>Breathing is everything within etudes. Breath just before upbeats. Shorten any >note with a dot for the dot & breath there, but breath very quickly so to >remain in the metronome set tempo. Realize also, that some etudes might be >written for a single player & do not serve for anything for another player. >Another recommendation: try to sing it & find the "breath spots".<
This is great! I looked over Kling #13 last evening after practicing. I couldn't remember doing anything special with this etude other than reading through it a few times several years ago. I never thought of it as being a breathing exercise. (DUH!) Thanks, Hans. This gives me a new perspective for approaching this and other etudes. I've heard of singers using a special breathing method that helps them draw in larger quantities more quickly. The technique involves inhaling through both the mouth and nose simultaneously. I've seen them learn how to do it quietly w/o making sniffy noises. It didn't work for me, but have any of you ever tried this with success? Valerie Wells The Balanced Embouchure Method http://bebabe.wordpress.com/ http://www.beforhorn.blogspot.com/ _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
