I

t
I F OR E } IORD

t This practice routine l-s dedicatad to Alnold

I Jacobs and Edwald Kleinhamcr,

Synphony Orcheslra, who either

of the Chicago

erote or iDspired

I t h e s e stu d i ca .

I I have conpiled these etudes in orde! to organLza

I and shale ny or{n practice

intenaed that
routine.
the student alo all
It it not
of tha 3tualLaa
t every day. It is Preferabla to lalact r vuiaty

of etudes (dif,ferent on'r elch ) and to be

I certain that alL practice'
'hy
titoc 1| g!!!! Prlctlc.

I titne.

I En l o y,

I Au^{6*---
Charles G. vernon
t Bass lrornbontat, Philadclph!! orchcatra

I
I
I
I
I
r
I BREATBTNG

I Belora t}te tloDbonl,rt beglns his daj.ly !auti!!e, he shou]d nake

caltlin that thc breathing apparatult j,s working as it Ehould..
I fhr tol,lorrl,ag exerclses ara desiEned to loogen and
brealhing appalatus ard aLLolr the player to realize
full lung capacity. lhe firct thlee exercises are
relax the
and use hi- s
t'o be done

lt t{l,thout taking in ary air.

t Expanrlon rtrd ttrctching of the iltErcost l nuscles, rib cage,

sbdooinal Eusclca, grior to inhalation.
I
-d
A. Lift and qxpand th. rib caga as far as possible. use

I hardr !o h.l,p iD lilting

rlbr, front .Itd brck.
and !o feel expansion in Loi,et
Rqpaa! slx ti.Bas.

B. Ralar, lov.r. aBd axp.nal the a.bdoElnaL arsa. Rep€a!

T- rk t1!a!.

C. Do bot! togcth.r i,! r ,eingl€ DottoR. UsE hard notions

-I ard a Bilror to arsltt in achicvltlg tha corrsct nental
a i.olsc ltrd Dotlon. R.Part slx tilat.

T Inhal. In tb. rrEa nllner,

rcuth to rchlcvo ch6 elfect
hasd rct1oD! to h.1p b l8aginlng
but rith noily friqtion
ol porycrful inhalatlon.
a long colutrn ol
at the
use
air being
ructad in. Rapaat lix tj.!.!.
I lhc fol:,ot trg cxGrclrc!
(approri$taly
alr to ba dona sith a plaltic
one inch in d.irEcta!) placad
tube
b€tvccn tJlQ treth

I co alrilt i,n oplning and ralaxlng

tlra aj.r to tha lungt.
hardr!:ra stor!.
A sultrble
A plartic
tha thloat,

bag (eattlbrrkat
and cbanneling
tubG Ely b€ purchascd in any
size) tied over
tha end o! the tub. u1ll Pravcnt dizzir.s!' BrEathe as cxPlain-
l- ad abova, Gli.Eirating a3 Euch lllctLon
a d.!k, qqiag round r! t}!€ alr ruthr!
a! potlible.
dorn tha thloat.
Strivc for

t A. tnirrle
to tla
$lll
naxistD.
with e doz.n rhort, raptd lrhrlations, filling

h rhyth!. raPoatlng each at

I B. Rhythric exlrcltas.
leart six ti!.!.
tj.ne on tbe rrlts.
Do th.r.
Kaap a conttant rhyths t lthout losing
It i3 iDPortant to achiavc naxj.anrm
lclaxed sxhalalion, wlth a nlxllla lnhalatlon in the written
I vaLuq of tha rc!t!.

