rass Clinic ice Faulkner, Contributing Editor The Third T of Trombone Technique Neill H. Humfeld y, ae Tui t4 i ) Crores TRUMPETS | i se of us who were privi- (ee-oo-ah), the correct air pressure to study with Emory Rem- to sound the note, and if he is play fn heard this great_master ing on the F attachment, the thumb hasize "the three T's of Trom- must engage the trigger. All this, fe Playing” many times. Most must happen at the same split fis understood his stressing second! And if it doesn't, the re jmportance of “tonguing” and sult is often a faulty attack or a ing,” for these two words had split note. in our musical vocabularies ‘The problem is how to develop the outset of our learning — timing, so that it becomes an auto- many articles have been writ- matic process — not a laborious labout these two “T's.” The technique. Since the main purpose purpose of this writing is is to learn how to time the emis ihird"T” — timing — since sion of notes in order to control kon this aspect of playing will them completely, it is important O CORNETS Oo FLUEGELHORNS e yea ky TRUMPETS & CORNETS Re es ately priced instruments and prereset eee Se ae ee imuch toward helping the secu- to practice all excercises at the reetrarts ees ‘of performance of any player. samestrict tempo. Lip slurs, scales, pelpseiprrici the sheer technique of playing arpeggios — the entire gamut of Penance coer Bee se cate eee et nec world’s finest workman- Hnstrument is a complex act warmups — should be practiced ving skil, coordination, and with a beat. All of those faculties al intelligence, in addition which are needed to obtain good isicianship. To sound a note, timing and attack must be sym trombonist must have the side chronized. This can be learned by ulation (release of air) pre- to help the timing of the slide is Hy timed, the back or center to play a scale starting on do, ve the tonguein the correct position doin slow half notes. Move the fet tunieidis Profesorot Marie side Guickly but not so fast that Be, Humfeld is Professo of Musi; Sou shake the entire instrument Reet Pee CRS See eet ccs eC NT a cr NUK) eet crc MUIE - Eb Trumpet fe Bison ate The most important thing in timing ersity where fie organized and ig to tongue as You reach the posi oped te EFSU Trombone ChOt- ton not beforeor you will smear holds the D.M.A. Degree from the — — Holds the DMA. Degree [fom the nor after for you will break a legato fled with Emory Remington passage (or lose all sense of timing MOUTHPIECES Custom and Standard ene Bile econ So accu Ce Trey como Redd PLEASE SEND. 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Ce ee onc rry 48 ve nemumentassy on detached passages) fone note, then another Xt, ad Play this exercise in all ke very helpful isto play a rote sug as middle C and approac' it fam different areas on the sive. ‘One reed not place the slide in exact position, just put it som plage above or below the third position Then move the slide quickly (but smoothly) and tongue jus: as the slide reaches the third sition Keep repeating the C {rom both above and below this position, each time trying to syncironize the tongue and the slic: Then repeat this exercise with «ferent pitches throughout the range of the instrument. This should be done with both legato and stac cato articulations. An additional timing problem is present when using the F attach: ment trombone. Obviously, you now haveto synchronize the thumb with the tongue, slide, etc. | trong: ly recommend that the valve be engaged just as vou reach ‘he sired slide positions, as it wil greatly facilitate your timing and give you much more coniol. (If it is pushed as the slide is ~oving between positions, it chanves the air acoustically in the instrument and articulation problems can re sult — particularly in legsio pas ges.) Also, it helps the entire mental and physi ss_ of timing to complete conize the thumb with the alread s-estab- lished timing procedu: helps “set” the process a One can devise his own exer cises, but the main thing to remem ber is that you are working for & quick (not fast), timed slide. Use scales, arpeggios, isolated notes. etc. — but always with a beat: If this point seems a bit labored it is only because it is essential in truly understanding ia Remington meant by this "T" of trombone performance