[6] PEDAGOGY
[6.0] Why should I take the the following suggestions with a grain of
salt?
Almost all the answers in this section are highly subjective.
Changing certain aspects of your playing technique can
potentially cause long lasting and detrimental effects,
especially those relating to the embouchure. What works
best for one person or for most people may not work well
for you. The best thing to do before trying a new technique
is to discuss it with your teacher before you begin.
[6.1] What is the the trombone embouchure and where is the proper
placement
for the mouthpiece?
From the Oxford American Dictionary:
embouchure: 1. the mouthpiece of a wind instrument.
2. the way in which the lips are applied to this.
SEE: Brass Embouchure Survey Report
URL: <http://osf1.gmu.edu/~mvaughn/>.
The following is quoted from Dan Traughs
<traugh@chapel.fcasd.edu> trombone Web page,
<http://www.fcasd.edu/teachers/traugh/trombone.html>:
Lips should be moist, relaxed and together as if you just said
the word "mem". There should be no forced tightening,
thinning, or flattening (sometimes called a smile
embouchure). The corners of the mouth should be firmly set
in a downward direction. Sound is produced by buzzing the
lips with a quick full stream of warm air. Puffing of the
cheeks or lips is not allowed under any circumstances! After
practice the lips should be able to buzz with a fairly
relaxed feel in the center. Mouthpiece placement should show
the mouthpiece covering an approximate 60/40 ratio of upper
and lower lip.
<HR>
On Sat Sep 9 14:06:32 1995, Steen Nikolaj Hansen
<sh_music@pip.dknet.dk> wrote the following in the message
entitled "Re: Trombone embouchure basic description":
(NEED PERMISSION!!!!!!!!!!!)
First of all, I don't think the lips should be moist or wet.
Most people (I know) use dry embouchure instead of wet, which
often causes the mouthpiece to slip all around your face. As
for the mouthpiece placement, I prefer 2/3 upper lip & 1/3
under lip. It's very difficult to make a sound directing
the airstream right into the "hole". It has to bounce in the
cup, causing the mouthpiece to to start buzzing. Whether it
hits the upper or lower part of the cup, depends on register.
Normally this changes around mid-G or A.
<HR>
On Thu Sep 14 19:42:24 1995, Dan Traughs <traugh@chapel.fcasd.edu>
wrote the following in the message entitled "A word about
embouchure placement":
It is my feeling that a person starting out on trombone,
especially if they are very young, can become so boondoggled
with too much of a technical description of embouchure
placement that they never become comfortable or, (big breath)
develop lots of bad habits by trying to overcompensate.
(whew!) IMHO the best way to place the mouthpiece is to say
"put it right on the center of the lips kid" and then guide
them (without their knowing what you are doing) to the
placement that works best for them. None of this %63.5 upper
and 7 and 3/4 chromometers lower. Let their college teachers
screw them up with that stuff! (just kidding of course).
I have heard so many different descriptions of the perfect
emb. that I am going crazy....
[6.2] How much mouthpiece pressure should be used, and are there
any techniques to help alleviate excess mouthpiece pressure?
On Fri Feb 14 13:58:28 1997, John Griffiths
<griffitj@leroy.cc.uregina.ca> wrote the following in the
message entitled "lungs etc.":
...Use only enough mouthpiece pressure to seal all around.
That'll be somewhat greater the higher you go because your
lips firm up and so destroy the corner seal. The mouthpiece
is straight across. Your teeth aren't. In the low and pedal
range you essentially blow your lips into the mouthpiece and
there should be no need for horn pressure at all....
<HR>
On Wed Feb 5 11:38:19 1997, Matt Varho
<BassBonist@aol.com> wrote the following in the message entitled
"Re: Pressure...":
(NEED PERMISSION!!!!!!!!!!!)
...It is probably wisest to do this under the supervision of a
very good teacher who is him or herself an advocate of
"less press" as was my teacher, Jeff Reynolds.
When I describe how I was taught "less press", it will be
obvious why you need a coach with you when you do this, but
it could be done to some extent if you LISTEN, FEEL, and
ADJUST your AIR as you try this. First. Play a mezzo forte
tuning note Bb, with a full sound (after you are warmed up or
have played some that day). Second, Grrraaaadually shift the
pressure off the upper lip and LISTEN! When the tone starts to
"sag" or loose focus increase the AIR to compensate. This is a
slight lessening of pressure and a comparable amount of added
air support. Think of tilting the bell down and transferring
the pressure to the lower lip...Slightly!
This is why a very good teacher should be with you when you
do this. Jeff Reynolds used to hold the throat of my trombone
bell near the bell brace and pivot the horn SLOWLY down while
I played a full MF B-flat tuning note. The hardest part of
this is TRUSTING the new FEEL and then remembering it every
time you put the horn on your face. As a former "too much
mouthpiece pressure" player, it was a very long time before I
was able to find the new BALANCE. Probably months, even years
to really "get it". Now when I play Remington or other warm
ups I am more aware of when my sound tarts to "choke off" from
excess press, and I adjust.
Mouthpiece pressure is a very delicate subject and a bear to
find the magic combination of how much is too much, too
little, but in you experimentation, don't be afraid too hear
what not enough pressure sounds like (when no amount of air
will bring the tone back). Adding pressure back gradually
from THAT point can be quite an eye-opener, provided you can
play with a good, full sound before you have re-applied
pressure to your previous level.
It is also good practice to do this in short, 1-2 minute
trials with 10 minute rest periods in between....
[6.3] What is an incentive spirometer and how do I use it?
The American Association for Respiratory Care (AARC) gives the
following definition in the Respiratory Care Journal under the
AARC Clinical Practice Guideline
<http://www.aarc.org/cpgs/ispircpg.html>:
Incentive spirometry, also referred to as sustained maximal
inspiration (SMI), is a component of bronchial hygiene therapy.
...
Incentive spirometry is designed to mimic natural sighing or
yawning by encouraging the patient to take long, slow, deep
breaths. This is accomplished by using a device that
provides patients with visual or other positive feedback when
they inhale at a predetermined flowrate or volume and sustain
the inflation for a minimum of 3 seconds.
The objectives of this procedure are to increase
transpulmonary pressure and inspiratory volumes, improve
inspiratory muscle performance, and re-establish or simulate
the normal pattern of pulmonary hyperinflation. When the
procedure is repeated on a regular basis, airway patency
may be maintained and lung atelectasis prevented and reversed.
...
Incentive spirometry should be contrasted with expiratory
maneuvers (such as the use of blow bottles) that do not mimic
the sigh and have been associated with the production of
reduced lung volumes.
<HR>
On Tue Feb 18 08:43:21 1997, Paul D. Kemp, Jr.
<paulbear@voy.net> wrote the following in the message
entitled "Incentive Spirometers":
... I am a big advocate of the incentive spirometer because
it gives the strongest signal to the brain that respiration
is happening efficiently--the visual. I mentioned in a
previous post about the ValSalva Maneuver occurring as a
result of mouthpiece buzzing very loudly. Through the help
of a teacher who understands the respiration process very
well and through the use of the incentive spirometer, I have
been able to largely eradicate this from my playing. It does
take some conscientious work, but it is an attainable goal,
and the improvement in the sound is amazing because you're
actually using the airstream to fuel the sound. I'd like to
post below a practice method for using the spirometer as a
tool to achieve efficient respiration while playing the
trombone.
1) Get an incentive spirometer. These are available through
respiratory therapists or from Discount Music in Chicago.
I'll give you the information below.
2) Work with the spirometer WITHOUT A MOUTHPIECE FIRST. It has
a dial that decreases the amount of resistance the more it
is turned to the right.
3) Set the spirometer dial all the way to the left. Inhale.
The little white ball will go up to the top of the tube.
Keep inhaling until the ball drops. You'll be surprised
just how much air you can take in. Repeat this 10 times,
then move the dial 1 notch to the right and repeat. Keep
moving the dial to the right and repeating. I would do
10 inhalations at each setting. When it gets all the way
to the right you'll feel like you're inhaling through a
2" tube.
