Cy P-R-P system FOR BRASSWIND INSTRUMENTS FAST WARM-UP —— ENDURANCE -—— RANGE — CENTERING OF SOUND STRONG EMBOUCHURE DEVELOPMENT —_— EXCELLENT TONE QUALITY RENE LAMART DEVOTED TO MAKE A GENERATION OF BRASS PLAYERS PAR EXCELLENCETHE P-R-P SYSTEM P-R-P Stands for Pressure, Release, Pressure. P Stands for pressure, the correct amount of pressure applied to the lips with the mouthpiece in the production of any particular note or sound. R Means "release" - reducing the pressure of the mouthpiece against the lips ever so lightly, while maintaining the same pitch played in the P position. All of this is accomplished without allowing air to escape between the lips and the rim of the mouthpiece.THE BENEFITS By using the P-R-P SYSTEM, the following benefits can be obtained: 1) 2) 3) 4) 5) Positive warm-up without the instrument; Promotion of efficient vibrations after only a few minutes; Development of a strong embouchure and correction of embouchure problems; Improvement in the quality of sound and development of the ability to play pianissimo to fortissimo with accuracy; Ideal maintenance of embouchure for performance, while traveling, when time and/or circumstances do not permit the use of the instrument, for those who enjoy playing only Part-time, and for those with dentures or braces.WARM uP DEFINITION THE PREPARATION OF ALL PARTS OF THE BODY INVOLVED IN PLAYING AN INSTRUMENT BY MEANS OF EXERCISES WITH EMPHASIS ON EMBOUCHURE.— FOR MAXIMUM EFFICIENCY OF AIR COLUMN. LIPS, TONGUE AND FACIAL MUSCLES.HOW TO PRACTICE The system uses a small patented device called "Le piece de resistance", which fits in the backbore of the mouthpiece, and creates a resistance almost equal to that experienced while Playing a horn, When using the device, one is able to analyze what takes place while practicing, by reducing the pressure of the mouthpiece on one's lips. When using the system for the first time, be sure to Practice the exercises for 10 to 15 minutes, then rest for 2 minutes before playing the instrument or continuing with the exercises. With this system, the facial muscles associated with the lips are given a serious workout: this is the reason for resting frequently between exercises. After a few days' practice you will realize an increase in endurance and power, with amore centered sound, and the ability to efficiently warm-up in just a few minutes. This system works for everybody, the beginner or experienced professional, with excellent results. (The use of a piano, tuner, etc. is recommended to help with the intonation.)Insert "Le piece de resistance" into the end of the mouthpiece as shown in figure #1. You can regulate the amount of resistance desired by pushing or pulling "Le piece" into the (p= Pig. #1 mouthpiece. Hold the mouthpiece with the thumb and index finger at the base of the cup as shown in Figure #2. Start by taking a big breath and playing low "c" five times with your usual amount of pressure; this is done to establish the position of your lips on the mouthpiece. Hold the last note until you run out of breath, this will give you the benefit of quickly energizing the air column. SLOW (Repeat 5 times) (One breath)-R-P With this next exercise you will begin to use the P-R System, Follow the instructions and markings: P for pressure, R for release. This will give you an idea of how to use the System thoughout the book. To make the transition smoothly from the P (pressure) position to the R (release) position, and back, look at the exercise and follow the directions below: Slow POR R P Pp — So3> > 400 ~e * ‘ $ = Sata SS ————— THE ARROWS INDICATE: ( <——_—— )_ SUSTAINED PRESSURE bo ( ———_——» ) (SUSTAINED RELEASE I SMALL ARROWS: ( —> ) GRADUAL RELEASE OF PRESSURE SE RELEASE OP PRESSURE GRADUAL APPLICATION OF PRESSURE NOT TONGUEING1) 2) 3) 4) 5) 6) Play the exercise in slow 4, and hold the note on the first bar with normal pressure; all slurred. “on the second bar start a slow release ( —®) of P with the mouthpiece, reaching the maximum release by the 3rd bar; then hold the note in that position for four beats. on the 4th bar, begin to come back slowly to the normal pressure position («— ) until you reach the 5th bar. Hold the note until you run out of air, and apply a bit more pressure with the mouthpiece, but without losing the pitch. Maintain that position while you inhale through the sides of your mouth. Repeat the exercise five times without resting, and without removing the mouthpiece from your lips. Remember that while practicing the entire exercise, you must maintain the same pitch, thus forcing the muscles of the lips to find and maintain the correct positions for that particular note. R P P Reyes» Re, fee e Se —_— eF__eES, REST FOR CONTINUE PLAYING EACH LINE FIVE CONSECUTIVE TIM! REST ABOUT 1 OR TWO MINUTES BEFORE PLAYING THE NEXT. REST REST REST Sow PR R 7 : SS — see a 2 timesWh ” en I say "THINK OF....