Notenlängen
Lesson time: (2min 32sec)
Course preview
This lesson is part of the course Spiel authentische Latin-Trompete
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Lesson transcript:
Understanding Quavers and Crotchets
The first thing we're going to talk about is quavers. I said there was a lot of work to do on them.
Comparing Crotchets and Quavers
Let's look at the first phrase and examine the difference between the crotchets and the quavers:
- Actually, there isn't any difference here because the crotchets are marked short.
In Fiesta Siesta, we discussed marking those short notes using the upside-down V or the hat. So, get your pencil out now and mark those on the part.
When I play that first phrase, you'll hear that:
- In the first bar, the crotchet and the quavers that follow are all the same length.
I went on to the second bar, and you heard that:
- The first note in the second bar is a full crotchet, which is why it's got the tenuto mark (the line across it).
The tenuto mark is marked on the top space. To make it easier for you to read, you could:
- Mark it above again in pencil, just like you have done with the upside-down V's for the short notes.
Continuing the Lesson
Let's carry on with this, and I'll play the next section. See if you can hear the short notes there as well:
- The crotchets are short.
We only really had two or three long notes:
- The crotchet in the second bar of the second line.
- Mark that up above.
- Then, in the next bar, we have a dotted crotchet, which is long as well.
Work out which the long notes are:
- The first beat of the second bar on the second line is the same as the second bar on the first line, the long crotchet.
You could mark that again with your pencil with a tenuto mark.
When we get to the next bar, the first note there is a dotted crotchet, and that needs to be long as well.
About the instructor
Mike Lovatt studierte am Trinity College of Music, wo ihm die Jon Kelly Jazz Scholarship verliehen wurde. Er ist in einer enormen Bandbreite von Stilen mit Künstlern wie Quincy Jones, Robbie Williams, Eric Clapton, dem Orchestra of the Royal Opera House Covent Garden, dem Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Legrand, Tony Bennett, Shirley Bassey und Danny Elfman und vielen anderen aufgetreten und hat mit ihnen aufgenommen. Als Solotrompeter im Londoner West End hat Mike unter anderem in Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady und Spamalot mitgewirkt. Er hat auf Filmmusiken gespielt, darunter die James-Bond-Filme, Harry Potter mit dem London Symphony Orchestra, das preisgekrönte Chicago, Kevin Spaceys Beyond the Sea, Charlie and the Chocolate Factory, Madagascar und The Corpse Bride. In George Fentons Mrs Henderson Presents ist er an Trompete und Kornett und in Looking for Eric an der Trompete zu hören. Mike ist Solotrompeter des Grammy-nominierten John Wilson Orchestra und war in dessen gefeierten BBC-Promenade-Konzerten und -Aufnahmen zu erleben. Mike ist als Lehrer und Clinician sehr gefragt und Professor für Trompete an der Royal Academy of Music und am Royal College of Music. Im April 2013 wurde ihm mit Stolz der renommierte Derek Watkins' Chair of Trumpet an der Royal Academy of Music in London verliehen. In seinen MusicGurus-Kursen teilt Mike die Geheimnisse seiner Vielseitigkeit und zeigt dir, wie du authentische Trompetenstile in Swing, Rock und Latin triffst, sodass du jeden von ihnen mit Selbstvertrauen und dem richtigen Feel spielen kannst. read more