Music for All Summer Symposium presented by Yamaha. Euphonium Master Class Donald Palmire

Transcription

1 Music for All Summer Symposium presented by Yamaha Euphonium Master Class Donald Palmire

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3 Warm-Up/Daily Routine I. To Warm-Up or Not Warm-Up A. What does it mean to warm-up? 1. The short warm up (Fig. 1) 2. The extended warm-up (Fig. 2) B. When warm-ups are important C. When a warm-up is optional D. When warm-ups are impossible II. Warming Up Through Breathing Exercises III. Mouthpiece Buzzing Pro s and Con s Two different philosophies concerning buzzing A. Pro s 1

4 B. Con s The Solution C. Buzzing Exercises (Fig. 3) IV. Back to the Basics The Daily Routine A. Tone Development Exercises B. Lip Flexibilities (Fig. 4) C. Range Exercises (Fig. 5) D. Tonguing Exercises (Fig. 6) E. Scale Exercises (Fig. 7) F. Finger Exercises (Fig. 8) 2

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14 I. What is intonation? Intonation and the Euphonium II. Why should we bother to tune? III. Overtone Series/Partial Series IV. Know the Partial Series and Know Your Horn (Fig. 1) V. Know where your slides need to be positioned 12

15 VI. Use and intonation chart (Fig. 2) VII. Use alternate fingerings to improve intonation (Fig. 3) VIII. Use either a piano or metronome to practice tuning octaves, 4 th s and 5 th s 13

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17 Intonation Chart Note +/- +/- +/- +/- +/- +/- +/- +/- +/- +/- +/- +/- +/- +/- C C# D Eb E F F# G Ab A Bb B C C# D Eb E F F# G Ab A Bb B C C# D Eb E F F# G Ab A Bb B C C# D Eb E 15

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23 Efficient Practicing I. Why Practice? II. What Should Be Included in Your Practice Time? III. Preparing New Music for Performance IV. Use a metronome during each practice session V. Log your Practice Sessions (Ex. 2) 21

24 VII. Use the 80/20 Rule VIII. Use Variety! 22

25 Method Books Beginning Beeler Walter Beeler Method, Book I (Warner Brothers) Beeler Walter Beeler Method, Book II (Warner Brothers) Bowman Practical Hints on Playing the Baritone (Belwin) Cimera 221 Progressive Studies (Belwin) Fink Studies in Legato for Trombone (Fischer) Fink From Treble Clef to Bass Clef Baritone (Accura) Little, L. Embochure Builder (Belwin) Long Elementary Method (Rubank) Skornika/Boltz Rubank Elementary Method (Rubank) Skornika/Boltz Rubank Intermediate Method (Rubank) Weber Baritone B.C./T.C. Note Speller (Belwin) Method Books Intermediate Blazhevich Clef Studies for Trombone (Leeds) Bordogni/Rochut Melodious Etudes, Book I (Fischer) Colin 100 Original Warm-Ups (Colin) Fink Introducing the Tenor Clef (Accura) Hunsberger The Remington Warm-Up Studies (Accura) Kopprasch 60 Studies for Trombone (Fischer) Lafosse, A. School of Sight Reading and Style, Book I (M. Baron) Salvo 240 Double and Triple Tonguing Exercises (Belwin) Method Books Advanced Arban/Bowman/Alessi Method for Trombone and Euphonium (Encore) Blume 36 Studies, Vol. I (FisHarrcher) Blume 36 Studies, Vol. II (Fischer) Blume - 36 Studie for Trombone with F-Attachment (Fischer) Brasch The Euphonium and 4-Valve Brasses (TUBA Press) Caruso Musical Calisthenics for Brass (Belwin) Charlier 32 Etudes de perfectionnement (Lemoine) Colin Advanced Lip Flexibilities (Colin) Clarke Technical Studies (Fischer) Clarke Characteristic Studies (Fischer) Gillis 20 Etudes for Bass Trombone (Southern) Harris Artistic Etudes (Colin) Hickman Music Speed Reading for Melodic Instruments (Wimbleton) Lehman The ART of Euphonium Playing, Vol. I & II (TUBA Press) Mantia Trombone Virtuoso (Fischer) Marsteller 6 Cello Suites, Book I (Southern) Marsteller 6 Cello Suites, Book II (Southern) Nagel Speed Studies for Trumpet (Mentor) 23

