Lip Flexibilities ** For All Brass Instruments ** Bai Lin ** Full Score – Study ** Performing Ensemble: Trumpet Unaccompanied ** Instrumentation: Brass ** Item . View and download Bai-Lin(1).pdf on DocDroid. Description. This Professor of Trumpet at the Central Conservatory in Beijing, China has composed an extraordinarily well organized page book of flexibility .
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The following HTML tags can be used in the comment field: You are commenting using your Twitter account. Dynamic and tempo markings are not included, but I would assume that these should be added and freely altered depending upon your own needs and capabilities.
Overall these are both great books, and well worth studying. I start out each as written on the open F horn, extending down to the fingering, then continue down using the B flat horn, down to T A balance between variety and accessibility has been used to challenge the ear and combat the monotony of the typical lip slur exercise while maintaining a logical and musical shape to the phrase.
Worth area, and has published numerous articles in The Horn Call. Email required Address never made public.
Bai-Lin(1).pdf – DocDroid
Notify me of new comments via email. This kin avoid hurting your embouchure or learning to play incorrectly. The air should be fluent and steady consistent. Enter your comment here A Progressive Method of Flexibility Exercisesnewly revised and published by Meredith Music cover image linked from http: Facebook Twitter Reddit Print Email.
Lip Flexibilities (Bai Lin) — Balquhidder Music
For horn players, the book would flexibilitirs a fine supplement for developing accuracy and flexibility in the high range the lowest pitch is an f-sharp below the staff.
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Subsequent patterns expand both in range and rhythmic complexity, and the final exercises are truly virtuosic. Though written by a trumpet player, as the flrxibilities suggests the exercises contained here are beneficial on all brass instruments. This forces me to be flexible and facile in all ranges of the instrument.
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By continuing to use this website, you agree to their use. Briefly, some of the benefits of practicing lip slurs include:. Learn how your comment data is processed.
In his introduction, Hilliard provides some valuable dlexibilities into the art of playing beautiful slurs. Do not attempt to play in too high a register.
Lip Flexibilities (Bai Lin)
Always try to produce your most beautiful tone. Though ubiquitous in method and etude books for brass instruments, these two publications really cover the topic in a progressive, systematic way. You are commenting using your Facebook account. On a triple, I then continue higher on the high F horn, starting on T and going up as high as I can. Combined with effective practice and thoughtful instruction, lip slurs can be used to develop tone, technique, range, and more!
The exercises begin simply with half-note and quarter note slurs, beginning on open notes and moving downward through the harmonic series. Manipulating the air stream is key, not only in hitting the pitch but also in voicing each note with a full and ringing sound. Sorry, your blog cannot share posts by email. Next is to start a half step up from the beginning of the exercise on T23, working my way up to T0.
As with all lip slurs, the level of difficulty varies widely depending on the level of execution. This flexibilites uses flexibiilities. Post was not sent – check your email addresses!
Cancel reply Your name, email address, and comment are required. Special thanks go to Michael Helman for pointing out this publication to me. We will not publish your email. Notify me of new posts via email.
During practice sessions your embouchure, throat and tongue should be naturally relaxed and flexible. In his Preface, Professor Lin offers some excellent words of advice for practicing lip slurs — or anything else.