m .

TROMBONE
SLIDE MOTION
AN ALTERNATE POSITION
by David William Brubecli

hich trombonist had the fastest slide youJHÉS^HP flBtun^^^m^^Bi Am^H, t i ^ ^ ^ ^ V n e must move
. ever seen? The faster, the better,right?A_^^_, from first to â^PPaoving the slide
has anyone ever told vou jiii|||WP^id^^BpP "as slowly true, and an apt
fasti One of my students responded " y e ^ ^ ^ & t I^ámmon, |^B¡medy for
and seemed to surprise the master tröfiitoni- sense at times.
workshop. This occasion helped to sharpail^^oliit äte variety ei
of approaches to slide mot|M|ffibne (ä^tv^ over a period of è manneras
several years. As wJ^É^^^^^^pSinical aspects of playing ,:' way. The
the trombone, ji^^^^^^^^^^^|Hlf>sful approaches. ssary froifPfflSFto second
lently instruct them to p^^PH^^HesbwjDOsition. The potential dovra«idf «f
»r as possible." To many, this does not "[_ i B j ^ ^ ^ ^ ë ^ p e \ ^ K t as possible" is that it may '
_ J. The obvious drawback to moving the slide -.¿«íSíon in the 3^. Tension anywhere in the body '
e dreaded satear. The "as slow as itential of redMi^ resonance.
 Too fast a slide and it may even impact the airstream in a sound, the slide moves as slowly as the beautiful execution of
negative manner. One of Frank Crisafulli's favorite illustrative the music will allow. Slowly and smoothly disrupts the air as
examples of this dilemma was to ask his students, "What is little as possible. Slowly and smoothly favors relaxation to allow
the first thing someone would do if they saw lightning or maximum resonance.
heard thunder?" He would demonstrate and then reply, "They Think of a loose wrist. The rubbery wrist acts as a shock
would automatically hold their breath!" CrisafuUi would often absorber and helps to avoid inappropriate tension. The slide is
point out that the same involuntary response results when loose and, at times, tossed between thumb and fingers like a ball
one is surprised by a sudden loud noise, or frightened "boo!" between two boys. Isaac Newton's first law of physics seems to
In either case, one instinctively holds their breath. CrisafuUi apply Itself here, "objects in motion tend to stay in motion," and
would continue to explain that the gross (at times more than "objects at rest tend to stay at rest." Or, as I sometimes like to
two feet), motion of the arm was a similar shock and could think of it, "the faster the side gets there, the longer it's stopped!"
potentially interrupt the air. Finally, the "as fast as possible" A loose "Newtonian Slide" would tend to remain in motion.
slide can create a separation and even harshness between the The technique of a slide in "constant motion" advanced
notes resulting in unintended articulation. to a new peak with the trombonist Bill Watrous. I took the
It appears that the "just right" slide motion should be inspiration for my exercise regarding this technique from
the goal; neither too slow to sixth, nor too fast to second, Watrous and Alan Raph and their book Tromhonisms published
(when taken from first position). What seems to be required by Carl Fischer.
is a continuously variable sUde velocity, which considers note At a certain point in evaluating slide motion, one may
value, distance, and tempo—a seemingly seamless coordination encounter a mind-set categorizing certain techniques as strictly
between tongue and slide. What we really want, it would seem, classical or strictly jazz. Both of these types of music, and others
is "just right." Right? invoking the trombone, can and have advanced the art of

