Verne Reynolds 48 Etudes #20
Verne Reynolds 48 Etudes #20 Here we go with more counting fun. #20 goes by quickly, even though it follows VR’s pattern of etudes in the first half of the 48 etudes of exploring each interval with an articulated etude and a slurred etude. Mostly, the slurred etudes are slower, but in this case it is quick. But still strive for a legato feel even though the intervals and lines are very angular. That is definitely the challenge of this one. The approach to this one is like so many of the other 48 Etudes—Penny Game, start slow, diligence, and patience. With these wide intervals (minor 7ths and the upcoming major 7ths and octaves), you must pay particular attention to your throat and tongue. I’ve mentioned this before and when you get to these size intervals, it is very easy, and tempting, to squeeze these. I spent a significant amount of time doing these intervals on my mouthpiece, then immediately putting it back in my horn to try to mimic what I just did when not in the horn. Do this many times. What you want to take note of is how you are using your air and tongue when you go between notes. Be very conscious of what you are doing when you achieve a perfectly smooth slur. When you go to the horn, it is absolutely possible to copy exactly what you did on just the mouthpiece. Yes, there is more to think about (fingers, embouchure), but these are rarely the culprit in a failed slur. Poor air movement is– nearly every time. Whether you choke it off with your glottis or by the back of your tongue touching the roof of your mouth, either will ruin the smooth flow of air to your embouchure and will defeat you every time when attempting a nice slur. The key is moving air from lungs to embouchure with no encumbrances and mouthpiece practice will surely help you attain this goal.
Verne Reynolds 48 Etudes #20 Here we go with more counting fun. #20 goes by quickly, even though it follows VR’s pattern of etudes in the first half of the 48 etudes of exploring each interval with an articulated etude and a slurred etude. Mostly, the slurred etudes are slower, but in this case it is quick. But still strive for a legato feel even though the intervals and lines are very angular. That is definitely the challenge of this one. The approach to this one is like so many of the other 48 Etudes—Penny Game, start slow, diligence, and patience. With these wide intervals (minor 7ths and the upcoming major 7ths and octaves), you must pay particular attention to your throat and tongue. I’ve mentioned this before and when you get to these size intervals, it is very easy, and tempting, to squeeze these. I spent a significant amount of time doing these intervals on my mouthpiece, then immediately putting it back in my horn to try to mimic what I just did when not in the horn. Do this many times. What you want to take note of is how you are using your air and tongue when you go between notes. Be very conscious of what you are doing when you achieve a perfectly smooth slur. When you go to the horn, it is absolutely possible to copy exactly what you did on just the mouthpiece. Yes, there is more to think about (fingers, embouchure), but these are rarely the culprit in a failed slur. Poor air movement is– nearly every time. Whether you choke it off with your glottis or by the back of your tongue touching the roof of your mouth, either will ruin the smooth flow of air to your embouchure and will defeat you every time when attempting a nice slur. The key is moving air from lungs to embouchure with no encumbrances and mouthpiece practice will surely help you attain this goal.