Playing a musical instrument has varying levels of difficulty based on the performer’s skill set and varies from instrument to instrument. In the meantime, I will provide various ways to improve a musician’s musical capacity regarding brass instruments through warm ups. Furthermore, the process that leads to a musical performance on stage is a daunting task; requiring breathing exercises, mouthpiece warm ups, and tonguing drills before the musician begins rehearsing their music. However, before I start warming up I must have a general knowledge about the music I will be playing such as tempo (how fast the music is) and key signatures (what pitches are played). Implementing the characteristics of the music into my warm ups will improve my overall performance.
First and foremost, playing any instrument requires air in order to produce sound. Additionally, breathing exercises develop
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musicality for brass instruments. The following exercises will be identical, but they harbor different purposes. Throughout the breathing exercises, I always breathe through my mouth to mimic playing on an instrument. By the same token, I will have a metronome on seventy beats per minute to ensure correct timing during the breathing exercises. Furthermore, an ideal breathing exercise to start warming up with is breathing in and out for twelve beats. The purpose of this exercise is to focus on maximizing air capacity in order to minimize the amount of times I have to breathe during my performance. After breathing in and out for twelve beats three consecutive times, I do the same for ten beats, then eight, and so on until I breathe in and out for one beat. As a result, my lungs have a larger air capacity than before that will facilitate the rest of my personal rehearsal. Subsequently, I will complete another exercise that focuses on my airstream. Moreover, this breathing exercise concentrates on having a consistent airstream that contributes to the tuning of a brass instrument. For this exercise, I will place my hand perpendicular to my lips, as if I am telling someone to shush, while my mouth forms an “O” shape. The position I previously described is what I will do when I breathe in. As I breathe out, I place my hand an arm’s length away from my mouth with my palm facing me; I should be able to feel a steady stream of air directed towards my hand as I breathe out. Now, the exercise will start with breathing in for eight beats and out for eight beats three times, then decreasing to six, four, and so on. However, the positions are not necessary when I breathe in and out for one beat. After completing this exercise, I proceed to my next warm up in my routine. After completing the breathing exercises, I will use my mouthpiece to conduct pitch exercises that cultivates range. As for this exercise, a metronome is not a requirement for a glissando when warming up. While I hold my mouthpiece, I begin playing the concert pitch F and raise it to a concert D. In order to raise the pitch on my mouthpiece, I think of saying the letter “E.” Moreover, this approach affects my bottom lip; the closer my lips are, the higher pitch I will be able to play. On the other hand, when I lower the pitch, I think of saying “ah.” By thinking of “ah,” my lower lip naturally separates from my top lip to achieve a lower pitch. Additionally, when I want to improve my range, I do not restrict myself to playing between a concert pitches F and D. I attempt to glissando between two octaves (sixteen pitches) at most. Once I have completed this exercise three or four times, I am ready to warm up on my instrument. Finally, warming up on the instrument will incorporate the characteristics of the musical piece I will be performing. Referring to the characteristics of the music I must perform, I will begin by playing a scale (eight musical notes ordered by pitch). For example, if the music is in the key of B Flat, I will play the corresponding scale, so I can remember the correct pitches to play throughout the music. First, I will start playing each note in the scale as half notes (a note lasting for two beats). Afterwards, I incorporate the tempo of my music into the scale once I have rehearsed it. For instance, if the music requires a tempo of ninety-five beats per minute, I play the scale again at the same tempo. Implicating tempo will support my timing, so I do not delay or expedite my part in the music. Gradually focusing on air and progressing to the instrument is a productive way to warm up on any brass instrument.
Following the previously stated warm up process provides an ingratiating rehearsal. However, this process will vary person to person, depending on their individual needs and what they want to improve on. Once I complete my warm ups, my chops (the muscles used to play my instrument) should feel warm and loose; similar to the way the body should feel before engaging in an intense workout. If so, my last requirement of my warm up is to tune my instrument so I can play in perfect pitch. Depending on the resources available, I can use an app on my phone or a handheld chromatic tuner. In addition, I will hold out the concert pitch F and adjust my tuning slides accordingly. If I am sharp, meaning my pitch high, I will lengthen my tuning slides to lower my pitch. Alternatively, if my pitch is flat, I will shorten my tuning slides to raise my pitch. I continue this process until my pitch is in tune. After completing all the necessary steps, I am ready to begin rehearsing my
music.
