Bai Lin Lip Flexibilities Pdf Creator
In article number 1902043, Quan Xu, Yu Tian, Zhenhai Xia, and co‐workers present how mussel cuticle is a functionally‐graded material with high stiffness, extensibility, and self‐healing capacity and oxygen absorbs on metal ions, weakening the iron‐catecholate bonds in the cuticle and collagen core, but this process can be reversed by sea water. Lip Flexibilities: For All Brass Instruments Download.zip 81186be442 Melodious etudes for trombone selected from the vocalises of marco bordogni.BASIC FLEXIBILITIES- TENOR/BASS TROMBONE - download.Amazon.com: Charles Colin Advanced Lip Flexibilities Complete for Trumpet: Musical Instruments.26 May 2017.free pdf, pocket, epub download, zip.
Recently, I've had several conversations with students and colleagues about approaches to good tone production, and specifically the variety of concepts of how sound is actually produced on brass instruments. We often forget that most music teachers do not have extensive background in applied physics. Most of us have taken a single semester of undergraduate acoustics, if that. Some have had the fortune (or misfortune) to sit in a music theory class or brass methods course where a knowledgeable MUSIC teacher explained to us the basics of musical acoustics. However even many published commentaries on this topic are not only unclear, but just completely inaccurate from an empirical standpoint.It is important to state here that just because something is not good physics, does NOT mean that it isn't good pedagogy. As most of us know, the most effective ways of getting yourself or a student to play well is often through metaphor, sound concept and artistic thought rather than the 'paralysis by analysis' that can come of trying to wrestle the mind/body into music making. But what happens when your tried and true metaphor breaks down?
Is more repetition needed? Did they not understand?
Or is that students simply not destined to play that horn? Or.do we need to adapt the approach? If adaptation is needed, do we have the understanding to do so effectively? For this reason, I think it is valuable as teachers and professionals to understand what we are ACTUALLY doing when we play. Also many times students become confused by the variety of often opposite images used to teach the same concept. And if they dare ask the teacher to explain their method, many times they are even more confused because the teacher has no idea WHY a certain approach works. Here's a great example of this.Many brass teachers use the concept of 'cold air' to convey the idea of moving are at a quick velocity.
Student are told the air should always be 'cold' air like when you blow out a candle. However, among low horn players and low brass teachers it is not uncommon for a student to be told to play with 'warm air,' like fogging up a window. The opposition of the 'fast, cold' air versus 'warm, slow' air can be confusing for students. It is the difference in velocity we are trying to convey. Is either wrong pedagogically? No, absolutely not. But the student who is exposed to both is often confused.
One thing to understand is that the temperature difference is not the point. In fact, if you use temperature sensing devices (some kinds of digital thermometers will work for home use) the air exits your mouth at the same temperature whether you blow fast or slow. The reason it feels different if you hold your hand up in front of you and blow on it is dispersion of air particles. Air moving more quickly causes particles to disperse, or spread out, more quickly which make the air a few inches away from your lips feel colder. On the other hand air blown slower disperses less quickly and retains its feeling of heat. NEITHER is incorrect from a pedagogical standpoint. The cold air approach is intended to get students to speed up themovement of air and maintain velocity, whereas the warm air approach isusually intended to create a broader, slower air column either to helpin supporting lower pitches or to create a more even steady tone wherethe player is over-blowing.
This is a case where both approaches are both literally and conceptually correct, they just address different goals and if we understand the difference and convey that to students we've given them a more effective tool in their bag of tricks. It's that time of the semester. The homework is getting piled on, a paper is due before Fall Break, you've got that big concert, recital, preview, barrier exam, or honor band tryout coming up and things are just getting super busy.you are WAY too busy to set aside that morning warmup time you committed to at the beginning of the semester. Way too busy plus you were up studying til 1 in the morning and barely dragged yourself out of bed for that 8:00am theory class. It's a heart-wrenching story but all too true this time of year.When my students start coming in to lessons more exhausted and less prepared and often frustrated that they can't seem to get over certain hurdles, I remind them of 2 things:1) Take care of yourself (my wife is laughing at me cause I'm guilty of neglecting sleep all too often). But seriously think about how much rest, food, WATER you're getting, eat your broccoli, take your vitamins, and take care of yourself.2) Get back to routine!So many times when a student says something like, 'my high notes aren't working today,' I ask if they warmed up their high range that morning. Invariably the answer is no.
Among professional players there's a plethora of different warmup options. Some use the same exercises for 30 years and some change every week, but those who successfully maintain chops and technique and overcome technical problems have established a routine by which they systematically reinforce fundamentals and strengthen areas of weakness.
If you don't already have a set of warmups you use, I invite you to start with some of mine. You can download them on my website, and I also list several great method books with exercises for a variety of technical problems. I recently made a series of 3 videos of some of my most common exercises for some of my students.
You can play along with me here:or check out any of these resources to get some ideas. So I'm trying to get back to writing regularly and this seemed like the perfect topic because it's one that several students have come to be about recently. Embouchure development, particularly in expanding range and endurance, is a problem that all young hornists and brass players face. If we are lucky we have a mentor with the pedagogical knowledge to guide us through this process, but so many flounder alone for years!One of the most frequently MISused methods is that of Carmine Caruso. Caruso taught in New York for many years and had a huge influence on many professional players and teachers the world over. Through them this method has spread through colleges and conservatories worldwide, but it is an approach that is often misunderstood and often employed by players with very little actual instruction in the method.
In the book, 'Musical Calisthenics for Brass,' available from Hal Leonard, Carmine Caruso lays out many of his commonly used exercises. There are also a lot of hand-written variations floating around out there from various students of his over the years. I have recently run into a few students who had begun trying to develop better range or endurance using these exercises but had clearly not received them from someone who understood the approach well and were causing themselves serious problems.Julie Landsman, horn instructor at Julliard and long time principal horn of the metropolitan opera, studied with Caruso from the 1960s until his death in 1987. Landsman has put together a wonderful video series with handouts in PDF of the exercises. She is one of the foremost exponents of the Caruso approach. These video lessons are well worth the time. I suggest downloading the exercises and playing along.
Landsman says in the lessons, be careful to follow her instructions and note that some places she gives different instructions for beginners or young players than for college/pro players. Thanks Julie for this valuable resource!http://www.hornsociety.org/multimedia-mainmenu/caruso-method.
Bai LinLip Flexibilities (for all brass instruments)A bestseller since its publication in 1996, this book of flexibilities studies now ranks at the top of every trumpeter's library holdings. Bai Lin was Professor of Trumpet at the Central Conservatory in Beijing, China. He has composed an extraordinarily well organized 40-page book of flexibility studies which spans the elementary to advanced levels.
This new standard text for brass embouchure flexibility deservedly joins the pantheon of other such studies by Schlossberg, Irons, Colin, Smith, etc. (BQ-38 40pp)Also available for the iPad, the link at the bottom can take you to the iTunes catalog. These audio clips - and more - are embedded in the iPad version.
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