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Thread: Advice offered via Zoom....

  1. #11
    Quote Originally Posted by John Morgan View Post
    So the music in the picture is not what I am hearing in the video that you provided a link to. The two seem entirely unrelated. Am I missing something?
    John,

    I think the link is just part of his signature and is unrelated to the music he is talking about.
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  2. #12
    This is a recording of the part Magikarp is posting about:
    Euph solo at 2 mins 33 seconds.

    https://www.youtube.com/watch?v=IFjlFWEA33U
    JP374 Sterling + Mercer and Barker GW3

  3. #13
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    Quote Originally Posted by DEF1 View Post
    This is a recording of the part Magikarp is posting about:
    Euph solo at 2 mins 33 seconds.

    https://www.youtube.com/watch?v=IFjlFWEA33U

    So, here:

    https://youtu.be/IFjlFWEA33U?t=2m33s

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  4. #14
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    When I first looked at the solo excerpt, I would first try taking a breath in the 4th measure after the first quarter note 'A'. Then when listening to that passage shared by 'DEF1' (thanks for that btw), that's where the soloist did take a breath. That way he/she didn't lose support near the end. The tempo looks to be around 77-80.

    Here again is a link to 2 mins and 33 seconds in:
    http://www.youtube.com/watch?v=IFjlFWEA33U&t=2m33s
    ...
    Last edited by RickF; 02-21-2023 at 02:17 PM.
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  5. #15
    Quote Originally Posted by John Morgan View Post
    So the music in the picture is not what I am hearing in the video that you provided a link to. The two seem entirely unrelated. Am I missing something?
    Yes, I mentioned I’ll be uploading my recording of the section in question today.

    The problem is the breathe / not breathe dichotomy. Risk running out of breath but doing it in one, or risk splitting the top A, and ruining the flow of the music. The thing that is important is this type of thing is above my pay grade (as it were). I’ve have a pretty extensive library of music and even things like some of the concertos haven’t provided as much anxiety about buggering it up.

    I’ll repeat, though, to save doubt. The Ivor the Engine clip in my signature is nothing to do with what I’m discussing here.

    My teacher will be helping, but I don’t know what advice he can give, given there are only two options, and he would just play it, probably very loud and in bel canto fashion. Neither of which I am capable of.
    Nowt

    Retired

  6. #16
    https://youtube.com/shorts/z_bqim2taW8?feature=share

    https://youtube.com/shorts/EGgevz1Yqro?feature=share

    For good or bad. There they are. Admittedly at 10am, with only a token warm up. The more I listen, the worse it gets.

    So do your worst gents!

    I’ve never had such a weird anxiety before, and I have played far harder, more exposed pieces than this.

    It doesn’t sit comfortably with a breath, or without one. Ordinarily I can find different options to alleviate any potentially tricky issues, but this is binary, and I don’t like either of the options. I suspect I will end up breathing but it’s coming back in on the top A that’s the issue. It would be easier if it was a top C!

    I’ve tried false fingerings - 3 is flat, as is 2 and I daren’t risk getting the fourth valve involved.
    Nowt

    Retired

  7. Try an experiment. Without the horn, stand up straight, shoulders back, chest out and take a full breath. Do you get more air?

    It appears that your posture is limiting your breathing. And as is common with euphonium players, that limits power and resonance.
    Richard


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  8. #18
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    Magikarp,

    I listened several times. I think taking a breath mid-way is the better of the two options. It seems you almost run out of gas with just the one breath. I will offer my critique for the entire passage for anything I am hearing, including breathing.

    On the video clip with two breaths: The articulation of the dotted quarter/eighth note is not clear in the second measure. The dotted half note Bb in the 6th measure sounds a little insecure or wavering. When you do breathe after the first A in the fourth measure, a couple things. The pause seems too long. I would take a much quicker breath. And I would not fuss with the valves when taking a breath. Leave them set for the A. The key to the second breath is to take a very substantial breath before you start the entire passage. Get a really full tank so you are not totally spent by the fourth measure, then take a very quick breath in measure four while trying to not upset your embouchure so that you can continue on with a very minimal space between the two A's. I would err on the side of playing the passage louder rather than softer in order to get full support and sound on all the notes.

    All in all, I think your performance of the passage in two breaths is really quite nice. Just a couple things might tidy up the passage from my perspective.

    John
    John Morgan
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  9. #19
    Quote Originally Posted by RickF View Post
    When I first looked at the solo excerpt, I would first try taking a breath in the 4th measure after the first quarter note 'A'. Then when listening to that passage shared by 'DEF1' (thanks for that btw), that's where the soloist did take a breath. That way he/she didn't lose support near the end. The tempo looks to be around 77-80.
    I just tried it myself, playing with expression and trying for a full (but soft) tone. Without having read all the updates here, I ended up doing exactly what Rick suggested above. I thought it worked nicely.
    Dave Werden (ASCAP)
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  10. #20
    Quote Originally Posted by Richard III View Post
    Try an experiment. Without the horn, stand up straight, shoulders back, chest out and take a full breath. Do you get more air?

    It appears that your posture is limiting your breathing. And as is common with euphonium players, that limits power and resonance.
    Thanks for your response.

    I am limited in posture because of my physical makeup. If I stand up perfectly straight I would have to hold the euphonium so high that it wouldn’t be either comfortable or even possible. It might even mean not being able to read music. I will try it. One of the reasons I got rid of my Besson Sovereign 966s is because the lead pipe position made them uncomfortable to play long term. I have a very long body, and my head naturally tilts down, couple to this a slight overbite and my head is always more downward than some others.

    Weirdly I played this stood up when I don’t normally play stood up at all.

    In response to the length of time for the breath, it’s because I’m getting a little paranoid about busting it wide open. Ultimately it’s a contest, and entirely pointless in real terms, but I don’t want to let the band down on something that is fairly straightforward. Also it highlights how puerile music written to be tricky is. Down a tone and it would sit better, and sound better.

    Thanks for all of your advice - I appreciate it. I have rehearsal tomorrow and I will change my posture and do the breath version.
    Nowt

    Retired

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