A study in Trombone Pedagogy through Self-

Observation
Cody Blackburn

Breathing
Air is the most essential part of a brass musician’s technique. Air is the fuel for our playing in the
same way that high quality gasoline is necessary for a high-end sports car. Randy Gardner says
“…the most perfect embouchure will not function without proper air movement. Proper air
movements are the central physical component of great brass playing.” (Gardner, Good
Vibrations, 2020).
A good breath is based around an open and relaxed throat and utilizing 100% of your lung
capacity. Once you surpass the equilibrium of atmospheric pressure on your body your lungs will
naturally decompress after being fill with air until equilibrium is achieved again. This is, what I
find to be, the single most helpfully way of making sure that my air is flowing the way I need it
to. Making sure that there is constantly as huge supply of air, and letting my lungs exhale it
naturally is an easy way to achieve a consistent air stream.
The second part of this technique that you need to focus on is the air speed. Higher pitches are
fueled by a higher speed of air, and lower pitches require a lower speed. This is very evident
once you start attempting to play in the highest tessitura of the Trombone. I find this easiest to
control with the placement of my tongue against my soft pallet. Using the tongue to control the
air speed will ideally stop you from tightening your throat or chest to raise the speed. This would
lead to tension and a sharp brightness in the sound that is unwanted. To allow slow air, I lay my
tongue flat against the bottom of my mouth as you would when exhaling a yawn. When blowing
faster air, I raise my tongue closer to the roof of my mouth to raise the speed.

The most natural way to practice is to go through the following breathing and long tone exercises
while focusing on the following;
 Breathing deeply and fully with each breath
 Keeping your throat, chest and shoulders completely relaxed
 Remain completely relaxed as you exhale
 Allow your tongue to dictate the air speed while remaining completely relaxed when
playing the horn.
 Creating a Brass Tone
There are two key components to produce a characteristic tone color on a brass instrument, Pitch
Center (or Core) And Timbre. A high-quality tone, disregarding timbre, will resonate with each
pitch throughout the full range of dynamics. The ideal tone for a brass instrument is also pure, or
devoid of any escaping air, distortions or any other intrusions onto the sound. Pure tones with a
solid Core of sound project very easily. This is not the case with un-centered/impure tones. The
key to a loud sound, is a core of tone that can be projected instead of simply increasing in
decibels at the bell.
Tone concept is produced first in any individual’s mind, and then through their horn. This
audiation is key to producing a beautiful, full and in tune sound form the beginning of a note. To
auditate, one must first know what the ideal tone of their instrument sounds like. To accomplish
this, you must listen to professional performers on your specific instrument. Once you have the
ideal sound in your mind, you then have a goal to work to instead of just making any sound.
Relaxed breathing is the key to a relaxed sound. If you inhale calmly, and fully and then start
your note without holding the air in your lungs you will have the foundation of a relaxed sound.
Having enough volume of air flow is required for idealistic tone production. Even in the extreme
dynamic ranges, we must provide the instrument with enough air so that it may produce a full
sound. As a rule, lower pitches require more air moving slowly, while higher pitches require
less air moving quickly.
 Ballade for Trombone and Piano
Eugene Bozza

Reference Section A (First melodic line to Cedez)

 Molto Expressivo (Very Expressive) is the key word used to describe this phrase taken
from the first melodic entrance of Bozza’s Ballade. Interpreting this will be easiest if
taken simply as “Sing”.
 The Accidentals in measure 9 and 11 need to be blown through, ensuring that your have
enough air support and momentum to push through to the end of the phrase.
 Although the passage is slow, endeavor to play through each phrase to the written breath
marks, this will allow for easy, vocalistic phrasing throughout the melody.

Concerto for Trombone and Orchestra

 There is no direct expression directions for this passage, however the melody needs to
flow in this section. Strive to internalize the hemiola pattern of Two over Three, and then
begin singing the melody through this section.
 The complex rhythm structure of the orchestra part in this section dictates that you must
internalize the meter, feeling the change between a measure in one and a measure in three
 While being precisely in time, you must also blow through each melodic phrase, and play
each accidental in tune. This will give you the support that you need to play confidently
over the accompanying changes. Practice slowly with a drone in different key areas to
ensure stability and precision.

Dynamic Control
Dynamics are related to air like pitch level, but instead of being based on the overall speed of the
air going through the embouchure, it’s based on the amount of air going through the
embouchure. Artistically dynamics demand two different, but related, skill sets. It requires
instrument control through a wide dynamic spectrum and the artistic ability to determine what is
contextually appropriate given the surrounding at any moment. Increasing your dynamic range
also requires you to be constantly aware of the context of your instrument’s intonation. If you are
given any certain pitch level, and a volume you should know what direction you’re like to blow
the pitch and be able to adjust accordingly before you play the note. Using a tuner to monitor
intonation while practicing your dynamic range is necessary.
Dynamics are most often thought about in terms of decibels. This leads to a wide discrepancy
between what is generally accepted as being correct and what is artistically correct. Instead of
interpreting dynamics as a range of decibels I find it most helpful when trying to incorporate
more dynamic contrast into my playing to think of dynamic markings as textural. In this
headspace, piano becomes “gentle”, “soft” or “with care”, while forte becomes “forceful”,
“strong”, or “impending”. These contextually can be given different names depending on the
analysis of whatever you find yourself learning or rehearsing.
These are easy dynamic control exercises, followed by in context examples of dynamic markings
that could be thought of in texture more than a number of decibels.
**
Long Tone excersizes whole notes with hairpins
M13-19 of Sulek, F thought of as Impending or Strong
Sulek B for 5 measures mp thought of as resilient

Legato Playing
Legato playing is described by Paul Gardner nicely as “Picture yourself creating an exquisite
pearl necklace by passing a string through each pearl until an entire stand is formed. Now
imagine making a necklace of pitches with your airstream passing through each pitch until a
beautiful line of music is brought to life” (Gardner, Good Vibrations, 41, 2020). I think this is an
excellent way to think about producing a legato sound. Playing legato should not affect any other
part of your playing negatively whether it be dynamics, range intonation or slide technique.
Using the tongue to separate pitches, without creating a gap between them or a “Wah “Wah”
sound is very important especially when applied to trombone where the slide is involved. This
sound is produced when the air flow stops between pitches instead of constantly moving through
each note. I find the easiest to think about legato playing is to “simply sing” through your
instrument. This implies a musical line through the pitches that facilitates a smooth flow of air
through the instrument. Making sure that you sing and make music even in Etude and Technique
books is necessary.
Take this example from Rochut #2, It shows how a beautiful line requires a smooth line of air to
make the musical idea complete and pleasant to the ear.
Insert ROchut 2 excerpt

Articulation