26 Payne/Bowman/Werden Euphonium Excerpts from Standard Band and Orch. Library (Whaling) Raph Twelve Fantasies for Unaccompanied Trombone (Fischer) Shifrin Orchestral Excerpts for Euphonium and Bass Trumpet (Virgo) Tyrell 40 Progressive Studies for Trombone (Boosey & Hawkes) Weast Valuable Repetitions for Brass Players (McGinnis & Marx) Solos Beginning Bach/Dishinger Menuet in G (Medici) Clarke Devotion (Fischer) Clarke Norine (Fischer) Clarke Twilight Dreams (Fischer) Handel/Barnes Sound the Alarm (Spratt) Handel/Barr Sarabande (Lugwig) Handel/Buchtel Cantilena (Kjos) Hande/Harvey Wher er You Walk (Southern) Handel/Little Dove Sei (Belwin) Handel/Morris Revenge! Timotheus Cries! (Ludwig) Handel/Morris Thrice Happy the Monarch (Ludwig) Handel/Ostrander Arm, Arm Ye Brave (Editions Musicus) Handel/Ostrander Honor and Arms (Editions Musicus) Handel/Powell Sonata No. 3 (Southern) Haydn Minuet (for Bassoon) (Belwin) Haydn/Stouffer Country Dances (Kendor) Haydn/Voxman Aria and Allegro (Rubank) Mendelssohn/Ostrander It Is Enough (Editions Musicus) Mozart Minuetto (First Division) Mozart/Ostrander Serenade (Editions Musicus) Mozart/Stouffer Air in E-flat Major (Kendor) Pryor Starlight (Fischer) Purcell/Dishinger Gavotte and Hornpipe (Medici) Purcell/Ostrander Arise Ye Subterranean Winds (Editions Musicus) Purcell/Ostrander Lord Preserve Me (Editions Musicus) Solos Intermediate Alary Morceau de Concours (Cundy-Bettoney) Bach/Beversdorf Tis Thee I Would Be Praising (Southern) Bach/Gounod/Falcone Ave Maria (Southern) Bach/Kent Arioso (Belwin) Barat Andante and Allegro (Fischer) Clarke, Herbert Sounds of the Hudson (Witmark) Clarke, Herbert Southern Cross (Witmark) Clarke, Herbert Stars in the Velvety Sky (Cundy-Bettoney) 24

27 DeLuca Beautiful Colorado (Fischer) DeLuca Sentimentale Waltz (Fischer) DeLuca Thoughts of Gold (Fischer) Galliard Six Sonatas (International) Haydn/Little Divertimento (Belwin) Haydn/Little Suite in A-flat from Sonata No. 11 (Belwin) Haydn/Shuman Adagio from Concerto for Cello (Witmark) Hovhaness Concerto No. 3 (King) Kryl King Carnival (Fischer) Marcello Adagio and Allegro for Bassoon (Southern) Marcello Largo and Allegro for Bassoon (Southern) Marcello/Marriman Adagio and Allegro (Southern) Paradis/Falcone Sicilienne (Southern) Pryor La Petite Suzanne (Fischer) Pryor The Supervisor (Fischer) Pryor Tip Topper (Fischer) Saint-Saens/Falcone The Swan (Southern) Schubert Swan Song (Editions Musicus) Simons Atlantic Zephyrs (Fischer) Simons Gondolier (Fischer) Simons The Volunteer (Fischer) Simons Willow Echos (Fischer) Smith Cascades (Fischer) Smith, Henry Charles First Solos for the Trombone (Schirmer) Smith, Leonard B. Debonair (Belwin) Smith, Leonard B. Vignette (Fischer) Solos Advanced Arban/Leidzen The Carnival of Venice (Belwin) Arban/Lillya and Isaac Etude No. 11 (Fischer) Bach, Jan Concert Variations for Euphonium and Piano (TUBA Press) Bach, Jan Concerto for Euphonium and Orchestra (TUBA Press) Bach, V. Hungarian Melodies (Bach) Bach/Marsteller Cello Suites Nos. I, II and III (Southern) Bach/Marsteller Cello Suites Nos. IV, V and VI (Southern) Barat, J.E. Introduction and Dance Barat, J.E. Morceau de Concours (Marks) Bellstedt/Simon Napoli (Southern) Boccalari Fantasia di Concerto (TUBA Press) Bourgeois Trombone Concerto (R. Smith) Bourgeois Concert Prelude Brubaker Rhapsody for Euphonium and Piano (TUBA Press) Capuzzi/Baines Concerto (for the Double Bass) (Boosey) Cimera, J. Concerto for Trombone 25