+- ” what I want you to do is, in B-00. DO NOT vocalize your mind say the syllables, TOO-HE: them. Blow steadily and let the tongue articulate the syllab’ a les. Repeat this several times. This can be done at any tim '@, anywhere, since you will not be vocalizing. Late; x, you will be able to perform this exercise without blowing, ig, and obtain the same results - a flexible tongue which can mai: maintain the correct position for any particular pitch.Ist Time Pressure 2nd Time Release —>- = Ist Time Pressure 2nd Time Release rit ¢ Pressure Release ceel, oe rit. Ist Time Pressure 2nd Time Release — too-he-e-00 2 rit. Ss Kh om Ist Time Pressure 2nd Time Release ~ eetWhile playing these exercises, always visualize how the tongue works; and how the air column travels from your lungs through the throat, touching the tongue and the roof of your mouth, making the lips vibrate, and out through the mouthpiece, the horn, and into. . .Space. .. The following example of a good exercise can be found in Clarkes Technical Studies. If you don't own this book, you should. FIRST A -- Play the entire exercise with normal pressure. B == Do it five consecutive times without removing the mouthpiece from your lips. Take a breath thru the sides of your mouth. © == Each time you repeat the exercise - force yourself to go further with each breath. REST for two minutesNow follow the same procedures, but this time 1) 2) 3) 4) Play the entire exercise in Release position five consecutive times. However, instead of moving your lips, let the tongue and the force of the air column behind it, execute the changes in pitch. This can be accomplished by anchoring the tip of the tongue behind the lower teeth, and then blowing a steady and forceful column of air, behind the movements of the tongue. Be sure that the embouchure remain motionless, and visualize how the tongue moves and how the air travels. Release oes wo es roe IT IS ABSOLUTELY ESSENTIAL, TO MAINTAIN CONTACT OF THE LIPS AND MOUTHPIECE, FROM THE *MAXIMUM RELEASE, TO THE PRESSURE POSITIONS, AT ALL TIMES *MAXIMUM RELEASE, IS THE MINIMUM CONTACT WITH THE MOUTHPIECE.If you wish, you can start with this exercise, then gradually go up. (Met, From J = 60to d= 120) Follow the same pattern in all these different keys.One EDEN LO Hememen whan playing Inbervale, bag Wee, ee PNEAROH © Che Hound Munk be projected ana have torwere wotlony Mele Le alwaye in motion, one must always play with Aivectlon, then phrases will make musical sense, whe Following diagram will give an idea of what takes places het me explain this concept another way. If one were to play the above notes as an exercise C-G-C, one would probably not be concerned with the 3 notes as a single phrase. I am suggesting that if one plays the notes with some concept of girection or forward motion, one could then play musically. ”20 My interpretation is to think of the sound of each note to have a place in time and space. As you play a phrase or exercise, think of the placement of each note in the phrase in writing. The first word is at the beginning, the last word will be at the end of the phrase. 2- 3- 4-5- 6- 7. €-g. Think of playing the first note close to the bell of the horn and the last note far away from the horn. It is good to incorporate any other exercises of your preferance along with songs or etudes, using only the mouthpiece and "Le Piece de Resistance". Make sure that you Produce all the sounds and intervals correctly. ven if they are played in a different key,21 IMPORTANT POINTS TO REMEMBER 1) - Position of the tongue when playing a sustained tone. 2) - Position of the lips when playing in release position. A - Do not pucker, or follow the mouthpiece with your lips, while playing from the pressure position to the release position. B- The position of your lips must be similar as when one pronounces the letter "M". By that I mean that your lips must be together and against your teeth. There must be a separation between your upper and lower front teeth to let the air p KLE) column go thru to make the center portion of your lips vibrate.UP TO THI6 POINT YOU HAVE WORKED WITH EXERCISES TO GIVE YOU: 1) A_PAST WARM-UP 2) (A STRONGER EMBOUCHURE 3) CENTERED SOUND 4) EXCELLENT TONE QUALITY 5) ENDURANCE THE PRACTICE OF THESE EXERCISES, 3 TIMES A DAY, WILL HELP YOU MAINTAIN A WELL-TONED EMBOUCHURE. YOU DON'T HAVE TO PLAY THE ENTIRE SERIES OF EXERCISES TO WARM-UP; SELECT A FEW EACH TIME YOU PLAY. FOLLOW THE INSTRUCTIONS AND PRACTICE THESE EXERCISES WHEN THE USE OF THE HORN IS NOT POSSIBLE. e.g. WHILE DRIVING, WATCHING T. V., etc., etc.NOW LET'S USE THE P-R-P SYSTEM AND THE HORN T RANGE 0 OBTAIN. «+The next series of exercises must be practiced with the horn and the P-R-P system. 1) Play very slowly, using legato tonguing while sustaining the notes for their full value. 2) At the breath mark before the upper note, you must breathe through the sides of your mouth without removing the mouthpiece from your lips. 3) As you play the upper note, still using legato tonguing and blowing steadily, project the sound to a distant object or place in front of you and imagine touching the object or place with the sound. = BLOW! 4) Notice the stop sign at the top of the staff. You must stop for a moment, then play exercise #1 with the mouthpiece and "Le Piece" five consecutive times. 5) Rest for 2 or 3 minutes and continue with the exercises. 