HI AND BYE RACHEL AND HUIQI!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Lol, it hasn't been long since, but rather VERY LONG.
i think u know who i am by my style of speech?
Anyway, huiqi, here's you very big
I WILL MISS YOU!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
(miss rachel too)
so stop saying everyone misses sandy but not you and rachel ok?

*sniff sniff* hmm herbal essences.

hehe, ttfn
XD

my goodness!!!!!!
how can the blog be only full of learning pointers
there must also have so laughter!!
so you guys should be so honoured that i am bring a little piece of joy and laughter to your life in band..
say thanks horh(btw i plan u a surprise,but might not work, let's just see about it)



I AM THE ONE AND ONLY adorable , funny , beloved , easy-going , sleepy queen , nonsensical miss like-to-slack , miss like-to-quarrel ...........(blah blah-goes on and on )
SEXIES!!!!!!(i meant PIGS-if u still dont know how i am u are really one) U MUST KNOW ME!!!
cos i am the founder of sexies(bigggggggggggggggggg hint) thx you..[ u can actually start crying like use to]



it is just that i am fooling around and doing something i like to do and love to do


Finding troubles bring joy and be with u ..(including sleeping through combines)
And all of u are so stress out with the competitions coming up.
All my darlings are so stress -out.
come , mama(another hint-dont get it and sexies should change to piggggggggs) give u relaxation(eeeeeeeew, so porn..haha)

I meant just relax nia. the key to sucess(for our case) is dont get nervous . Even if u are, dont show it cause that is our weakness. if u ever do, RMB ME!! and smile ..as if u are dedicating the song to me and for me(cry ba.. cause i am..waaaaaaaa) for everything the ppl before mesay to happen, believe in urselfs that u can do it.(and dont nervous) Cause if u dont believe in urselfs , u are giving up upon one self. and the SEXIES i knw will fight(play) to the end(nicely and tgt) SEXIES are bonded and united right?PROVE IT BABIES(SEXIES).. dont give up and believe cos

First I was afraid
I was petrified
Kept thinking
I could never live without you by my side
But then
I spent so many nights
Thinking how you did me wrong(how i encourage u)
I grew strong
I learned how to get along
....
I will survive
I will suvive..

oppps...back to topic,
gather all your courage and just go for it. i know u can do it!!
SEXIES, I WANT TO SEE U GET THE GOLD(AT LEAST THAT SILVER)

tell me wat cha want
wat cha really really want
i tell cha wat i want
wat i really really want
i wanna
i wanna
U TO DO UR BEST!!!!!!!!!!!!!!!!!!!!!!

go go go..

ps.
i love every of u , all of u are oart of my live , my family , and shape me of who i am today. i owe u all a thanks and sry . this journey for u still continues and there is a long way and hope our paths intercepts.for all the years we being through .thick or thins .laugh or cry. rmb we are never once alone and together we can achieve what we long for. today is special and spend everytoday together and happy cos yesterday is the past , tmr is full of mysteries ,but today is a gift ,that why it is call present(from kung fu panda the movie)..and it is so true.rmb that dear sexies, i will always be with u .

u are loved by me and byez~



muackkkkkkkkkkkkkks SEXIES

NEW ARTICLE TO READ!!!

As the dog days of summer come to a close and the fall season begins, I started thinking about the concept of practice and the many ways and means to improve as an instrumentalist. I think many people make a mistake of thinking any time spent playing an instrument by themselves is practicing. If the object of a practice session is to cover a certain amount of material in a certain amount of time and you finish sounding exactly the same as when you started, I think you've wasted your time unless you played everything perfectly. Over the years I have told students countless times, "I would rather have you play 2 bars perfectly, than play the whole book in the same way you always play." Repetition is only good when some new improvement is added to your repertoire. To cover material with the same flaws in your playing is not only a waste of time, but actually teaches you to be satisfied with the status-quo.

I want you to start thinking of your practice room as a research and development laboratory where you try out new experiments and solidify the desirable concepts you already have. Rather than just putting in practice time without any goal in mind, every session should have a specific goal. There are many different goals possible in a practice session. There's maintenance practice, where you just try to stay in shape with the level you have attained. This is useful when under a time constraint. However this should never become the everyday mode of practice. There is audition preparation, where you take the level you have attained and apply it to basically excerpts. This will not improve your playing at a fundamental level, because it doesn't allow you to get to enough of an elemental level, because of the necessary concentration of performing excerpts, which require different styles and note perfect execution. If you have a recital to prepare for, that is not going to improve your playing in a fundamental way either, because you will learn the repertoire using the skills you have, rather than improving those skills. The only way to to improve those basic skills is to isolate them down to their most simple level. Some of the most valuable practice I've ever done would probably be classified as "noodling." Example; taking two notes, like slurring middle G# to middle B and spending 10 minutes seeing how smooth I can play that slur. Trying many different speeds of moving the slide or the air, until I found the absolute best possible slur, maybe one that no one ever heard before, not even me. But it was in my head, or if it wasn't, I heard it in the many experiments I did and said to myself, "thats the one I want." Then I spent time getting good at being able to do that slur by itself, before I tried to put it in a musical context. I have also done that with things like articulation, vibrato, multiple tonguing, etc.

