Learn more about Chris Gekker in the Encyclopedia of Trumpet Players. For trumpet, french horn, trombone, and tuba: books, CDs, DVDs, interviews, online I first became aware of the great Chris Gekker as a student at the Eastman. Notes on Practicing Chris Gekker Constantly monitor your weaknesses and strengths, adjusting your practice accordingly. Focus on what you.

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Warming up is a personal thing; everyone will need to find what works for them.

Bone2Pick: Chris Gekker

Once or twice a week, play louder than you have ever been asked, but for very short periods, resting more than you play. Find the most difficult passages and make them your priority in practicing; gek,er they become relatively easy, your inner feelings about performing the piece will undergo quite a change. The first three months will be the most difficult, but the weekly time investment gets smaller and smaller after that. This calls for a kind of relentless self-criticism balanced with a healthy enjoyment of what we are doing.

When practicing “K” tonguing many players experience a tightening of the throat area, especially when this drill is rather new. Emphasize the use of harmonic slurring through all seven valve combinations, so that the tongue does as much of the work as possible.

Chris Gekker

Almost every piece is written in a language, and we should immerse ourselves in that language to gain a fundamental understanding, from which true originality can evolve. This way you will always get stronger and stronger as you perform the piece from the beginning. Very geoker players do their best. Reversing this tendency takes time but can evolve naturally: These are typically very intense minute periods, perhaps as strenuous as any most players encounter.


Playing slow vocalises with the metronome on to prevent cheating is terrific practice. Ggekker that the limitation of not being efficient at transposition will handicap any player with professional goals.

chris gekker

Long last note, squeezing air out. Regular, consistent practice will give us most of the endurance we need. Avoid relying on long, strenuous, rigid routines – there is plenty of hard work to do later, and we will benefit more from the required intensity if we are loose and relaxed. Soft, continuous playing, without metronome.

When I am playing all day long, I’ll still try to do a Clarke study, a few long tones squeezing all the air outseveral lip slur patterns through all seven valve combinations, and a few minutes of intensive single and “K” tonguing.

Practice softly, keeping the embouchure fresh.

If you can manage the Brandenburg Concerto no. Share This Page Tweet. Do six in 30 minutes, starting one every 5 minutes. Discussion in gekjer Trumpet Discussion ‘ started by dbaconJun 4, When proper endurance has been built up, the throat the whole upper body will relax. An etude properly studied should be almost memorized, if only temporarily. Concentrate on Studies I through 8, at least one a day. Reading clefs and other “formulas” geiker help, but don’t rely on them. Dynamic contrast practice, using excerpts.

These drills should develop a high degree of flexible strength, of limber power; they are ideal for ascending to our highest notes. When working in the more traditional collections Boehme, Duhememphasize the etudes with four or more sharps or flats.


With as gekkee as possible, learn on at least two different trumpets.

Then we geiker perform within a zone of relative comfort. Keep the little finger of your right hand out of the “octave key” on the leadpipe; even if you usually play with it in, use this book to exercise true finger extension, to keep your hand loose and strong. They are receptive to widely varied influences, like hornist Dennis Brain, as profound a brass soloist as we have seen in this century, who listened closely to the light, dear sound and phrasing of dance bandleader Tommy Dorsey’s trombone.

When any of us are playing well, we commonly feel that we are playing from a “center” where we feel well-grounded, with a strong, secure presence behind every phrase.

Play soft scales and arpeggios into the high register. For playing the big romantic and 20th century works, we need to build up our tolerance for playing at full volume.

And the great jazz musician Charles Mingus, who often gekkeer of the heightened spontaneity he heard in performances by the Budapest String Quartet.

One etude a week, done with careful hard work, is plenty. Since the tongue’s mobility is directly related to our flexibility, intensive articulation practice will make us more limber all over the horn. Clarke Technical Studies, 6th Studysingle tongue.

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