TRUMPET & MELLOPHONE’ EDITION “Cadets aie 0 > 0 mM el 4) By ) fas i fe) a oy oO 0 is 0) mc oer roy 3 a BY wae Gino Wetec = eee a eo oN anosCadets Brass Rehearsa, Columbia Hix Music Department Breathing 3 @ Playing on the Mouthpiece/Buzzing 6 eee eee ee VE IPF IFIIDIOON INN VY HYUUVUUUY @ Tone Production ll Flexibility 16 & Tonguing 35 2 2 @ Finger Dexterity 44 Riffs 54 Cadets Brass Rehearsal Teciniques & Exeicises | 4DAA DDA ADD DD DD a ah ah ah a a a WD PP PAM EP EM AD MD DD OD DDD ODN Air is as vital to a brass player as itis to life. A wind instrument requires com- pressed air to produce atone. Webster's dictionary defines wind as “a natural movement of air of any velocity” This implies the need to move the air in large volumes and focus on allowing the body to expand naturally ~is the mastery of the breath that will dictate the success on the instrument. Exercises When working on these exercises, think of filing up the respiratory system completely. Try not to isolate each part of the thoracic quadrant {abciominale/chesti, but rather, fill up simultaneously throughout the quadrant Bring the eir in and allow the body to react naturally. Allow the respiratory system to expand effortlessly 2s larga amounts of air are being introduced, “Capping the Breath” ‘Think of the inhale and exhale as one movement, the air should either be moving into the systemn or out, never stopping between each motion and holding the breath. Imagine a baseball pitcher making a pitch to home base: the arm is either moving backwards or forwards, never stopping the motion in between. In breathing this will bing tension and affect the attack of the pitch, General Rules Keep good posture: Do not allow for any tension within the respiratory system. Do not permit the shoulders to lift: any movement of the shoulders should be induced by the expansion of the chest. Fr up:Try to expand the entire thoracic quadrant. The dynamic level should not dictate the amount of air to be taken in. Every breath should be as large as possible, Timing of the breath: Let the breathing become a part of the musical rhythm. If the attack is on beat 1, breathe on beat 4. In a fast tempo, think of breathing on beats 3 and 4 in order to play on count 1.