In the quest to attain efficient control of the instrument, the following exercises are

designed to develop a consistently flexible, elastic, accurate, and strong embouchure

that is always influenced by the following two factors:
1) Sound you desire (this can include style and range)
2) Type of air required to produce that sound (the quality of the air stream
ranges from slow and humid, to considerably faster and cooler).
—Tom Ashworth

A. BREATHING - TONE PRODUCTION

LONG TONES - Mouthpieces
ο!Buzz mouthpiece with air starts (hoe; haw).
ο!Stand or sit tall and allow upper body to expand.
ο!Use “woh” syllable while inhaling (breathe from lips to lungs).
ο!Strive for a seamless exchange of air and eliminate any gaps or surges.
ο!Use slow “humid” air; resonate on every note (constant, gentle support).
ο!Visualize a “brick-shaped” note (not triangles, diamonds, footballs).
ο!Emphasize consistent tone, pitch and dynamic (quality and quantity of sound).


 hold as long as possible  
1 - 2 second
 
1 
inhalation
     
mp - mf
   
 
  

  

  

  

GLISSES - Mouthpiece
ο!Buzz mouthpiece with air starts (hoe; haw).
ο!Maintain a consistent tone quality as range changes.
ο!Use slow glisses to connect pitches.
ο!Keep corners and chin flat and firm (not tight).
ο!Minimize jaw and horn motion. Work mostly in the mouthpiece.

  
Perfect 5th Octave Perfect 4th

2 


Repeat pattern starting on each of the following:

  
   
opt.

    
opt.
 

LONG TONES - On Trombone

ο!Air starts
ο!Take full, relaxed breaths; strive for resonant tone and steady pitch.

 
 Continue down Bb scale to: 
3 
mp mf pp mp mf pp
 2

B.! EMBOUCHURE - FLEXIBILTY

"Behind every beautiful lip slur exists a gliss."

ESTABLISHING BASIC SKILLS: slurs, slide and valve
(working the “breaks”)
Practice 4 ways:
1. Sing
2. Mouthpiece: Play without articulation, connect with slow glisses.
3. Instrument: Use indicated gliss (alternate) positions; slow glisses.
4. Instrument: Use standard positions; fast slide and slurs.

3
gliss positions

 #5 #5
4a    
v#4 v1 v#4 6 4 6 6 4 6
    
1 v1 1 v1 4 v1 1 4 1 1 3 1
standard positions

   
#4 
#2

#4

gliss positions
  
3 3
4b   
6 4 6 4 2 4

1 1 1 or 4 1 #2 1
standard positions

gliss positions

6
4c   
4 2 4 4 6 6 4 6

6 4 6

       
standard positions 1 1

Transpose to other keys using alternate positions as necessary to create glisses.

LIP GLISSING (or 'BENDING')

Practice 3 ways:
1. Sing 2. Buzz 3. Play
ο!Tongue first note
ο!Strive for maximum bend between notes (slow glisses) continue chromatically

   
starting on:
     
5 

LINKING RANGES #1
ο!Use slow glisses to connect pitches.
   
   
6  
 

 
  
  
 3
LIP SLURS #1
Practice 3 ways:
1.!Sing 2. Buzz 3. Play
ο!Make all lip slurs smooth, fast and late (notes should 'melt' together, while retaining 'brick' shape)
ο!Minimize jaw and horn motion; work mostly in the mouthpiece.
ο!Do as lip slurs mf. Tenuto mf, staccato pp (slow and fast) and martcato-tenuto ff (slow)

     continue starting on: optional

7a          
  
vb3 v#5 v#6

vb7

7b        continue starting on:

      
  
7c       continue starting on:

       
    
8           
continue starting on:

     

 

LINKING RANGES #2

 
  

ο!Use slow glisses to connect pitches.
   
9   

LIP SLURS #2
Practice 3 ways:
1.!Sing 2. Buzz 3. Play
See instructions for Lip Slurs #1

   
     
continue starting on:

10       
 

    optional—continue chromatically

             
starting on:

11       
 4
LOW RANGE EXERCISES: Bending exercise (to link ranges)
ο Play one bar at a time following all variations.
1. 1-6 as gliss!
2. All 1st position; bend (no valve)!
3. All 1st position; depress valve as 1. v1-vb7, as gliss
bend approaches pedal Bb 2. All v1; bend!
3. 6-b7; fast slur
 
4. 1-v1; fast slur

12   
1. All v1, release trigger as !
bend approaches pedal Bb 1. All 1st position, bend with valve


2. v1-1, fast slur 2. 1-v1-1; fast slurs

  
 
13 At this point, play a Bordogni Etude — tenor clef 8vb, or mid to low range ballad.

   
LINKING RANGES #3

       
ο!Use slow glisses to connect pitches.
 
14    
6 1 1 6 6 1
v1 v6

 
2

1 1
    
2

7 7
   
6 6 7 6 6 7

15a     

  
#2
  
 
  
2 1
 
1 6 #7 7 6
6 #7 7 6
    

                     
15b   
See positions above
 
                 
 
 5

16 At this point, repeat #5 and #12

17a SEQUENTIAL SLURS (by Ashworth, Kitzman, Marsteller)

Play first 2 bars together; first 3 bars together; all bars.
1. Do as lip slurs mf. Tenuto mf, staccato pp s(slow and fast) and marcato-tenuto ff (slow)
2. Also, play as fast “rips”.

          
        

3 3 3

 
3

       
  
   

     
5 5 5
5

17b Optional: Rips, down an octave

     
    
3

   
3
 
    
3 3


         
5

          
5

    
   
  5 5 
 6

 
 

continue chromatically

      
starting on:

18a     
      
2nd______1st________2nd______1st_______2nd

Down an octave


 
18b       

   
 vb2 5 2 5 7
4 v1 
2 6 4 1 1 2

    
        
     
continue chromatically


18c   

starting on:

     
2nd_____1st_____2nd______1st______2nd ____1st______2nd


           continue chromatically
        (as above)

18d  
     
2nd_____1st_______2nd______1st_______2nd _____1st______2nd _____1st______2nd