Angelo Piazzini - didactic Series

All my teaching methods are intended as ready-to-use manuals. I should therefore specify that it isn’t necessary to follow the order of the exercises indicated, rather you can choose to start from one exercise instead of another and/or draw up a “customized” daily sequence, playing those that are most useful and work best for you, or pick exercises depending on your activities, be they lessons, auditions, competitions or concerts. It is advisable to start from a comfortable speed - I would say 70 - 75 on the metronome - and then increase it a little at a time, speeding up gradually. As for the dynamics, it is advisable not to overdo it. Experience dealing with these exercises suggests it’s preferable to tackle them working with a range from mp (mezzo piano) until you reach a maximum of f (forte), or from p (piano) to mf (mezzo forte) . This method, like my others, provides students with exercises to consolidate a winning "daily routine" that’s personalized for every instrumentalist, developing those individual aspects that we need every day in performance practice: attacks, legato, octaves, register, control and embouchure. These exercises constitute a useful daily practice routine, aimed at training, developing and maintaining a good and correct embouchure. Angelo Piazzini  

My new book, entitled Complete Warm Up and Daily Routine for Tuba, is designed to provide students, amateurs, and professional tuba players with a useful guide to warming up and daily exercises. This new series of exercises enables tuba players to experience rapid, step-by-step progression in embouchure and, as a result, in their technical precision and speed.  In particular, this enables: • step-by-step development and progression in embouchure • improvement and increased confidence in attacks • improvement and increased confidence in all registers • improvement and increased confidence in control in legato • increased confidence in moving from one register to another and in leaps • increased technical precision and speed My advice is to tackle these exercises starting at a comfortable pace (75 – 80 on the metronome) and then to gradually pick up speed in order to reach the maximum attainable pace. Another idea might be to practice in major and minor keys on alternate days, or to play in the ordinary way on one day and the opposite the next. Everything is at the sole discretion of the  player. As always, I leave full freedom of execution up to tuba players who want to try their hands at this new series of daily exercises for rapid, step-by-step progression as part of their training as musicians. Angelo Piazzini  

Building in Legato for Tuba, progressive technical exercises for the pupil by Dr.Angelo Piazzini - E-book published by Glissato Edizioni Musicali - www.glissato.it.

All my teaching methods are intended as ready-to-use manuals. I should therefore specify that it isn’t necessary to follow the order of the exercises indicated, rather you can choose to start from one exercise instead of another and/or draw up a “customized” daily sequence, playing those that are most useful and work best for you, or pick exercises depending on your activities, be they lessons, auditions, competitions or concerts. It is advisable to start from a comfortable speed - I would say 70 - 75 on the metronome - and then increase it a little at a time, speeding up gradually. As for the dynamics, it is advisable not to overdo it. Experience dealing with these exercises suggests it’s preferable to tackle them working with a range from mp (mezzo piano) until you reach a maximum of f (forte), or from p (piano) to mf (mezzo forte) . This method, like my others, provides students with exercises to consolidate a winning "daily routine" that’s personalized for every instrumentalist, developing those individual aspects that we need every day in performance practice: attacks, legato, octaves, register, control and embouchure. These exercises constitute a useful daily practice routine, aimed at training, developing and maintaining a good and correct embouchure. Angelo Piazzini  

My new book, entitled Advanced Warm Up and Daily Routine for Tuba, is designed to provide advanced students, professional and aspiring professionals tuba players with a useful guide to warming up and daily exercises.This new series of exercises enables tuba players to achieve advanced, rapid and step-by-step progression in embouchure and, as a result, in their technical precision and speed, so as to attain virtuosity in the two different areas covered by the book. In particular, this enables:• step-by-step development and progression in embouchure• improvement and increased confidence in attack• improvement and increased confidence in all register• improvement and increased confidence in control in legato• increased confidencein moving from one register to another and in leaps of over two octaves• increased technical precision and speed• attainment of virtuosity in the two areas covered by the book. My advice is to tackle these exercises starting at a comfortable pace (75 – 80 on the metronome) and then to gradually pick up speed in order to reach the maximum attainable pace. Another idea might be to practice in major and minor keys on alternate days, or to play in the ordinary way on one day and the opposite the next. Everything is at the sole discretion of the player.As always, I leave full freedom of execution up to tuba players who want to try their hand at this new series of daily exercises for advanced, rapid and step-by-step progression as part of their musical training. Angelo Piazzini

