Embouchure

For this concert report I chose to go to a performance of student composers held at the Kimball Recital Hall. I chose this one because I wanted to see some of the talent that my peers have in the music realm, and also it was one of the only concerts I have been able to attend because I usually work at night. It was impressive to hear pieces composed by students. I cannot imagine creating something as complex as a musical composition, much less actually performing it, so this aspect of the concert

For my first concert review, I attended the Music at the Marley event at the St. Petersburg Museum of Fine Arts. The event featured the University of Tampa Faculty Ensemble with Barbara Prescott on flute, Meg Cassell on oboe, Theodore Decoroso on clarinet, and Grigorios Zamparas on piano. They played a selection of pieces from the Classical period to the twentieth century which were performed in the following order: Franz Danzi: Sinfonia Concertante Op. 41 Allegro Moderato; William Grant Still: Miniatures

Things such as embouchure, vibrato and tone effects are all things that are required by the musician. I will be investigating the embouchure and how a correct one will substantially increase your prowess as a woodwind, particularly clarinet, player. The clarinet is a woodwind instrument that has a single reed mouthpiece. Johann Christoph Denner invented the clarinet in Germany around the turn of the 18th century by adding a register key to the earlier Chalumea. Having a correct embouchure is vitally

we buzz into the mouthpiece. I will guide you through an approach that not only helped me but helped many trumpeters today. The Bill Adam approach to trumpet playing requires the student to understand how air is produced on the trumpet, how the embouchure plays a role in proper trumpet playing, the routine and

result of poor embouchure formation, too much or too little pressure from the jaw, and issues with air speed and breath support” (Ferreira). Having good embouchure formation is an important part of playing the clarinet. “On the other hand, holding the instrument too close to the body can also cause control problems” (Walsh). Holding your instrument too close to your body can make it harder to play. “The result often times is a poor embouchure and hence a poor tone” (Walsh). Embouchure is good when

sound. Other articles discuss making a good buzz, but here we'll look at how to really support that sound once a buzz is established. Three pointers that support trumpet players over their entire trumpet career are: Keep the corners of the embouchure firm - this is the area that helps control your sound, your tone & your pitch. Take a deep breath - stand up straight or sit up straight, breathe deeply starting from way down in you abdomen. - A deep breath supports your tone and range

The embouchure is the placing of the player’s mouth around the clarinet mouthpiece. If the clarinettist’s mouth is not placed around the clarinet correctly, it “becomes more closed and pinched rather than the desired open and clear sound,” (Willette, 2016). Throughout the entirety of the performance of example one, the clarinettist is in tune with the piano; this includes when the player plays the higher notes. This is due to a good embouchure and good tuning before beginning

Also, the strength of the reed will vary with the tip opening and facing of the mouthpiece. Then I also learned about embouchure and about some problems you could have with your embouchure. I also learned about thing from tonguing to hand position. And throughout my journey to mastering the key elements of playing the clarinet I learned some tricks from the paper trick to buzzing. At first I had no clue

5 things I believe we need to work on as an ensemble is tone quality, rhythm, intonation, dynamic changes and articulation. I believe this because the judges mentioned these things more than 3 times altogether. One of the judges commented that we should blow more air as we play so we don’t go flat or sharp. Another comment was that we should know other people’s parts in the ensemble. Some people in the ensemble play their parts way too loud that we can’t hear the woodwinds when they have the melody

once such as the low Bb and the middle Bb and move on to middle F, high Bb, D and F. Keep practicing until you feel comfortable. You might need to focus on your embouchure while you play, so make sure you try different things to see what makes it easier to hit the right notes. Altissimo range requires great control of the embouchure, so pay attention to it. Experiment with Fingerings There is no ultimate truth to fingerings for altissimo notes. It is possible to play them with very different