Category: Method & Instruction
Showing all 6 results
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First published in 1971, Roy Steven’s Embouchure Self-Analysis and The Stevens-Costello Embouchure Technique (Complete) is considered to be the authoritative text on embouchure analysis incorporating physical laws, scientific principles and muscular physiology in establishing a consistent embouchure for the brass player. This revised second edition by the original editor, William Moriarity, reflects the timelessness and …
EMBOUCHURE TROUBLE & SELF ANALYSIS (STEVENS-COSTELLO TECHNIQUE)Read More
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Chris Gekker’s Endurance Drills for Performance Skills has a simple mandate – not unlike Herbert L Clarke’s Technical Studies – to play with ease in all registers, keeping the embouchure fresh and pliable. Clarke called endurance “90% of cornet playing” and you can see here that Gekker agrees. His attention to detail in his own …
Endurance Drills for Performance Skills plus Five bach Transcriptions – Chris GekkerRead More
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“Rhythms Complete” By Bugs Bower and Dr. Charles Colin is the most widely used primer in the world for teaching rhythm, syncopation and phrasing, employing a very melodic format of 82 exercises in rhythmic structures and combinations of rhythms. It requires time, practice and repetition to master, however once you can read this in 4/4 …
Rhythms Complete Treble Clef – Dr. Charles Colin and Bugs BowerRead More
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The Art of Trumpet Playing is a method by William A. Thiecke, edited and with a foreword by Mel Broiles. From the Preface “Students, it seems, invariably do not understand the principles of warming up correctly nor practicing wisely. It is largely a case of “Ve get too late schmart”. By this I mean that …
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The Saint-Jacome Method, in the eyes of many, was overdue for an overhaul. Today, it has arrived. Throughout the years the world’s most accomplished trumpet players have acknowledged and attributed much of their success to the teachings of Saint-Jacôme. Given their own individual musical talents, their natural gifts enabled them to navigate the “confusion”. The …
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“My basic philosophy is that every musician must find his or her own way of playing and execute it subconsciously. I believe strongly that if a player must consciously manipulate his face, tongue, or any other part of his anatomy for that matter, most of his effort will be directed toward that end leaving insufficient …
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