|
If you require information about our distance learning packages, please email theteam@snakedavis.com Snake's ideas on breath control, the power of the
imagination and vocal chords and other bits and pieces. (-first produced for the
Pied Piper workshops in Winter 99) I took up Shakuhachi a few months ago, and I've been teaching a bit more, noticing other peoples shortcomings in the diaphragm area, and all this led me to the realisation that I had previously been pathetically half-hearted in my attention to that area. The day I started writing this was the day I bought a didjeridoo (as the Eurythmics tour hit Australia). I was worried that once I started working on a 4th embouchure (flute,sax, Shakuhachi..) my other instruments might suffer, but in fact the new exercise my lungs were getting actually strengthened my sound on the other horns! Unless you think your breathing is already faultless, check the breathing exercises below and incorporate some of them into your practice routines. 1. Low breath. 2. Same as
above but lying on your back, feet on the floor and knees bent. This position
helps you to feel the diaphragm working, specially if you put some heavy books
on your tummy while you do it! 3. The power blow. Imagination/vocal chords 1. Play a slow scale somewhere in the middle range of your horn.1 octave, up and down, paying attention to sound quality and intonation. 2. Put the horn down and sing the same scale, same tempo. 3. With the horn again sing and play at the same time! (this is easy on flute,not so easy on other instruments, try your best.) 4. Play the scale again, singing in your mind / imagination only. Notice the involvement of your vocal chords. All those little muscles will kick in and help your tone and intonation. Adapt this exercise to suit yourself. Try octaves, different patterns etc. Some further Snakish practicing ideas; Volume: Its all too easy to end up playing only in the low to medium dynamic range. This may be due to the proximity of neighbours or family or in my case because of practicing in hotel rooms, or just to our shy English natures. Whatever the reason, I urge you to, as often as you can, get into a situation where you can really crescendo, blast, let your horn ring and sing out! I'm totally spoilt now,I've got a music room at home where I can play out as loud as I want, but when I lived with my parents I used to play into an open wardrobe full of soft heavy clothes, keeping the curtains closed and hanging coats or blankets on the door! Environment: Vary your practice place from time to time if you possibly can. Avoid playing too much in flattering echoey rooms (like bathrooms and kitchens). The blanketed dampened situation I mentioned above really makes you work to get a good sound. Practicing outside is fantastic. You hear your real sound with no acoustical coloring. Time management: Little and often. Don't make excuses to yourself and your teachers. Take your horn on holiday and outings and sit and practice in the car, even if just for a few minutes. Long note practice: Do it! Its not boring! While you're playing long notes think about breath control, dynamics, intonation and sound quality. Get the most from your college/teachers: It doesn't all come on a plate! I had a sax teacher at Leeds College who was a wonderful player, lovely man, but not at all a natural in the class room. He often came to lessons unprepared, with no agenda, and we'd chat about life and knock off early! Now I regret that I didn't come prepared. I could have learnt so much more. Like I said to you at the Pied Piper workshops, ASK QUESTIONS! Keyboard Skills: If you haven't started already, get some! Even if you have no intention of ever turning professional, some ability on piano/keyboards is invaluable. It'll widen your ears, giving you better harmonic understanding, and be invaluable for arranging and composing. |
|