4) Now that you now what a good inhalation feels like, turn
the spirometer upside down. Set the dial all the way to
the left again and take in a big breath like you did
while do the inhalation exercise and blow the ball to the
top of the tube. Repeat this 10 times, and then move the
dial to the right 1 notch. DO 10 exhalations at each
setting. As the dial is moved farther to the right you
will not be able to keep the ball at the top of the tube
as long. That's OK.
5) By this time, your breathing will have become
rehabilitated. Now get a piece of plastic tubing (if
you get the spirometer from Chicago it already has a
clear plastic tube) and attach it to the spirometer and
insert your mouthpiece. Turn the spirometer upside down
& buzz a middle F at the lowest setting, BLOWING VERY
GENTLY. REMEMBER THIS: THE SPIROMETER WILL NOT WORK WITH
STATIC AIR. AIR MUST BE MOVING IN ORDER FOR THE BALL TO
MOVE. Do about 5 of these, then move the dial one notch
to the right and repeat 5 more times. Keep moving the
dial 1 notch and repeating 5 times. When the
dial gets to the middle you should notice that you're using
more air than you normally do to play the trombone.
6) Try this for 2 weeks. I predict your playing will improve
by leaps and bounds.
Discount Music
800-829-4713
After this becomes very natural for you, practice everything
you practice using it--Long tones, lip slurs, tounging, etc.
Some periodic maintenance with the spirometer will keep you
breathing very deep and relaxed.
[6.4] Is buzzing with only the mouthpiece good for my playing, and how
should it be practiced?
On Mon Feb 17 07:52:30 1997, Robert Coulter
<RICOULZ1@ULKYVM.LOUISVILLE.EDU> wrote the following in the
message entitled "Re: Buzzing":
(NEED PERMISSION!!!!!!!!!!!)
There is a lot of disagreement on the benefits of buzzing.
Arnold Jacobs says it is one of the best things a brass player
can do. Joe Alessi said that he buzzed the entire time while
driving from Philadelphia, to Saratoga, and when he got there,
he felt like a completely different player. Jeff Reynolds
doesn't really like it, he feels it makes the lips to
leathery. I say give it a try, but don't try and do it too
loudly, and at first concentrate on low register buzzing.
Buzz anything, nursery rhymes, songs on the radio, anything
to get used to doing it, and I feel you will feel like a
different player too. Remember, no too loud, nice and easy.
<HR>
On Mon Feb 17 21:32:51 1997, Paul D. Kemp, Jr.
<paulbear@voy.net> wrote the following in the message
entitled "Re: Buzzing":
...I personally have had good and bad experiences with
mouthpiece buzzing. The good experiences was that it helps
to focus pitches very well, but you must buzz the note exactly.
The bad experience came when I was never told how to do it
properly, and did a lot of very loud buzzing. Over time it set
up a lot of restrictions in my respiration, causing much
ValSalva Maneuver. My advice would be to do it with an
incentive spirometer so that you can see whether or not you
are moving air. I second Robert's advice about not too loud
and staying in the middle and lower registers. Also,
concentrate on getting a very focused buzz on the mouthpiece,
and do not let the quality of the buzz change when you
change pitches. Also, make yourself play as cleanly on the
mouthpiece as you would on the instrument. Practice slowly
and accurately.
<HR>
On Sun Feb 16 22:12:50 1997, Daniel Cloutier
<CLOUTIER@macalester.edu> wrote the following in the message
entitled "Re: Buzzing":
(NEED PERMISSION!!!!!!!!!!!)
...Yes, buzzing is an important part of one's playing.
Start by buzzing melodies you know already and concentrate
on hearing the sound in your head as you buzz. This will
develop your 'tonal image.'
[6.5] When buzzing on the mouthpiece should I buzz 1/2 step higher
to take into account the extra resistance of the horn or buzz
at the intended pitch?
On Sat Jan 4 02:22:13 1997, Bob Sanders <Farquhar@aol.com>
wrote the following in the message entitled
"Re: buzzing.......negatives?":
(NEED PERMISSION!!!!!!!!!!!)
...I have not actually laid eyes any such studies first
hand, but Reginald Fink in his book, "The Trombonists
Handbook" cites Lloyd Leno's 1970 doctoral dissertation,
"Lip Vibration Characteristics of Selected Trombone Performers"
(available, I think, from University Microfilms) as follows:
"Lloyd Leno's recent high speed photographic study proves
that both lips vibrate, they touch each other during this
vibration and they vibrate at the same frequency
as the pitch that is being played."
I keep meaning to send away for this paper and if there are
more like it, I would like to know about them...
[6.6] What can I do to increase my breathing capacity / control?
See URL: <http://www.islandnet.com/~bhowland/breath.htm>
See URL: <http://www.ecnet.net/users/mfham/brass/tbnotes4.html>.
See URL: <http://www.yeodoug.com/breathcontrol.html>.
See Remington Warmup Studies by Donald Hunsberger
(Accura Music <http://www.accuramusic.com/>).
See question [6.3] "What is an incentive spirometer and how
do I use it?".
[6.7] What can I do to learn to play in tune?
On Tue Feb 18 23:15:09 1997, Brad Edwards <Edwards63@aol.com>
wrote the following in the message entitled "TuneUp CD":
...It was created by Stephen Colley who, I believe, plays
third horn in the Richmond (Virginia) Symphony.
...It costs $38. If you want to order it, call
(804) 998-6607 [voicemail].
...
What you get: a booklet discussing intonation and a CD
(entitled 'Bootcamp') to play along with. The CD is divided
in two sections:
1) A series of intervals over a drone in all twelve keys.
These intervals are adjusted to created exact mathematical
ratios (3:2 for a perfect fifth and so on). The drone is
on one channel, the intervals on the other. Thus it is
possible to play only the drone channel on your stereo.
Mr. Colley chose timbres and registers which help to make
the beats obvious if you are out tune.
2) A chorale in all twelve keys. Once again, all the
intervals have been adjusted to generate exact ratios.
Mr. Colley refers to this tuning system as Pure Harmony.
...
The address is:
TuneUp Systems, Inc.
14232 Marsh Lane, Suite 126
Dallas, TX 75234
[EMAIL: <TuneUP1@aol.com>
PHONE: (804) 998-6607]
...Basically, this is a very helpful tool. It is nice to have
something patiently droning away while you work on hearing the
intervals. My complaint is that it moves along too quickly.
The chorale part of the CD is especially challenging because
of the tempos Mr. Colley has chosen. The booklet has some good
ideas but could stand some editing and revising. It is obvious
that Mr. Colley believes very strongly in what he is doing.
From reading the text, one sometimes gets the impression that
he is enlisting you in a crusade against the evils of faulty
intonation. There are some handy summaries at the end of the
book including bar chart clearly showing the adjustments
needed to get perfect-ratio intervals.
Here's a quick summary (from this and other sources) of those
adjustments in cents (1/100th of a half step) ...
Major Third....down 14 cents
Minor Sixth....up 14 cents
Minor Third...up 16 cents
Major Sixth...down 16 cents
Perfect Fifth...up 2 cents (almost dead-on)
Perfect Fourth...down 2 cents (almost dead-on)
Minor Seventh (as in a dominant seventh chord)...down 29
cents!
...Handy rule of thumb: lower your major thirds and major
sixths, raise your minor thirds and minor sixths.
Remember that these adjustments simply return you to the ideal
overtone series. Thus they roughly correspond with the
intonation adjustments one often must make on the trombone.
For example, the fourth-position B frequently must be raised
to make the tuner happy. However, in a G-Major chord, you
may be able to leave it right where it is. Take a group of
trombonists and have them play a chord all in the same
position (second-position A, E, and C-sharp for example);
chances are that chord will 'ring' more nicely than a
similar chord using a variety of positions (B, F-sharp,
D-sharp, for example).
I agree with what others have said on this list and what
Colley stresses in his workbook...there is NO substitute
for listening carefully.
Recently, Colley has come out with a revised version of his
text. I haven't had a chance to look at it....
<HR>
On Wed Feb 12 14:08:09 1997, Ron Babcock <RON@fpa.lh.pdx.edu>
wrote the following in the message entitled "practicing
tempered tuning" (author indicates that this article should
have been entitled "practicing just tuning"):
Let me start off by saying that it is impossible to cover all
the aspects of just tuning without someone to teach it to
you correctly. I do have a method of working on intonation
that can get you started on the basics.