D. Brubeck

^ ^

ALSO

AND etc. 2-4 etc. 2-4 etc. 2-4

While it may seem that coordination between the plajing trombone. The tremendous influence of classical music
tongue and the slide is the goal, that would be comparable to on the trombone is pervasive and undeniable. Jazz has also
asking a tree to coordinate its location with a bird in order to had a considerable impact. The influence of Tommy Dorsey on
accommodate a nest. Slide motion begins with air. Constant air almost every trombonist who succeeded him is evident. To this
is the tree, and given these three parameters, is probably 94% day, George Roberts is considered by many to have been the
of the consideration for successful slide motion. An "efficient greatest bass trombonist to have ever lived. Bop and modem
slide" is approximately 4% of the equation and represents the jazz trombonists continually explore new frontiers in technique
bird. Finally, the tongue is the smallest remaining percent of and expression, as do modem classical players. The view is
the equation. The slide must depend on a rich constant flow of limited indeed, which summarily rejects an idea without full
air, and the tongue must adjust itself to the air and the slide m consideration, and a limited view may serve to exclude valuable
response to the music. advances. Another area where this may be applicable is in the
Of course, all of this technique is subservient to music and consideration of \'ibrato.
expression. In accordance with the artistic "pre-hearing" and The perception of slide motion primarily involves three
creative imagination advocated by Arnold Jacobs, we should senses: sight, hearing, and touch. As a trombone teacher, I
strive to forget the slide completely. Pre-conditioned technical have occasionally found myself focusing my attention on the
responses become automatic as the performer floods his or her visual observation of the slide. Ironically, sight may be the least
mind with an ideal of excellence and the perfect "tonal image" important of the three. A friend and fellow student of Frank
of the music to be played. Or, as Crisafulli might say, "Drive the Crisafulli who is now a prominent orchestral trombonist related
trombone. Do not let the trombone drive you!" an experience he encountered during his lessons with Crisafulli.
The most efficient slide just might be the slide that moves My friend would listen to Crisafulli play, and the sound would
as slowly as possible, no excessive speed or motion, just right! be rich, resonant, and singing, but he would become slightly
In the same way, the most efficient muscle motion is that which unnerved while watching Crisafulli's slide because it frequently
accomplishes the task by firing the fewest number of muscle appeared that it would not make it to the next note in time. My
fibers. Guided by the ideal of a beautiful and freely resonating friend would somewhat nervously imagine the resultant sound.

-12- International Trombone Association Journal / www.trombone.net

which never came. CrisafuUi's slide may have looked too slovi',
but it sounded angelic.
The legendary musican and teacher's slow slide may have
been the result of one of his famous "Crisafulli variations." SLIDE MOTION
CrisafuUi was extraordinarily gifted at devising variations, A CHECKLIST OF THE BASICS
exercises, and etudes employed to work on music during the
lesson. Many of these ingenious variations, and the spirit which o Sit/stand up straight.
created them, continue to inspire his students. These variations O Bring the trombone to you.
were often set on a series of technical and musical themes, and O Place all of the weight of the instrument on the
most often featured CrisafulU's famous "isolation of elements", left hand/shoulder.
where he would remove one or more technical aspects to focus O Hold the slide with your palm facing you.
on those which remained. O Hold the slide between your thumb and two
The goal of the particular "Crisafulli inspired variation" fingers, (index and middle).
which applies here is to play passages, particularly legato O Play a comfortable note in 4th position to
passages, without any tongue at all. The goal is to make the establish elbow position.
sound as beautiful as possible without the use of the tongue. O With the "elbow in 4th", you viáll have to
This concentrates the primary focus on the sense of hearing reach in for first—good!
and emphasizes sound and resonance. The elimination of the O Use the smallest muscle possible for slide
tongue immediately reveals any dips or interruptions in the motion: fingers, wrist, elbow, etc.
constant airflow. Given the ideal of a beautiful sound and O Keep the wrist loose, and the slide motion fluid.
uninterrupted air, the slide becomes secondary, and responds O Maintain a well-lubricated slide.
with the smoothest and most efficient motion possible. Once
the passage can be played beautifully without tongue, go back
and add as little tongue as possible. helps to contribute to an overall predisposition for relaxation
My favorite exercise to apply here is by Emory Remington. and sensitivity to tension. This concept of "body awareness"
This exercise came to my attention through Studies in Legato, offers valuable insight, and is commonly found in athletics, or
edited by Reginald Fink and Published by Carl Fischer. I have described as "bio-feedback" in medicine. As stated previously,
excerpted a portion of the exercise below: the relaxation aflows the air to be unimpeded and does not
My favorite "variations" on this exercise are: down a impede resonance.
half step to B Major, down a perfect fifth to F Major, down a This concept seems almost too simple to be true, which
minor sixth to F Major, and down a perfect octave. Strive for a means of course that it is. Compare this to the recognition that
continuous, rich air stream blown at the lips. Trying to make the optimal breath is a yawn—too easy! Yet, it is correct. Or
each phrase in one breath is useful, but do not be bound by it. that the ideal exhalation is a sigh—too easy! Yet, this is also
Play each exercise without tongue, and then add as little tongue correct. Have you ever noticed how the truly great performers
as possible. This alternation may extend from phrase to phrase, or athletes make it look easy? Make no mistake. The slide
or exercise to exercise. motion of the trombone involves gross muscles. The slide
The famous warm up taken from Warm-ups Jor presents challenges. It is not without reason that the trombone
Trombone, by Fmory B. Remington makes an excellent study has been nicknamed "the humility machine." And yet, slide
for this technique. I have included the original, along with my motion can be achieved with greater smoothness and fluidity,
favorite "variations." even elegance!
The sense of touch or feeling may be of second import And what of the down side of the slow slide? Glissandi?
as related to slide motion. The "as fast as possible" slide seems Glissandi are beautiful. Glissandi are part of the essence of the
to favor tension, while the "as slow as possible" slide seems trombone! They make it unique among wind instruments.
to elicit smoothness, and by extension, relaxation. This idea Glissandi are to be embraced and willfully exercised. Glissandi

