Terminar el tema
Lesson time: (3min 1sec)
Mike Lovatt trabaja las dos últimas líneas del tema, usando picado, rips y falls para mantener el fraseo funky en lugar de descuidado.
Course preview
This lesson is part of the course Toca trompeta rock auténtica
Watch a preview of the full course below.
Lesson transcript:
Analyzing the Last Two Lines
Let's take a look at the last two lines of this piece, including the pickup.
Playing with Gaps
There's another opportunity to put a gap in between the dotted crotchet and the quaver tied to the crotchet. Let's hear what that sounds like without a gap first:
1, 2, 3, 4, 1.
So those two. Those last two notes are played together.
Connecting Notes
You notice that I completely connect the notes, but I don't let the valve do the work. I tongue every note.
- We can tongue notes and still join them completely together like this.
- Maybe that sounds like legato to you, but actually, I'm tonguing every note.
Practice Session
Have a go now, after me, at playing those two notes, the D and the C natural, and tonguing them both.
If you make those notes run into each other just with the valve, it sounds kind of sloppy. And we don't want to sound sloppy. We want to sound funky and groovy on this piece.
So let's try and do that now in the whole phrase.
After me, I'll play first, and then you copy:
1, 2, 3, 4, 1.
Adding Drops
One thing I didn't do there was put those drops in those falls down to those last two notes or down to the first of those last two notes. Let's just try that ending now, adding that.
Incorporating Rips
So in the last phrase then, I was playing with what we call rips up to the notes in the first and second bar like this.
How do we do that?
- Well, we can waggle the valves.
- Or we can do like half valve, similar to the slides we did.
About the instructor
Mike Lovatt estudió en el Trinity College of Music, donde recibió la Jon Kelly Jazz Scholarship. Ha actuado y grabado en una enorme variedad de estilos con artistas como Quincy Jones, Robbie Williams, Eric Clapton, la Orchestra of the Royal Opera House Covent Garden, la Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Legrand, Tony Bennett, Shirley Bassey y Danny Elfman, entre muchos otros. Como trompeta principal en el West End de Londres, Mike ha actuado en Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady y Spamalot, entre otros. Ha tocado en bandas sonoras de películas como las de James Bond, Harry Potter con la London Symphony Orchestra, la premiada Chicago, Beyond the Sea de Kevin Spacey, Charlie and the Chocolate Factory, Madagascar y The Corpse Bride. Aparece a la trompeta y la corneta en Mrs Henderson Presents de George Fenton, y a la trompeta en Looking for Eric. Mike es trompeta principal de la John Wilson Orchestra, nominada a un Grammy, y ha destacado en sus célebres conciertos y grabaciones de los BBC Promenade. Mike es muy solicitado como profesor y clínico, y es catedrático de trompeta en la Royal Academy of Music y en el Royal College of Music. En abril de 2013 tuvo el orgullo de recibir la prestigiosa Derek Watkins' Chair of Trumpet en la Royal Academy of Music de Londres. En sus cursos de MusicGurus, Mike comparte los secretos de su versatilidad, mostrándote cómo clavar los estilos de trompeta auténticos de swing, rock y latino para que puedas tocar cualquiera de ellos con confianza y el feel adecuado. read more