TECHNICAL

STUDIES

Slide Trombone
By

S. WALLING

Price 4/- nett

Allan & Co. p™ ltd

L.D. 276-278 COLLINS ST.. MELBOURNE.
idENoieo Adelaide. Geelong
 Allan & Co. pty lt«>
276-278 COL,LINS ST., MELBOURNE
kJendiso Adelaide. Geelong
QOME of these studies will no doubt be found difficult at first, but, however strange they may
^ seem, the Positions must be practised as written. At first they are difficult to get in tune, but if

practised slowly and faithfully, perfection and rapidity will be accomplished. The idea of these
special positions is to save unnecessary shifting and avoid glissando. These exercises can be
mastered by the majority of trombone players, but I consider it is necessary to practise deep
breathing daily.
Yours truly,
S. Walling.

CLEFS.
Amateur Trombone-players are often perplexed with regard to the correspondence in pitch of
the various Clefs used for Trombone Music, and although this book of technical studies deals only with
the Treble Clef, yet we think it advisable to urge the student to become thoroughly familiar with the
several different Clefs. The following comparative table of notes in the Treble, Tenor, and Bass Clefs,
corresponding in pitch, will enlighten the student.

Treble or G Clef. Alto or C Clef.

Tenor or C Clef. Bass or F Clef.

The Alto Clef being rarely used, we will deal only with Treble, Tenor, and Bass Clefs.

their positions on the Stave are altered.

2
 COMPARATIVE TABLE OF NOTATION IN THE THREE CLEFS.

It will be observed from the above table, that a part written in the Tenor Clef can be read in
the Treble Clef, by simply altering the Key Signature, as per the following rule :—
When the Tenor Clef has no flats or sharps in the signature, add two sharps to make it read treble clef.
When the Tenor Clef has one flat, the flat must be struck off, and add one sharp to make it read Treble
Clef.
When the Tenor Clef has two flats, they must be both struck off, to make it read Treble Clef.
When the Tenor Clef has three flats, the first two must be struck off, to make it read Treble Clef.
When the Tenor Clef has four flats, the first two must be struck off, to make it read Treble Clef.
When the Tenor Clef has five flats, the first two must be struck off, to make it read Treble Clef.
This rule, of course, affects all the Keys in a similiar manner.
All accidentals in the Tenor Clef which raise or flatten half a tone, bear the same relationship in
the Treble Clef.
Usually, Naturals in the Tenor Clef, become Sharps in the Treble Clef, and Flats become Naturals.
A careful study of the above will be of great value to all amateur trombonists, for no trombonist,
even if possessed of exceptional executive ability, would be capable of taking his place in an orchestra,
until he is able to perform from music written in these Clefs.

3
 COMPLETE TABLE OF POSITIONS (Bb TENOR TROMBONE).

FLATS SHARPS

* The harmonies are not perfect in the regular positions, but by slightly shortening the position, they
can be produced perfectly. -

The 7th Position is rarely used, except for the following notes

a Fft or c|> cfl or 1 pb

1 t bf —-f

W -
The remainder of the notes in 7th Position, can be had in other positions, which will give better
tonal qualities and certainty.

4
 Irregular Positions are often of great value in rapid and slurred passages.

The student will do well to closely study these irregular positions, for they will be found of great
benefit in rapid and slurred passages.
TONGUEING.
There are various forms of Tongueing, known as Single, Double, Triple, Staccato, Legato, etc.
Triple and Double Tongueing should never be taken up until the student is far advanced, and has
mastered all kinds of single tongueing and slurring.
When a Slur is drawn over notes with dots under, it is called Mezzo Staccato,
although detached, such passages should be played with little pressure of the Tongue. —- - :—;—;—

When written thus must be played broad, pronouncing the syllable doo.

Dots over or under notes is called Staccato and the effect of the dot is to reduce
a note to half its written value.

This Slurred Passage should be played by pronouncing the

syllable La.

