![]() The conductor was a cellist and never realized that wind players NEED to breath before playing ! His beat was the simple dropping of a bow onto a string. Using Kleinhammer's technique I was able to sit primed and ready for that sudden downbeat. I worked for a conductor who never gave an upbeat so that you knew where to take a breath before playing. ![]() Doug Elliott's comments are excellent and more concise than mine. Work backwards from whole notes to 1/16th notes keeping the same approach and you will be amazed at the result. The air stream is therefore "supercharged" and subsequently you have the fuel to sustain the note fully. Kleinhammer used to advocate taking a full breath preceeding the release, holding it without closure of the throat and then taking another tiny breath just before the release even though you think you cannot possibly hold any more air. In other words, the mechanisms that are necessary to achieve a well-balanced long note such as sufficient air, open oral cavity and just firm enough embouchure must be in place for success. This is difficult to put into words but realistically a "short" note is a "short long note". I know a lot of players who do that even if they do not use them for concert music but only use them for practice. You could add some practice on those factitious notes on your daily routine. An important help is also to back off from the face with the mouthpiece or else it will be hard. To get that bite with the false tones is what helped me most to get to a note fast and especially the C and B both on the single as factitious notes and on the double as real notes. With the trigger the horn helps the lips to slide into the right frequency a lot but as a false tone you really need to be more accurate or else you will not get a decent sound or not even a descent pitch. To master that technique you need to set your emboushure for the note more accurate compared to if you use the trigger. I can only tell what I believe helped me the most and that is the skill of false tones on the open horn, first on a tenor and later on the bass. I guess you will get many different suggestions to practice this. ![]() The C and B on double triggers are even more difficult because of more resistance. Attacks and a steady comfortable sound production in the trigger register takes some time to learn. You don't want the note to come late or wobble, you want a solid bite as fast as possible. I think everybody who change to bass after a while struggles with attack in the trigger range and to get to the pitch centre down there fast.
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