/F9 9 0 R You should understand why you’re doing each thing. This is the easier one to talk about. b?

Practice seems to do nothing. If you find some etudes that seem rigid and dry, then this is all the better! What should I practice on tuba? They look like things you’ve played fine a million times. I consider this essential reading for anyone considering music school. Visualization exercises to work on focused air streams to. It never occurred to me to wonder what I should be practicing, because I filled my time with preparing for my lessons.

4 0 obj I could have just as easily used a technique book written for fourth graders. [ ] << x��}K�%9��>�Y�h��a`�=c����1�ccp�pc���G�C��PD^/�%㓂�(�b����?^���^��o�������훚TP���^3b6�������߾���_������o����)â��KJ�WTq��D�̓R�k E���a������O������O�_Y�~���~ ������F?$5yR�����$��?�~��o>O6�`Kǿ����Ҏ6:4=8�����4BW�o�ѧIG]��3*'��Zr�������i�ܑ�o"�Ƙ���cz*�ߺO�m���~��M�'����I���?K;\��vo�gis��ʵ�?H;�D�Z�F,�ٖe�8���X� ��V�O�:ja�}�c��Z�oz��>-�m���0:��۟��7���D�חy������L�@֝�z�R��^�o��\ʆhf)&�I�Z��h�el2�e. This is what I mean when I say scales are a bit overemphasized.

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You never know when an audition or performance opportunity will require you to quickly get one of those in shape. You play your instrument with muscles. 5 0 obj Those practice sessions consisted of warming up, running through a Rochut etude for the week, and then running through whatever solo material I had.
Filling that much time seemed inconceivable. /CreationDate (D:20160824171339)

Don’t get me wrong.

Scales absolutely must be worked on to a point, but I think they are a bit overemphasized in the music world in general. /F7 7 0 R Sleeping is when the brain consolidates memories and improves your fine motor skills you just spent all that time practicing. If you only take one thing away from this article, it is that you should not just mindlessly churn out the hours in hope of improving. How many times have you heard that breathing is important? I used to create big grids on a sheet of paper. This is why I do not recommend just plowing through all of the first set and then moving on to the next. Make these bad ones musical. >> The breath is everything for a wind instrument. If this fills your time, then you probably don’t need this article.

Some focus on a core piece of technique. Trumpet in B b Horn in F Trombone Baritone (T.C.)

They will know what is best for you. When a piece of music in G-flat major is placed in front of me, I’m not really thinking about the key at all. Don’t even bring your phone into the practice room with you.

Other aspects of your practice will be how you truly internalize keys, and once they’ve been internalized, there isn’t a lot of benefit to playing them mindlessly. If fourths scare you, find an etude that does that a lot. I just have to bring this up, because it’s an article about what to do during a practice session. I’d honestly only do one key a day and practice starting on different scale degrees. This is so much more important than speed. These don’t have to be as fast as the scales but should be internalized (not an intellectual exercise in memory recall). Some focus on lyricism. Also, they’re nothing special. I took a masterclass from someone in high school right when the book The Breathing Gym came out. That was eye opening. You’ve got a ways to go, and you definitely should have scales as part of your practice regimen. Here’s an example of how I’d incorporate them into my practice regimen. /ExtGState << >> /Font << Major Scales in Thirds? My teacher use to have me write a number over every two beats (or whatever is natural) of a lyrical etude. They are always going to or coming from somewhere. Was I cheating my releases or letting notes taper? I’m going to take a slightly contrarian view here. 2 0 obj Everyone who takes music seriously ends up memorizing all their scales. %PDF-1.3 But, it’s all about how you use this book.

There’s a hundred musical things to be thinking about, and it’s important to practice these ahead of time. I’d have the number of the Clarke study across the top and the key going down the side.

Second, it’s part of the internalizing process of playing in various keys.

5 . I still use them all these years later. My teacher took one of the early exercises and had me play it perfectly.

The technical etudes in those books put together the technique that was learned separately into an etude. What more is there to do if they’re already memorized? I’m going to take a slightly contrarian view here. If it’s so important, why does no one practice it? Then I wake up the next day and play it with ease. I think this technique book is essential (seriously, get your copy on Amazon here). I spent a few weeks trying to do this to perfect my “basics.” It was quite useful. 4 0 obj

He taught us a bunch of exercises from this book, and I started to use them. It’s not just important. I’d do a couple at a time but all in the same key. Everyone who takes music seriously ends up memorizing all their scales. >> The spiral bound bass clef version can be found on Amazon here. The price is worth it for the Fourteen Characteristic Studies and solo material (including the famous Carnival of Venice) at the end. Here are a few to get a feel for it: I highly recommend doing some form of this at the start of every practice session. It’s amazing the number of times I can’t seem to play something. The lowest point would be a 0 or 1 and the highest a 10. It’s been internalized. The idea of “deliberate practice” is all the rage these days. Poston Scale Packet Tuba Jenn Bock Concert F Major One Octave Scale and Arpeggio Full Range Scale Scale in Thirds Arpeggio Exercise Concert Bb Major One Octave Scale and Arpeggio Full Range Scale Scale in Thirds Arpeggio Exercise Concert Eb Major One Octave Scale and Arpeggio Full Range Scale Poston Scale Packet- Tuba- Jenn Bock

This article contains far more practice material than one could reasonably jam into a single practice regimen. I’ll throw in arpeggios and thirds here as well.

>> Think about the lines.

[/Pattern /DeviceRGB] Let me clarify before a bunch of professional musicians and teachers jump down my throat for that. Scales, plus other scalar exercises that we’ll discuss later, are part of a process of internalizing keys. When I got to college, my lessons didn’t consist of much more than what I was used to, but it was recommended that I practice 15 hours a week (or something like that).
It’s not easy; it’s very hard work.


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