Trills are practically impossible with the Slide, and the Lip Trills, in most cases, unsatisfactory.
The following are Trills on the Major 2nd, and produced by the Lips. :—

The lips must be drawn in and kept well closed, using no pressure on the mouthpiece. Practise
slowly at first, and repeat each bar several times, tongueing the first note only.

5
 THE TROMBONE.

Some observations which should be valuable to the Student.

When listening to a brass band perform, a careful observer is quite often struck with the slovenly
playing of the Trombones. This instrument, the most perfect of brass instruments, is not studied to
such an extent as valved instruments. Whilst Cornet, Horn, Euphoniums, and other valved instrumental­
ists strive to perfect themselves in executive capabilities and tonal achievements ; the Trombonist seems
to have no method to study, which will put him on an equal footing with his fellow bandsman.
I low often do we hear a vulgar spluttering with the tongue, unsteadiness of tone, bad and uncertain
method of lipping, all because these particular faults are not corrected in time.
Execution depends on two great acquirements, which are to be achieved only by diligent practice,
viz. :—Firmness and precision in the management of the Slide, and certainty of Lipping andTongueing,
combined with the use of the Wrist (not the Arm). The Slide must stop at the required positions
without hesitation, and in tongued passages, slide and tongue must positively work together.
The Trombonist must listen carefully to his playing, for he has to make his notes in perfect tune,
just as the violinist has to correct his fingering on the fingerboard.
Valved instrumentalists produce B# and Ctq as the same note, the violinist would not do this,
and neither must the Trombonist, for he must bear in mind that the Slide must be a little higher up for
sharpened notes. B# is a little sharper (or higher) than Ctq, so is E# a little higher than Ft], etc. No
valved instrument can produce this difference, and for this reason the Trombone is the most perfect of
all brass instruments.
One great fault with most Trombonists is the imperfect manner in- which they play leading notes.
Take for example the following :—

A is the leading note, and to produce it correctly, the slide must be a little higher up, and the
same applies to the leading note of any scale.

The Leading Note is placed a Semitone before the Tonic.

Deportment is very often entirely neglected. The performer should stand perfectly upright, his
instrument having just a slight drop towards the Water Key. Avoid all movements with the head and
body, be careful to properly control the breathing, which should be unnoticeable. I consider it is necessary
to practise deep breathing daily. To be successful you must have full control over your instrument.
The foregoing tables, etc.., are not intended for practical purposes, being solely a short resume of
useful information, which I consider to be very essential to the student.

HINTS TO TROMBONISTS.
1.—Play naturally—not artificially.
2. — Hear good singers as often as possible, and try to imitate their style. Have a good collection
of songs, and try to make the most of them. Study your phrasing carefully.
3.— If possible, study under a good teacher.
4. — Play with the piano as often as possible, because the harmony is complete, and gives a good
background to the soloist.
5.—Always keep the insrde of the Trombone and Mouthpiece clean.
The student will now begin to practice these technical studies

6
 The following Scales should be practised daily, to improve Tone, which is most important.
\ Pronounce the word too

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Slur as written, with the Muscles of the Lips and not the Tongue.

8
 Play slowly at first with a slight accent at the beginning of each group, practising different
articulations. Positions must be played as indicated.
+ This Sign before Positions, shift a little shorter ; when after, a little longer. Some of
these Positions vary slightly on different Trombones.

9
 Tongue the first of each phrase only. $hift quickly from one position to the other, not forgetting
to give each note its full value.

Accent slightly the first of each two, the second note a little shorter.

10
Be sure to get the Positions in the last two groups of each bar in tune.

II
 Moderato

Practise slowly until the Sixth Position is accomplished with ease

12
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Repeat each Strain three times in one breath ; also practise various articulations.

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Lower F, E, D, bracketed in this exercise, are artificial tones, that can be produced on the most of
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positions as indicated. Strike the first note, then move the slide quicky from one position to the next,
not forgetting to give each note its full value. With practice, this exercise can be accomplished as cleanly
and with more rapidity than with the valve instrument.

1
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 Play this study rapidly, with little pressure on the Mouthpiece. Only tongue the first note of each
phrase, this will be found valuable practise for the muscles of the lips.
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