E. Remington
etc. to

Variations: down a half-step, down a perfect fifth, and down one octave-8vb.

International Trombone Association Journai / www.trombone.net -13-

 are not ugly, and are certainly not to be avoided at all costs. students more quickly and thoroughly achieve relaxation and
The capacity of the trombone to produce a full spectrum of resonance. This paradigm shift from observation of the visual to
microtones places it closer to the human voice. This ability finds obsei-vation of the tactile (the relaxed, fluid motion-whatever the
the trombone in the most distinguished company of the xiolin speed) is important.
family, and thoroughly enables it for any tonalities of the future. Though sensation is important, it must be a secondary
Controlling glissandi means that you can decide when to goal. The next paradigm shift is more important still. This
use them, and when to refrain from using them. Most times, paradigm flows from sensation to sound. The musical sound
the ideal is a singing, resonant sound without glissandi. The is the first consideration, next the sensation, and lastly, the
deficient motion is too tense and results in an overly separated \'isual aspect.
sound. The excessive motion is too slow and results in a sound Suppose that there are at least two paths to "just right"
that is smeary. Given the two pitfalls, I would prefer that my slide motion. Suppose you try the slower one?
students err on the side of relaxation. Better a bit of relaxed
glissando here and there than tense separation. A smear or David William Bnibeck is the composer of «Stereograms» for
two on the way to beauty does not concern me. It has also solo bass trombone and a Professor of Music at Miami Dade
been my observation that a slow slide has often not been the College, Kendall Campus. He performs with the Miami City Ballet
cause of glissandi, but forgetting to tongue a tongued slur Orchestra, The Bruheck-Neal Duo, and Brass Miami. Dr. Brubeck
out of carelessness or by mistaking it for a natural slur. Of is an artist sponsored by BAC Horn Doctor (Jyacnmsic.com), and his
course, inappropriate smears are no more acceptable than teachers include: Frank Crisafulli, Charles Campbell, Tom Streeter,
inappropriate harshness or separation. and Charles Stokes.
The goal really seems to be smooth, relaxed slide motion.
Both "relaxed and slow" and "relaxed and fast" are ideals along ON THE _ For more info visit
a spectrum which would include every other possible relaxed WEB davidbrubeck.com
motion as well. The "slow slide" concept seems to help my

E. Remington

D. Brubeck

4 3 4 4 5 4 2

D. Brubeck

7 3 7 2 7 7 1

-14- international Trombone Association Journal / www.trombone.net

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