Brad Edward weird excercise

[Claudio]

This is very fun actually, but also very weird... btw my question is how much air I have to inlet in order to follow metronome indication eights=88bpm also when not making the fermata (imho not optional at all ).
Nevertheless, I prefer going at much more speed ( 2 times indication)

[Burgerbob]

However much air it takes! Thanks for reminding me of this one, it's one of my favorites. At 88 for the eighth note, it's not too difficult to play each two measure phrase with a short fermata for me.

[Claudio]

However much air it takes!

I cannot reach the end of 2nd bar, sorry - I was hoping it was a mistake (eights=88bpm).
In fact at first I was happy playing at twice speed ... I don't think I will ever be able to take enough air to make two complete bars.

[Burgerbob]

However much air it takes!

I cannot reach the end of 2nd bar, sorry - I was hoping it was a mistake (eights=88bpm).
In fact at first I was happy playing at twice speed ... I don't think I will ever be able to take enough air to make two complete bars.

I think you can! It will take efficiency, not necessarily "more air" to do. Give it time. If you are working on stuff like this or that other exercise you posted, you're on the right track.

[Claudio]

I think you can! It will take efficiency, not necessarily "more air" to do. Give it time. If you are working on stuff like this or that other exercise you posted, you're on the right track.

Ah, thanks for the trust but is very very difficult.
Another exercise very interesting and in some way similar to this is by Michael Davis https://vimeo.com/ondemand/15mwutrombone

[BGuttman]

I'm older and my lung capacity is less than it was. Burgerbob will be able to play a much longer phrase than I. Just play the exercise taking air when you need it, and still trying to make phrases (i.e. don't stop in the middle if a triplet set). Burgerbob is right in that you should be working on making efficient use of air -- you should need a lot less than if you were playing bass. Keep trying to play more phrase per breath -- that's part of the intent of this exercise.

[harrisonreed]

I love this exercise. The fermata are not optional, in my opinion. If using a met, just double the value of the fermata note and breathe. Sure, you can go for a complete line in one breathe, but then you're working on something that may be counterproductive to the mechanic this exercise is trying to build.

I have heard that Brad's way of playing and practicing these is very different from what you would think -- he uses these as exercises to improve embouchure function and technical facility. This is not breathing gym. I've heard he doesn't always play them pretty, either.

[Claudio]

I love this exercise. The fermata are not optional, in my opinion. If using a met, just double the value of the fermata note and breathe. Sure, you can go for a complete line in one breathe, but then you're working on something that may be counterproductive to the mechanic this exercise is trying to build.

I have heard that Brad's way of playing and practicing these is very different from what you would think -- he uses these as exercises to improve embouchure function and technical facility. This is not breathing gym. I've heard he doesn't always play them pretty, either.

ah, so this is much more in my feelings, I love this exercise playing at 120, not 88 as indicated and my first impression was exactly like your post: embochure improving and not breathing gym. For this reason I attached the video link to a similar exercise by Michael Davis.

[CheeseTray]

One of the best of these types of exercises is from the Marsteller Basic Routines book. It is the culmination of two pages of variations on the theme:

[timothy42b]

I have heard that Brad's way of playing and practicing these is very different from what you would think -- he uses these as exercises to improve embouchure function and technical facility.

He played something similar as a warmup at one of the ATWs a few years back. What my ears heard was: he was careful not to pop the partial changes, but almost gliss into them. Steady air, no push.