Building in Staccato for Tuba, Progressive technical exercises for the pupil by Dr. Angelo Piazzini. E-book published by Glissato Edizioni Musicali - www.glissato.it.

This “Progressive Balancing in Staccato-Advanced Progressive Technical Exercises for Bass and Contrabass Tuba” is entirely dedicated to the study of the staccato.  This essay is indeed composed by a first part in a major tonality and a second part in a minor tonality, which are in turn divided into a regular and reverse mode.  This, first of all, gives the brass instrument players (may they be professionals or students), the possibility to increase their speed, their precision in the technique and in the staccato, developing, by a gradual balancing of the embouchure, the attacks, the staccato, the octaves, the register, the control, the embouchure, the accuracy and the speed in the technique. I suggest to start at a comfortable metronome speed (75-80), to then gradually increase till the maximum reachable speed, in order to accelerate these advanced technical exercises. I abstain on purpose from proposing instructions as regards the dynamics of performance, because in this case they do not play a significant role, in contrast to what usually occurs in music and scores. I suggest, however, to face the exercises of this essay with some dynamics that can go from “mf” (mezzoforte) up to “f” (forte), or from “mp” (mezzo piano) up to a considerable“mf” (mezzo forte). I leave the player completely free to choose the type of staccato. I suggest howeverto change it  day by day, for example by employing a simple staccato the first day, a double staccato the day after, and a triple one  the third day, going back to a simple staccato and so on. Besides, one may choose to play, every other day, major and minor tonalities, or one day only theregular mode and the next day the reverse one, all at the complete discretion of the player.  Finally, as regards Books 2, 3, and 4, they will clearly have to be performed by employing the double and triple staccatos, which are the designated choices for them.   Angelo  Piazzini   

This “Progressive Balancing in Staccato-Advanced Progressive Technical Exercises for Bass and Contrabass Tuba” is entirely dedicated to the study of the staccato.  This essay is indeed composed by a first part in a major tonality and a second part in a minor tonality, which are in turn divided into a regular and reverse mode.  This, first of all, gives the brass instrument players (may they be professionals or students), the possibility to increase their speed, their precision in the technique and in the staccato, developing, by a gradual balancing of the embouchure, the attacks, the staccato, the octaves, the register, the control, the embouchure, the accuracy and the speed in the technique. I suggest to start at a comfortable metronome speed (75-80), to then gradually increase till the maximum reachable speed, in order to accelerate these advanced technical exercises. I abstain on purpose from proposing instructions as regards the dynamics of performance, because in this case they do not play a significant role, in contrast to what usually occurs in music and scores. I suggest, however, to face the exercises of this essay with some dynamics that can go from “mf” (mezzoforte) up to “f” (forte), or from “mp” (mezzo piano) up to a considerable“mf” (mezzo forte). I leave the player completely free to choose the type of staccato. I suggest howeverto change it  day by day, for example by employing a simple staccato the first day, a double staccato the day after, and a triple one  the third day, going back to a simple staccato and so on. Besides, one may choose to play, every other day, major and minor tonalities, or one day only theregular mode and the next day the reverse one, all at the complete discretion of the player.  Finally, as regards Books 2, 3, and 4, they will clearly have to be performed by employing the double and triple staccatos, which are the designated choices for them.  Angelo  Piazzini   

