This document provides information for prospective members of The Pioneer Drum & Bugle Corps brass section. It outlines the required materials for auditions and camps. It also summarizes the brass staff's philosophy which focuses on proper posture, breathing, airflow, tone production, and articulation. Exercises are provided to practice these techniques including long tones, lip slurs, lip bends, and articulation exercises. Information is also given on audition information and camp dates.
This document provides an overview of the audition and brass technique philosophy for The Pioneer Drum & Bugle Corps. It outlines the required materials for auditions and camps, emphasizes proper posture and breathing for airflow and tone production. It details singing, buzzing, and long tone exercises to work on pitch, articulation, and developing good sound. Regular attendance at winter camps is necessary to be considered for the 2016 season.
This document is an introduction to the method book for prospective members of the Pioneer Drum & Bugle Corps brass section. It outlines the philosophy and approach to teaching used by the brass staff. Winter camp dates will be announced soon and attendance is required to be considered for membership. The method book covers topics like posture, breathing, tone production, articulation and more. It provides exercises to develop skills in each area and familiarize students with the staff's pedagogical approach. Prospective members are encouraged to review the material as preparation for auditioning and the upcoming season with Pioneer Drum & Bugle Corps.
This document provides information for prospective members of the Pioneer Drum & Bugle Corps brass section. It outlines the required materials, proper posture and breathing techniques, tone production exercises including singing, buzzing and playing long tones, as well as articulation, tuning, and audition information. Attendance at winter camps is required to be considered for membership in the 2016 season. The brass staff strives to ensure all members get the most out of their experience through fundamental pedagogy.
Learning to sing well is much like mastering any physical skill. It takes time, effort, and training. Just as athletes spend many years practicing their sport, singers must invest the time to hone their art. Think of yourself as a "vocal athlete", training to achieve whatever goal you have set for yourself.
Learning to sing,sing,singer,voice training,increase vocal range,singing made simple,singing easily,
The document provides detailed instructions on proper vocal technique and singing posture. It discusses standing tall with shoulders back and chin level, as well as maintaining a flat, firm abdomen. Proper breathing technique is emphasized, including filling the lungs fully and supporting notes with air from the diaphragm. Three divisions of breath are outlined for producing different vocal ranges: chest voice, head voice, and medium range. Resonance and singing long, high notes are also addressed.
The document discusses various vocal tones and techniques for singing, including thin fold and thick fold tones suited for different vocal ranges, as well as twang, aspirate, belt, head voice, growl, attack, and release techniques. It provides descriptions of how to produce each tone along with examples of artists who exemplify their use. The source is a chapter from the book "Popular Singing" by Donna Soto-Morettini of the Central School Speech & Drama and Liverpool Institute for Performing Arts.
This document provides guidelines for developing effective voice techniques. It discusses breathing from the lower abdomen, maintaining good posture, relaxing the vocal folds, and projecting the voice using head resonance. Specific exercises are outlined to focus on breathing, relax the larynx, find one's comfortable pitch range, and develop head resonance for voice projection. Regular warmups are recommended to increase voice efficiency and endurance during teaching. Individual voice training with a speech pathologist is suggested for optimal technique.
This document provides guidance on proper posture for singing. It discusses that standing straight allows for maximum lung capacity and breathing. Poor posture can restrict airflow and inhibit using the diaphragm. Good posture is needed to hit notes correctly and strike melodies by keeping the body straight and limbs comfortable. Posture also impacts the strength and power of one's voice. Specific tips include standing tall, keeping shoulders back, chin level, and abdomen flat to allow the diaphragm to work properly for breathing and vocal control. Proper foot, arm, and mouth positioning is also covered.
This document provides an overview of the audition and brass technique philosophy for The Pioneer Drum & Bugle Corps. It outlines the required materials for auditions and camps, emphasizes proper posture and breathing for airflow and tone production. It details singing, buzzing, and long tone exercises to work on pitch, articulation, and developing good sound. Regular attendance at winter camps is necessary to be considered for the 2016 season.
This document is an introduction to the method book for prospective members of the Pioneer Drum & Bugle Corps brass section. It outlines the philosophy and approach to teaching used by the brass staff. Winter camp dates will be announced soon and attendance is required to be considered for membership. The method book covers topics like posture, breathing, tone production, articulation and more. It provides exercises to develop skills in each area and familiarize students with the staff's pedagogical approach. Prospective members are encouraged to review the material as preparation for auditioning and the upcoming season with Pioneer Drum & Bugle Corps.
This document provides information for prospective members of the Pioneer Drum & Bugle Corps brass section. It outlines the required materials, proper posture and breathing techniques, tone production exercises including singing, buzzing and playing long tones, as well as articulation, tuning, and audition information. Attendance at winter camps is required to be considered for membership in the 2016 season. The brass staff strives to ensure all members get the most out of their experience through fundamental pedagogy.
Learning to sing well is much like mastering any physical skill. It takes time, effort, and training. Just as athletes spend many years practicing their sport, singers must invest the time to hone their art. Think of yourself as a "vocal athlete", training to achieve whatever goal you have set for yourself.
