Happy New Year Everyone and Greetings from Lip Slur World Headquarters in Cincinnati, Ohio. It’s time to WAKE UP and begin the new year with a fresh start, so here is something to wake your face up in between the coffee and bloody Marys.
Progressive Lip Flexibilities for Brass
The latest offering from Lip Slur World Headquarters. This is not your grandfather’s sarcastic lip slur book! Book is $29.95 Shipping and Handling is $5 in the U.S.
Purchase Progressive Lip Flexibilities for Brass with International First Class Shipping
If you would like to have Progressive Lip Flexibilities for Brass shipped to an international address, you must also purchase the additional shipping. Shipping is $12.60 U.S. per copy purchased. Total is $42.60.
BIOFEEDBACK: READING RECORDED WAVE FORMS
Check out this short video of a student playing an excerpt of Clarke 2 (#37) followed by the same passage played by the the teacher (me). The recording software used is Audacity, a free open source recording application.
Compare and Contrast
What do you hear and what do you see? In the teaching studio, it can be difficult to express certain sounds or perceptions in words that clearly communicate to the student the difference between what the student is playing and what the teacher is describing and modeling. Inexpensive technology offers a way to bring the differences to life visually and to drive home a teacher’s observations with indisputable evidence.
In the video above, the student missed zero notes, however NONE of them were centered or resonant. When this was pointed out to the student, he agreed, but really didn’t have a clue why, nor what to do differently in order to achieve the different effect. After my demonstration, I described the physical way I approach making those sounds (pressurized breath and articulation) as well as the musical considerations that go beyond simply popping out a consistent sequence of pitches in time.
Wa-Wa Wave Forms
Here is an example of a student, again not “missing” any notes, producing an overall pleasing sound but unable to sense an issue where she was putting a slight crescendo on EVERY note. She could not hear that this was happening in the moment and gave a good degree of push back when this was pointed out (hence the recording). In this case, the student was attempting to be “musical with the air” and result was a “Wa-Wa” effect. Again, perhaps because this is a a more subtle effect, the student could NOT hear that this was happening, but when shown the video was able to see and, more importantly, hear the difference. Of course, this information is less helpful if the teacher doesn’t have an effective way of addressing and fixing the issue.
(This and the following examples were recorded with the Garageband app on Mac)
Goldman, Dotted Eighth/Sixteenths: Teach a Man to Fish….
Goldman Etude # 6
This video of the wave forms generated by Garage Band clearly illustrate at least two important concepts and, at the same time, give the student a visible representation of what they need to work on. Further, students can use this technology in their own practice sessions for very little cost.
The spacing of the notes gives away the underlying triplet feel that the student plays.
The size of the 16th notes, being smaller, reveals that they are slightly “swallowed.”
The “Teacher” wave forms reveal a uniformity of articulation, resonance, and rhythm. The dotted 8ths are all consistent triangles, the 16th notes are full, and the spacing is indicative of a beat squarely subdivided into 4 rather than 3.
When demonstrating this concept in lessons, I routinely exaggerate two aspects of this rhythm:
1) Conceptually, the 16th note is twice as loud as the dotted 8th just to get it to be “as loud” and not swallowed.
2) To illustrate the difference between the 16th rhythm and the triplet figure, it may be necessary to compress it just slightly. This is done, hopefully, without changing it to a 32nd note.
Notice the size of 16th notes and how much closer they are to the down beat immediately afterward. The “Student” wave forms show the more rounded, triplet like distance between the first and second notes of each beat of the dotted 8th/16th rhythm.
Consistency of the note shapes below represents (to this observer at least) a balance of resonance and precise articulation as well as consistent rhythm.
Here are some thoughts on how to get started in your teaching studio or practice room:
Reading Your Own Darn Waveforms:
Using Audacity and GarageBand to Provide Visual Feedback for Instrumentalists
What is Audacity?
What is GarageBand?
