Tarter_trpt8

Manny,

How do you explain this concept when the piece is outdoor overture: "Use lots of air without overblowing." I'm not sure if that is the concept you would use beides staying relaxed, but I find it wayyy harder to play soft in that register that it would be if I were playin loud. "Lots of air" registers in my head as a fire hose gushing out a jet of water. Obviously that isn't the mental picture we shuold be getting. How would you explain to me through how Outdoor oversture should be played with ease? I'm having a hard tim with it...

Jeremy

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MahlerBrass

While I can't give you advice on the Copland, I think you might be confusing air volume with air speed, you can still use lots of air, but the air speed will have to be much slower than playing something loud. This is something covered really well in Pat Sheridan and Sam Pilafian's Breathing Gym DVDs. Best of luck!

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Manny Laureano

Jeremy,

Your assessment of the water through the hose wouldn't apply in this case if you're thinking of shooting more water through the hose than the hose can allow without back pressure occuring.

It's like this:

Pick up the mouthpiece and blow air through it. Don't make a buzz just blow air. If you increase the airflow steadily, there will come a point where you'll feel back pressure. You want to create an airflow where the back pressure is minimal but the sound is relaxed and maximal.

It's about getting the most relaxed, broadest sound you can with the least amount of work possible.

ML

Jimi Michiel

Jeremy,
You mentioned volume... When it comes to dynamics, I think of Outdoor Overture in much the same way I think of the posthorn solo from Mahler 3, the offstage solo from Pines and the second movement of the Haydn Concerto - it should be delicate and "appear" to be soft, but when it comes down to it, you are a soloist and you need to stand out. It says mezzo piano, but most of the recordings I have are closer to a comfortable mezzo forte. The solo also comes after some much louder material, so by contrast you're going to sound softer, even if you aren't all the way down to a mezz piano. Just a few thoughts.
-Jimi

PS My edition of the Haydn has the second movement marked simply pianissimo. Thanks a lot, Carl Fischer...

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Alex Yates

Play this one "sweetly". Fog up a window with your air while keeping it supported. (this is one of my favorites to play) When you begin this excerpt, make sure you are physically "set" for the hightest note (concert Bb above the staff I believe) and not too spread. This is one of those pieces where you can sing, sing, sing......but gently, tenderly and sweetly.

PS I just saw Jimi's post above and he also poses some great points.

Jimi Michiel

Almost forgot... Anybody out there use e-falt for this one? I know it's cheating, but if it works....

-Jimi

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Manny Laureano

E flat?!

Why that's downright un-American! Danged furriners from Massachusetts...

Nah, all kidding aside... I think a D is as small as you'd want to go. it needs to sweet like Alex said but full-bodied like a 40 year old wine.

ML

Jimi Michiel

Hey, what happened to Minnesota Nice?

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Manny Laureano

Here goes...


http://www.operationminnesotanice.com/


I always have an answer...

ML

cornetguy

i came to the conclusion years ago that minnesota nice is a myth. what got me to think that is the way people drive around here, and act towards each other.

on the copland, i have only played this in band and on b-flat. it works ok but have to keep the air moving, again forget mp mf will work just fine and some vibrato would be nice too.

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