Learning to sing,sing,singer,voice training,increase vocal range,singing made simple,singing easily,
The document provides detailed instructions on proper vocal technique and singing posture. It discusses standing tall with shoulders back and chin level, as well as maintaining a flat, firm abdomen. Proper breathing technique is emphasized, including filling the lungs fully and supporting notes with air from the diaphragm. Three divisions of breath are outlined for producing different vocal ranges: chest voice, head voice, and medium range. Resonance and singing long, high notes are also addressed.
The document discusses various vocal tones and techniques for singing, including thin fold and thick fold tones suited for different vocal ranges, as well as twang, aspirate, belt, head voice, growl, attack, and release techniques. It provides descriptions of how to produce each tone along with examples of artists who exemplify their use. The source is a chapter from the book "Popular Singing" by Donna Soto-Morettini of the Central School Speech & Drama and Liverpool Institute for Performing Arts.
This document provides guidelines for developing effective voice techniques. It discusses breathing from the lower abdomen, maintaining good posture, relaxing the vocal folds, and projecting the voice using head resonance. Specific exercises are outlined to focus on breathing, relax the larynx, find one's comfortable pitch range, and develop head resonance for voice projection. Regular warmups are recommended to increase voice efficiency and endurance during teaching. Individual voice training with a speech pathologist is suggested for optimal technique.
This document provides guidance on proper posture for singing. It discusses that standing straight allows for maximum lung capacity and breathing. Poor posture can restrict airflow and inhibit using the diaphragm. Good posture is needed to hit notes correctly and strike melodies by keeping the body straight and limbs comfortable. Posture also impacts the strength and power of one's voice. Specific tips include standing tall, keeping shoulders back, chin level, and abdomen flat to allow the diaphragm to work properly for breathing and vocal control. Proper foot, arm, and mouth positioning is also covered.
This presentation, made by Katarina from http://tips.how2improvesinging.com, reveals some important points when it comes to singing high notes.
Some singers are known to be very good at singing high notes. Do you ever wonder what they had to do to achieve such skills? I have good news for you: everyone can learn to produce high notes! Your goal should be finding a healthy technique to produce high notes with ease and power. Inexperienced singers tend to push and squeeze resulting in a weak sound. To produce a high note in a healthy way, you need to learn to activate the deep muscles of the larynx without the help of the compensatory muscles that cause straining.
Always reflect on your feelings when using a particular technique. Do I feel any pain? Is it working? Does it make sense? Set realistic goals. Our voices have limitations. Avoid disappointment by recognizing your limitations.
The document provides instruction on meditation techniques from the Himalayan tradition. It outlines 5 steps to meditation: 1) diaphragmatic breathing, 2) correct posture, 3) systematic relaxation, 4) breath awareness, and 5) use of a sacred mantra. It then provides detailed instructions on how to practice each step, including descriptions of asanas (body positions) and a 31-step meditation practice using the mantra "So-ham". The goal is to experience a merged stream of the mind, breath, and mantra without intruding thoughts.
Manual para maestros de coros y de escuelasMaica Leo
This document is the preface to a manual of singing from 1870. It provides instructions for choir trainers on teaching singing to untrained choirs or schools. Some key points include:
- Emphasize the difficulties but assure pupils steady work will lead to success
- Encourage and praise pupils to keep morale high
- Teach theory to explain exercises, not vice versa
- Start with the basics and repeat them to ensure thorough learning
- Use a blackboard to demonstrate concepts visually
This document provides guidance on vocal technique for choirs. It discusses proper posture, breathing, and use of the voice to produce clear tones. It emphasizes keeping the throat open, teeth parted, and tongue relaxed. The document breaks down vowels into categories and provides exercises to practice each one. It stresses the importance of uniform pronunciation within a choir and holding vowels for their full duration without smearing. The goal is to clearly articulate words so the choir's purpose of glorifying sacred text is achieved.
This document provides instructions for beginner flute playing. It covers parts of the flute, proper care, techniques for playing including posture, breathing, embouchure and finger placement. It teaches how to play a pentatonic minor scale using both hands and introduces accents like slurring, tonguing and rolled R. Finally, it provides the notes to a Cherokee morning song for practice.
This document discusses calibration techniques for noticing subtle responses and states in communication partners. It provides exercises to expand awareness of one's surroundings and the other person, including their physical responses when telling the truth versus lying. The goal is to calibrate accurately to each individual person's state and responses.
This document outlines an effective daily practice routine for saxophone that includes:
1) Breathing exercises to develop a full lung capacity.
2) Long tones to work on tone quality and intonation without variation.
3) Intonation exercises using a tuner to focus on typically problematic notes.
4) Overtones to improve altissimo range and embouchure/throat control using Rascher exercises.
5) Scales with a metronome in various articulations to build technique, including major, minor, and chromatic scales.
6) Vibrato development using half and quarter note scales.
7) Tonguing with etudes to incorporate articulation work.
8
Breathing for brass players nick article v3Nick Etheridge
This document provides an introduction to breathing techniques for brass players. It discusses that air is the fuel for brass instruments and breathing can be improved through exercises away from the instrument. The benefits of proper breathing include deeper inhalation, improved air support, tone, dynamics and lung capacity. It then describes lung anatomy and the mechanics of inhalation and exhalation. Several exercises are presented to develop full, rapid breaths and maximize lung capacity through relaxed breathing from the mouth with good posture.
