Advanced Flexibility in Legato for bass trombone (eBook, ePUB)
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This "Progressive Balancing" is divided in two parts: the first one is in a major tonality while the second one is in a minor tonality; each one of them,in turn, is splitin regular and reverse flexibility.This arrangement allows to streng then a successful and useful "dailyroutine and procedure"aimed at the development and maintenance of a good embouchure. The objectives that we daily pursue to face a concert,a lesson or an audition are more or less the same; this method takes these different single aspects, developing them by the gradual balancing of a good embouchure, that is: the attacks, t...
This "Progressive Balancing" is divided in two parts: the first one is in a major tonality while the second one is in a minor tonality; each one of them,in turn, is splitin regular and reverse flexibility.This arrangement allows to streng then a successful and useful "dailyroutine and procedure"aimed at the development and maintenance of a good embouchure. The objectives that we daily pursue to face a concert,a lesson or an audition are more or less the same; this method takes these different single aspects, developing them by the gradual balancing of a good embouchure, that is: the attacks, the legato, the octaves, the register,the control and the embouchure. It is recommended to start at a comfortable metronome speed(65-70),and gradually increase the pace,little by little, so as to speed up the entire "progressive flexibility". Dynamics have been omitted on purpose. In such an essay on flexibility, and therefore in flexibility it self, dynamics do not play such an important role as they usually do in music and scores. More over,some freedom has been intentionally left to the performer who is about to play the piece. It is advisable not to exceed with dynamics, that is avoid performing too loudly or too softly. Experience suggests to preferably perform by using dynamics that go from mezzopiano up to forte or from piano up to mezzoforte. Angelo Piazzini
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