LIP FLEXIBILITIES COLIN PDF

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The ultimate goal of this is to have a clean transition between any two notes in different partials. This is the same whether you are trilling between two partials in a high register very quickly or jumping over many partials in the middle register. Trills do not require that. What is being shown in this example is a pretty simple lip slur exercise. The notation indicates that every pair of notes should be tongued, slurring from the first to the second note of each pair with a continuous airstream.

One way to practice this at first would be to play on the mouthpiece alone by slowly glissing, or bending, from the first note to the next. This helps to encourage the right lip movement and continuous airstream. The idea is to make the lip slur sound no different from a slur between two notes in the same partial with different fingerings.

Your goal is to make two notes in different partials with the same valve combination under a slur sound exactly the same way. As you get to more advanced material, you will extend this by beginning to lip slur across partials. Consider a 6th between middle G and high E. Both of those notes are played open, but there is a partial in the middle for high C. When you slur between G and E, it should sound no different than slurring between G and C and by extension, no different from playing two notes right next to each other with valves.

Your job is to minimize that partial in the middle to the point where it disappears entirely and you only hear the G and E when you slur between them.

Lip trills are just these techniques taken to their extreme in the upper register. The only thing different is that lip slurs happen in the very high registers, where partials are only

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