The document summarizes key aspects of layout and design elements across the front cover, contents page, and double page spread of a magazine. The front cover uses high key lighting and a plain background to clearly show the celebrity and create an edgy feel. The contents page lists article titles and images under categories in red text on a white background for consistency with the cover. The double page spread is dominated by a large image of Lady Gaga to signal the article topic, with text in columns and a bold title to guide the reader.
The document summarizes different genres of music magazines and their typical visual styles. It notes that indie magazines typically use red, black, and white colors with casual clothing and blank expressions. Pop magazines usually feature pink, purple, and blue with dressed up artists smiling or pouting. Rock magazines also use red, black, and white with casual clothing and blank expressions. The writer chooses to do a rock genre magazine because they like the basic color scheme and want to emulate the layout of Rolling Stone magazine.
The document evaluates 4 fonts for use on the cover of a rock music magazine. Font 1 is bold and suits the rock genre, and could be kept in black or a brighter color. Font 2 also stands out and is bold, relating to research on existing rock magazines, and could be kept in black. Font 3 is capitalized, bold, and easy to read, making the magazine eye-catching while conveying main points easily. Font 4 is also capitalized and bold, easy to read, portraying the rock genre and similarity to an existing magazine to attract readers.
Victor has over 4 years of experience in microfinance, currently working as Business Development Manager at Seedvest Microfinance Bank. He previously worked as an Internal Control Officer at Seedvest and SEAP Microfinance Institution. Victor has extensive experience in microfinance lending, business strategies, and ensuring internal controls and compliance. He holds certifications in microfinance and banking and finance degrees from The Polytechnic Ibadan.
Phase 1 Documentation (Added System Req)Reinier Eiman
This document outlines the requirements for developing an Administration of Sick Notes system. It will allow lecturers and secretaries at Cape Peninsula University of Technology to store and retrieve student sick note records digitally. The system will use Java for development, NetBeans as the IDE, and an Oracle database. It will have administrator and user functions like uploading scanned sick notes and student IDs, and retrieving student records. The system architecture involves a student providing their sick note and ID to a secretary, who will scan them into the student's digital file. Lecturers can then access generated student reports on absences. The goal is to improve on the current manual paper-based system.
• Ph.D. Biochemistry, Johns Hopkins University and over 14 years postdoctoral experience; in depth knowledge of virology drug discovery and development
• 6 years Project Leader of infectious disease drug discovery and development program
• Extensive experience in medical and scientific writing including IND filings, SBIR NIH grants, peer reviewed manuscripts, patent applications, research posters, marketing materials, press releases and research program summaries
• Exemplary managerial, problem solving and communication skills coupled with demonstrated multitasking abilities
• Proven ability to both lead and contribute to crossfunctional teams and deliver on project goals with aggressive timelines
• Established track record for building collaborative relationships with academic investigators, clinicians and key opinion leaders
This document provides information for prospective members of the Pioneer Drum & Bugle Corps brass section. It outlines the philosophy and pedagogical approach of the brass staff. Attendance at winter camps is required to be considered for membership in 2016. The document reviews proper posture, breathing, airflow, singing, buzzing, and tone production techniques. It includes exercises to practice these skills and introduces lip slurs, bends, and articulations. The goal is to help members master their air, embouchure, and sound before auditioning for and participating in the corps.
MFC 발견 2주차자료입니다.
GUI 개발에서 핵심인 이벤트-드리븐에 대해서 다룹니다. 이벤트와 메시지, 핸들러에 대한 개념은 SDK(API)와 MFC를 비교하며 다룹니다.
또한 유니코드, 멀티바이트(MBCS)에 대한 개념을 다룹니다.
마지막으로 리소스에 대한 이해를 통해 리소스의 필요성에 대해 알아봅니다.
MFC 발견 1주차 자료입니다.
GUI프로그래밍과 윈도우 프로그래밍 소개입니다.
MFC의 전신인 SDK(API)와의 비교, Qt 라이브러리 간단한 소개, 닷넷의 간단한 소개 등 MFC 외에도 다양한 GUI 및 윈도 프로그래밍 기술에 대해 소개를 합니다.
MFC와 SDK(API) 비교를 통해 MFC의 캡슐화된 개념을 알아봅니다. 또한 MFC가 왜 탄생을 하게 되었는지에 대해서도 소개를 합니다.
MFC의 소스코드들을 직접 찾아가보면서 어떻게 MFC가 구성되며 실행되는지에 대한 내용을 파해쳐봅니다.
전반적으로 MFC에 대한 진입장벽을 낮추어 주는데 초점을 맞추었습니다.
This presentation, made by Katarina from http://tips.how2improvesinging.com, reveals some important points when it comes to singing high notes.
Some singers are known to be very good at singing high notes. Do you ever wonder what they had to do to achieve such skills? I have good news for you: everyone can learn to produce high notes! Your goal should be finding a healthy technique to produce high notes with ease and power. Inexperienced singers tend to push and squeeze resulting in a weak sound. To produce a high note in a healthy way, you need to learn to activate the deep muscles of the larynx without the help of the compensatory muscles that cause straining.
