop a high degree of flexible strength, of limber power; they are ideal for ascending to gskker highest notes.
Emphasize single and “K’ tonguing; multiple tonguing is a shortcut using these articulations and will really improve only when they are highly developed. The major hindrance to smooth triple tonguing is an inability to single tongue yekker. Since the tongue’s mobility is directly related to our flexibility, intensive articulation practice will make us more limber all over the horn.
On middle C, single tongue sixteenth notes for one minute, breathing when necessary. Use etudes to practice single and “K” tonguing, even if they are marked slurred.
Double and triple tongue sections of all the standard texts are also good for this. The possibilities are endless, but here are some suggestions: Use Sachse’s Etudes, each etude in as many standard transpositions as possible. Do one a week. After you have finished, which will take about two years, you will have no trouble transposing, and can easily maintain your egkker. Reading clefs and other “formulas” can help, but don’t rely on them.
True skill, the kind that will stand up under pressure, is reflexive, learned by experience and repeated exposure. Learn these in sets of five or so, giving yourself plenty of time to study the scores and hear how they sound played by different orchestras, different conductors.
Keep copies in a separate folder until you have built up a list of fifty or so major works. Be able to play ten to fifteen of the most standard by memory at any time. With as many as possible, learn on at least two different trumpets. Make concentrated, quality work your goal. One etude a week, done with careful hard work, is plenty.
Spend some trumpeg working on one phrase at a time, even one measure at a time when necessary. An etude properly studied should be almost memorized, if only temporarily. Here are my recommendations: When working in the more traditional collections Boehme, Duhememphasize the etudes with four or more sharps or flats.
Exceed the demands made upon you in this area.
Devote some time every day to playing extremely softly, softer than you would ever be asked to play. Once or twice a week, play louder than you have ever been asked, but for very short periods, resting more than you play.
The soft practice will improve your sensitivity and give you confidence in touchy performance situations, and the loud “bursts” will condition your body and mind to relax in fortissimo passages, improving your tone and accuracy. Practice softly, keeping the embouchure fresh. Include louder playing only occasionally, Develop and strive for a concept of a warm, vocal sound.
Play soft scales and arpeggios into the high register. Hold out the truumpet notes, building up the reflexive memory of those notes on your whole system. When not performing on the piccolo, do this once or twice a week for minutes. Memorize from the last movement or page to the beginning, even if you use music when you perform.
This way you will always get stronger and stronger as you perform the piece gejker the beginning. 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. Concept is most important: Almost every piece is written in a language, and we should immerse ourselves in that language to gain a fundamental understanding, gkker which true originality can evolve.
If possible, study musicology and composition, or at least search deeply trum;et each piece you are interested in performing, learning all the parts and how they fit together. Study Louis Armstrong and Clifford Brown, whatever your concept might be.
Learn to articulate at fast tempos, and also how to create motion within long notes.
Chris Gekker | School of Music
Learn piano fekker study trupet, but also study harmony on your horn, learning to outline harmonic progressions by yourself. Record and study your own playing, constantly working for clarity regarding how you want to sound. These are only suggestions. When you hear a player you admire, on any instrument, you might try to quietly find out how they practice.
Learn how your teachers practice or practiced. Write exercises and etudes dealing with problems you have. Write solo pieces that show what you do best, even if you will be the only audience. If you have a heavy rehearsal and performance schedule, complement the demands being made upon you. If playing heavy, strenuous concerts, practice lightly with frequent rests to refresh your chops. If performing light repertoire, even if it is fairly constant, include some very loud drills in your practice, though not daily unless you find that this agrees with you.
Even then, be careful about practicing very loudly more than two or three days in a row. When I am playing all day long, I’ll still try to do a Clarke study, a few long tones squeezing all the air outseveral lip slur patterns through all seven valve combinations, and a few minutes of intensive single and “K” tonguing.
If I have time to really practice hours, though this time is usually in two or three segmentsI will occasionally write down what I plan to practice, perhaps loosely organized like the sections listed here. Personally, I prefer to work in fairly intense periods of minutes, resting about 5 minutes between each. Now and then, I will play for 30 minutes with only very brief rests; this is above all a test to see if I am playing loosely, without unnecessary tension.
A few times a year, I’ll keep a practice diary for a week or so at a time, This always give my practice a boost, an added sense of purpose and energy. When any of us are playing well, we commonly feel that gekoer are playing from a “center” where we feel well-grounded, with a strong, trumpt presence behind every phrase. 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.
As much as possible, our practice should connect us with that center which is our base for playing well. Experience will teach us what works, if we really use our experiences to learn.
This calls for a kind of relentless self-criticism balanced with a healthy enjoyment of what we are doing. Many players are too easy on themselves in the practice room and rehearsal hall, and too hard on themselves in performance on stage. Reversing this tendency takes time but can evolve naturally: Warming up is a personal thing; everyone will need to find what works for them.
The Clarke Technical Studies, properly done, can trupet quite well, especially if they have been memorized so the player can concentrate on proper feel. Simply improvising scales, arpeggios, slurs, and different articulations is also good. The point is to connect with an easy, relaxed way of playing. Avoid relying on long, strenuous, rigid routines – there is plenty of hard work to do later, and we will benefit more from the required intensity if we are loose and relaxed.
When practicing “K” tonguing many players experience a tightening of the throat area, especially when this drill is rather new. Please continue if this problem occurs. The throat is tightening to compensate for weakness at the back of the tongue.