Start off with a tone generator of some type that produces a
pure tone. I have an electronic keyboard in my office. It
doesn't have to be fancy or expensive.
Let's take the key of C major to begin with. Use your
keyboard to sustain a C while you practice tuning unisons,
fourths and fifths to it (C, F & G). Since these are the
"perfect intervals" you can do this by eliminating the
"beats" when they are out of tune. (or as one of my
students called it "harmonically induced vibrato") The next
step is to tune the third scale degree (E). The just tuning
of the third scale degree is 14 cents lower. You don't need
a tuner to figure this out. While playing the E against
the sustained C, slowly lower your slide until you hear
another C below the one on the keyboard. This is called the
resultant tone. When you are doing it correctly it feels
like a buzz in the back of your skull. Do the same thing
with the sixth scale degree (A). In just tuning it is
lowered by 16 cents. When it is in tune with the sustained
C the resultant tone will be F. Fourths and Fifths will
also create resultant tones. The following will help you
figure out what the resultant tones will be:
Sustaining the first scale degree on the keyboard will give
you a resultant tone of:
the first scale degree when you play the third,
the fourth scale degree when you play the fourth,
the first scale degree when you play the fifth,
the fourth scale degree when you play the sixth.
For those of you who are theory literate the following rule
applies. If the two notes sounding are members of a major
triad the resultant tone will be the root of that triad.
A few more thoughts before trying this:
1) It works best with notes above the staff.
2) Learn to do this by listening NOT BY LOOKING AT A TUNER.
Eventually you will learn to recognize the intervals and
adjust accordingly.
3) This is only the beginning. There are special
circumstances involving the V7 chord, diminished triads
etc. etc. etc. but if you learn to do these simple
diatonic intervals then learning the rest becomes easy.
BESIDES, IT'S FUN!
...
<HR>
On Sat, 01 Nov 1997 00:24:55 Lawrence Borden
<Lawrence.L.Borden@vanderbilt.edu> wrote the following
in the message entitled "How to use a tuner
(was Re: use of tuner)":
(NEED PERMISSION!!!!!!!!!!!)
...
I agree. I would like to suggest that there are several
ways to effectively use a tuner in practice.
ONE Set the tuner to output a pitch (tonic seems good) and
play a simple melody while the tuner drones this note. Adjust
your pitch (with the slide!) so that each interval is as
perfect as you can make it with the goal being that you land
on each not with no need to further adjust. Don't be afraid to
do the same melody many times.
TWO Pick a note (E4 is one that most people play sharp)
and each time you encounter it in a piece you are playing
hold it and then look at the tuner to see where it is
relative to zero. Fix the pitch (with the slide) and listen
carefully. Then stop looking at the tuner and go on until you
reach the next E4 and repeat the procedure. This way you are
targeting just one note and concentrating on it. You will
find that you tend to play notes higher or lower depending
on whether they are approached from above or below and
depending on how loud or soft they are played. For a few days it
will seem like it does not matter what you do with your slide
- the notes you're working on will be out of tune. Give
yourself some time. In about three days you will have
recalibrated you ear and will find that you can
predict where the tuner will be reading as your aural acuity
increases.
THREE Play a scale. Look at the tuner the whole time
and play with such connected tenuto that as you move from
note to note the tuner does not have time to fall off of
'zero'. When you are really nailing this exercise you
can keep the needle straight up during a whole scale. This
also virtually guarantees a fast slide.
FOUR Construct a tone row. Play it and record your
performance. Then play it back and record the deviations
from 'zero' in cents next to the notes of the row. Notice
tendencies. Construct a new row and repeat. After several
trials (or perhaps a few days) you will notice two things. 1)
tendencies that are consistent and 2) less average deviation
from 'zero'. You are busily training your ear and getting
feedback as well.
I would suggest that the tuner only rarely be looked at
during practice. If you spend much time looking at your
tuner you are skillfully training your right arm and embouchure
to adjust to what your eye sees. The goal is to be
able to adjust to what your ear hears. Use the tuner for
confirmation and feedback after you have done the best you
can with your ear. If you do that you will find your intonation
improving very, very quickly.
...
[6.8] What can I do to improve my slide technique?
See Sabutin's (Sam Burtis') article "Slide Technique - A
Curiously Neglected Topic" in the Online Trombone Journal archive
<http://www.trombone.org/arch/otcfeb.html>.
[6.9] What can I do to improve my high range?
On Sun Apr 13 14:53:01 1997, Wayne Dyess <txtbone@earthlink.net>
wrote the following in the message entitled "Re: High Range help":
...Increasing one's upper range, unfortunately, is one thing
that will NOT come over night. So I suggest you keep working
on that exercise your teacher gave you, practice every single
day, and practice more than you normally do. Other than that,
let nature takes its course....
1. Assuming you do the Remington Daily Routine, stress his
exercises dealing with upper register. If you do not have
this book, I highly recommend it. The one to get is the
one edited by Donald Hunsberger, published by Accura
Music. This is the best one because Dr. Hunsberger
interviewed Emory Remington, and the discussion often
tells WHY a given exercise is important AND how it should
be practiced. This is invaluable. In particular, play
the 7 note slurs from 7th position working up to 1st
position. If you have trouble with that, then do the
5 note slurs up from 7th. After feeling comfortable with
the 7 note slurs, try 8 note slurs. If you only get to
4th position comfortably, then stop there. But always
try the next one. The idea is to increase your range.
So if you are doing fine up to 4th position, keep
working...eventually you'll play that one with ease and
be stretching for the 3rd position. When you can do
that, it's only a matter of time before you will be
adding 2nd and 1st (up to high D). You probably
won't see too many solos with a range higher than that.
At least, not until college. And if you are already in
college, there are a LOT of solos -- good solos -- that
don't have that kind of range written in them.
2. Another really helpful exercise (your teacher may have
given you this one?), is to take a note in 6th position
(or 7th) that you can play... say F above the staff
(6th position) Play that note until you are comfortable
with it (long tone), then slowly gliss up toward 1st
position. While doing this, maintain the same embouchure
you used for the "F." By the time you get to 1st
position, you'll be playing high Bb. Not bad, huh? Now,
play an "A" above that out in 6th position and do the
same process. Gliss up slowly trying not to let the
pitch fall out of that harmonic overtone series. You'll
be playing high D's before you know it!!!! By the way,
if you are having trouble with F above the staff, pick
any note you can play in 6th position and gradually gliss
up toward 1st. The concept is the same regardless of
what note you start with.
3. Working upper register requires good muscles and an
excellent embouchure foundation. It is very important
that you get a good warm-up each day before practicing your
solo. You need to go through about a 30 minute routine
from the Remington book mentioned above. When I was in
college (and irregularly in high school), I did the entire
Remington daily routine EVERY day. This often took over
an hour. But it sure built some amazing chops. I can
regularly play double high C's all day long without
breaking a sweat. The better you get, the more fun it
becomes!!! #3 above involves practicing more than you do
now, I would venture to guess. That is extremely
important. To develop better high chops, you must
practice more. The muscles have to be formed, just as an
athlete has to work continuously to build up his physique.
Yours just happens to be in your face. Keep the corners
of the mouth (embouchure) tucked in. And try to keep your
face OUT of it.... That is, don't use a "smile" embouchure
to try to get the high notes. Eyebrows won't help either!
I used to put a compact mirror on my stand when I
practiced. I would check it from time to time
to be sure my embouchure was steadfast. And one last
thing...the KEY to success in the upper register is the
use of proper breath support. Therefore,
4. Use plenty of AIR. You must back up your sound, regardless
of what register you are in, with good breath support.
This isn't anything you haven't heard before, but it is
more critical in the extreme ranges (both high and low).
I hope these ideas help you. You will just have to remain
patient and remember that this type of improvement will NOT
happen overnight. It may take months of dedicated, consistent
practice. I fear that you don't have that much time before
your solo contest. But just be consistent and forthright with
your practice. When playing in the upper register, or solo
playing in general...