One of the pieces the UC Davis Symphony Orchestra performed was Carnival Overture, op. 92, composed by Antonin Dvorak. The conductor at this concert was Christian Baldini and the main violinist was Shawyon Malek-Salehi. This piece was made in the Romantic era with an orchestra instrumentation. The genre for this piece is concert overture and has a sonata form in a similar formate to other sonata forms from the Romantic era, making it sound dramatic compared to the Classical era’s sonata era. The live performance was true to Dvorak’s original score, which took the traditional sonata form of the classical era and changed it to incorporate a common Romantic era sonata form. Although the live performance focused on the first violinist, it still maintained the dramatic atmosphere from the original piece by keeping the sonata form, rhythm, texture, and instrumentation.
The live theatrical production I chose to see was 9 to 5 The Musical. The production was performed by Fayetteville Technical Community College’s very own Fine Arts Department. The musical is based on the film released by Fox in 1980. Collin Higgins adapted the film from the book 9 to 5 written by Patricia Resnick. It wasn’t until 2008 that the film was adapted to a theatrical production. The production was originally brought to broadway by Robert Greenbait and Dolly Parton wrote the lyrics and the music for the Musical. The run on broadway was very short but the production later toured in other countries around the around the world.
There is a term for the anxiety that affects performance. Musical Performance Anxiety (MPA) has been defined by the PhD, Levy JJ. (PhD, MA & BA,2011). MPA is like stage fright. When a drum corps member is performing or they might be nervous, have butterflies in their stomach. These are the effect of anxiety during performance. A study by PhD, MA conducted on drum corps members showed the effects of anxiety and created the term MPA. The highest amount of MPA was found in color guard performers due the effect guard members have on the show appearance. The root cause for this in guard members and drum crop members is how the performers are treated during practice. The comments coaches make during practice effect the state anxiety in performers. These similar thought go through the performer in
The details of intense experiences are often times not easily lost to others who acknowledge secondhand wonder when it is conveyed passionately. In other words, there are stimulating occurrences within even the most mundane lifetime that provide incredible sensory and a life changing incentive. Furthermore, this experience has the overwhelming power to convince others to pursue that event’s awe. An example of such an influential event is expertly playing an instrument and marching deliberately within The Pride of the Devils in front of a populous crowd. The primary reveal of The Pride’s strength is portrayed within the time-withstanding moments of the pregame exhibition as well as the enduring image of the half-time show. Because of the precise
The Wiz is a musical/movie released in 1978 that was an adaptation of the popular film “Wizard of Oz”. It included several very popular stars of the time, which were Diana Ross, Michael Jackson and Nipsey Russell. The movie set place in New York City where the main character, Dorothy, suddenly is swept by a tornado in the middle of a snowstorm. She later then found herself lost in a city she had no clue about and curious as to how she could return home. After meeting 3 other characters during her journey that share similarities, they all embarked on a trip to OZ to fix each of their problems. Throughout the movie characters apply their own soundtrack through singing songs in harmony that compliment the mood of each scene.
On May 2, 2014, Yoron Israel and The Key Players performed at the Amazing Things Arts Center in Framingham. The concert lasted approximately an hour and a half and seven pieces were performed. The program included many original songs as well as a few covers from Stevie Wonder and Louis Armstrong. This performance was quite different from the last concert I attended, in that it was a much different style of jazz. Yoron Israel and The Key players concert was very entertaining. However, it was not only the music but also several different works of art that made the show successful.
Sound requires an oscillating motion or air flow. In the flute, the air jet, and the resonance in the air in instrument produces an oscillating component of the flow. As the air starts to vibrate some of the energy (sound ) is radiated out the ends and through any open holes. Most of the energy is lost as a sort of friction (viscous loss) with the walls. The pitch or note can be altered very slightly by breath and lip adjustment, but if changed completely the length of the air must change.
