The emission of sound and the philosophy of the 'many fewer' (Maurice Andr)

study skills ernesto chuli

Thursday, October 30, 2014 | 6:00
Posted in: 'Articles Trumpetland' - Edit: Trumpetland.com - Sanlcar de Barrameda
(Cdiz, Spain)
ISSN: 2254-8521
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Chuli Ramiro Ernesto teaches trumpet Conservatory 'Jos Iturbi "in Valencia (Spain)
since 2013.
He was a disciple of Maurice Andr 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 Andr 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
Chuli More Editorial Musical ( click here to buy it for
5.85 ).