Durée des notes
Lesson time: (2min 32sec)
Course preview
This lesson is part of the course Joue de la trompette latine authentique
Watch a preview of the full course below.
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 a étudié au Trinity College of Music, où il a reçu la Jon Kelly Jazz Scholarship. Il s'est produit et a enregistré dans une immense variété de styles avec des artistes tels que Quincy Jones, Robbie Williams, Eric Clapton, l'Orchestra of the Royal Opera House Covent Garden, le Royal Philharmonic Orchestra, Michael Buble, Oasis, Michel Legrand, Tony Bennett, Shirley Bassey et Danny Elfman, parmi bien d'autres. En tant que trompette solo dans le West End de Londres, Mike s'est produit dans Jesus Christ Superstar, Evita, The Producers, Billy Elliot, Guys and Dolls, Saturday Night Fever, My Fair Lady et Spamalot, entre autres. Il a joué sur des bandes originales de films dont les James Bond, Harry Potter avec le London Symphony Orchestra, le film primé Chicago, Beyond the Sea de Kevin Spacey, Charlie and the Chocolate Factory, Madagascar et The Corpse Bride. On l'entend à la trompette et au cornet dans Mrs Henderson Presents de George Fenton, et à la trompette dans Looking for Eric. Mike est trompette solo du John Wilson Orchestra, nommé aux Grammy, et a été mis en avant dans leurs célèbres concerts et enregistrements des BBC Promenade. Mike est très demandé comme professeur et clinicien, et il est professeur de trompette à la Royal Academy of Music et au Royal College of Music. En avril 2013, il a eu la fierté de se voir décerner la prestigieuse Derek Watkins' Chair of Trumpet à la Royal Academy of Music de Londres. Dans ses cours MusicGurus, Mike partage les secrets de sa polyvalence, te montrant comment maîtriser les styles authentiques de trompette swing, rock et latino afin que tu puisses jouer chacun d'eux avec assurance et le bon feeling. read more