Some things you can get good at by just spending time doing them. Take high register for instance. If you want to get good at playing high, simply spend a lot of time playing high. This applies to low register playing as well. This brings me to the most important idea in this article; your practice room is your laboratory. You will have successes and failures in your laboratory. The failures are just as important as your successes, because that's how progress is made. When you start working on high or low registers which are not in your normal range, it's going to sound bad at first, but that's what your practice room is for. If you push the envelope it should be in the privacy of your laboratory, not in public.

When I'm working on loud playing, (which I don't enjoy, but necessary)I do it in the privacy of my practice room, and I push it way beyond the level I'm going to perform at. I wouldn't want anyone to hear me do this, but I am trying to improve my skill in this area, and I do it in my lab, not in public. Many times I have said to someone who played something for me, "is that the way you want that to sound?" The answer is usually "no." I will then say, " lets do something about it." Then we will take the problem down to it's most basic level. The student always wants to go ahead and not really spend time on that particular aspect, but I always make them go back and completely find an answer to that one thing, which is the beginning of the new player we are trying to create.

-CreditstoJayfriedman
signing off,
Tpt-SexyNOSE aka geof

um... adding on to rachel's post. i feel that la, is like, we cannot hog onto the same parts over and over again. lets say A plays 1st for alvamar,then younger B plays 3rd for alvamar, but when A graduates, B is forcedto take over. i mean la, ya, um, we have to face it sooner or later. now itsnot the problem of making your life easier or whatsoever, experience iswhat makes us grow what. if you just hog on to a same part your neverget your deserved experience. although 3rd is usually easier and havelower notes than 1st or 2nd, but the problem is, do you play it well.sometimes the low is too low for you to hit and even if you hit, you don'tproduce a good sound, then what for you play that part. then you mustask yourself, DO YOU DESERVE getting that part? oh, anotherproblem. lets say A is using a standard MLbore instrument. its a standardsize for most of us, but you don't project, in other words, you are inaudible.One fine sunny day, Mr Wong imported a new Bach Stradivarius 180Seriesmodel 52 Lbore(which means bigger bore). he chose you to play it, andwhen you play it, no sound come out, because larger bore instrumentsneed more air to play. morale of the story is, we must have high adaptability,like we must adapt to all kinds of instrument or hall conditions fast, causeVictoria Concert Hall is a bloody dry place, if we were to play at our presentvolume, even with caroline blasting away, our section would be inaudible.we must also take note of articulations so forth and stuff!!!
SOME ARTICLES TO READ:
I have three specific things to talk about this month that apply to most every musician. The first is the concept of the crescendo. I like to think of a crescendo as a sound that gets bigger and fatter as it gets louder. The timbre doesn't change, it just gets bigger. It's as though your instrument ate a big meal and got wider. This is the type of crescendo I try to impart to the ensembles I work with. Visualize a different kind of crescendo by taking the index and second finger to form a V and aim them as if you wanted to poke someone in the eyes. This is the kind of crescendo I hear very often that results in a sound that changes from mellow to hard as it increases in volume. A much more musical approach is a sound that grows wider and bigger without that obvious forward push that can assault the listener. Think of a forte that is 100 yards away, and moves evenly closer to the desired dynamic. I often tell students to play something marked forte, piano, and then tell them to play the forte with the exact same sound of the piano. The space in between the two dynamics would be the crescendo.I have three specific things to talk about this month that apply to most every musician. The first is the concept of the crescendo. I like to think of a crescendo as a sound that gets bigger and fatter as it gets louder. The timbre doesn't change, it just gets bigger. It's as though your instrument ate a big meal and got wider. This is the type of crescendo I try to impart to the ensembles I work with. Visualize a different kind of crescendo by taking the index and second finger to form a V and aim them as if you wanted to poke someone in the eyes. This is the kind of crescendo I hear very often that results in a sound that changes from mellow to hard as it increases in volume. A much more musical approach is a sound that grows wider and bigger without that obvious forward push that can assault the listener. Think of a forte that is 100 yards away, and moves evenly closer to the desired dynamic. I often tell students to play something marked forte, piano, and then tell them to play the forte with the exact same sound of the piano. The space in between the two dynamics would be the crescendo.

