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To Buzz

tuba

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Manel Arocas
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939 views102 pages

To Buzz

tuba

Uploaded by

Manel Arocas
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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A¢tacemiA Alessandro Fossi To Buzz Elaborazione e basi mp3 a cura di Corrado Lambona Via Tigno, 1~ 67057 PESCINA (AQ) Tel: 328 4854736 accademia2008.it OE INTRODUCTORY NOTES. (To Buz) ‘The study ofthe mouthpice is a practice recognized by the world's most authoritative exponents of ‘brass playing; the benefits that can be obtained witha proper and systematic implementation are , ‘We can safely say that all noticeable problems on 2 teical level, stating from the production of sound, fo legato and staccato, can be solved more effectively with the study of che mouthpiece before even dealing with the instrument. This is bocause we directly work at the source of the sound: the vibration. Tis: Usually you use different mouthpieces forthe bass tuba and the contrabass tuba (as for other instruments like the trumpet: they change the depth, the volume of the cup, the throat and the backbore, however the biagest difference between different mouthpieces is surely given by the inner rim diameter, since the vibrating surface of our lps wil be diferent compared to inside the mouthpiece itl, so i 8 recommended (as with the instrument) to devote time to the study of | different mouthpicces that we use regularly ‘To stimulate the vibration more efficiently, you will beable to perform studies in different ways: 1 only with the mouthpiece, 2 altaching a mubher ube about 10 centimetres (or more) in length to the trost of the mouthpiece, 3 using a spirometer to see ifthe vibration is supported by an adequate amount of ait Points 2 and 3 are the ones that I mainly recommend particulary when we perform a study in all q keys. In this book you will find many exereises that requir the use of glssando, This s because with this technique you ean play an interval without changing the position of support ofthe mouthpiece on the lips: itis the muscles themselves rather than the movement of the jaw that will help us, particulary inthe lower register, a5, reacting to this stimulus dey will move flexibly to reach the ‘osied pitch, ‘The glissando will becom areal workout for our lip, snd that wil allow us to develop our sound, as well er making ws understand the correct sting for every single note (opening of the mouth, jaw position, angle ofthe mouthpiece) exactly and involuntarily Initially, the main purpose of these exercises isto work on those frequencies where the sound stops, 0 that our lips are responsive producing a viteation a any pitch, especially when we'll play an ‘nterval (small or large), with study these poins will be reduced even more, and we wil shift our latiention tothe homogeneity of our glssando, This will lead us to have a better command of our lips and the vibration coming fom them. Remember while playing, thatthe most important thing isnot the first or the last note ofan interval but what itis inthe middle, ty to pay much attention to play the better glissando you can. ij Keep in mind also that this sty wall bring enormous beneits inthe quality of your legat playing, asthe elissando can fo all intents and purposes be considered a legato in slow motion, Keep strictly to the rhythm wien you play with the accompaniment on the CD: atthe start of each {zack you will hear a metronome that Keeps tack of the tempo and piano sound tht wll give you the pith ofthe frst note to play Inhale seal for two metronome clicks, trying to store as much ai as possible, play the phase and thea breathe in the same way again, T usually tie to lave the 2 14 required for breathing between one musical phrase and anther; if yeu find a longer break, such i fas4/4, relax forthe fist 2/4 and inhale steadily for the remaining tw. Ifyou can not play all the tones ofan excrete, especially the lower and higher pitched ones, do not ‘worry. Getto where you can and ey to gota bit further each day: do not expect to be able to do everything staight away orto be able to make giant steps: be consistent and rigorous in your study ‘and lear to appreciate every small achievement Always remember that ou fist objective must be the quality of what we do, Clearly, as I said, to get results we nced consistency, only then ean we see the benefits of this Practice, these exercises should therefore be incorporated into our daly study plan, considering thems an integral part of our technique routine, ‘You can start playing with the mouthpiece for about ten minutes (one ofthe longer exercises, of two or three or more ofthe shorter) before your practice routine. ‘Once you ar able to master all the etudes ofthis book you can continue adding more Keys o each ‘exercise both in the upper and lower register, J suggest you also use dis method with the instrument, inthis ease, the exercises involving the use ‘of gissando will be performed withthe legato; you will have a fll technical stdy plan, sith which {you can also exerese by playing withthe basie accompaniment which will give you a refxence for ‘the rhythm and intonation. Tish you much success. INTRODUZIONE (ToBuzz) Lo studio del bocchino & una praticsriconosciuts dai pitt autorevoli esponenti del mondo degli ‘ottoni; i benefic che se ne possono trarre con na corrta sstematicaesccuzione sono enor Si pud tranguillamente affermare che tut i problemi riscontrabilialivello tecnico, patendo dalla produzione del sion, al legato come allo staccato, possono essere ssolti in maniera pi efficace fon lo studio del hocchino prima ancora che se affontaltdirettamente con lo strumento, questo perché andiamo ad agiredrettamente alla fonte del suono: la vibrazion, CONSIGLE Solitamente si utilizzano dei hocchini diversi per Ia tuba bassa © contrabbassa (come per alti strument come It tomb): cambiano la profondit, il volume della tazza, la penn edi foro, ma la ‘maggioredifferenza tra un boechino e Palio & siceramente dato dal diametrointemo del or, in ‘quanto diversa sara la suporici vibrante delle nosie labbra al'ntemo del bocchino stesso: & ‘consiglsbile dunque (come con lo strumento) di dedicare tempo allo studio dei boechini differen che usiamo regolarment, Per simolare la vibrazione in maniea pit effcace, si potranno eseauie gli stud in diversi modi: 1 solo con il boechino, 2+ applicando alla enna del boeehino un tubo di gomma lango dies centimetri ctsa (0 pi), {5- utlizando lo spirometto, in modo da verificare se la vibrazione & sostemuia da un'adegusta quanti ara | punti 2 3 sono quel che consiglio maggiormente spevialmente quando eseguiamo uno studio in ‘ute le tonal In questo libro roverete molt eserciri che richiedono Putilizzo del glissato, questo perché con questa tecnica & possibile suonare un intervallo senza cambiare Ia posizione <'appoggio del boechino sulle labbra, saranno i muscolistessi,olte al movimento dela mandibola che ci aiutera ppartcolsrmente nel registro g7ave, cho ragendo a questo stimolo si muoveranno in manera el per rggiungere P'altozza desiderata, II gliseato divente un vero e proprio allenamento per le nostre labbra, che ci permettrd di sviluppare il nostra ston, oltre a arc eapireesttamente ed in manierainvolontara impostavione ccorretta per ogni singola nota (apertura della bocca, posizioe della mandiols, angolazione det boceino), Allinizio, lo scopo principale di questi eserczi sarh quello di tavorare nelle frequenze dove il suono s'inferrompe, per far si che le neste labbra siano reattive produeendo una vibrazione (ualsios alfezza, soprattrt quando dovremo suonare poi un inervalo (piccolo o grande), con To Studio questi punti si riduranno sempre di pil, ed allora sposteremo la nostra atenzione sull'omogeneith dl nostro ghissato, questo ci ported ad avere una migliore padronanca delle ost Tabb e della vibrazione che ne seatursce, ‘Ricordae, meatresuonate questi studi, che la eosa pid importante non é ne la prima ne ultima nota

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