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Author Topic: Favorite Etudes?  (Read 1161 times)
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Robbymeese
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« Reply #20 on: Jun 18, 2017, 06:53PM »

I do like the Blume etudes, I used those a lot early in high school to work on getting around the valve register. Maybe it is time to dig that book back out! Thank you for all these suggestions!
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Burgerbob

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« Reply #21 on: Jun 18, 2017, 08:50PM »

Similar question as the overall thread: although I have subbed on bass several times for each of the past few years, I am mainly a tenor player. I am hoping to get more serious about bass because I love the sound (almost prefer it to tenor) and I have finally been able to acquire a horn (Bach 50) at a price within my reach. Any suggestions on etudes to work on as I develop bass technique & sound? Tenor will still be my main instrument, but I don't want to sound like a tenor player when I get called to play bass.


Play bass more, and listen to more bass players. Any etudes will do, really. The Naulais are just really fun.
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Brasslab 50T3, Greg Glack 1G .312 #2
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growlerbox
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« Reply #22 on: Jun 18, 2017, 10:28PM »

Every melody I play is for the purpose of advancing my skills; be they technical or musical. And they are often-times grouped into books; maybe not progressively harder as the book goes on, though.

Right.  A valid use of the material.  Harder to argue that's how they were "designed," though.

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I can play a conventional "etude" out of a conventional "etude" book very well. I can also play "jazz" ballad (etudes). Can those who dwell specifically on the conventional "etudes" play "jazz" ballad etudes as well? If not, then who is the more versatile performer?

...Geezer

I guess that depends on the etudes and on eveything else the player is doing.  I don't think anyone is advocating "dwelling" on anything in particular.  Don't know
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BGuttman
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« Reply #23 on: Jun 19, 2017, 03:53AM »

Some songs can work as etudes but not all.

Want to do lip slurs?  Try "Amazing Grace".  I learned this one from Vern Kagarice.

Transposing a song into several keys can be good practice.

Certainly a song is more fun than a dry exercise, but not all songs work as etudes.
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Bruce Guttman
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« Reply #24 on: Jun 19, 2017, 04:17AM »

My real point here is that when our young symphonic wannabees find out there are 1,000 applicants for 25 jobs, they may wish they were just as adept at playing in a polka band as they have become playing in an orchestra. You don't learn how to play a polka from endlessly practicing classical etudes. It's smart to diversify. That's why I believe that any melody that challenges a player in a way the player is uncomfortable with - is an etude; be it classical or otherwise.

...Geezer
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Burgerbob

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« Reply #25 on: Jun 19, 2017, 12:21PM »

You still need to be a good musician to play in a polka band.
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Brasslab 50T3, Greg Glack 1G .312 #2
Bach 50T, ditto
Bach 42B, Greg Black NY 1.25
Conn 6H, King 7MD
Yamaha YEP-842S, Schilke 53/59
Yamaha YBH-301MS, Hammond 12XL
Geezerhorn

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« Reply #26 on: Jun 19, 2017, 12:33PM »

You still need to be a good musician to play in a polka band.

My point exactly! A good and well-rounded musician.

...Geezer
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Geezerhorn

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« Reply #27 on: Jun 22, 2017, 09:33AM »

Perhaps this may help in our side discussion of what constitutes an etude. I draw the logic from the argument of what constitutes a sport vs a game. The argument goes: "If you can smoke a cigar while doing it; it is not a sport". Okay, how's this: If a given melody line has words that can be sung, it is not an etude. Therefore a song is a melody line with words to be sung against it vs an etude does not have any words. Does anyone know of any etudes that have words?

...Geezer
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