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sevenhelz at 11:23am on 09/11/2006 under learning journal
sevenhelz at 11:23am on 09/11/2006 under learning journalMy aims this week are to work on double-tonguing with the exercises D provided, and to get my pedal notes up to scratch. Not much to say on the first one, it's just a case of playing with 'Ka' sounds instead of 'Ta' for ten minutes a day. Had a chat with Gavin (tuba player) about low notes. I think it might help to watch tuba players, I don't quite understand what D's saying. It's about being able to move from one register to another, which at the moment I can't really do - but I can get some strong low notes with only a slightly harsh sound. D was trying to explain that I need to keep some semblance of embouchure and open my jaw as I go lower, but I can't seem to do it right - It's as though I have three ways of playing bottom register,. One is clearly wrong and I'm unsure about the other two. Gavin says he has the same problem, so I may speak to an older player about it.
My issue this week is that I feel like, once I'm properly warmed up, I can play anything exactly as I want it. The problem is getting there, then not tiring out my lip. Sometimes I get there and my tone is wonderful, I can play all the top notes, but after about five minutes my lip is tiring and I'm losing the top range. I think I also need a warm-down routine, because on two occasions now I've come in and had real trouble sounding my first notes. I suppose I've been impressed with my own stamina so far, until this started.
I've also been getting discomfort and a numb feeling (is that a technical term there, Helzy?) in my left hand and wrist. It might be due to, basically, poor technique. I know that once I moved my right hand into a more comfortable and useful position, my left hand starting sliding upwards to take the extra weight; this has also given me a new callus on my left thumb where it now rubs against the lyre box. The arm/hand thing doesn't affect me until I've been playing a couple of hours, or whilst sitting, so I don't remember to think about it all the time. Sometimes I solve the numbness by giving the euph a rest and playing some piano studies for five minutes (suggested by John Bryan in the lecture last week). After that I feel fine again. I do think I need to visit a chiropracter, because carrying the euph even in a gigbag is making my shoulderblades click and my hips twist (I can tell it's bad when my feet don't like pointing straight). I have an address for a place my old chiro recommended.
The lecture this week on tuning didn't tell me much that was new. I was interested in Mr McCann's warning not to rely on a tuner; the flautist who spoke before him had recommended it for every musician but I agree that it's more important to hear it on your own. The gist of what McCann said is that you may tune your open notes correctly, but it's entirely possible that you would then play out of tune because you weren't concentrating properly and hearing the note befoe you played it. I don't think my tuning is poor, but in the top register I do have to think hard about where I'm pitching; generally F-G are sharp, but above that I start to get flatter. One particularly unpleasant note on my instrument is top B, which is incredibly flat (although it can be improved with better airflow, other euphonium players have tested my instrument and commented on the B).
My issue this week is that I feel like, once I'm properly warmed up, I can play anything exactly as I want it. The problem is getting there, then not tiring out my lip. Sometimes I get there and my tone is wonderful, I can play all the top notes, but after about five minutes my lip is tiring and I'm losing the top range. I think I also need a warm-down routine, because on two occasions now I've come in and had real trouble sounding my first notes. I suppose I've been impressed with my own stamina so far, until this started.
I've also been getting discomfort and a numb feeling (is that a technical term there, Helzy?) in my left hand and wrist. It might be due to, basically, poor technique. I know that once I moved my right hand into a more comfortable and useful position, my left hand starting sliding upwards to take the extra weight; this has also given me a new callus on my left thumb where it now rubs against the lyre box. The arm/hand thing doesn't affect me until I've been playing a couple of hours, or whilst sitting, so I don't remember to think about it all the time. Sometimes I solve the numbness by giving the euph a rest and playing some piano studies for five minutes (suggested by John Bryan in the lecture last week). After that I feel fine again. I do think I need to visit a chiropracter, because carrying the euph even in a gigbag is making my shoulderblades click and my hips twist (I can tell it's bad when my feet don't like pointing straight). I have an address for a place my old chiro recommended.
The lecture this week on tuning didn't tell me much that was new. I was interested in Mr McCann's warning not to rely on a tuner; the flautist who spoke before him had recommended it for every musician but I agree that it's more important to hear it on your own. The gist of what McCann said is that you may tune your open notes correctly, but it's entirely possible that you would then play out of tune because you weren't concentrating properly and hearing the note befoe you played it. I don't think my tuning is poor, but in the top register I do have to think hard about where I'm pitching; generally F-G are sharp, but above that I start to get flatter. One particularly unpleasant note on my instrument is top B, which is incredibly flat (although it can be improved with better airflow, other euphonium players have tested my instrument and commented on the B).