The second item on my menu this month is that most beautiful of articulations, the forte-piano. If there ever was a divergence of opinion, listen to the various versions of what people interpret as a forte-piano in an ensemble. No two seem to be the same and yet this is one of the most important tools we have as musicians. I visualize the forte-piano as something like the shape of a comet. It has a large dense, brightly glowing head, which gives off a luminous and long tail that decreases gradually into nothing. Of course there are various sizes of the glowing head, from small and brilliant to large and slightly less brilliant, all producing a beautiful multi-colored tail. No other articulation can result in such a pure resultant sound. Developing this aspect of the musical vocabulary is one of the essential things someone can do on the way to producing the best sound possible on a particular instrument. Being able to produce a pure, round forte-piano in various sizes, meaning various dynamics, providing the forte is always round and pure, never hard or brittle, gives a player a tremendous advantage in sound and style. As with anything, spending time and isolating this one articulation so as to develop it independently, away from normal music making, will pay large dividends.

My third and final entree is learning how, and the importance of, playing to the space you are performing in. A common problem is practicing in a small space (after all, how many of us have concert halls to practice in,) and then playing to the same space when auditioning in a large space. I don't mean just playing louder either. I mean being able to fill a large space with your sound, just like you fill every nook and cranny (I hope) of your horn. You need to learn to fill a large space without forcing, and this takes thought and practice directly related to this skill. My first item on this months menu would be of help in this regard. Of course the reverse is also true, being able to fill a small space with your sound without overfilling, if you have been practicing in a larger space.
-Credits to Jayfriedman
please read as this article talks about common stuff we have problem with.
signing off.
geof.

hey sexy trumpet section!

I've been reading your posts& ya,
some stuff are quite concerning.
I'm sorry if i make this blunt& all but i hope you guys'll make some amendments.

Firstly, I miss you all&band very much. Dont doubt me when i say this! ;DD

Secondly,
I looked at the parts arrangement& yea.
Just a suggestion la.
I hope you guys can some how give the juniors more of a chance?
I know caroline's a strong player but think abt it, dont tire her out.
I know the sec2s cant really play tht well but yea, let them have a go at it alone?
Caroline's good but whats gonna happen when she's gone eh?

Sec2s&1s dont keep pushing parts away, when you get first parts, just take it.
Tell yourself, you can make the piece sound nice.
Tell the world you can play well,
Tell the world you can do it!
Seriously, if you're willing to work,
I'm sure the sec3s will help you in anyway they can.
& ya, if the sec3s arent free,
theres always mr pek& mrwong. ;DD
I know its partially my fault for not settg a good eg& playing 2nd& 3rd all the time.
Third family, now i'm gone you gotta grow up!
& get to top of the heap!
So yea, jiayous alright, i know you juniors can& will make it!
Do our section proud! ((:
You're our future,
dont disappoint us! ;DDD

Sec3s, nows the prime time of your life in sec sch band.
Please dont forget to render guidance to the juniors sec1s&2s when they need it.
When they need your help please help them.
I know some of you will be busy with all the comm stuff& all but yea.
Those without comm posts, you guys gotta be there for the section.
Our section needs it, badly.
The parts arrangement, caroline's playing 1st for nearly everyth!
I know our section's strength individually arent that good but yea, if you guys dont try you'll never know.

Try to think abt it,
abt how hq& me havent been really playing first for quite alot.
Maybe its high time you guys did the same.
I dont mean that you guys cant play first but why must it always be caroline? Why cant it be alan, huimin or sisui with the juniors.
Give her a break man, whether she wants it or nt she has to.
Me& Hq are gone alr, so yea sec3s if your skills still arent up to mark. BUCK UP.!

This is also specially for peeps with braces,
I knw its hard to play, i know it hurts ALOT.
But yea, i worked my way outta it with my braces.
So i bet you can too!
Pain is nothing bear with it and in no time, you'd get used to it.
Focus on getting a good sound with your braces on,
when you take it off, who knows.
You might be godly. ha ha. ((:
We're just like a jack-in-the-box,
Now with our bloody metal teeth we are just a plain box.
I cant wait till you guys remove it.
You'd be a SURPRISE! ha ha.
Like what mr wong said,
having braces might not be a bad thing.
You'll learn how to play high notes without all the squeezing!
If i can reach top C with my braces,
SO CAN YOU!
Braces peeps& peeps who are gonna get braces, 'brace' yourselves& dont give up!
GOGOGO! ((:

Oh& just a tip for all of you.
Focus more on getting a good sound.
Techiniques wise you also can prac but the idea is.
When you play crazy scales& etudes,
you must still sound nice.
Thats the hard part.
In slow or fast music,
you still gotta sound nice.
When we need the PUNCH,
you guys gotta deliver the PUNCH 200% not abit more& not abit less.
when we need the SOFT& GENTLE,
you guys gotta give us what it takes to be the most gentle angel on the planet.
So, work on it.
I know you guys can do it, got faith in you all!

Sorry this post is so long~ ha ha.

Signing off,
SexyHair aka SHE aka Racheltan. ;DD