Terminer le morceau
Lesson time: (3min 1sec)
Mike Lovatt travaille les deux dernières lignes du morceau, en utilisant le coup de langue, les rips et les falls pour garder un phrasé funky plutôt que bâclé.
Course preview
This lesson is part of the course Joue de la trompette rock authentique
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 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