Trevor started his music at the age of nine playing the cornet and has played
in some of the top bands in the country including Wingates, Brighouse and Rastrick.
He was also the flugel soloist within the famous James Shepherd Versatile Brass.
Trevor is a Fellow of the Trinity College of Music London and has been teaching
the art of brass playing for over twenty years. Specialising in Cornet and
Trumpet some of his pupils have developed into exceptional performers, qualifying
as teachers and professional musicians.
Trevor offers a personal tutoring service
which is taylored for you the individual. Pupils have the option of taking
graded music exams both in theory and practical musicianship but are not pressurised
to do so. If you are interested in brass lessons then contact Trevor by the
details below.
Free Top Tips for Brass Players
Building Stamina:
Playing Brass Instruments is a physical art that requires training your muscles,
in particular the muscles of the lips, the embouchure. Treated with respect
these muscles will never let you down.
Here are SIX topics that you should be consentrating on:
1) Warm UP
2) Long Notes
3) Slurring Exercises (Lip Flexibilities)
4) Mouthpiece Pressure
5) Playing Time
6) Relaxation of the Embouchure.
Warm up – Take time to allow the muscle to warm by playing in a relaxed
range (generally below the stave). Very little pressure from the mouthpiece
is required. Long Notes – Start on low C’s then work your way up through the
octave to middle C. As the notes get higher the bottom lip presses upwards
onto the top lip, this tension helps to speed up the vibrations of the lips
which cause the pitch to rise. Slurring Exercises – Start by slurring small intervals and keeping
the same valve combination i.e bottom C to middle G (perfect fifth).
Play these slowly, crotchet length at about one per second then as the lips
respond speed up to playing quavers, then semiquavers etc. Mouthpiece Pressure – Avoid too much pressure. I am not a believer
of non pressure, just enough to seal the mouthpiece onto the lips and as
you play
in the higher range keep the pressure of the mouthpiece at a minimum. By
pressing on you restrict the flow of blood to the muscle thus enhancing fatigue
and
restricting the lips from vibrating. Playing Time – The more time you can spend playing the better – However
try to play in small periods of say 20 – 30 minutes with a break in
between rather than playing for hours without the break. Relaxation of the Embouchure – Finally it is very important that you
try to relax the embouchure after your practice time, again play below the
stave long notes with only a very minimal pressure on the lips.
For further help or to set up a lesson please contact Trevor using the details
below.