Always reflect on your feelings when using a particular technique. Do I feel any pain? Is it working? Does it make sense? Set realistic goals. Our voices have limitations. Avoid disappointment by recognizing your limitations.
The document provides instruction on meditation techniques from the Himalayan tradition. It outlines 5 steps to meditation: 1) diaphragmatic breathing, 2) correct posture, 3) systematic relaxation, 4) breath awareness, and 5) use of a sacred mantra. It then provides detailed instructions on how to practice each step, including descriptions of asanas (body positions) and a 31-step meditation practice using the mantra "So-ham". The goal is to experience a merged stream of the mind, breath, and mantra without intruding thoughts.
Manual para maestros de coros y de escuelasMaica Leo
This document is the preface to a manual of singing from 1870. It provides instructions for choir trainers on teaching singing to untrained choirs or schools. Some key points include:
- Emphasize the difficulties but assure pupils steady work will lead to success
- Encourage and praise pupils to keep morale high
- Teach theory to explain exercises, not vice versa
- Start with the basics and repeat them to ensure thorough learning
- Use a blackboard to demonstrate concepts visually
This document provides guidance on vocal technique for choirs. It discusses proper posture, breathing, and use of the voice to produce clear tones. It emphasizes keeping the throat open, teeth parted, and tongue relaxed. The document breaks down vowels into categories and provides exercises to practice each one. It stresses the importance of uniform pronunciation within a choir and holding vowels for their full duration without smearing. The goal is to clearly articulate words so the choir's purpose of glorifying sacred text is achieved.
This document provides instructions for beginner flute playing. It covers parts of the flute, proper care, techniques for playing including posture, breathing, embouchure and finger placement. It teaches how to play a pentatonic minor scale using both hands and introduces accents like slurring, tonguing and rolled R. Finally, it provides the notes to a Cherokee morning song for practice.
This document discusses calibration techniques for noticing subtle responses and states in communication partners. It provides exercises to expand awareness of one's surroundings and the other person, including their physical responses when telling the truth versus lying. The goal is to calibrate accurately to each individual person's state and responses.
This document outlines an effective daily practice routine for saxophone that includes:
1) Breathing exercises to develop a full lung capacity.
2) Long tones to work on tone quality and intonation without variation.
3) Intonation exercises using a tuner to focus on typically problematic notes.
4) Overtones to improve altissimo range and embouchure/throat control using Rascher exercises.
5) Scales with a metronome in various articulations to build technique, including major, minor, and chromatic scales.
6) Vibrato development using half and quarter note scales.
7) Tonguing with etudes to incorporate articulation work.
8
Breathing for brass players nick article v3Nick Etheridge
This document provides an introduction to breathing techniques for brass players. It discusses that air is the fuel for brass instruments and breathing can be improved through exercises away from the instrument. The benefits of proper breathing include deeper inhalation, improved air support, tone, dynamics and lung capacity. It then describes lung anatomy and the mechanics of inhalation and exhalation. Several exercises are presented to develop full, rapid breaths and maximize lung capacity through relaxed breathing from the mouth with good posture.
The document summarizes key aspects of layout and design elements across the front cover, contents page, and double page spread of a magazine. The front cover uses high key lighting and a plain background to clearly show the celebrity and create an edgy feel. The contents page lists article titles and images under categories in red text on a white background for consistency with the cover. The double page spread is dominated by a large image of Lady Gaga to signal the article topic, with text in columns and a bold title to guide the reader.
The document summarizes different genres of music magazines and their typical visual styles. It notes that indie magazines typically use red, black, and white colors with casual clothing and blank expressions. Pop magazines usually feature pink, purple, and blue with dressed up artists smiling or pouting. Rock magazines also use red, black, and white with casual clothing and blank expressions. The writer chooses to do a rock genre magazine because they like the basic color scheme and want to emulate the layout of Rolling Stone magazine.
The document evaluates 4 fonts for use on the cover of a rock music magazine. Font 1 is bold and suits the rock genre, and could be kept in black or a brighter color. Font 2 also stands out and is bold, relating to research on existing rock magazines, and could be kept in black. Font 3 is capitalized, bold, and easy to read, making the magazine eye-catching while conveying main points easily. Font 4 is also capitalized and bold, easy to read, portraying the rock genre and similarity to an existing magazine to attract readers.
Victor has over 4 years of experience in microfinance, currently working as Business Development Manager at Seedvest Microfinance Bank. He previously worked as an Internal Control Officer at Seedvest and SEAP Microfinance Institution. Victor has extensive experience in microfinance lending, business strategies, and ensuring internal controls and compliance. He holds certifications in microfinance and banking and finance degrees from The Polytechnic Ibadan.
Phase 1 Documentation (Added System Req)Reinier Eiman
This document outlines the requirements for developing an Administration of Sick Notes system. It will allow lecturers and secretaries at Cape Peninsula University of Technology to store and retrieve student sick note records digitally. The system will use Java for development, NetBeans as the IDE, and an Oracle database. It will have administrator and user functions like uploading scanned sick notes and student IDs, and retrieving student records. The system architecture involves a student providing their sick note and ID to a secretary, who will scan them into the student's digital file. Lecturers can then access generated student reports on absences. The goal is to improve on the current manual paper-based system.
