asked most fen by music Mifow do you get a tonbone goad leno? After hesring Mage is eient tht the ar Pas special stenton. I ap Einar yon hat Brio pert Icgato car be can Zommensurate with the ther fon. indicates that each note of ected. Applied to 4 wind instrument, hat the air must low through the fy theep the lis buzzing) and with 3 Mandl the end cf the: phrase. (Young fen the air pressure between notes gin an unmisical “Dwah-Dwah.”) fin a continuous and constant ly throughout the phrase the slide quickly and efficiently issonan the seal appropriate articulation stroke of the tongue or crossing atural harmonics) proper breathing, the other essential Bgpte performance. ace articulation and i legato plaving can be accomplished = with a soft stroke of the tip of the Wing the lip slur method in which arte plished (without the tp of the tongue) tering the natural harmonies ‘ol the the Tongue Method Bit ls ct wed nate payne) Bi rlisy eat st the a steam > alles fr the coninsous How of at ip of the tongue maker conta Torr mouth ore ie the viable fon Ay Be guested tothe sade forth igo aro The Bins Nx course, this does not apply 40 the initial articulation of the phrase ‘The movement ofthe slide and the soft stroke ofthe tongue must be coordinated exacts” To develop legate Keep in mind that the student must maintain a con stant air pressure. move the slide quichy and use the Soft stroke ofthe tongue atthe exact time the slide‘The Lip Slur Method You can also articulate within a legato passage with the lip slur method — crossing the natural har: ‘monies of the instrument. This can be just as effective as a soft stroke of the tongue, but it is my experience that not enough players take advantage of it When ‘you combine the slide movement with the lip slur eon- cept, there are sometimes complete phrases that, after the first note, can be played without any tip-of-the- tongue articulation, For example, it is not necessary to use the tongue in this passage: opt SRT He ese Le re phrase can also be played as a lip slur: Fe ean Of course, there are many cases in which the pitch will change without the necessary change of harmon. ics to produce the articulation, and the lip slur method would only produce a glissando, eet El In such cases. it would be necessary to use the soft Improved Holding Position — Better Sound Ry Shoot band and orchestra conductors frequently ask for helpful suggestions for their trombone sec tions. In attempting to help these teachers, 1 begin by plaving a major scale from F to fas I have seen student trombonists play it In sith position the sound is rather good, but as the slide comes up, s0 does the boll (and the mouthpiece!), and the sound becomes thin, tight, and generally bad. It is at this point that usually hear. “Thats the sound our section gets.” ‘About twice a year my own playing tends to slump — sound is not quite right, playing requires effort. em- bouchure is uncomfortable. My first attempt at im Charles Datkert is Assistant Professor of trombone and tuba {the University of Western Ontario, Landon (Canada) where hhe also performs with the London Symphony Orchestra and the London Brass Quintet. He holds the MM. degree with a Performer's Certificate from the Eastman School of Music stroke of the tongue with the quick slide move The following phrase from Sonata No. 3 by Marcin can be played as a lip slur with tongue articulsugg only on the two notes so marked ' 8 =p ree Naess eT iy oc of ariel (1) mon tal wil rece oO the etl ateteel ic engicts ieee he aa sng (at the erate aberehrand (2) effective at lower dvnamic levels. in spite of thine babel cor mameneres Receeeeerene 1 A pelea eieerunmad emnetans a thins and wider ers the ip dar soproat often more effective should by ebvines tar method of srcataion shoud be cescraine fa Recerca ahaap rears ae Esha seca oe mathod or by combining this method Suh he naa “Transcriptions for trombone and piano have been published by both Kendor and Associated, Charles Dalkert provement is always by means of air, then embow chure. (Closing the eyes while playing makes the senses of hearing and feeling more keen. ..and aids concet tration!) The problem is usually traced to the left hand. (This is not to sav mouthpiece pressure but mouthpiece direction as a result of holding position.) To improve the sound. then, it must first be deter mined exactly how the holding position affeets sound. The first problem involves the principle of leverage As the slide becomes longer it becomes heavier. nd the instrument tends to slant downward. This is wh the longer positions of the F major seale sound bestet than the shorter ones. The right hand cannot play & part in holding the instrument, since it can only mani ulate the slide. The left hand alone must serve as fulcrum and control the weight (long or short) of the instrument