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The emission of sound and the philosophy of the 'many fewer' (Maurice André) study skills · ernesto chuliá Thursday, October 30, 2014 | 6:00 Posted in: 'Articles Trumpetland' - Edit: Trumpetland.com - Sanlúcar de Barrameda (Cádiz, Spain) ISSN: 2254-8521 Tweet
Chuliá Ramiro Ernesto teaches trumpet Conservatory 'José Iturbi "in Valencia (Spain) since 2013. He was a disciple of Maurice André has been flugelhorn soloist with the Symphonic Band in Madrid for 17 years (1996-2013) and has published various research, both on paper and television. The secret of the working method can be summarized in the most intimate work and small, such as broadcast, sound quality and tuning aspects. To get our work we need to use all possible good time; so that endow the study of small work sessions will always sucedidas and prevented other rest. As a general rule we do not deliver d aily rest without having devoted two to three hours to our mission, as well as Payot said: "Soon enough every day, if we get that little bit every day." Ludovic Vaillant in his Pedagogical Treaty Trumpet and Cornet says, "Success dep ends much more on how to study than the amount of work." The study of the trumpet requires so much patience, perseve rance and tenacity and above all prudence and attention to the lips, to which no one should ever impose a violent effort u nprepared. Most students do not think about anything other than trying, as soon as possible and cold, touch the higher notes. This may be due to make sure in advance and avail of these notes out. The result of this attempt-too haughty is, if we can give a high note, giving us an idea of ??our strength, the remaining left wi thout quality or faulty. Acute note that we will have succeeded in giving without sufficient preparation will have eroded the lip, and from that moment the sounds will be produced with the brute force of air and pressure-inevitable in this cas e the nozzle on our lips. Thus, the pleasure of doing vanishes and fear not get increases. It is important therefore to start the preparation work with the different sound emissions (where three records for students who typically have sharp, and the record that could reasonably reach those who do not have this facility). The good philosophy about exercise lies in making sure that we are not making an excessive effort in any of the three dynamics (pp, mf, and ff). In these days of study we find the balance between work sessions and breaks, whi ch will change through our various professional times but always follow a pace that is based on feelings. The lips, the muscles involved in respiration, and the face, are well developed gradually. Just like that we said about the pla sticity of our brains, so the organs and motor nerves that intervene in our task iran taking form, just as they do those of an athlete. That is why from the beginning we put full attention on the aspect of heating and technical work. Mau rice André tells us that "the rational
use of breaks depends in large measure our ultimate success." During the study sessions must constantly monitor the condition of the lips just to guess the time when a note more flexibility and compromise the result acquired. With careful observation and hon est, this moment stands out well, if we consider the improvement and progress will be amazing. Many may argue other ways, based more on the strength in the freshness of her li ps. Methods such as Caruso, who performed many solo and now recommend 'too many' teachers seek strength from the lips of a n opposite manner to that proposed here. These will only be valid for those with the gift of strength, as the work by for ce. Our line clearly remains in the French school of Jean-Baptiste Arban and will focus for students with regular sk ills (for strength). The tips here will try serving a tradition that has gone through four generations, and who have lef t the best moments in the history of the trumpet. Expose them as tools enhancing qualities such as security, tuning, beau tiful sound and nuances of expression. We will make judgments about the perfect study session, addressing the personal, social and principles that we can foster conditions. Once assimilated and understood these principles, it will be critical to the suc cess of a test, competition or concert, to play three times a day scheduled repertoire. This is good evidence that, in a dverse difficulties, we can successfully overcome our mission.
The text of this article is excerpted from Trumpeter Formulary (2nd edition: 201 4) written and published by Ernesto Chuliá More Editorial Musical ( click here to buy it for 5.85 ).