[6.10] How should I warm up?
Long tones (see question [6.17] "How should I practice long
tones?") and the the Remington Warmup Series by Donald
Hunsberger (Accura Music) seem to be almost universally
recommended on Trombone-L. Although, there seems to be a
second, smaller camp on the Trombone-L that recommends playing
something musical to warm up instead.
[6.11] What circular breathing and sniff breathing?
On Sun Jan 5 23:34:53 1997, Les Benedict <ag799@lafn.org>
wrote the following in the message entitled "Re: Numerous
Questions":
...It [circular breathing] is the act of gathering air in
the mouth by puffing the cheeks, sealing off the throat with
the back of the tongue, and pushing air through the lips with
the cheek muscles while simultaneously inhaling through the
nose (although I once worked with a trumpet player who did it
without any noticeable expansion of the cheeks). It can be
practiced/learned with a soda straw and a glass of water; try
and keep the flow of bubbles constant. When applying it to
brass playing, learn to breathe quickly so as to minimize the
reduction in the amount of sound, hopefully to none at all.
Loud "sniffing" sounds are frowned upon, especially in a
recording situation, so try to keep those at a minimum as
well.
<HR>
On Mon Jan 6 06:57:14 1997, Douglas Yeo <yeo@yeodoug.com> wrote
the following in the message entitled "Re: Sniff and Circular
breathing":
...Below are a few paragraphs from my new book on the
subjects - obviously I can't reproduce the musical examples
on the web and I can't give away the whole store (I do that
on my web site :-) but perhaps if you're interested
you'll get the book when it comes out. You can get a few
more details about the book on my web site at:
http://www.yeodoug.com/mastering.html
Perhaps this will be helpful to those interested in learning
these skills.
-Doug Yeo
+++++++++++
>From "Mastering the Trombone" by Edward Kleinhammer with
Douglas Yeo
Published by Edition Piccolo, Hannover, Germany
Copyright 1997 Edition Piccolo
"Chapter 1 - Breathing" (excerpt)
After carefully working on these fundamentals of breathing,
a player may wish to practice and utilize two important tools
in the breathing arsenal - "sniff" and circular breathing.
Composers often call trombonists to do two things that are
physical impossibilities - play long, extended passages of
moving notes that do not allow any place to breathe (such as
the bass trombone part to Number 26 of Haydn's The Creation)
and hold long, sustained chords that are tied together with no
breathing space (as in the symphonies of Bruckner and
Sibelius). While taking quick, relaxed breaths in these
circumstances can provide excellent results, the development
of the "sniff" and circular breathing techniques can give
greater physical and musical satisfaction in these instances.
"Sniff" breathing is the process by which short bursts of air
are inhaled through the nose without removing the mouthpiece
from the embouchure. One of the biggest problems when
attempting to "sneak" short breaths through the mouth is the
fact that the embouchure must always be reset. By "sniffing"
through the nose, the embouchure remains intact.
The key to successful "sniff" breathing is to take in very
small amounts of air through the nose before your lungs are
depleted and to take them very frequently (rather like people
used to vote in old Chicago: early and often!). These small
"sniffs" take up just a fraction of a second and the air taken
in can be measured in milliliters, not liters. The simple
exercise below can be useful in developing this skill.
(Insert "Sniff" breathing exercise
Exercise 2)
At a modest tempo, play four notes on a breath and then
sniff after the fourth note and the succeeding groups of two.
Follow the indications of where to take a normal breath and
when to sniff. Remember to take just a small amount of air
in through the nose and be careful not to engage the "cough"
muscles ("sniff" breathing becomes more difficult when your
sinuses are not clear, so this tool is not particularly useful
when one has a cold!). Gradually increase the tempo and
begin adding in "sniffs" at various and random spots. Using
exercises such as those found in the Kopprasch 60 Studies
will be useful in fine-tuning "sniff" breathing after
which time practice of orchestral and solo material such as
"The Creation" can be undertaken.
(Insert excerpt from the Haydn "The Creation"
Exercise 3)
Circular breathing is equally as useful as "sniff" breathing
but requires somewhat more practice to perfect the skill.
This technique consists of the ability to inhale through the
nose while simultaneously expelling air into the instrument
through the mouth.
Most players have attempted circular breathing at one time
or another but have given up, having determined that it is
simply "impossible." This conclusion usually comes from
approaching the technique in a haphazard manner; frustration
takes over when it does not come easily. The following
suggestions should help in understanding the basics of
circular breathing and therefore move the player from
frustration to fruition.
It must be understood that circular breathing, like "sniff"
breathing, will only be successful when the player understands
that only small amounts of air will be taken in through the
nose at any given time. For this reason it is recommended
to master "sniff" breathing first before attempting
circular breathing so the motion of inhaling through the nose
in short bursts is fully developed and controlled. Many
players have failed at circular breathing because they
attempt to bring in a large quantity of air through the nose,
a procedure that dooms the process to failure.
Secondly, one must realize that in order to expel air into
the instrument while inhaling through nose, it is necessary
to store a "reserve" of air in one's mouth that will be used
to produce the tone for a split second until using air from
the lungs again becomes possible. By relaxing the cheek
muscles, air can be stored in the mouth; quickly firming the
same muscles will result in the air being expelled through
the lips.
Finally, circular breathing must be practiced diligently in
order to develop a smooth flow of air both in and out.
To develop this technique, begin first to develop "sniff"
breathing. Next, utilizing the mouthpiece alone, practice
filling the cheeks with air and then expelling the air into
the mouthpiece, creating a "buzz." Take a deep
breath through the mouth, set the embouchure, allow air from
the lungs to fill the mouth and expand the cheeks, and then
expel air only from the oral cavity into the mouthpiece.
Take care to keep the "corners" of the embouchure firm -
puffing the cheeks will naturally cause a collapsing of
the corners of the embouchure (thereby pushing too much lip
into the mouthpiece and causing a poor tone quality), so one
must be aware of this tendency.
Next, practice the smooth movement of air in and out.
This can be done without the aid of any special equipment -
what is important is to develop good coordination between
filling the cheeks with air, inhalation through the nose and
expelling air stored in the cheeks through the lips - all
within a period of less than one second. Remember, it is most
important to only take in a very small amount of air - really
only a "sniff" of air rather than a long "draw" of air. Some
people utilize a straw with a glass of water to help this
process; the object of that exercise is to constantly keep
bubbles forming in the glass with a constant flow of air
through the straw. However, this usually results in poor
posture and a false sense of the amount of force required
to produce a musical tone. The same effect can be achieved
with the trombone by simply trying to hold a steady middle
f with circular breathing.
As with "sniff" breathing, care should be taken not to allow
the lungs to become too depleted with air before beginning
circular breathing. The process should begin early in a note
or phrase when a good reserve of "support" is still available
in the lungs.
Players will find that circular breathing comes easiest in
the middle register and at soft to medium dynamics. In time,
however, and with diligent practice, the skill can be expertly
developed in all registers and dynamics, and there is no
reason any player could not master this useful breathing
technique. Used judiciously, both "sniff" and circular
breathing become useful tools in our breathing toolbox that
can help us confront and overcome obstacles that composers
often put in our way.
+++++++End+++++++
[6.12] How do I tune the F attachment?
On Mon Feb 10 19:06:24 1997, Douglas Yeo <yeo@yeodoug.com>
wrote the following in the message entitled "Re: sagging
low F (valve tuning)":
Sorry if I stirred up a can of worms about this - I was just
giving my preference for F attachment tuning. I just happen to
think the F attachment has advantages when you can play F in
tune in first position (which is probably why it's called an F
attachment...).
The choice of whether to tune an F attachment so the C is in
tune in first or the F is in tune in first is a personal one.
BUT.....
If the C is in tune in first, the F in first is useless.
If the F is in tune in first, the low C in 6th is useless.
Each person will have his own reason for doing it either way -
I don't believe there is a "right" or "best" way to do it.
Do what works for you and your needs....
[6.13] How can I learn jazz improvisation?
Jamey Abersold has a large collection of jazz education
materials. He now has a web site at <http://www.jajazz.com/>.