• Ph.D. Biochemistry, Johns Hopkins University and over 14 years postdoctoral experience; in depth knowledge of virology drug discovery and development
• 6 years Project Leader of infectious disease drug discovery and development program
• Extensive experience in medical and scientific writing including IND filings, SBIR NIH grants, peer reviewed manuscripts, patent applications, research posters, marketing materials, press releases and research program summaries
• Exemplary managerial, problem solving and communication skills coupled with demonstrated multitasking abilities
• Proven ability to both lead and contribute to crossfunctional teams and deliver on project goals with aggressive timelines
• Established track record for building collaborative relationships with academic investigators, clinicians and key opinion leaders
This document provides information for prospective members of the Pioneer Drum & Bugle Corps brass section. It outlines the philosophy and pedagogical approach of the brass staff. Attendance at winter camps is required to be considered for membership in 2016. The document reviews proper posture, breathing, airflow, singing, buzzing, and tone production techniques. It includes exercises to practice these skills and introduces lip slurs, bends, and articulations. The goal is to help members master their air, embouchure, and sound before auditioning for and participating in the corps.
MFC 발견 2주차자료입니다.
GUI 개발에서 핵심인 이벤트-드리븐에 대해서 다룹니다. 이벤트와 메시지, 핸들러에 대한 개념은 SDK(API)와 MFC를 비교하며 다룹니다.
또한 유니코드, 멀티바이트(MBCS)에 대한 개념을 다룹니다.
마지막으로 리소스에 대한 이해를 통해 리소스의 필요성에 대해 알아봅니다.
MFC 발견 1주차 자료입니다.
GUI프로그래밍과 윈도우 프로그래밍 소개입니다.
MFC의 전신인 SDK(API)와의 비교, Qt 라이브러리 간단한 소개, 닷넷의 간단한 소개 등 MFC 외에도 다양한 GUI 및 윈도 프로그래밍 기술에 대해 소개를 합니다.
MFC와 SDK(API) 비교를 통해 MFC의 캡슐화된 개념을 알아봅니다. 또한 MFC가 왜 탄생을 하게 되었는지에 대해서도 소개를 합니다.
MFC의 소스코드들을 직접 찾아가보면서 어떻게 MFC가 구성되며 실행되는지에 대한 내용을 파해쳐봅니다.
전반적으로 MFC에 대한 진입장벽을 낮추어 주는데 초점을 맞추었습니다.
Would you like to learn how to sing high notes?
There are specific things you must do and avoid in order to increase your vocal range. Feel free to try these suggestions.
Find out what vocal weight is, and how it can affect your ability to sing high notes.
Learn simple singing exercises that can get you started in the right direction when desiring to increase your vocal range.
This document provides tips for improving singing ability. It discusses 5 important parts of better singing: breathing, posture, muscle control, avoiding tension, and practice. Specifically, it recommends practicing controlled breathing techniques like taking quick "sips" of air. It also emphasizes using proper posture by aligning the body against a wall and relaxing muscles to improve breathing and reduce tension while singing. Regular practice is key to improving singing skills.
This document provides 5 tips for better singing: proper breathing through slow, controlled breaths; good posture by aligning the back against a wall; muscle control especially of the diaphragm to support breathing and singing; avoiding unnecessary tension; and regular practice. It emphasizes the importance of breathing from the diaphragm to hold notes longer, create better tone, and project the voice without forcing air through the vocal cords.
A short presentation on the basic fundamentals of singing. Techniques to improve your singing voice and control. Find resources to advance your singing skills, warm ups,pitfalls to avoid, and where to find the best affordable voice training.
Unison singing is the most valuable resource available to choral conductors and the most neglected, partly because conductors want to have the mass sound produced by mixed singing groups. The full chorus unison produces a very strong sound, flexible and adapts itself to almost any type of music.
This document provides guidance on developing proper air techniques and an internalized musical focus for horn playing. It discusses breathing from the diaphragm rather than overinflating the lungs, exhaling air in a steady circular motion to produce a flowing musical line. It emphasizes using one's ears to focus internally on the music rather than outward physical sensations. Examples provided include singing scales on a single breath and visualizing circular phrasing. Developing these air and mental techniques helps players achieve an ideal state of immersed focus on the music.
This document provides tips for improving voice projection and body posture when public speaking. It recommends practicing deep breathing exercises to relax the throat and fill the lungs. The "volume exercise" of varying loudness with vowel and number sounds can strengthen projection. Maintaining correct posture with shoulders back, chest lifted, and chin up opens the lungs and facilitates airflow for clearer speaking. Strong eye contact with listeners also encourages projecting the voice louder. Daily practice of breathing and vocal exercises along with minding posture can boost confidence and performance for public speakers.
This document provides tips on playing single notes clearly on the harmonica. It discusses proper embouchure, including keeping the harp deeply in the mouth and avoiding clamping the lips. It also describes techniques for good tone like inner compression and using different vowel sounds. The document then demonstrates a basic boogie progression using notes in the first and second positions. It concludes with information about the source material.
This document provides information and exercises for developing tenor saxophone technique. It covers topics such as breathing, articulation, tone development, flexibility, technique, scales, intonation, fingering charts and trill exercises. The goal is to improve singing, timing, posture, breathing, articulation and overall saxophone skills through focused exercises.
