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The Art of Trombone playing

The document emphasizes the importance of daily practice and warm-up routines for musicians, particularly trombone players, to improve their skills and maintain proficiency. It outlines various warm-up exercises, breathing techniques, and flexibility studies tailored to individual strengths and weaknesses. The goal is to enhance tone quality, breath control, and overall musicality through consistent practice and attention to detail.

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Max Tato
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37 views

The Art of Trombone playing

The document emphasizes the importance of daily practice and warm-up routines for musicians, particularly trombone players, to improve their skills and maintain proficiency. It outlines various warm-up exercises, breathing techniques, and flexibility studies tailored to individual strengths and weaknesses. The goal is to enhance tone quality, breath control, and overall musicality through consistent practice and attention to detail.

Uploaded by

Max Tato
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Nie ‘ari of . "by Edward — Kleinhammer ; Trombone | ‘ _Riaving bf Regardless of a musician's talent, the ical aspects of playing must be aroused, ed, and improved upon daily. Upon one's sal attitude toward practice and improve- rests most of the degree of his success. is always room at the top for the tal- musician who, with good guidance, gains = eroficiency of superior standards. This pro- jency is attained and maintained by practice. For the amateur who has no desire for fessional status, but plays as an avocation, certain amount of upkeep practice is still sary, so that one's playing remains in the stess of music, To be enjoyable, the playing «not deteriorate, or enthusiasm will wane. Every individual differs in talent, the ser- ‘eesness of his musical aspirations, and the ‘strong and weak facets of his playing. Practice = day, for in them are the fundamentals which seply to everything you play. ‘THE WARM-UP As stated earlier, each individual differs es to his strong and weak points. Therefore, Remember this is to check the correct, unim- paled flow of air together with the correct em- i | DAILY EXERCISES the follow'ng warm-up exercises must be mod- ified acco dingly. However, do not skip any warm-up or passage of any kind because you do not like it or because you cannot play it too well. Spinach is not as tasty as ice cream, but it does the body more good. Come back to this exercise or passage later in the day, improve it, study it, and gef it! Never give up. ‘The following routine is designed as a bal- anced diet of trombone technique. Playing these warm-up exercises well will give you back- ground for playing well just about anything en- countered. ‘These warm-up exercises can also be modified to fit the amount of time that can be expended for warm-up. In this case, it is suggested that the extremes in volume be given the most consideration, as these are an impor- tant factor in a healthy and complete warm-up. The complete warm-up or parts thereof can be executed later in the day, in preparing for an- other session of playing. PRE-WARM-UP Refer to Chapter 2, The Breath, and pre- pare your day mentally and physically with a morning exercise as prescribed. Breathing ex- ercises can be done at home before going to your job, or just previous to the warm-up. Af- ter the breathing muscles have been exercised, coordinate blowing with the embouchure place- ment on the embouchure visualizer or mouth- piece in the playing of some arpeggios or glis- andos. Play some scalewise octaves in nf, ff, and pp. After the pre- warm-up breathing exercises and glissandos and octaves (ny.gf-pp)on the embouchure visualizer or mouthpiece, you are wnt % a ee ready to combine embouchure, breath, slide technique, and intonation in the first actual playing of the day. Play the tones in the follow- ing warm-up exercise fenuto, using a soft "du" syllable with the tongue, Take the instrument down to resting position at each fermata, re- Jago Take Instrument = Down setting the mouthpiece to the embouchure at each sequence. Study the embouchure setting, ‘The sequences in brackets can be played on the mouthpiece only, alternating with playing on the complete instrument. Establish a uniform fer mata of a given number of beats. Simule Sth Position — —— — — 4th Position _ ? 2nd Position. — Start the following exercise by playing each Sequence detached, mg, at about ¢ = 100. Then slur the same sequence mp at about 16. Maintain a constant sostenuto with the air as though you were blowing a long tone, and make smooth slurs from one tone to the next. Keep the arms and shoulders relaxed, Check the em- Detached first, then slurred fF PP f-LF-PP f-L-PP fF -PP "ff -PP Rather than continually using the low funda- mental from which to build upward, the exer- cise should frequently be reversed, An example bouchure throughout, and hold the last note for good tonal quality. Try to play each line in one breath. If extra breath is needed, inhale fast and relaxed, Do a sequence now and then on the mouthpiece alone, for intonation and embouchure study. Repeat the study slurred ge and pp, of the seventh position sequence follows. Do this in all seven positions Play any two scales gp and fenuto in the following patterns. Play the sixteenth notes in the second pattern non-staccato. Strive for good tone throughout, and especially for good quality on the first note of each of the eight successive sixteenth note figures. These same notes should also receive a rhythmic weight. Fortissimo to the very end, tepeeees Mi} ‘The following minor arpeggios should be played in all three volume levels indicated, Strive for smooth slurs, especially in the for- tissimo, Relax both arms and shoulders, and obtain the upper register notes with the embou- chure alone, Resist tension in the left arm. A- chieve good intonation, Two tempo markings result in six playings of each sequence in dif- ferent tempos and volumes. Perfection is the ultimate goal! a=: - LONG TONES- Crescendo and Diminuendo A very basic and fundamental exercise for brass players—the long tone, played from bianissimo to fortissimo and back to pianissi- ‘mo again—is a tone-quality and breath-control builder. Attack the tones with a "thu" stroke of the tongue (pp and increase the volume evenly to the third beat of the second bar, which is gf: At this point, the air should be half expended, Diminuendo just as evenly back to ppagain. Re- d= 60 Pp —— f° —— PP ==5 lax the lips as the volume is increased so that more lip surface will vibrate in proportion to the volume. Be aware of the pitch so that it does not fluctuate throughout the dynamic range. A Stroboscope is invaluable for this exercise, Blow more air for more volume and watch out for sympathetic tensions which are hinder- ances to correctness. Do not permit wavering of sound. The tempo of the lower tones may be increased if the wtmost in air capacity is not sufficient to sustain them in the given tempo. (Bass trombonists can extend the range lower.) PpP——__ ff ——— PP ab PP—— # ——— pp PP —— £ —— pp PpP—— f° —— pp PP —— ff ——— Ppp PP ——f —— pp PppP—— ff —— pp 7p PP HF —— FLEXIBILITY STUDIES clean and musical ing as in yf; and play ten- uto as well as staccato, Play also slurred in groups of two, four, and as many more as a An exercise to gain flexibility of the em- good breath will allow. (See the chapters on bouchure and of slide technique follows. The Detached Playing and Slurred Playing.) Exer- portion of each exercise in brackets may be cises of this type should be played in all keys, omitted by beginners, Play in ail volumes, as d= 60-120 if --PP The above exercises should then be done in the following rhythmic patterns, Do them at the volumes indicated, and also staccato, In staccato articulation, strive for a clean, crisp © ® sound free of foreign noise, Maintain strict rhythm and work for a clean, agile technique free of clumsiness or inferior intonation, ® © ‘The playing of scales is an excellent ba- sis for a good warm-up and daily exercise pro- gram, Play some each day in different volumes from pp to ff; Play some major and some mi- nor scales in the suggested patterns, slurred and detached, fast and slow. Play natural minor scales, harmonic minor, and melodic minor. Slide technique, rhythm, intonation, and knowl- edge of scales can be improved in this exercise. Anatural minor scale is constructed as follows: (A minor) o- Harmonic minor scal: (A minor) Se SS | Melodic minor scale: (A minor) —S SSS SSS eS] Suggested patterns and articulations follow in abbreviated form, 81

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