If I had to point to one practice element that I've gotten the most out of, it would be long tones. They also produce the quickest results for me: improving my limited range, better tone and better endurance. That said, I don't practice them every day as I should. At my age, they take a lot out of me and waste my chops too much for other things I need to work on. And to be honest, some days I just slack off and don't want to do them. I know, that won't get me to Carnegie Hall, but this vid is helping. Thanks, Bryan.
Long tones benefit are air control , ear training , relaxation in hight And low notes , help to focus to link to connect me with thé sound choice IS color and how to change it. It help to réalise the Space between note . A must toi practice
I've been using these long tones to focus my embouchure (playing quietly, almost a whisper tone) and to concentrate on keeping my trapezius and shoulders relaxed, as I've noticed that I tend to develop a lot of tension there, which then creeps into all the rest of my setup. Plus it's a lot more interesting to play along with you!
Long tones allow us to focus on air and sound without the distraction of other technical aspects. Then we carry that air and sound into different contexts (Clarke studies, Schlossberg, Bai Lin, etc.) I also practice long tones with drones to find pitch center.
For me long tones help me set a stable airflow and pitch. Also helps me focus on the vibrating area of my lips allowing me to remove unnecessary tension. Actually yo can focus any area of playing, such as yor air flow system, your throat, compression or even posture.
Like any exercise, provides a structure, a discipline even, to focus on. Specifically, long tones help me to improve stamina, as well as tonal quality. They also identify at what stage I am beginning to compensate, eg increased tension, pinching lips etc. Also, a really good way to work whilst quite relaxing!
When I do long tones, I'm focusing on subdividing the time, breathing in time, dialing in how my lips are responding to the horn, getting a resonant, relaxed, confident, colorful and energetic sound at varying dynamics. I'm also paying close attention to how I start and end the sound. But I don't over analyze this. The main focus is how my lips are responding, and how I'm engaging with the horn. I'm looking for a relaxed and balanced engagement between the resistance provided by the horn and what I'm giving it. Does that make sense?
If I had to point to one practice element that I've gotten the most out of, it would be long tones. They also produce the quickest results for me: improving my limited range, better tone and better endurance. That said, I don't practice them every day as I should. At my age, they take a lot out of me and waste my chops too much for other things I need to work on. And to be honest, some days I just slack off and don't want to do them. I know, that won't get me to Carnegie Hall, but this vid is helping. Thanks, Bryan.
Long tones benefit are air control , ear training , relaxation in hight And low notes , help to focus to link to connect me with thé sound choice IS color and how to change it. It help to réalise the Space between note .
A must toi practice
I've been using these long tones to focus my embouchure (playing quietly, almost a whisper tone) and to concentrate on keeping my trapezius and shoulders relaxed, as I've noticed that I tend to develop a lot of tension there, which then creeps into all the rest of my setup. Plus it's a lot more interesting to play along with you!
Long tones allow us to focus on air and sound without the distraction of other technical aspects. Then we carry that air and sound into different contexts (Clarke studies, Schlossberg, Bai Lin, etc.) I also practice long tones with drones to find pitch center.
For me long tones help me set a stable airflow and pitch. Also helps me focus on the vibrating area of my lips allowing me to remove unnecessary tension. Actually yo can focus any area of playing, such as yor air flow system, your throat, compression or even posture.
Like any exercise, provides a structure, a discipline even, to focus on. Specifically, long tones help me to improve stamina, as well as tonal quality. They also identify at what stage I am beginning to compensate, eg increased tension, pinching lips etc. Also, a really good way to work whilst quite relaxing!
As I see it, long tones improve my control of airflow. I also think it helps me improve my sound quality.
For me long tones are 90% (or more) about developing and fine tuning air control.
When I do long tones, I'm focusing on subdividing the time, breathing in time, dialing in how my lips are responding to the horn, getting a resonant, relaxed, confident, colorful and energetic sound at varying dynamics. I'm also paying close attention to how I start and end the sound. But I don't over analyze this. The main focus is how my lips are responding, and how I'm engaging with the horn. I'm looking for a relaxed and balanced engagement between the resistance provided by the horn and what I'm giving it. Does that make sense?
Air
I think that long tones are good because they teach us by keeping the horn on the face for a long time…