The present “Method for Bass Trombone” provides daily exercises for the pupil which are conceived for a progressive and gradual advancement in the academic course of study of the bass trombone at the Conservatory. Angelo Piazzini

This “Progressive Balancing in Staccato-Advanced Progressive Technical Exercises for Bass and Contrabass Tuba” is entirely dedicated to the study of the staccato.  This essay is indeed composed by a first part in a major tonality and a second part in a minor tonality, which are in turn divided into a regular and reverse mode.  This, first of all, gives the brass instrument players (may they be professionals or students), the possibility to increase their speed, their precision in the technique and in the staccato, developing, by a gradual balancing of the embouchure, the attacks, the staccato, the octaves, the register, the control, the embouchure, the accuracy and the speed in the technique. I suggest to start at a comfortable metronome speed (75-80), to then gradually increase till the maximum reachable speed, in order to accelerate these advanced technical exercises. I abstain on purpose from proposing instructions as regards the dynamics of performance, because in this case they do not play a significant role, in contrast to what usually occurs in music and scores. I suggest, however, to face the exercises of this essay with some dynamics that can go from “mf” (mezzoforte) up to “f” (forte), or from “mp” (mezzo piano) up to a considerable“mf” (mezzo forte). I leave the player completely free to choose the type of staccato. I suggest howeverto change it  day by day, for example by employing a simple staccato the first day, a double staccato the day after, and a triple one  the third day, going back to a simple staccato and so on. Besides, one may choose to play, every other day, major and minor tonalities, or one day only theregular mode and the next day the reverse one, all at the complete discretion of the player.  Finally, as regards Books 2, 3, and 4, they will clearly have to be performed by employing the double and triple staccatos, which are the designated choices for them.   Angelo  Piazzini   

The present “Method for Bass Trombone” provides daily exercises for the pupil which are conceived for a progressive and gradual advancement in the academic course of study of the bass trombone at the Conservatory. Angelo Piazzini

This “Progressive Balancing in Staccato-Advanced Progressive Technical Exercises for Bass and Contrabass Tuba” is entirely dedicated to the study of the staccato.  This essay is indeed composed by a first part in a major tonality and a second part in a minor tonality, which are in turn divided into a regular and reverse mode.  This, first of all, gives the brass instrument players (may they be professionals or students), the possibility to increase their speed, their precision in the technique and in the staccato, developing, by a gradual balancing of the embouchure, the attacks, the staccato, the octaves, the register, the control, the embouchure, the accuracy and the speed in the technique. I suggest to start at a comfortable metronome speed (75-80), to then gradually increase till the maximum reachable speed, in order to accelerate these advanced technical exercises. I abstain on purpose from proposing instructions as regards the dynamics of performance, because in this case they do not play a significant role, in contrast to what usually occurs in music and scores. I suggest, however, to face the exercises of this essay with some dynamics that can go from “mf” (mezzoforte) up to “f” (forte), or from “mp” (mezzo piano) up to a considerable“mf” (mezzo forte). I leave the player completely free to choose the type of staccato. I suggest howeverto change it  day by day, for example by employing a simple staccato the first day, a double staccato the day after, and a triple one  the third day, going back to a simple staccato and so on. Besides, one may choose to play, every other day, major and minor tonalities, or one day only theregular mode and the next day the reverse one, all at the complete discretion of the player.  Finally, as regards Books 2, 3, and 4, they will clearly have to be performed by employing the double and triple staccatos, which are the designated choices for them.  Angelo  Piazzini   