28 Clarke, Herbert Bride of the Waves (Fischer) Clarke, Herbert From the Shores of the Mighty Pacific (Fischer) Clarke, Herbert Maid of the Mist (Warner) Clarke, Herbert Neptune s Court (Warner) Clarke, Herbert Stars in the Velvety Sky (Fischer) Clinard Sonata for Unaccompanied Euphonium (Shawnee) Cords Concert Fantasie (Cundy-Bettoney) Corwell Four Short Narratives (TUBA Press) Curnow Symphonic Variants for Euphonium and Piano (TUBA Press) Davis Rondo Concertante (TUBA Press) Fasch Sonata (McGinnis) Galliard/Brown Six Sonatas (International) Gallaher Sonata for Euphonium and Piano (TUBA Press) George, T.R. Moto Perpetuo for Baritone Horn George, T.R. Sonata for Baritone Horn Guilimant, A. Morceau Symphonique (AMP International) Haddad Suite for Baritone (Shawnee) Handel/Brown Concerto in f minor (International) Handel/Fitzgerald Aria con Variazioni (Presser) Handel/Marsteller Concerto in f minor (Southern) Horovitz Euphonium Concerto (Novello) Hummel Concerto for Bassoon in F Major (International) Hunsberger Carnaval (11 solos for cornet/trumpet) (Fischer) Klengel/Falcone Concertino No.1 (TUBA Press) Lebedev Concerto in One Movement (Editions Musicus) Mantia Auld Lange Syne (ART of Euphonium Playing TUBA Press) Mantia Fantasie Originale (ART of Euphonium Playing TUBA Press) Marcello/Fote Sonata III (Kendor) Marcello/Ostrander Sonata in a minor (International) Marcello Sonata in C Major (International) Mozart Bassoon Concerto in B-flat Major (Cundy-Bettoney) Nelhybel Concerto for Euphonium and Piano (TUBA Press) Ponchielli/Howey Concerto per Flicorno Basso (TUBA Press) Pryor Fantastic Polka (Fischer) Pryor The Little Chief (Fischer) Pryor Love s Enchantment (Fischer) Pryor The Patriot Polka (Fischer) Pryor Starlight (Waltz Caprice) (Fischer) Pryor/Cimera Air Varie (Chart) Rachmaninoff/Sharrow Vocalise (International) Rossini/Sullivan Largo al Facorum (Boosey) Saint-Saens Cavatine (Durand) Schumann/Droste Five Pieces in Folk Style (Ludwig) Schubert/Werden Arpeggione Sonata (Cimarron) Senaille Introduction and Allegro Spiritoso (Hirnschen) 26

29 Smith, Henry Charles Solos for the Trombone Player (Schirmer) Sparke Euphonium Concerto No. 1 (Studio Music) Sparke - Euphonium Concerto No. 2 (Studio Music) Sparke Pantomime (Studio Music) Sparke Party Piece (Studio Music) Spears Ritual and Celebration (Southern) Telemann/Brown Sonata in f minor (International) Telemann/Ostrander Sonata in f minor (International) Vaughn Williams Tuba Concerto Romanza Vivaldi Sonatas I-VI (cello edition) (Schirmer) Vivaldi/Ostrander Concerto in a minor (Editions Musicus) Vivaldi/Ostrander Sonata in a minor (Editions Musicus) Vivaldi/Ostrander Sonata in c minor (Editions Musicus) Vivaldi/Ostrander Sonata No. 1 in B-flat Major (International) White, D. Lyric Suite 27

30 Practice Log Ex. 2 Title: Movement: Date Measure # s Metronome Marking 28

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41 The Lyrical Euphonium Developing a Beautiful and Musical Style I. Tone Production What does euphonium actually mean? II. Types of Tone Qualities III. Remedies for Tone Faults IV. Refining the tone 39

42 V. Vibrato 40

43 VI. Four Ingredients of Proper Breathing Here are descriptions and performance qualities of the different parts of the mouthpiece: Inner Rim Diameter A narrow rim diameter will enable the performer to play higher and have better endurance. It will also limit louder dynamics and produce a bright tone quality. A wide rim diameter will enable the performer to have a better low range and a darker tone quality. It will also limit endurance. Rim Bite A sharp bite can limit control and flexibility. A soft bite is usually more comfortable but can make attacks fuzzy and may adversely affect pitch. Cup Shape and Depth There are two basic shapes of cups in brass mouthpieces: 1. Bowl 2. V cups Bowl shaped cups produce a brighter tone quality and are easier to play in the upper register. V shaped cups produce a darker tone and are easier to play in the lower register. Throat A narrow throat diameter can produce greater resistance, brighter tone quality and an easier upper register. A wide throat diameter can produce less resistance, darker tone quality and an easier lower register. 41

44 Backbore The Backbore is the inner section of the mouthpiece shank which follows the throat. The backbore always has a certain degree of a flare. The backbore shape will produce the same types of results as the throat. If the backbore is narrow, it will produce greater resistance, brighter tone quality and an easier upper register. If the backbore is wide, it will produce less resistance, darker tone quality and an easier lower register. 42

