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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This way you will always get stronger and stronger as you perform the piece from the beginning. One etude a week, done with careful hard trmpet, is plenty. Continue pattern to pedal C, at least.
After you have finished, which will take about two years, you will have no trouble transposing, and can easily maintain your skill. Hold last note until all air is gone, then squeeze the last bit out.
Long last note, squeezing air out. An etude properly studied should be almost memorized, if only temporarily. Many players are too easy on themselves in the practice room and rehearsal hall, and too hard on themselves in performance on stage. Play soft scales and arpeggios into the high register.
Chris Gekker | School of Music
Soft – warm up with Schlossberg 18, sotto voce, legato tongue, very slow. Learning transposition from these methods will result in a shallow, easily rattled technique. If you can manage the Brandenburg Concerto no. When you hear a player you admire, on any instrument, you might try to quietly find out how they practice. Devote some time every day to playing extremely softly, softer than you would ever be asked to play.
Use the metronome to make your practices harder than performance conditions, so the concerts will seem easier.
When working in the more traditional collections Boehme, Duhememphasize the etudes with four or more sharps or flats. As much as possible, our practice should connect us with that center which is our base for playing well.
You must log in or sign up to reply here. This loud playing should be as relaxed as possible so the tone will be warm and without strain. 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. At first, the indicated rest will make this routine seem easier, but the higher tessitura will eventually take its toll. It is not just for building speed: These are typically very intense minute periods, perhaps as strenuous as any most players encounter.
Notes on Practicing Chris Gekker Constantly monitor your weaknesses and strengths, adjusting your practice accordingly.
Hold out the upper notes, building up the reflexive memory of those notes on your whole system. A few times a year, I’ll keep a practice diary for a week or so rrumpet a time, This always give my practice a boost, an added sense of purpose and energy. Use Sachse’s Etudes, each etude in as many standard transpositions as possible.
Sections can also be done at different times throughout the day. 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.
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.
Include louder playing only occasionally, Develop and geekker for a concept of a warm, vocal sound. Soft, continuous playing, without metronome. If you have a gekked rehearsal and performance schedule, complement the demands being made upon you. Sachse Etudes, on C trumpet.
Bone2Pick: Chris Gekker
Just wanted to bump this thread up because this is an excellent routine. Since the tongue’s mobility is directly related to our flexibility, intensive articulation practice will make us more limber all over the horn.
When proper endurance has been built up, the throat the whole upper body will relax. Suggestions for a practice routine Hold the last note until all air is gone, then squeeze the last bit out. And when these articulations are truly mastered, any multiple tonguing will be easy. 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.
Experience will teach us what works, if we really use our experiences to learn. No, create an account now. The major hindrance to smooth triple tonguing is an inability to single tongue quickly. Oliver Gekjer Patterns for Improvisation, 49, 50, 51, 52, 53, As hard as any of us practice, it won’t mean much unless we always keep listening, both while we play and also away from the horn, remaining open to new musical ideas and concepts.
This can trumept solved by avoiding only long, moderately paced practice sessions where almost all the playing is at “practice room mezzo forte. Refer to these books: Two or three a trumpett for four to six weeks is good; the intensity is similar to me to a hard two hour concert.
Goldman Practical Studies, 1 through 4, single tongue. Charlier 36 Etudes, When not performing on the piccolo, do this once or twice a week for minutes. Simply trumpte scales, arpeggios, slurs, and different articulations is also good. In addition to slurring them, practice single and “K” tonguing. 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.
Rest a few minutes, then straight through. Porret 24 Etudes melodiques.