This “Progressive Balancing in Staccato - Advanced Progressive Technical Exercises” is entirely dedicated to the study of the staccato. This essay is indeed composed by a first part in a major tonality and a second part in a minor tonality, which are in turn divided into a regular and reverse mode. This, first of all, gives the brass instrument players (may they be professionals or students), the possibility to increase their speed, their precision in the technique and in the staccato, developing, by a gradual balancing of the embouchure, the attacks, the staccato, the octaves, the register, the control, the embouchure, the accuracy and the speed in the technique.I suggest to start at a comfortable metronome speed (75-80), to then gradually increase till the maximum reachable speed, in order to accelerate these advanced technical exercises.I abstain on purpose from proposing instructions as regards the dynamics of performance,  because in this case they do not play a significant role, in contrast to what usually occurs in music and scores. I suggest, however, to face the exercises of this essay with some dynamics that can go from “mf” (mezzo forte) up to “f” (forte), or from “mp” (mezzo piano) up to a considerable “mf” (mezzo forte). I leave the player completely free to choose the type of staccato. I suggest however to change it day by day, for example by employing a simple staccato the first day, a double  staccato the day after, and a triple one the third day, going back to a simple staccato and so on.Besides, one may choose to play, every other day, major and minor tonalities, or one day only the regular mode and the next day the reverse one, all at the complete discretion of the player. Angelo Piazzini  

The present “Method for Bass and Contrabass Tuba” provides daily exercises for the pupil which are conceived for a progressive and gradual advancement in the academic course of study of the tuba at the Conservatory. My decades of experience in the field of musical and instrumental teaching, led me to perfect this series of exercises; they are an excellent support as well as a useful guide for the pupil, the student, or the professional that will perform them. As usual, I leave full freedom and total discretion in the execution of these to the musician that will play them. Good study to all! Angelo Piazzini - Method for Bass and Contrabass Tuba - Exercises in Major. E-book published by Glissato Edizioni Musicali - www.glissato.it 

Il presente “Metodo per Tuba Bassa e Contrabbassa” fornisce all’allievo esercizi da svolgere giornalmente che sono concepiti per un progressivo e graduale avanzamento nel percorso accademico di studio della Tuba in Conservatorio.La mia pluriennale esperienza, nel campo della didattica e dell’insegnamento musicale e strumentale, mi ha portato a perfezionare questa serie di esercizi; essi sono un eccellente supporto oltre che un’utile guida, per l’allievo, amatore o professionista che li eseguirà. Lascio, come al solito, piena libertà e totale discrezione nell’esecuzione degli stessi, al musicista che vorrà cimentarsi in questa nuova serie di esercizi, atti ad ottenere un avanzato, graduale e progressivo sviluppo nella formazione del singolo allievo. Angelo Piazzini - E-book pubblicato da Glissato Edizioni Musicali - www.glissato.it

Il presente “Metodo per Tuba Bassa e Contrabbassa” fornisce all’allievo esercizi da svolgere giornalmente che sono concepiti per un progressivo e graduale avanzamento nel percorso accademico di studio della Tuba in Conservatorio.La mia pluriennale esperienza, nel campo della didattica e dell’insegnamento musicale e strumentale, mi ha portato a perfezionare questa serie di esercizi; essi sono un eccellente supporto oltre che un’utile guida, per l’allievo, amatore o professionista che li eseguirà.Lascio, come al solito, piena libertà e totale discrezione nell’esecuzione degli stessi, al musicista che vorrà cimentarsi in questa nuova serie di esercizi, atti ad ottenere un avanzato, graduale e progressivo sviluppo nella formazione del singolo allievo. Angelo Piazzini. E-book pubblicato da Glissato Edizioni Musicali - www.glissato.it

The present “Method for Bass and Contrabass Tuba” provides daily exercises for the pupil which are conceived for a progressive and gradual advancement in the academic course of study of the tuba at the Conservatory. My decades of experience in the field of musical and instrumental teaching, led me to perfect this series of exercises; they are an excellent support as well as a useful guide for the pupil, the student, or the professional that will perform them. As usual, I leave full freedom and total discretion in the execution of these to the musician that will play them. Good study to all! Angelo Piazzini - Method for Bass and Contrabass Tuba - Exercises in Major. E-book published by Glissato Edizioni Musicali - www.glissato.it