<HR>
The complete contents of "A Jazz Improvisation Primer"
by Marc Sabatella can be found at:
<http://www.outsideshore.com/>.
<HR>
On Tue Feb 4 04:30:27 1997, Wayne Dyess <txtbone@earthlink.net>
wrote the following in the message entitled "Re: jazz improv":
...
1) There is NOTHING you can BETTER do than to learn your
instrument. Learn your scales, preferably in more than
one octave. There are so many scales, you may NEVER quit
practicing them. And if you think you know your scales,
work on arpeggios.
2) Become attuned to jazz. In order to understand jazz
improvisation, you need to listen to it. I cannot stress
this point enough. I encourage my students to buy 1 or
2 jazz CD's each month. In a year's time, you will have a
pretty nice collection.
3) Get some helpful accessories for practicing jazz:
Metronome, Variable-pitched tape machine (for play-along and
transcriptions), Play-Along recordings, such as those
available from Jamie Aebersold
4) Learn as much as you can about jazz. Here are some
interesting web sites you might visit:
<http://www.wisc.edu/jazz/>
<http://www.justjazz.com>
<http://www.iglou.com/doubletimejazz/catalog.htm>
<http://jazzcentralstation.com>
5) Learn enough piano to be able to play the chord changes.
Not only is this a great ear-training exercise, learning the
piano also enables you to better visualize the notes in a
given chord.
6) Another terrific ear-training exercise (can you tell that
ear-training is important?) is to transcribe solos by your
favorite players.
If we were to summarize this process, we would find two important
procedures:
(1) listen to the jazz greats and absorb their influences, and
(2) strive to play what you can hear in your inner ear.
You can start by playing simple tunes that you know.
"Happy Birthday" in several keys would be a good way to start.
Whatever song you are trying to learn to "improv" to in jazz
band, learn the melody first--then be able to play the arpeggios
and associated scales to the chords involved, both on YOUR
instrument AND on piano.
There are also several ways to approach jazz improvisation.
But two ways to simplify the process involve a) the intellect,
and b) your intuition. Using your intelligence involves
learning the scales, arpeggios, and technicalities of playing
in general. Using your intuition involves knowing when you
are playing the right notes, style, etc.
...Many, many books have been written on the subject. But this
was not always the case. When I was in college some 25 years
ago, there was only one book available: Jerry Coker's "Jazz
Improvisation." Today there are tons of books on the subject.
We are fortunate to have a great multitude of information,
play-along-recordings, and even computer-generated
accompaniments to help us to learn this craft. This
complexity is precisely the reason that jazz improvisation
is studied as a separate entity apart from your applied
music lessons....
<HR>
On Tue Feb 4 11:41:59 1997, Sabutin (Sam Burtis)
<sabutin@mindspring.com> wrote the following in the message
entitled "Re: jazz improv":
No matter what your level of knowledge, there is
NO SUBSTITUTE FOR PLAYING WITH A LIVE RHYTHM SECTION.
Take some tunes, simple tunes (include the tune
on which you have to improvise at the contest), round up a
chord player...guitar, piano, whatever...and/or a bass
player and drummer if you can find them, and PLAY. Try not
to worry about how good or bad it sounds, just play.
Study is fine, harmonic theory is great, Music Minus One
is valuable, transcribing solos is good for your brain and
your ear, but LIVE PLAYING IS IRREPLACEABLE. I don't know
how many students have said to me over the years "How can I
learn how to play jazz?"...and not just students, fine
professional players in other idioms. When I ask them,
"Well, how often do you play, improvise w/a rhythm section?",
they invariably start shifting their eyes around and
fiddling w/their feet, saying things about how it's really
hard to get a rhythm section together, they're not good enough
to play at the local sessions, there's never enough time,
they don't know enough tunes, aw gee shucks shoulda coulda
woulda...
As one who learned to play by getting my butt thoroughly
kicked on the stand, often in public, playing w/better
players for the better part of two decades (in fact,
although it happens less often now, for my entire career),
believe me, I understand he general reluctance to dive in.
However, you can't learn how to play, really play, w/out
playing, any more than you can become a fine orchestral
musician by playing excerpts, reading
up on the theory of orchestral playing, analyzing how composers
wrote for your instrument, or playing the parts along w/a CD
of some great orchestra.
Once a week after school is not enough, unless that once a
week is just you, maybe one or two other horn players, and a
rhythm section...not likely, in high school. Take the
initiative; ask your band director if you can get together
ANOTHER time and play in a smaller, less structured setting.
Short of that, play in someone's home. Play jazz for a couple
of hours, once or twice a week for a semester or two, and I
guarantee you'll see radical improvement.
You know how they say "it's all in your head"?
...get it out of your head!!!
<HR>
On Tue Feb 4 12:14:43 1997, John Capon <bigbird@islandnet.com>
wrote the following in the message entitled "Re: jazz improv":
(NEED PERMISSION!!!!!!!)
...Here is a system that works for me.
1. Get the chord changes to your song.
2. Select an easy four note phrase that will fit a chord -
like 1,2,3,5 - ie. if the chord is Bbmaj7 - Bb,C,D,F or
if Cmin7 - C,DEb,G
3. Run this little phrase in eighth notes in tempo with the
chords of your song(s).
4. If a chord lasts four beats run the phrase twice. If the
chord is only for one beat play 1 and 3.
5. Start slow. Not loud. Stay in time.
6. Once you feel comfortable with 1,2,3,5, try 3,4,5,7,
then a more angular phrase like 5,1,7,3 and so on.
If you have a MIDI system available to you. Plug the chords
into Band-in-a-Box. Set the tempo to slow and have fun.
A metronome is a good thing for this.
Listen to John Coltrane's recording of Giant Steps.
He does a whole chorus of 1,2,3,5....
[6.14] I have a double buzz, what can I do to get rid of it?
On Wed Jul 3 14:35:08 1996, Mike Mathews
<mathews@griffon.mwsc.edu> wrote the following in the message
entitled "Re: Bass Question: double buzz cure":
I've run across this problem numerous times in the past --
most commonly it happens to tuba players. I have found that
often the dbl-buzz is caused by pursing the lips forward
slightly in certain registers and playing with the corners &
cheeks too loose (flabby?). Try bringing your lips in so they
lay flat against your front teeth and keep the corners &
cheeks firm. For many less experienced players it seems
counterproductive to use firmness in corners/cheeks but if
you watch many of the great bas t-bonists & tubists, you'll
find that that big, beautiful sound they get is most often d
one that way, even in the extreme low register.
...
<HR>
On Mon Jul 8 10:29:46 1996, David Fetter
<davidf@peabody.jhu.edu> wrote the following in the message
entitled "Double Buzz":
I've found that the infamous double-buzz, often in the
middle-low register, can be caused by the the vocal chords,
singing along. Test the breath without the horn - imitate
playing - sense the open throat....
<HR>
On Fri Mar 28 08:49:39 1997, Sabutin (Sam Burtis)
<sabutin@mindspring.com> wrote the following in the message
entitled "Re: Double buzz":
Usually a double buzz in that register results from an
incompletely integrated embouchure shift of some kind.
(The two embouchures are buzzing at different frequencies, one
on the note for the specific position being played in one
partial, the other in the partial above or below.) I can't get
into the specifics of how to "fix" this without actually
working with you, but as a general approach I would suggest
starting on clear, nonbuzzing notes above and below the area
in which the buzz happens, and working up or down THROUGH that
area slowly and carefully, using long tones, slow scales,
moderately sized mid-tempo and slow interval exercises,
beginning Rochut-style etudes, and slow flexibilities.
Mouthpiece practice doing the same things will help as well.
It's NOT your equipment, it's your embouchure, and it IS
fairly easy to fix. Bring your lower feeling up ABOVE that
area, your upper feeling down BELOW it; be careful; be
persistent; don't panic, and you'll create a new "mixed"
setting which will take care of the problem.
...
[6.15] How do I know when I'm playing too loud?
See Douglas Yeo's article "Me, Myself and I: Are Orchestral Brass
Players Losing the Concept of Being Team Players?" in the
Winter 1997 ITA Journal and in Das Schallstuck, 1
Quartal, 1/1997, Nr. 21 - 8 Jahrgang, p. 34-35 (the Journal of
the International Posaunen-Vereinigung e.V.).