Mac OS only – not available for Windows
What do you need to get started
Consistent repetitions over weeks often result in the student being more readily able to self-analyze.
and during the sound check, the bass player was laying down the groove to Parliament’s “Do That Stuff.” As the saying goes, when you’re a hammer, everything looks like a nail and when you’re a purveyor of sarcastic lip slurs, everything sounds like a flexibility study.
Here’s a link to the original groove. It drops about 30 seconds into the track and is in the key of E, of course.
Looking for someone to help take you playing to the next level? Can’t help you there.
Do you want to make playing in the upper register simple and easy? Not so much there either. Takes work and thought. Plus, you have to be able to do it “in traffic”, that is, in an actual live musical setting, on demand, in time, with human people. Not just on the internet into your phone.
Looking for something new to practice? There we go.
Download the first page of “Tastee Slots” below:
SUMMER PRACTICE RESOLUTIONS, BITTER REGRET, AND VERMOUTH
Each year at this time, teachers and students alike begin to post and share ambitious and exhaustive summer practice regimens. Although they are meant to inspire, these “best laid plans” tend to take on the character of those old drawings of flying machines that were doomed to plummet straight down from the edge of the boardwalk into the surf. Yes, summer is a great time to finally get the practice hours in that seemed so hard to come by during the academic year, but often, players can find it even more difficult to get jump-started without the structure of a busy schedule. Combine this with an imposing and unrealistic musical check-off list, and let the avoidance mechanisms kick in.
One such practice summer schedule I recently witnessed online, was the musical equivalent of “This summer, I’m going to lose 2,150 lbs. and 42 dress sizes, play “Giant Steps” in all 13 keys, compose my first two symphonies left-handed while spending the days serving the community by lighting fires for the poor.” If that was my to-do list for the day, I’d stay in bed. The fantasy summer practice schedule, like its cousin, the New Year’s Resolution, quickly makes its way to the guilty scrap-heap of failed enterprises without so much as a running start. What to do?
PLAY SOMETHING PRETTY, PREFERABLY EASY
As an accomplished practice-avoider, procrastinator, and otherwise distracted human, I’ve developed a summertime practice coping mechanism that seems to work for me. Here are the basics:
• Set the bar as low as possible. By defining success in modest terms, you may have a shot of at least accomplishing one thing today. Yes, this is the opposite of the “New-Year’s-Resolution-Ironman-Ninja-Warrior-Conquer-the-World” approach, but at least it has the potential side-effect of getting you started with minimal dread and guilt and offers the promise of a realistic and fulfillable goal. It may be difficult to lose that 2,150 lbs. if you can’t put the fork down just once.
• Play something, don’t practice something. I like to start by playing along with a catchy tune from one of the great Ella Fitzgerald Songbooks (see below). Just put on a track and play along, try to pick out the melody in real-time, don’t worry about missed pitches. Stop to figure out the pitches if necessary, but just try to learn the melody. This can be MUCH easier than “transcribing” an improvised solo, after all, it’s just picking out a tune.
When you play in this way, YOU are accompanied by the world’s greatest singers on tunes written by history’s great songwriters, arranged by legendary arrangers. This has the added benefit of making you sound better by association.
Set your timer, and just do this for about 10 minutes. If you are like most folks, after ten minutes, you will probably want to keep going just a little longer which is totally cool. Or, you may be ready to move on to other material, either way, you’ve already spent 10 minutes sounding pretty good playing great music without having to knock yourself out.
Here’s today’s assignment — Play along and learn the tune to:
“Yesterdays” by Jerome Kern. Performed by Ella Fitzgerald. Arranged and Conducted by Nelson Riddle.
Sometimes, one gets bored. Just keep your fingers and lips away from the garbage disposal.
At 91 years old, Doc Severinsen displays a control, power and musical energy that are simply beyond comprehension for most players. Here is some video I took from the I.T.G. Cancer Blows rehearsal in San Antonio last year. There is a lot to unpack, but I believe there is a career to be had in understanding what is really going on in those corners. Listen, watch, and learn. Doc figured it out for you.
Doc’s Candid Corners
Photo courtesy of Kevin Burns Photography – Thanks Kevin!