This document provides information and exercises for developing alto saxophone technique. It covers topics such as breathing, articulation, tone development, flexibility, technique, scales, fingerings, and intonation. Exercises are included to practice different articulations, tone development, and flexibility. Fingerings, key diagrams, and trill charts are also provided as references. The goal is to help alto saxophone players improve their skills and mastery of the instrument.
The document discusses strategies for developing a strong trumpet section in school bands. It recommends starting beginning students on cornet instead of trumpet, as cornets are easier to play due to their shorter length and conical bore. However, it states students should switch to trumpet after two years, once they have mastered proper technique. The document provides guidance on developing good posture, breathing, and buzzing skills in students. It also gives warm-up exercises and tips for addressing common tone issues.
Pdst warm ups for young singers compositionsiobhanpdst
This document provides a series of vocal warm up exercises for adults and young singers. It begins with physical warm ups like shaking out limbs to loosen muscles. It then progresses to exercises using unvoiced sounds, sound effects, and voiced sounds but not specific pitches. Vowels are practiced with gestures to shape them. Diction, body percussion, and beat boxing exercises are also included. The goal is to warm up voices and bodies through creative singing exercises that can also be used for composition.
Proper Pronunciation of Words and some Techniques in SpeakingEmmanuel Calimag
It is a document about pronunciation exercises and techniques how to speak in front in many people it includes
1. Proper Pronunciation
2. Vocalization
3. Techniques in Speaking
Oral Comm Handout#1 Pronunciation ExercisesDeb Homillano
This document provides pronunciation exercises to improve speaking skills. It includes exercises on breathing, centering oneself, and getting comfortable with the speaking space. The breathing exercises involve inhaling and exhaling through the nose and mouth in different patterns to relax the body and slow the heart rate. The centering exercise focuses on thinking from the stomach to feel rooted while speaking. The final exercise recommends practicing speeches aloud in the speaking space to get comfortable. The document also covers producing different vowel and consonant sounds, varying voice pitch and rate, and developing clear articulation. It stresses the importance of a pleasant, resonant voice for effective communication.
This document provides instructions for practicing different types of breathing exercises and meditation techniques to build chi energy. It describes chi gung breathing as well as yang and yin breathing rhythms. It explains how to do tension exercises, organ balancing exercises, and different meditation poses like standing meditation and lying down meditation. The goal is to increase lung capacity and learn to feel and direct the flow of chi energy throughout the body using focused breathing and visualization techniques. Regular practice of these exercises over time is meant to help strengthen chi energy.
Pdst – warm ups for young singers 2 revisedsiobhanpdst
This document provides guidance for warm up exercises for young singers. It outlines 11 sections of vocal warm ups focusing on posture, breathing, diction, range and agility. Exercises include finding good singing posture, physical movements like swinging a golf club or shooting a basketball to engage the breath, shaping vowels, whispering consonant patterns, and question and answer call and response singing. The warm ups are designed to relax students, develop proper breathing and posture, and prepare the voice through gentle exercises before singing.
The document provides vocal warm up exercises for singers. It explains that warming up is important for vocal health as it increases blood flow, improves technique, and prevents strain and injury. Exercises included are breathing with the diaphragm while lying down, lip trills, humming, ng-ah pitches, and scales. These exercises help with intonation, breath control, and developing a clear tone throughout the vocal range. The document emphasizes that warm ups should be done before practice sessions and performances.
This document provides guidance on warming up activities for voice and speech. It recommends starting with warming up activities to reduce stress and warm up muscles, followed by guided relaxation techniques like meditation and breathing exercises. Specific breathing exercises are described to expand the lungs fully and relax the muscles. A list of tongue twisters is also included. The document emphasizes that regular relaxation techniques and breathing exercises can protect the voice and reduce tension in the body.
3. 3
To potential Pioneer brass members:
Welcome to The Pioneer Drum & Bugle Corps. This method book is designed to summarize the philoso-
phy and approach to pedagogy as taught by the brass staff of Pioneer. Please familiarize yourself as soon as
possible with the information provided in the book. This information will be vital to a successful audition for
Pioneer, as well as giving a fundamental basis for our approach over the entire year.
Winter camp dates to be announced soon!
Attendance at all winter camps are required in order to be considered a contracted member of the 2016
Pioneer hornline. If conflicts or concerns arise, we can work that out on a case-by-case basis. Video auditions
are also an option, but will not guarantee you a spot until you come to a camp, or at the discretion of the brass
caption head. If you have any questions about auditions or the hornline in general, please don’t hesitate to call,
text or email me.
We as a brass staff strive to make sure that each and everyone of you get the most out of your experience
at Pioneer. Whether you are with us for one camp, or the entire season, we want you to get the most out of
your time. I am very excited to get the 2016 season underway, and can’t wait to meet all the new prospective
members!
See you at a camp!