See URL: <http://www.yeodoug.com/teamplayer.html> for the
full text of the article.
<HR>
On Mon Mar 3 03:51:28 1997, Wayne Dyess <txtbone@earthlink.net>
wrote the following in the message entitled "Re: Too Loud?":
...An interesting question, Jim! As one who seems to have
one arm of the conductor (or conductress, in our case) pointed
at me with her palm in my face more than 50% of the time--I
think I can field this question!
hahaha.
1) Never play louder than your section leader
(or principal player).
2) If you are the principal player, never play louder than
the 1st trumpet.
3) If the trumpets aren't playing, then use your ears and
balance with those who ARE playing.
4) Refer to #3 most of the time.
5) When in doubt, use your musical intuition and play with
BIG ears.
6) Disregard the motions of the conductor and refer to #5....
[6.16] What is the best way to practice?
See Doug Yeo's FAQ on this topic:
<http://www.yeodoug.com/practice.html>
[6.17] How should I practice long tones?
On Thu, 10 Oct 1996 10:19:52 -0400 (EDT), Sabutin (Sam Burtis)
<sabutin@mindspring.com> wrote the following in the message
entitled "Re: how long long tones?":
...Play long tones at varying volumes and in varying
registers. Try them at all volumes, especially MF and P, and
in all possible changes of volume, i.e, soft to loud to soft,
loud to soft to loud, medium to loud to soft to medium, etc.
Don't end the note until you begin to run out of air.(Or the
corners of your embouchure give out, which should only happen
in the mid to high range or if you've been playing too long.
When your corners give out, REST, do NOT force or press to
play...very destructive. A short rest, a minute or two,
should renew the musculature...if it doesn't, rest longer,
10-15 minutes. If your corners are still weak, you've
practiced enough for that day...or at least wait until
much later in the day to play again...and be careful
playing long tones extensively before a strenuous
performance. They can be a good warm-up, or a
strength/balance/air flow building exercise, but not both.)
TRY to keep the same embouchure and tone through volume
changes...but if you can't, that's why you're doing long
tones. Concentrate on the middle and low registers until
you're a very good player, and ALWAYS be careful of too
much loud and/or high long tones...they can create a kind
of muscleboundness.
If you do begin to feel stiff or musclebound, rest. Always
follow long tones w/flexibility exercises or some gentle
mid-range legato playing...Rochut is a great antidote for too
much long tone work, as are Remington style flexibilities.
Try different attacks...a breath attack is very useful for
balancing the embouchure...the lips can be thought of like
the swinging doors in a western saloon... if properly
balanced, the doors swing open w/the slightest breath of
air...if too tight, they have to be FORCED open w/ a big
blast of air...if they're too loose, all you GET is air,
no note.
If you find you're having attack troubles (there was a recent
post about this, I believe), APPLY STRICT TIME. Tap your
foot (gently) and subdivide, use a metronome if you must.
Once you've got the note stabilized, after say four beats,
reattack it a couple of times, TAAAAAAAAAH, TAH TAH TAH TAH
TAAAAAAAH, or something like that. (Use whatever vowel and
consonant sounds you think are most applicable to how you
play.) Attack problems can't be addressed until you have a
good balance available on the note you wish to attack.
In fact, an unbalanced embouchure is one of the primary
CAUSE of attack problems....
[6.18] What is "flutter tongue" and how do I execute it?
On Tue Mar 25 21:44:57 1997, Tom Izzo <jeanvaljean@ntsource.com>
wrote the following in the message entitled "Re: Floutter
Tonguing":
Just roll you tongue while you play. Can you roll your "r's"
like an Italian would when WE say Arrivideci?...
<HR>
On Tue Mar 25 22:20:50, Peter Christensen
<czpc@musica.mcgill.ca> wrote the following in the message
entitled "Re: Floutter Tonguing":
Not everyone can roll their tongues (I think it's genetic). If
you can't, then try using the back of your throat (as in
gargling). This will produce pretty much the same effect.
[6.19] Where can tenor trombonists get information on preparing for
symphony orchestra auditions?
See <http://www.trombone.org/art/excerpts.html>.
[6.20] Where can bass trombonists get information on preparing for
symphony orchestra auditions?
See <http://www.yeodoug.com/yeohandbook.html>.
[6.21] How should I prepare for college auditions?
On Thu, 3 Jul 1997 09:01:13 -0700, Tom Ervin
<ervint@u.arizona.edu> wrote the following in the message
entitled "College Auditions, repost":
...
A student requested advice on college auditions.
2 cents here. This is my 27th year, gosh, of teaching
college trombone.
1. Practice more than you eat. Every day, or you are not
going to be a competitor.
2. Make a tape of your Best Playing. Please don't cheat
with many splices; the tape should be a true representation
of your Best Work. It does not have to be done in recital;
a studio or living room is fine. But I recommend the tape,
over a live audition, because you can fix a tape and
make a better first impression.
3. Nothing bad on the tape, of course. And the Best Stuff
First.
4. What literature? Might depend on the professor you
hope to impress. From incoming freshmen, we are used
to hearing Voxman and other All-State etudes,
Rochut, Blazhevich etc. Accompanied solo literature
is not absolutely required, but we are favorably
impressed IF the ensemble (togetherness) is excellent,
both players played great, and the piano is in tune
(with the player, too).
5. Show a variety of style(s) in Not Too Long a tape.
Some years we get 30 of these; 20 minutes should do it.)
A half-page of this, half page of that, plenty of keys,
ranges, tempos, variety of articulation and musical
flavors.
6. Select the best material you can really Play Well; don't
over-reach and Crash.
7. It is not easy to make this tape (for most folks). Give
yourself time, start early, start now, many sessions, to
get many selections "in the can." Then assemble the
casette master and make duplicates.
7a-insert. Send the tape to the prof (or the right
address) of several schools in Plenty Of Time.
November/December/January (for a fall start)
works best in this part of the USA. We do Most
of our recruiting work, and scholarship work, in
the Spring. The applicants who "have the act
together" early can get an early offer. Those
who show up in April will likely wait for
leftovers, on a list. I suppose that calendar
may vary in other states; you find out. It is
quite all right to phone the prof 2 weeks later
to learn if the tape was received safely. (It is
wise to apply for "admission" to that school at
the same time. Early! There are schools which
will not consider tapes, or at least will not
offer scholarships to students who have not yet
applied for admission. We have few awards to
give, really, and if, for instance, the high
school grades are abysmal, much time is wasted...
8. How will it be judged? Same way you'd judge it, usual
things. Good voice to the instrument, clear articulations,
solid rhythm, nearly spotless intonation. Control.
No (unintended) smears or holes in the legato. Accurate
execution. Dynamics and nuances may be hard to record
well, but go for it.
9. Include orchestral excerpts only if you know how they
go, please! Indeed these are the standard fare for
orchestral auditions of course. But I'd advise students
not to volunteer these parts if you are still scuffling.
10. Utilize vibrato cautiously, and only if it is clean and
tidy and gets many compliments from your teacher. Some
teachers, only a few, have some very strong thoughts
about vibrato (When, How, etc.). No teachers want to
hear much nasty vibrato, irregular and out of control,
out of tune . . .lotsa ways to offend someone here.
11. Don't include duets with a friend, or a quartet with
yourself playing lead (or bass) (or second). Go solo.
Even a brass quintet, it's just too hard for the listener
to make the judgment.
12. I don't mind jazz on an audition tape... If it is Good!
Only a very few high school players (will this start a
fight, I hope not) play trombone well enough,
technically, to play jazz at Audition Level. Solos I
mean, the improvisation. And there are some professors
still, who don't want to hear your jazz at all, even if
it Is Good.
Now, the live audition, either for scholarships/admission
(in advance) or for ensemble placement (once you're on board).
...
1. Be in shape, fit, best you've ever played.
2. Be warmed up. All Ready To Go.
2a. Much deep breathing and self-talk will help your
confidence. Learn to do this; do it often, it is a
valuable tool often ignored by youngsters.
