Interval routines for all treble and bass clef reading brass
Posted: Wed Jan 06, 2010 11:55 am
http://launch.groups.yahoo.com/group/Yo ... 20brasses/
My text introduction to these .PDF-files says:
Interval routines for all brass instruments
Versions for:
treble clef brasses
bass clef brasses
This editor puts weight on brass players being versatile in scale and arpeggio playing. Please refer to my scale routines also available for free within my Yahoo based download project. Being at home in scales furthers fluency in playing and in read-ing.
Playing interval routines rather is a matter of furthering accuracy. Ideally every scale mode should have its own interval routine. However this editor goes for a practical approach, where routines shall be manageable in day-to-day practice work. Writing out another huge set of routines dedicated specifically to each of several permutations of pitches and clefs would not be worthwhile. As the routines ideally should be played from ear, every player wanting to play intervals in the various modes will be able to combine the scale routines with the patterns of these present interval routines.
It is no secret that this present editor was raised with the Arban method, which is obvious from these interval routines. How-ever my experiences tell that it is possible to cut a few corners, timewise, if one wants to play intervals over a larger range of keys in daily sessions of technical maintenance. Hence every line dedicated to a specific key in a specific octave may be ended at the first fermata. Playing through to the second fermata rather reflects Arban’s original approach, which is most rel-evant in the initial stages of developing proficiency in interval playing, as the playing of the triad strengthens the sense of each tonality.
At the first glance each of the two clef versions appear overwhelming. It is not the intention that any player should play all through these routines, especially not the ones in the bass clef. Rather each player should select the keys and the octaves, within his/hers comfortable range. From there every player should expand his/hers ability in playing in more keys and in higher and lower ranges. These routines should provide plenty of room for expansion of ranges.
A separate file provides various patterns of articulation to be applied on these routines.
Klaus
My text introduction to these .PDF-files says:
Interval routines for all brass instruments
Versions for:
treble clef brasses
bass clef brasses
This editor puts weight on brass players being versatile in scale and arpeggio playing. Please refer to my scale routines also available for free within my Yahoo based download project. Being at home in scales furthers fluency in playing and in read-ing.
Playing interval routines rather is a matter of furthering accuracy. Ideally every scale mode should have its own interval routine. However this editor goes for a practical approach, where routines shall be manageable in day-to-day practice work. Writing out another huge set of routines dedicated specifically to each of several permutations of pitches and clefs would not be worthwhile. As the routines ideally should be played from ear, every player wanting to play intervals in the various modes will be able to combine the scale routines with the patterns of these present interval routines.
It is no secret that this present editor was raised with the Arban method, which is obvious from these interval routines. How-ever my experiences tell that it is possible to cut a few corners, timewise, if one wants to play intervals over a larger range of keys in daily sessions of technical maintenance. Hence every line dedicated to a specific key in a specific octave may be ended at the first fermata. Playing through to the second fermata rather reflects Arban’s original approach, which is most rel-evant in the initial stages of developing proficiency in interval playing, as the playing of the triad strengthens the sense of each tonality.
At the first glance each of the two clef versions appear overwhelming. It is not the intention that any player should play all through these routines, especially not the ones in the bass clef. Rather each player should select the keys and the octaves, within his/hers comfortable range. From there every player should expand his/hers ability in playing in more keys and in higher and lower ranges. These routines should provide plenty of room for expansion of ranges.
A separate file provides various patterns of articulation to be applied on these routines.
Klaus