Randall Bennett
Brass Caption Head;
Pioneer Drum & Bugle Corps
315-409-5987
rbennett13041@gmail.com
Better Every Day Love, Loyalty, Friendship
4. 4
–Music and exercises printed out and in a binder with plastic sheets
–A pencil
–Mouthpiece
- Hammond Design Trombone/Euphonium 12XL—Large Shank
- not needed at audition, however it is required by the March Camp
–Berp—Large Shank Euphonium
-required by the February Camp
–Breathing tube (provided)
–Instrument (provided)
–Water jug (provided at move-ins, must have own water bottle for winter)
–Rehearsal gloves; white uniform gloves, or can be baseball gloves.
-required at first and all camps
–Al Case valve oil; you will need multiple bottles of this in the summer, plan ahead.
–A black towel large enough to fit your instrument laying on the ground
-required at first and all camps
-nothing fancy, $1 Walmart towels are perfect
**Please make sure you understand what is provided by the corps and what you need to pro-
vide. The more expensive items are staggered out to make sure you don’t have to spend a lot
of money at one time. Please make every effort to have these required items by the camp they
are required at. The Berps can be found on most musical instrument supply websites and is re-
quired by the February camp. The mouthpiece can be found at karlhammonddesign.com, or on
most musical instrument supply websites. This is required by the March camp. Please plan
ahead for shipping, the mouthpieces tend to get backordered and take extra time.
5. 5
It is very important that we focus on this first part of the book. Your posture makes you able to take a
good breath, which makes you able to have a good airflow, which makes you able to produce a good
buzz, which makes you able to produce a good tone on your instrument (in essence - air makes buzz
makes sound). At Pioneer we will spend a lot of time on breathing and airflow methods.
General posture notes from visual caption head, Josh Pier:
The hips should be flat and positioned directly over the ankle bones. A member can do
this by rotating the pelvis forward, imagining holding a phone book between their thighs.
The rib cage should be lifted off the hips and they should be using their core muscles to
hold up their rib cage. To get the shoulders in place, the member should imagine pulling
the heart out of the chest up at a 45 degree angle. This will press the chest up and out as
well as relax the shoulders down and back. Elbows should be even and the angle they
create should be at about 120 degrees. Palms are off the horn. The same goes for either
horns up or down. On the horns down, the mouthpiece should be eye level.
Breathing:
Air is the foundation of everything that we do on a brass instrument. We must learn how
to not only take it in, but how to release it. Breathing to play a brass instrument is not
the same as breathing to live.
Airflow:
It is very important that we use a consistent airflow over the period of a phrase. We will
work on a lot of elongated exhales, while shortening the inhales to get the most out of your
breath. The goal is to move air without resistance or tension, sometimes quickly or over long
periods of time to maximize the most out of each musical phrase. We must move our air with-
out tension. Tension only does one thing…it kills the sound. At all times we must think about
the sound that is coming out of the instrument. A majority of bad sounds can be fixed by
checking your breath and airflow.
6. 6
Flow Studies:
1) Using your arms as a gauge throughout the exercise, breathe in for 6 counts. On count 3
your arms should be inline with your shoulders. Count 6, arms should be up straight over
your head. Strive to achieve one fluid motion throughout the exercise. Air should always
be moving in or out, nothing in between to cap the breath. Increase the counts to allow for
more expansion. (♩=72)
2) Breathe in for 4 counts and out for 4 counts. Repeat once. Then breathe in for 3 counts
and out for 4 counts. Repeat once. Breathe in for 2 counts, out for 4 counts. Repeat once.
Breathe in for 1 count and out for 4 counts. Repeat this pattern for about 20 seconds at ♩=
60-88.
3) Breathe in for 4 counts and out for 4 counts. Repeat once. Then breathe in for 4 counts
and out for 3 counts. Repeat once. Breathe in for 4 counts, out for 2 counts. Repeat once.
Breathe in for 4 counts, out for 1 count. Repeat once. Repeat this pattern for about 20 sec-
onds at ♩=60-88.
4) Breathe in for 4 counts and out for 4 counts. Repeat once. Then breathe in for 3 counts
and out for 3 counts. Repeat once. Breathe in for 2 counts, out for 2 counts. Repeat once.
Breathe in for 1 count, out for 1 count. Repeat once. Repeat this pattern for about 20 sec-
onds at ♩=60-88.
Strength and Flexibility:
Nacho Mama’s:
Begin by slowly breathing in and out, ensuring to take a full breath in and exhale all out.
Gradually increase the rate until you cannot continue to increase temp. Take 1 more breath
in and hold this. Carefully lower yourself into a squatting position, turn left and take a sip.
Turn right and take a sip. While holding your breath carefully stand up, and place your
hands above your head. Release the air for 16 slow counts (♩=70).
7. 7
Once you have practiced your airflow, the next exercises in sequence are singing, then buzzing. This
provides you the opportunity to practice your airflow with specified pitches. Singing before you buzz/
play is a great way to start producing a quality sound, also. The propose here is to not only get pitches
in your head, but to also get you to start using the correct vocalization that is required of playing a
brass instrument.
Singing Exercises (we sing everything that we play, but here are some singing warm-ups
and techniques that we start with)
–Starting on concert F, using a clear Dah syllable, move down half steps slowly to concert B♭.
Then go back up to concert F. Slur up and down to all pitches.
–Starting on concert F, using a clear Dah syllable, move up half steps slowly to concert B♭.
Then go back down to concert F. Slur up and down to all pitches.
