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I was recently asked to give input to a student's presentation on valve technique. Here are the questions and answers.
QUESTION:
What books do you use to specifically train your fingers to react to fingerings and move with a speed that matches your tonguing?
ANSWER:
Clarke Daily Drills and Technical Studies, Clarke Characteristic Studies, Arban Complete Conservatory Method. For a few minutes each day, I use a technique I learned from Doc Severinsen. Play one of the Clarke studies, and, while playing it, "bang" the valves down really hard and lift my fingers really quickly after playing each note. This helps give the fingers the strength and speed they need. (One should be careful not to do this for too long at one time because bad habits can develop.) I also work to keep my finger tips on the valves and to keep a slight arch in the fingers. Especially while playing simple passages that don't stress my finger technique, I work on making my fingers follow the valves perfectly, not lifting off the valves between notes. I try to keep my finger tips in contact with the top of the valves at all times. When I am playing under stress this form slips a little, but the more habitual it is the more likely it is to keep my technique smooth and accurate even during difficult passages.
QUESTION:
What techniques do you consider the most useful when learning the overtone series, and correctly placing notes?
ANSWER:
I use lip slurs, starting with the open horn and gradually adding more fingerings, "forcing" the horn to play notes with more valves than are usually required on given notes. This trains the lips to find the notes, even when the resistance is greater than normal.
QUESTION:
What aspects of warming-up do you consider the most important in learning and maintaing skill in the euphonium - and for brass instruments (or even simply wind instruments) in general?
ANSWER:
Start with a mid- to low-range note and make a really good sound. Gradually work up AND DOWN from there, always trying to keep a good sound. Gradually bring in tonguing. Use scales and arpeggios. I either use some basic Clarke exercises or make up my own along the way. The over-riding focus must be on making everything sound musical. Scales are not just scales, but should sound like musical lines, etc. Keeping the focus on musical sounds will 1) develop your musicianship, and 2) will exercise your technique, making it work harder and more accurately, because playing musical lines requires flexibility of tone, speed, volume, etc., and that requires more facility of technique.
QUESTION:
What books do you use to specifically train your fingers to react to fingerings and move with a speed that matches your tonguing?
ANSWER:
Clarke Daily Drills and Technical Studies, Clarke Characteristic Studies, Arban Complete Conservatory Method. For a few minutes each day, I use a technique I learned from Doc Severinsen. Play one of the Clarke studies, and, while playing it, "bang" the valves down really hard and lift my fingers really quickly after playing each note. This helps give the fingers the strength and speed they need. (One should be careful not to do this for too long at one time because bad habits can develop.) I also work to keep my finger tips on the valves and to keep a slight arch in the fingers. Especially while playing simple passages that don't stress my finger technique, I work on making my fingers follow the valves perfectly, not lifting off the valves between notes. I try to keep my finger tips in contact with the top of the valves at all times. When I am playing under stress this form slips a little, but the more habitual it is the more likely it is to keep my technique smooth and accurate even during difficult passages.
QUESTION:
What techniques do you consider the most useful when learning the overtone series, and correctly placing notes?
ANSWER:
I use lip slurs, starting with the open horn and gradually adding more fingerings, "forcing" the horn to play notes with more valves than are usually required on given notes. This trains the lips to find the notes, even when the resistance is greater than normal.
QUESTION:
What aspects of warming-up do you consider the most important in learning and maintaing skill in the euphonium - and for brass instruments (or even simply wind instruments) in general?
ANSWER:
Start with a mid- to low-range note and make a really good sound. Gradually work up AND DOWN from there, always trying to keep a good sound. Gradually bring in tonguing. Use scales and arpeggios. I either use some basic Clarke exercises or make up my own along the way. The over-riding focus must be on making everything sound musical. Scales are not just scales, but should sound like musical lines, etc. Keeping the focus on musical sounds will 1) develop your musicianship, and 2) will exercise your technique, making it work harder and more accurately, because playing musical lines requires flexibility of tone, speed, volume, etc., and that requires more facility of technique.