Over Halloween weekend, Dance TCU in concert, performed at Ed Landreth Hall on the TCU campus, was a mid term showcase performed by the students in the TCU School for Classical and Contemporary Dance. The overall mood was very professional. These college level dancers performed various pieces from Giselle to video edited versions of dance to contemporary dances inspired by swing dancing. Each piece was unique and whether the style was classical or contemporary, the execution was very good. The quality of the performance was spectacular and showed all the work that everyone involved in the production has put out to perfect all the aspects of the show come together. While there were some minor technique errors, the staging, costume design, lighting,
Schlaug, Gottfried, Andrea Norton, Kate Overy, and Ellen Winner. Effects of Music Training on the Child’s Brain. The Musician's Brain. New York Academy Of Sciences, 2005. Web. 14 Oct. 2013. .
Around the country many younger trumpet students have started playing the trumpet with a lack of formal teaching other than their band directors. Trumpet students that are not receiving private instructions are often not expose to proper practice and fundamental techniques that will help them develop at a relatively quicker pace. Because of this, many students will develop bad playing habit that can take months or more to fix. In many cases young trumpet students are also not aware of the bad habits they are creating which can be worse than the bad habits themselves. This project will provide beginning trumpet students with a basic daily practice routine for those who don't have access to a trumpet teacher. This project will be aimed for your typical middle school trumpet student who has been playing at least a year in band or privately. This project will give them a weekly schedule full of exercises that they can do each day to help them establish a solid foundation for their trumpet playing. This project will also give the student helpful instructions as they go through each exercise.
Today, as Sergio greets me at the office, he immediately tells me that he is going to explain and show me some practicalities about production, as he wants to share his experience with me. While I observe him dealing with his daily duties, he also illustrates me how a typical project is set up, from its early phases. Music Production involves making decision since the beginning of the project, after having making an agreement with an artist, that usually Sergio spots himself, by listening to demos and taking suggestions from collaborators, friends in his professional network. He also admits that it is extremely rare for him to listen to a demo and suddenly decide to produce something: “Music always takes sometime, at least for me. I want to
Brass players are affected with several types of dystonia. Musician’s dystonia in brass players can affect either hand as well as the embouchure. The most common digit affected was digit 3 and a combination of digits 2 and 3. In Conti’s study, 25 percent of brass musicians suffered from hand dystonia. Embouchure dystonia is painless and is often triggered by certain music practice techniques and very seldom by trauma. Dystonia of the embouchure is very task-specific and usually occurs in one register of the instrument. Certain styles of playing can also trigger dystonic issues. (Frucht, 2009) performed an observation of 89 patients with embouchure dystonia that showed different types of issues. The register of the brass instrument showed
Music production is more than just a musical program; it is a duty that requires personal experience with music and artistic direction. Observing producers in the studio, their creativeness comes out in different ways even depending o their task. The artisanship of music production has come a long way ever since the heavily involved recording equipment has been massively changing. Every artwork has countless of individual people who have changed the way the art may be applied to the field, leaving behind their legacy to influence all aspects of music. Music producers are always overlooked when it comes to working with musicians or bands, but what people do not know is that they are the backbone of the production but are unseen to the public. There are several of paths on becoming a producer, like being self-taught or going to a vocational school. If you plan to advance as a producer, it will be a rough experience trying to ascend to a higher position. A music producer is the main person that manages the whole album on a record, and is responsible for helping the artist complete his work.
Of all the instruments laid out on display, only one caught my attention. I was thirteen at the time, and naturally, my eye was drawn to the shiniest of the group. I had never heard the sound of a flute before, aside from the cheap imitation of one on my family’s electronic keyboard. Nevertheless, I picked the pretty, gleaming, easy-to-carry flute on that first day of band class. Three years later, I can’t imagine playing anything else. What started off as blind luck and an attraction to shiny objects is now a part of my life. Playing an instrument is always a worthwhile investment; you develop a skill that many people only wish they had, you have opportunities to meet other musicians, and you may even get to travel in a band setting. But in order to reap the benefits, you first have to learn how to play.
42 In the case of silence, the passage of breath is open through the throat and the cavities above it, thus, the air flows freely through the two operations of exhalation and inhalation without any friction which could cause any production of any sound. In order to produce any sound, this involves the raising of the diaphragm (during exhalation) which presses the lungs and makes the air push out from the lungs to the point of articulation (i.e., the place of obstruction of the sound). As a result, the sound will be produced (Al-Hamad, 2002: 59). The production of a consonant sound requires close articulation by one or more vocal organs, which causes an occlusion at this point of articulation.