Exercícios de respiração

Composer

inspira expira Dobrar os tempos: 8,16, etc...

4
4   

Dobrar os tempos: 8,16, etc...

3 inspira Retém expira Retém

    

7 insp exp Dobrar os tempos da expiração: 8,16,32, etc...

       45

9 1 insp insp insp

5              44
4

12 2 insp
4
 4                    

15 insp insp

                            
3 3 3 3 3 3 3 3

18 3 insp

                                    
 Buzzing
Willian Sampaio
Exercícios sem bocal Ataque sem lingua
 = 60
4   
4
 

5 S/ Lingua C/ Lingua S/ Lingua C/ Lingua

 
     


9 S/bocal C/ Bocal S/bocal C/ Bocal

 
     


13
Exercícios com bocal
   
    

16
  
  g lis s . g liss . glis s. gliss . g lis s .
         

      
  g liss .

22
  

g lis s .
     g liss . g lis s .
        g liss . g lis s .
     g liss .
     
 -2-

Mouthpiece Exercises
All mouthpiece exercises should be done using a “BERP” or similar practice tool, as opposed to holding the mouthpiece
in the hand. Ensure that the pressure of the mouthpiece is evenly distributed onto the upper and lower jaw, and that the
angle of the tool is the same as the lead pipe when playing the horn (which is generally influenced by the alignment of
the teeth and jaw).

When performing the following mouthpiece exercises, pay attention to the steady, interruption-free vibration of the lips,
including when changing registers. The embouchure remains stable with minimal movement in all registers, while the
jaw closes slightly in the upper register, and opens slightly in the lower register.

Extend the range of these exercises both upwards and downwards. Do not however extend the range at the expense of
the above noted criteria, instead extend the range only in small steps if needed.

‰
Glissando

A .. K .. .. K .. .. K
¢ = 60
K ‰ ‰ K ‰ ‰ K
1.x flutter tongue
‰
‰ ‰
2.x legato

A ‰ ‰ ‰ .. .. K K ‰ ‰ ‰ ..
‰ ‰
Triads (Glissando)
‰.
A 43 .. J. Â
¢ = 60
   Â
  Â
1.x flutter tongue
Â
Â
2.x legato

A J. Â Â Â Â Â ..
  Â
‰.

 Â
A .. J. Â Â Â Â Â Â Â Â Â Â Â ..
     ‰.
1.x flutter tongue

           
2.x legato

A J.                Â
Â
              ‰ .

 Â
A .. J. Â Â Â Â Â Â Â Â Â Â ..
     Â.
1.x flutter tongue
Â
       
2.x legato

Â
A J. Â
            
        
          Â.
 
© Will Sanders 2015
 -3-

3
A 4 . J. Â Â Â
.
¢ = 60
J. Â Â Â..
           Â
1.x flutter tongue
2.x legato

The same instructions apply as in the previous mouthpiece exercises.

Extend the range downwards.

Flexibility

2 ¢ = 112 Ê
A4 K L   S       
           Â
        ‰  ‰
A K L Ê
        S   ‰  ‰
                 
A I        S           S              Â
                                   ‰
 
A I S      S           ‰
     Â
  Â Â Â
    Â Â
     
                                 

Whole tone exercise

Ê Ê Ê
3§ = 112 I
A4 Ê Ê Ê Ê Ê ÂÊ Â    S  S ÂÊ Ê Ê I
SÂ
      S               ‰ .
¸ ¸ ¸
¸ ¸ ¸
A S                       S     Â
  S   Â
                                S                   ‰ .

Free flowing air supply ensures a good, consistent sound.

− stable embouchure with minimal movement
− be aware of the tongue positioning

Objective: round staccato

Extend the range of this exercise both upwards and downwards.

© Will Sanders 2015

 Exercícios iniciais
Willian Sampaio
Exercícios de notas longas:
4             
4
            
Conexão das notas
14 0 2 2 1 1 12 12 23 23 0 0 2
     

                 

26 0 12 12 1 1 2 2 0
   
            

34 0 1 1 2 2 0 0 23
  
            

Flexibilidade:
42 0 2 1 12 23 13 123

   
                 

56 Flexibilidade/Arpejos

       
            

62

  
                 

68 Escalas(ligado e articulado)

   
                     

74

   
                                
 - 13 -

Breath and tongue attacks

With a breath attack the sound should come from the “belly”, as with laughing (in reality, the rib cage and
oral cavity are responsible for the sound).
The air pulse is regulated by the diaphragm and not by the throat, tongue, or embouchure.
The diaphragm should bounce gently, while the ribcage lifts slightly. This should be a natural, unforced
movement! Don't force the sound and thereby active unnecessary muscle groups!
The tone is attacked in the centre through a clean separation of the air by the diaphragm.
The tongue and throat remain as relaxed as possible. For this reason, practice breath attacks within the
octave pedal C to middle C.
Important: use reflexive breathing!
These exercises help to guarantee free (unobstructed) air flow all the way to the lips and to stimulate blood
flow.
¢ = 104-112