–Starting on low concert B♭, using a clear Dah syllable, move down half steps slowly to
concert F. Then go back up to concert B♭. Slur up and down to all pitches.
Buzzing Exercises
–Using your left hand, place index and middle finger next to each other on the bottom of the
mouthpiece shank with the thumb underneath.
–Use the exercises listed above.
–Make sure you have a steady stream of air in forward motion.
–Make sure you have absolutely no tension in your face or upper body.
–Air makes buzz makes sound, however tension kills sound.
The following chorale is to be sung, then buzzed. We will sing either the lyric or it will be sung
on a syllable like Dah, Doh, Du, etc. This chorale will also be played on the instruments.
**When singing this chorale, sing it in the range that is the most comfortable for you**
9. 9
In this next section we begin playing on our instrument. The first tones of the day define how the focus of
the rest of your practice/rehearsal will be. Stay relaxed and think about the sound that comes out of your
horn at all times.
Producing a good tone:
Think about how you start each pitch. Behind every articulation must be a well organized
column of air. You cannot have any break in your airflow. At the start of each pitch should
be 5% more air than what will be needed for the rest of the pitch. This will ensure that a
buzz is produced quickly to start a good sound. Make sure that the end of the note does
not suffer in order to produce the next note. This will work not only on the purity of each
tone, but also on solidifying proper lip vibration.
Starting a pitch:
Our normal long tone articulation will either be “Dah” or “Hah”. Hah is to be used only
when instructed. This produces a tongue free air attack. Air attacks are used at times to
promote “air makes buzz makes sound.” We only use air attacks on a long tone exercise.
Releasing a pitch:
To release a pitch you simply take a small breath in. When done correctly all the sound
stops, but is not a capped sound. A capped sound happens when you insert the tongue into the
lips to stop the air. We will never use that technique in this brass section. A tongue is only used
to define when a sound starts, not stops.
14. 14
Lip bending is an isometric exercise used to strengthen and develop the lower, middle, and upper lips as well as the cor-
ners. When used properly a lip bend will help make your embouchure strong and healthy.
Here are some exercises off the horn to help get you started.
MMM - This exercise is accomplished by merely holding your lips closed, as in making the sound "mmm". When done
correctly, your lips should roll slightly inward. Hold on to this position as long as possible until your muscles begin to
burn, then rest the same amount of time it took to create the burn and repeat (twice a day should be sufficient).
Lactic acid is behind the burning sensation that is felt in the muscles during intense physical exercise.
"The Burn" - When your body produces lactic acid, it splits into a lactate ion (lactate) and a hydrogen ion. The
hydrogen ion is the acid in lactic acid. It interferes with electrical signals in your muscles and nerves, slows ener-
gy reactions and impairs muscle contraction. The burn you feel in isometric or in any intense physical exercise is
caused by the hydrogen ion.
Recuperation - It's extremely important between exercises not only to relax but also to encourage blood flow to
the lips. Engorging the muscles and tissue with blood will bring nutriments (oxygen, minerals) to the affected
area, which will in turn promote development of muscular strength and increase in tissue size. Bending over
while buzzing your lips or a good facial massage certainly will do the trick…
The Pencil - Place the unsharpened end of a wooden pencil snuggly against your closed teeth. Grasp the pencil with
both your upper and lower lips and let go holding the pencil straight out in front of your face with only the muscles of
you lips and embouchure. Continue holding the pencil until "The Burn". Rest and then repeat.
The Smooch - Roll the corners of your mouth as far forward as possible (pucker up). Slowly close the center of your lips
by focusing all your energy to the center of the lips as if you were trying to hold the pencil from exercise above in place
tightly. Continue holding until "The Burn". Rest and repeat.
The Lion - Also used extensively as a Yoga face stretching exercise this exercise can build the muscles of the cheeks
that are connected from the ear to the mouth. Open your mouth as widely as you can while trying to touch your chin with
your tongue. Open your eyes as wide as you can while looking straight up into the sky with your eyes. Continue holding
until "The Burn". Rest and then repeat.
The Coin Exercise - Much like the MMM this exercise focuses your energy more specifically on the center of a coin.
Place a coin (dime for upper brass, quarter for lower brass) between your upper and lower lips (in the center of where
your aperture is located while playing/buzzing). Assume the MMM position with the coin appropriately placed between
your lips. Being careful not to use your teeth in any way while grasping the coin with your lips roll your lips towards the
center of the coin exerting as much as pressure possible towards it's center. Continue holding until "The Burn". Rest and
repeat
The Shank - This exercise can be done either in a standing or sitting position. Begin by first cleaning and drying the
shank of your mouthpiece. Once the shank of your mouthpiece is dry, dry the inside of your lips. Slowly bend over at the
hips facing the ground. Grasp the shank of the mouthpiece with your lips. Be sure to place one hand under the mouth-
piece to catch it if you loose your grasp. Continue holding until "The Burn". Rest and repeat.
The Approach
This is a daily regimen!! Choose two or three of the exercises a day to do and keep rotating them making sure you're
working each muscle group at least every other day.
Most importantly;
1. Go to "The Burn" and stop....
2. Remember to rest the same amount of time it took you to create the burn.
3. Repeating the exercises twice a day should be sufficient.