3. Bring in music you would like to play, and then knock
their socks off, politely! (Ideally) this should be
music that you have prepared for weeks or months, recorded
often, and played in Pretend Auditions for your teacher
and parents and buddies repeatedly.
4. Probably you will be asked to sightread. Honest
sightreading of music you have never seen before. Practice
doing this, every day between now and then. Reading duets
is good practice too.
5. Clean instrument, clean mouthpiece. Clean clothing, shoes
with socks, clean shirt probably with a collar. I think
coat & tie only if you are comfortable in them. Women,
anything nice.
6. If you prefer to stand, stand; sit, ask to sit. Want the
stand higher, adjust it yourself. Water your slide.
7. Probably (if not behind a screen) you will introduce
yourself, so practice doing that (name etc. and a good
First Impression). If you are not used to doing this, it
may contribute to some nervousness.
8. Don't talk too much at first; I mean Too Much. Simply get
on with it, play well! The longer you delay, the harder
it might become.
9. Likely this will not be your "best take" of the music.
Expect a stumble or two, smile when they occur, just keep
playing. Don't say Damn, just play on. Thanks.
10. Don't spit on my floor without asking. Probably there is
a wastebasket or a rug or a rag . . .
11. Be ready to answer questions. What would you ask a kid?
Where you from, what school, what teacher(s), how long
ya played, what books and literature are you working on
(have worked on), what plans do you have for a major
field, what do your parents do, have you applied for
admission, have you been admitted, what brings you to
this school, etc. And then, Do you have any questions
you need to ask? (One earlier reply cautioned profs not
to ask questions about the family, or money/income,
since that might imply that decisions were being made
based on other things than merit and quality. Maybe,
good point. But I do hope to "get to know" the person a
bit.
12. Know what Questions You Have to ask. (Not: how did I do?)
How often and how long will my lessons be, What
opportunities are there for financial aid (or where can
I find out), any feedback, how can I meet my academic
advisor to decide what courses to enroll in, where is the
bathroom, can I go now :) Really, ask them if you get
the chance. Ask the prof for a card or his/her number so
you can follow up if needed. Be sure he/she has your
numbers for future needs. If you have e-mail, offer it.
Have it all printed on a card to leave.
13. Your applied teacher is one of Only A Few with whom you
will meet alone, weekly or so. Start immediately to build
a good relationship with this mentor.
Surely I have left some things out.
....
[6.22] Do you have a slide chart for the Bb trombone?
Keywords: slide positions, slide table, position table,
position chart
Many thanks to Dennis Clason <dclason@cbae.nmsu.edu> for
providing the following information.
Position
1 Bb2, Bb3, F3 , Bb4, D4*, F4, Ab4 (unusably flat), Bb5, C5, D5
2 A2, A3, E3 , A4, C#4, E4, G4 (raised 2nd), A5, B5, C#5
3 Ab1, Ab2, Eb3, Ab3, C4, Eb4, Gb4(raised 3rd), Ab4, Bb5, C5
4 G1, G2, D3, G3, B4, D4, F4 (raised 4th), G4, A5, B5
5 Gb1, Gb2, Db3, Gb3, Bb4, Db4, E4 (raised 5th), Gb4, Ab4, Bb5
6(T1) F1, F2, C3, F3, A4, C4, Eb4(raised 6th), F4, G4, A5
7(T2) E1, E2, B3, E3, G#3, B4, D4 (raised 7th), E4, F#4, G#4
Some supplemental notes:
*The fifth partial is flat on a cylindrical pipe.
Most manufacturers have "corrected" this with leadpipe/bell
flare manipulations. This usually comes at the price of
lowering the sixth partial slightly, so the formerly
in-tune F4 in first position is now slightly flat on many
instruments.
*I've named the notes according to the harmonic series they
come out of. No enharmonic spellings are given. Because
the tenor trombone is a Bb instrument, I've given preference
to "flat" fundamentals where there is a choice (hence, Ab
rather than G3) for third position.
*Finally, in the altissimo register (above around D5 or so
on a Bb trombone) every instrument is different. You have to
experiment and know your instrument's peculiarities. Many
instruments respond better in the extreme high register
around 4th position or so. Your mileage will vary, of course.
<HR>
On Tuesday Sep 30 1997, Adrian Drover <adrian@gemscore.demon.co.uk>
wrote the following in the message entitled "Re: positions tables":
...
Harm# 1 2 3 4 5 6 (7) 8 9 10 (11) 12
F 1
E 1 2
Eb 2 3
D 1 3 4
Db 2 4 5
C 1 3 5 6
B 2 4 6 7
Bb 1 3 5 7 4th leger above
A 2 4 6
Ab 1 3 5 7
G 2 4 6
Gb 3 5 7
F 1 4 6
E 2 5 7
Eb 3 6
D 1 4 7
Db 2 5
C 3 6
B 4 7
Bb 1 5 1st space above
A 2 6
Ab 3 7
G 4
Gb 5
F 1 6
E 2 7
Eb 3
D 4
Db 5
C 6
B 7
Bb 1 2nd line
A 2
Ab 3
G 4
Gb 5
F 6
E 7
Eb
D
Db
C
B
Bb 1 3rd space below
A 2
Ab 3
G 4
Gb 5
F 6
E 7
...
[6.23] Do you have a slide chart for the F-attachment?
Keywords: slide positions, slide table, position table,
position chart
<HR>
On Wed, 23 Jul 1997 11:59:47 MST, Dennis Clason
<dclason@cbae.nmsu.edu> wrote the following in the message
entitled "Re: Trombone F-Attachment chart":
...
Position Notes
T 1 F1, F2, C3, F3, A4 (flat), C4, Eb4 (very flat), F4
T 2 E1, E2, B3, E3, G#3 , B4, D4 , E4
T 3 Eb1, Eb2, Bb3, Eb3, G3 , Bb4, Db4 , Eb4
T 4 D1, D2, A3, D3, F#3 , A4, C4 , D4
T 5 Db1, Db2, Ab2, Db3, F3 , Ab3, Cb4 , Db4
T 6 C1, C2, G2, C3, E3 , G3 , Bb4, , C4
This reads pedal (fundamental), 1st partial, 2nd partial,
... , 7th partial. A1 is the lowest note on a 88 key piano.
Trigger side pedals aren't too useful on tenors with F
attachments, but they are an important part of the extended
range of basses.
Now, with the trigger engaged all positions are lengthened,
and just as with the Bb trombone the distance between
positions lengthens you move down the slide. There isn't
enough room on a Bb trombone slide for seven F trombone
positions. In fact, on most instruments T6 is out at
seventh position (sometimes a little past).
For starters, T2 is a long 2nd position
T3 is about midway between Bb 3 and 4
T4 is nearly Bb 5th position
T5 is not-quite Bb 6th position
T6 is somewhere near Bb 7th position.
The biggest mistake newcomers to Bb/F trombones make is
forgetting that there are alternate slide positions on
the F attachment as well. I use the 2nd partial Bb, A,
and Ab almost as much as the open notes. In the key
of g minor the T3 Bb (2nd line and top of bass clef) are
pretty important to me -- it's hard to raise the pitch in
1st position if it's necessary.
If you're going to haul the weight of the F attachment
around, make it pay for itself.
...
[6.24] Do you have any advice on playing in a pit orchestra?
On Mon, 21 Jul 1997 00:15:02 -0400, Dave Mackey
<dmackey@cybercomm.net> wrote the following in the
message entitled "Re: Hello Dolly!":
...
Some of the others have chimed in with their opinions,
but here's mine...
I think the most important aspect of playing in a pit orchestra
is to PAY ATTENTION. I played a few months ago for a production
of "A Chorus Line", and what could have been an unmitigated
disaster actually turned out to be a wonderful event, because
all the players were flexible enough to adapt to any unexpected
happenings onstage (singers who didn't quite pick up cues,
etc.) That is one of the few shows where the conductor isn't
always the boss. During the opening the orchestra always cued
off Zack's "five, six, seven, eight" (or "four five six") on
stage no matter what the conductor was beating! And it was
perfect every time!