A 44 I Á L. K J
breath attack

                          
begin always with air pulse

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Á L. K J
breath attack

                                 

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â ÂÁ L. K J
breath attack

                                   

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â
breath attack stagato breath attack stagato
Á L. K J
        .» .» .» .»         .» .» .» .»  
 .» Â.»Â.» .» Á L. K J
A            Â.»Â.»Â.».»   ÂÂÂÂÂ
breath attack stagato breath attack

       .».».».».».».».» .» .».».».»Â.»Â.»Â.»Â          

 .»Â.».».».».».».».».».».» Á L. K
A           Â.».».».».»   Â.»Â  Â
breath attack stagato breath attack

       .».».».».».».» Â
.».».» .» Â.».».»          
.». ». .».».».».».».».».».»
»
Â
 Â
».»    .
 »
.
 ». »
ÂÂ ÂÂÂ Á L.
A Â
breath attack stagato breath attack

  .
    .»Â.».».».».».».».» .
» .».».».»         
.».».».»
Breath attacks on the F horn - including the starting note!
For the fourth exercise, place the tongue in the already existing (flowing) air stream and allow it to gently
touch the roof of the mouth behind the upper incisors, and subsequently let it fall back into the relaxed
starting position, so that air flow and air pressure are not obstructed and therefore a consistent sound with
stagato is ensured.
It is helpful to imagine the letter “F” combined with the appropriate vowel sound depending on the register:
foo, foh, etc.
Switch to Bb horn for the scales, switching back to F horn upon returning to the tonic tone.
Important: use reflexive breathing!

Air cycle: Inhalation and exhalation without interruption

Guaranteed air flow!

© Will Sanders 2015

 - 14 -

Additional breath attack exercise

¢ = 104-112 breath attack

A 44 I Á L. K J
                   S                        S      
                   
begin always with air pulse

A ÁL. K J
breath attack

               S                                S                  

Valve combinations:
F horn: 0/2, 2/1, 1/12, 12/23, 23/13, 13/123
Bb horn: 0/2, 2/1, 1/12, 12/23, 23/13

Let the sound become richer and rounder with time (the more relaxed the stomach muscles are, the deeper
you can inhale)

Important: use reflexive breathing!

Air cycle: Inhalation and exhalation without interruption

Guaranteed air flow!

© Will Sanders 2015

 - 15 -

Exercise for the three components of air flow

- air volume
- air pressure
- air speed/velocity

¢ = 48 flutter tongue flutter tongue

A I .. Â Â Â Â ..

A I .. Â Â Â Â ..

subito p subito f subito p subito f

Inhale deeply, no high/shallow breathing (image: the diaphragm expands fully to the sides).
Do as many repeats as possible to completely use up the lung capacity.
Begin the first note with a breath attack.
Be aware of tongue position and jaw placement.
Practice extreme dynamics, maintaining a pleasing sound.
Do not force the air. Use a free, flowing air stream!
As with all exercises, use reflexive breathing!

This exercise is very helpful in overcoming register breaks, therefore practice it predominantly in your weaker
registers.

Reflexive breathing exercise

u Spontaneously allowing the diaphragm to fall downward when

„
inhaling facilitates a faster accumulation of air volume: passive
suction effect. When exhaling focus on the diaphragm having an
hf even upward movement. This facilitates consistency of air

u
pressure.
Repeat this sequence with increasing speed and using the entire
lung capacity.
„
hf
u
„
hf
u
„
hf © Will Sanders 2015
 - 25 -

Trill exercise
Inhale for four beats at the marked tempo
Minimal embouchure movement
Be aware of tongue movement: the tip of the tongue lies relaxed in the front of the mouth, the tongue surface
moves flexibly
Ensure steady air flow and air pressure!

Valve combinations: F horn 123-13-23-12-1-2-0 Bb horn 23-12-1-2-0

¢ = 112
˘ ˘
F 13 ˘ ˘
A I Â Â ÂÂ Â ÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂ Â „
˘ ˘ ˘ ˘
o e o e sim.

A I Â Â Â Â Â ÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂ Â „
˘ ˘ ¸ ¸ ˘ ˘
e o e o sim.

A I     Â„
˘ ˘ ¸ ¸ ˘ ˘
o e o e sim

A I      Â„
e o e o sim.

Á . Á
A Â Â Â Â Â Â Â Â Â L K Â Â Â Â Â Â Â Â Â L. K
¸ ¸ ¸ ¸
o e o e sim. e o e o sim.

Á Á
A Â Â Â Â Â Â Â L. K
                   L. K
o e o e sim. e o e o sim.

A ..                                                Â..
F 13

o e o e o e o e o e o e o e o e

A ..                                                Â..
e o e o e o e o e o e o e o e o
Repeat as many times as the air supply permits.

© Will Sanders 2015