45 How Do I Choose the Right Mouthpiece Size? There is no ideal answer to this question. Much depends on your physiology (how your teeth, lips and jaw are shaped). If you have thin lips, you will most likely prefer a flat rim shape and a sharp inner rim. If you have thick lips, you will most likely prefer a round rim shape and a round inner rim. Depending on the shape of your teeth or whether you have any crooked front teeth will determine the ideal inner rim diameter. If you have a protruding lower jaw, you are considered an upstream player (the air stream actually hits the upper part of the cup). Upstream players normally have a brighter tone quality and therefore, need to choose a larger mouthpiece. Here is a general rule for selecting a mouthpiece: Select the mouthpiece with the largest rim diameter, cup depth, throat and backbore that you can play comfortably. The way to determine the largest mouthpiece is to answer the following questions: 1. Is the intonation good? 2. Are clear attacks possible? 3. Is the mouthpiece responsive in both the upper and lower register? 4. Is the mouthpiece responsive enough that you do not need to use excessive air to produce a tone? Remember, it can take anywhere from one to three months to adjust to a new mouthpiece. Be patient! Recommended Mouthpiece Brands The most popular mouthpieces among euphonium players are: Schilke Bach Doug Elliott Denis Wick Yamaha The following page is a basic comparison chart between some popular mouthpiece brands. 43

46 nches Bach Greg Black Doug Elliott Griego Steven Mead Monette Schilke Stork Denis Wick Yamaha 02 1G BT1.5 60, 60B /4G BT4 0AL ΩG 1.5G 106 SM2 BT-2 1AL, 2AL G 2G , C 3G LT/XT104 SM3, SM , 3M 57 3AL 33 3G LT/XT103 53, Symphony 53D, 53D, 53M , , 4M 24 4G 4C, 4G, LT/XT102 SM4, TT-4 52E2, Symphony 4A, 4B 4.5C/G SMB4 52D, 52D, 52M 14 5C, 5G 52 5A, 5B G & 6 LT/XT101 5, 5GM TT-5 51, 51B, 6AL Symphony 51D, 51M 00 6 Ω 6C, 6G, 6 Ω LT SMB6 TS-6 50 T1 6B, 7CS 48, 51 Note: Doug Elliott mouthpieces are three-piece mouthpieces (rim, cup and shank). Rims are classified as ST (narrow inner rim diameter), LT (medium inner rim diameter) and XT (wide inner rim diameter). Cups are classified as A-J (A cups are very shallow and J cups are very deep). Shanks are classified from 1-9 (1 is a very small backbore and 9 is a wide backbore). 44

47 Sightreading Basics I. What is Sightreading? II. Why is Sightreading So Important? III. How to Sightread B. Sightreading Checklist 1. Identify the clef 2. Identify the meter (time signature) 45

48 3. Identify the beginning key signature 4. Take note of any meter changes 5. Take note of any key changes 6. Identify all accidentals 46

49 7. Look for complex rhythms 8. Look for dynamic markings (sudden changes as well as extended dynamic changes) 9. Look for articulations (accents, legato and staccato) 47

50 C. How to Practice Sightreading IV. Sightreading Can Be Divided Into Five Basic Areas A. Rhythmic patterns Sixteenth note rhythms: Syncopated rhythms: 48

51 Sixteenth syncopated rhythms: B. Interval patterns Major arpeggios: 49

52 Minor arpeggios: Dominant seventh arpeggios: Diminished seventh arpeggios: 50

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54 C. Articulation patterns D. Phrasing E. Dynamics V. Suggested Materials for Improving Sightreading Skills A. Rhythm Patterns: Encyclopedia of Improvisational Rhythms and Patterns - Charles Colin School of Sightreading and Style (five volumes) - Andre Lafosse B. Interval/Articulation Patterns: Music Speed Reading - David R. Hickman Valuable Repetitions - Robert D. Weast Speed Studies for Trumpet - Robert Nagel Arbans Complete Method (major, minor, dominant and diminished exercises) Forty-Eight Etudes for French Horn - Verne Reynolds C. Phrasing Patterns: Melodious Etudes for Trombone (three volumes) - Bordogni/Rochut Selected, Melodious, Progressive and Technical Studies (two volumes) - M. Pottag 52

55 I. Rhythms Can Be Very Frustrating Session 5 How Do I Play That? Deciphering Difficult Rhythms II. Learning to Count Rhythms 2) The weak parts of the beat (eighths and sixteenths) are counted like this. 53

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57 1) This method does not use the main beats as the foundation 55

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59 III. Breaking Down Rhythms B. Rhythms in compound time (meter signatures with 8, 16, 32 and 64 as the bottom number of a time signature) can be easily broken down as well. 1) Here is an example using the eighth note as the basic beat. 57

60 2) Here is the same example using the sixteenth note as the basic beat. 58

61 IV. Rhythmic Confidence A. Once you take some time to work out rhythms with a different basic beat, you should experience a great deal of success. B. If you use this method, you will never have difficulty performing rhythm. 59