6) Stop when the notes begin to crack; then, play exercise #1 again and rest for a longer period of time. The object of these exercises is to develop consistency and accuracy, especially in the higher registers. In your practicing, however, remember to combine the exercises in the book, along with other technical exercises, and play lyrical etudes and songs where phrasing is of utmost importance.Slow 2527 : x ter HTT. tr ) teThe next exercise must be played as slowly as possible. Play each line musically, and make the notes flow by using 4 constant and controlled air column; in other words...BLOW! On the 3rd and 4th beat of the first measure, and on the ist beat of the second measure, there is always a tendency to overshoot the intervals. To avoid this, first play this portion of the exercise in an octave lower. Then, apply the same effortless feeling to playing in the upper register. 2931v2 TONGUE FLEXIBILITY EXERCISES Movement of the back or middle of the tongue only, and not of the lips, is required in all of the following exercises. Incorporating the P-R-P system when practicing with the horn will bring faster and lasting results. In fact, if you own the CADET system, it is a good idea to combine the two; then all the parts of the body involved in playing a wind instrument will work in perfect harmony. Concentrated effort will bring great results; practicing time will be cut in half, and you will achieve your goals quickly. A word of caution: po Nor’ QVERDO ANY OF THESE EXERCISES, or any other material that you happen to practice. In other words practice until you feel satisfied with the results, and are still strong enough to play Several more hours. Remember -- QUALITY, NOT QUANTITY.Practice as much as you can using the P-R-P system. Taking 2 bars at a time, play very slowly with normal pressure; then repeat the 2 bars and play in release position all in one breath, be sure that you use the force of the air column and the movement of the tongue to obtain changes in pitch. When the facial muscles begin to tire, rest for a few minutes; then, play the exercises using the horn. Practice very slowly until you have the sensation ‘of free blowing - when you feel the air and the tongue doing all the work, then you can proceed at a faster pace. Master the previous exercises; then start on the following. Do not attempt to practice too much at any one time. Follow the same routine. Use the mouthpiece and "Le Piece de Resistace" for the following: Slow 4 33== Fz —— eS =Use the mouthpiece and “Le Piece de fol an Ree woes Resistance" cirtrtartrtiee for the Pp Sj = S5546 Playing these exercises faster, will require slight ght mover the lower jaw.Use the mouthpiece following: Ist Time Pressure 2nd Time Release and "Le Piece de Resistance" for the 3738 i A t tetas be tktene oe teen = tetee e VS ¥ = 7. 7Use the mouthpiece and “Le Piece de Resistance" for following: Ist Time Pressure 2nd Time Release the a 39ba b, bee 2 2 a = = = Gatatatatatatea b PatatePatatatas Da Bitaratatatetetat at atatatatatatatatal a 41EXERCISE 1 A-Place tip of your tongue behind top of your lower front teeth, with ight Pressure to make tongue almost flat, B- Take a deep breath thprough your mouth, C-Keep your Ips close together and flat against your teeth allowing the air to 80 out at the center of your lips and blow wat all the atr in your lungs D-Repeat exercise 10 times E-Again repeat exercise except that while blowing, touch the center of your upper Mp lightly with your index finger until the lips start to vibrate, EXERCISE 2 1-Again with the tip of your tongue behind top of your lower front teeth and TEA: without moving {t,pronounce the syllables TAA TOO , TE! ‘epeat 10 times. 2-Do this exercise again but this time instead of saying the syllables aloud THINK OF THEM while keeping & steady stream of air. Remember to keep the tip of the tongue anchored right behind the top of your lower front teeth EXERCISE 3 This time let's use the mouthpiece, "le piece de resistancé! and with the ald of a plano play the C scale on the mouthptece, starting on low C up to midlle C match the sound on the plano and hold each note until you run out of breath then take a big breath and go to the next note and so on... wn Make sure to place the mouthpiece as follows; A-Moisten lips and mouthpiece, g-and place mouthpiece ‘B-Put lips together in a relaxed manner, flat against your tect in the eontec of your lips wherever it feels most comfortable, make sure the inner rim edge of the mouth’ plece 1s not placed on the red portion of the Itps, a, ——..\EXERCISE 4 Now let's use the instrument with the CADET attachment; follow the instructions for placing the attachment én your instrument and how to use it for the open and closed positions. gs for each Follow the markings for the open and closed positions and the fingerin note of the "C" scale de start the note in closed position. 2-Keep oa blowing and move into the open position as marked, keep the same pitch while playing with just the mouthpiece in the open position 4-Sustain the note as long as you can; just as you are about to run out of air, bring the hort to a closed position with the right hand. Then expel or force out every ounce of air left im your [Link] is VERY IMPORTANT to blow out every bit of air in your lungs ;dontt Nor no sound worry about the sound that comes out of the horn at that moment, the main purpose of . he exercise is to blow properly, develop the abdominal muscles and make the lips cles in the qbrate freely [Link] . While doing this exercises if you don't feel the m y, stomach area and the back workingand perspiring a bit you are not doing the exercises correctly The magic word is BLOW!