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The emission of sound and the philosophy of the 'many fewer' (Maurice Andr)study skills ernesto chuliThursday, October 30, 2014 | 6:00Posted in: 'Articles Trumpetland' - Edit: Trumpetland.com - Sanlcar de Barrameda(Cdiz, Spain)ISSN: 2254-8521Tweet

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 SymphonicBand 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 andsmall, such as broadcast, sound quality andtuning aspects. To get our work we need to use all possible good time; so thatendow the study of small work sessions willalways sucedidas and prevented other rest. As a general rule we do not deliver daily rest without having devoted two tothree hours to our mission, as well as Payot said: "Soon enough every day, if weget that little bit every day."

Ludovic Vaillant in his Pedagogical Treaty Trumpet and Cornet says, "Success dep

ends much more on how to study thanthe amount of work." The study of the trumpet requires so much patience, perseverance and tenacity and above all prudenceand attention to the lips, to which no one should ever impose a violent effort unprepared.

Most students do not think about anything other than trying, as soon as possibleand cold, touch the higher notes.This may be due to make sure in advance and avail of these notes out. The resultof this attempt-too haughty is, if wecan give a high note, giving us an idea of ??our strength, the remaining left without quality or faulty. Acute note thatwe will have succeeded in giving without sufficient preparation will have eroded

the lip, and from that moment the soundswill be produced with the brute force of air and pressure-inevitable in this case the nozzle on our lips. Thus, the pleasureof doing vanishes and fear not get increases.It is important therefore to start the preparation work with the different soundemissions (where three records for studentswho typically have sharp, and the record that could reasonably reach those whodo not have this facility).

The good philosophy about exercise lies in making sure that we are not making anexcessive effort in any of the threedynamics (pp, mf, and ff).

In these days of study we find the balance between work sessions and breaks, which will change through our variousprofessional 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 plasticity of our brains, so the organs andmotor nerves that intervene in our task iran taking form, just as they do thoseof an athlete. That is why from thebeginning we put full attention on the aspect of heating and technical work. Maurice Andr tells us that "the rational

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use of breaks depends in large measure our ultimate success."

During the study sessions must constantly monitor the condition of the lips justto guess the time when a note moreflexibility and compromise the result acquired. With careful observation and honest, this moment stands out well, if weconsider the improvement and progress will be amazing.

Many may argue other ways, based more on the strength in the freshness of her lips. Methods such as Caruso, who performedmany solo and now recommend 'too many' teachers seek strength from the lips of an opposite manner to that proposed here.These will only be valid for those with the gift of strength, as the work by force. Our line clearly remains in theFrench school of Jean-Baptiste Arban and will focus for students with regular skills (for strength). The tips here willtry serving a tradition that has gone through four generations, and who have left the best moments in the history of thetrumpet. Expose them as tools enhancing qualities such as security, tuning, beautiful sound and nuances of expression.We will make judgments about the perfect study session, addressing the personal,social and principles that we can fosterconditions.

Once assimilated and understood these principles, it will be critical to the success of a test, competition or concert,to play three times a day scheduled repertoire. This is good evidence that, in adverse difficulties, we can successfullyovercome our mission.

The text of this article is excerpted from Trumpeter Formulary (2nd edition: 2014) written and published by ErnestoChuli More Editorial Musical ( click here to buy it for 5.85 ).