Another tip that's slightly related to paying attention:
KNOW THE SCORE. (And I don't mean if the Mets are beating
the Braves.) If you know where your part fits in with the
rest of the music (vocal or instrumental) you can save
yourself a lot of useless measure counting. Most of the shows
I've recently done, I've tried to dispense with the measure
counting wherever it would be tedious. If I have a while before
an entrance, I wait for an obvious change in the music, whether
it's a key change, meter or tempo. That's usually where I'll
begin counting if I have to come in.
Another tip is to HAVE YOUR GAME FACE ON. If the pit is open
and the audience and players on stage can see you, try to be
as professional as possible. Do not react inappropriately. If
something funny is going on, it's okay to laugh. But it's not
okay to laugh during moments of high dramatic impact. Once, I
was doing a show and one of the musicians would laugh and snicker
at one of the actors' most dramatic scenes. That performer
complained to the musical director, who later instructed
the orchestra.
...
<HR>
On Fri, 18 Jul 1997 17:04:20 -0500 (CDT), Nik Palo
<npalo01@mail.coin.missouri.edu> wrote to the following
in the message entitled "Re: Hello Dolly!":
In the pit you are an accompanist. Listen for what's
happening on stage and make sure you support it rather
than fight it. The leads are the stars; the pit is the pit
and you only star as a team. Make the singers sound good and
you've done the right thing.
...
<HR>
On Sat, 19 Jul 1997 18:33:29, -0500, Bob Koester
<BLFJ29A@prodigy.com> wrote the following in the message
entitled "Hello Dolly!":
(NEED PERMISSION!!!!!!!!!!!!!!)
Paul - Where do you want to start? Seriously, here are a
few things learned the hard way that I hope will help. Be
prepared for poorer quality manuscript than you are used to.
As much money as some of these shows have made, you'd think
they'd be able to spend some money on music preparation, but,
no such luck. I don't remember any really frantic mute changes
in Dolly (I've done it 8 or 9 times) but, again be prepared.
More often than not it seems, the hardest mute change
happens in the middle of a cut and a page turn. If somebody
has written "hold mute" or something along those lines,
there's a good reason. A lot of what happens in the pit is
taken from what happens on the stage, so, there are
frequently hash marks, cue marks, and other stuff that guys
here and there have penciled in. Pay close attention to the
cuts!! They can be anything from a couple of notes
to pages. You may want to look through the book before
rehearsal just to get an idea of where they are. There are
a couple of long dance things in Dolly. Depending on the
theater, timing, etc. the dance sequences are frequently cut.
The hard part for you is that since there's no dialog in
the dance things, you have to play, make the cut etc. In
every show I've ever played, and that's a lot, if something
is circled LEAVE IT OUT. That stuff will get covered in
rehearsal. Speaking of which, you may feel under rehearsed
on opening night. Normally here (Kansas City) we only get
4 hours on opening day. That allows one complete run through
and enough time to repeat the hard stuff. Dolly isn't
particularly difficult as shows go. If you're playing lead,
I don't remember it being real high. If your playing second
and that part is a combination of the original 2nd and
3rd parts, it will be pretty low, AND pretty high. You may
encounter some bizarre keys. We did it here a couple of
years ago with Madeline Kahn. She has a low singing voice
and did a lot of her songs in B and F# and such as that.
Those keys, combined with accidentals, page turns, cuts, and
mute changes can keep you hopping the first couple of days.
Unless it's a local production and you know the people, no
telling what kind of a conductor you'll have. Some are good,
some aren't, some are downright awful, all are in charge. Keep
in mind, their job is to give the people that bought
tickets a good show. They go lots of places, and say they
get some pretty rotten bands. If you want, e-mail me
privately after you start, if I know the conductor I'll be
happy to pass along what I remember. Unless the conductor's
a real stickler you can probably get away with using a
straight mute for a Harmon. You'll need cup and plunger too.
I think I remember bucket mute in Dolly...hope I'm wrong.
Dolly runs about 2:45 and the first act is the long one.
Keep that in mind if you're tempted to have one last cup
of coffee before kickoff. Last, and most important...HAVE FUN.
...
<HR>
On Sat, 19 Jul 1997 19:51:19 -0400 (EDT), Bill Rose
<ROSEBONE@aol.com> wrote the following in the message
entitled "Re: Hello Dolly!":
...
Write in all spoken cues, to prepare for each new
musical number; underplay all dynamics (it's easier if
you play on a small bore [.500-.508] instrument); prepare
all the mute changes, and practice using the plunger (if
I remember correctly, there's a fair amount of plunger
in the show).
Show playing is radically different than anything else:
lots of time to get cold and lose concentration. Stay
focused and alert. The hardest part is *not* playing the
notes, but making the first entrance of each number in
time, in tune and in style.
...
[6.25] How do valve trombone (or baritone) fingerings relate
to slide positions?
On Wed, 24 Sep 1997, Eliezer Aharoni <eanogmus@netvision.net.il>
posted the following in the message entitled
"Re: valve trombone fingering chart".
...
Here is a conversion chart from slide trombone positions
to valve trombone/baritone fingerings...
slide position valve fingering comments
-------------- --------------- --------
1 0 shortest tubing
2 2 lowered half step
3 1 lowered whole step
4 1 + 2 (3)* 1 & 1/2 step
5 2 + 3 2 steps
6 1 + 3 2 & 1/2 steps
7 1 + 2 + 3 3 steps:
longest tubing
*) use 3 alone (poorer intonation) as an alternate fingering
for 1 + 2 scarcely and only in technical passages that
give you an advantage, like: repeated fast g-f#'s.
...
[6.26] What are some handy item that should be carried by trombonists?
On Mon Jan 12 09:13:22 1998, Chris Waage <basstbn@cjnetworks.com>
wrote the following in the message entitled, "The 'Final'
Compleat Working Trombonist":
Obviously, you would tailor this to fit your style - I
personally don't carry this much stuff, but I do have a
pretty big stash of stuff in the trunk of my car.
The one point I stated in the original post was that the
accessory bag should not be so heavy as to require a porter.
Then again, that's what your spouse or significant other is
there for! ;-)
The posts ranged from the "everthing AND the kitchen sink"
(me!) to the "minimalist" (Sabutin). Most of the replies
fell somewhere in the middle.
I didn't mention the subject of clothing - maybe that'll be
the next list I put together!
Thanks to everyone who contributed to this!
Enjoy!
Chris
***********************************************************
The Compleat Working Trombonist
In the case:
-Trombone
-Mouthpiece
-Spray Bottle and Slide Treatment of Choice
-Oil of choice for rotors
-Pencil
-Polishing Cloth
-Business Cards
In the Accessory Bag:
-Straight Mute
-Cup Mute
-Plunger
-Bucket Mute
-Trombone Stand
-Repair Box including:
Spare Water Corks
Spare Rotor Stop Corks
Replacement string for rotor
Flat sheet of cork
Small knife
Cleaning Snake
-Spare Mouthpiece
-Post-it Notes
-Spare pencils
-Eraser
-Ear Plugs
-Clothes pins
-Safety Pins
-Tape (masking and "disappearing")
-Metronome
-Tuner
-Highlighter
-Spare bow ties (black and white) in a zip-lock bag
-Toothbrush and Toothpaste
-Small first aid kit
(bandages, aspirin, antiacid tablets, kleenex, etc.)
-Battery-powered book light
-Towel
-Penlight
-Reading material of choice for those long rests
In the car:
-Music stand
-Stand light and extension cord
-Spare instrument
-Tool kit
Hammer
Misc. wrenches
Insulated and non-insulated wire
Needlenose pliers
(great for rounding out a mouthpiece shank in an emergency!)
-Jumper cables
Summer stuff:
-Sun glasses
-Insect repellant
Winter stuff:
(If you have an outdoor gig!)
-Vaseline (petroleum jelly) - keeps the mouthpiece from sticking!
-Pocket hand warmer
-Isopropil (sp?) alcohol
keeps rotors and slide from freezing up.
Optional Useful Stuff:
-Piano Tuning Wrench
-Swiss Army knife
-Black "gaffer's" tape or duct tape
Optional Fun Stuff
-Kazoo
-Slide Whistle
-Squirt Gun
--
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