t
t
I
t 5.
 .
use che sy]l,able "hoo-hoo-hoo
n
I

oBt b! J.rl. t|!..4,

it
o|rt- -r{' (colpil.d
B..vud Ltr.lc c.nt.E) I
I
BUZZING IEE MOUTEPIECE

Houthpi.ece buzzing is a very j.[portant palt of playing the

t
lrombone, or any othe! brass instrument. It allors tie playe!
to ploduce dusic rri.th the ljps (singing rdilh the lips as if
they trere vocal cords) witlrout having to deal lJilll any of the
I
technicaL problens associated !{it! the tlombone itseli.
practicing the mouthpiece enough so that buzzing is faj.lly
easy, !t i3 important that the pLayer spend nogt of his nouth-
After
I
piece time buzzing the actual- Fusic to be played- Rochut. etudes,
ballads, etc., as well as nurEery lhl.ne tunes that carl be played
(sung) off the top of the head. I
to begin mouthpiece practice, buzz fj.rst in the niddle range, and
I
t
extend in both dilections. Make the high and low legiEters sound
as flee and easy as the roiddle lange. Rene[ber that the buzz is
resonatrt like Che human voice. Do not force the lips to buzz loo
hr-gh o! loud--control the buzz nith the speed of the air. Al'rays
strive for a focused, centeled,
Using a lip vibrato
lree sounding buzz !n alL regislers.
helps to focus the sound.
prece is put into the ho!n, Che resistance
As soon as the loouth-
of the buzz !{ill chanq€.
I
Th.r-s is ioc of najor concern and certainly
:::e ncuE-1piece. Renenbe!--it
no! enough to not buzi
rs t}re approach EhaE. is i:[pd-!tanC.

CONCEPTOF SOUND
t
Irnag].ne, r-n the depths of your nind, !,.hat you think the qreatesE
:t:cmbone sound in the world woutd be like. Use adjectj.v;s to
I
C escr ib e this sound--beaut if u l, s in g in g , f a t , c le a ; ,
sm oo th, lound, dark, centere d , \ ra rn , e t c .

P l 3y the folLowing exercj,se :

ric h , fuL1,
I
I
$e
-f-f
I
I
t
I Sta r ti oq wlth lhe mj.ddle f , t ly E o h e a ! :
playing that note.
hear in you! head.
Then, recteate
rr ' : : ra 9 i: 1 a r7 s c u n d "
on '-he crciirbone lhe sou::c !'ou
lih11e pLaylng the rote, oo aot tri, tc irsten

I and change the sound of the :lote as it rs Selng FrcCucei. Sinpli'

co n ce n tl ate on the sound y o u h e a ! : : 1 y o u ! 5 e a d . T 5 e n , C: r: lg
r e st, r ecall what the note y o u p L a y e d s o u n d e d lj. k e , a n d re p e a l
la.e

the note, Crying to make it sounC, cLoser to the sou:ld ri !'oul

he a d . Continue wich an E , t -\ e n G t , a lt e rn a E i: lq u p a n d d o wn , y
\:l t crp.< rr-r' r ' i. ar - i j .c
-a -irdF '; p - <r r . . t F . - covered.
^f

I
I Renembe!--lrhi 1e lrolkj-og on th.j-s and all o f t h e f o 1 lo win g e x e r-
that the END PRoDucT (beautiful sound. and music) is to ba
I cises,
the pledonidant thouqht !,rhile playing. CONCENTRATEON EVERY NOTEI

I
l1 f,r
't Cover the entile
-f'f
lange of lhe inslrument.

I
I
t rhe breatiing
the thloat
tube lllay be used in the lest
as open as
tinue t'he sound. Make
possible.
each note
gse the
smoothe!
air
and
to r i .i
as
richer
fuel
in L666i r d

to con-
than the
Alticulate these with a o! s ? I la b I e . Re p e a :
I 1ast.
the exelcise
iJtary sound in
until
you!
the sound
head.
"dai"
Ploduced j.s
'doo''
the satie as tne lmag-

I
Jt
I
I
I
 once again, use thc ieaginary 'greatelt troEloac aound" a9a
I
goal to ai.n for.
talce hele.
SDoath.ness in thc cbange of note is of L!tPOr-
Tly tg bear the troEbone sound in you! head " singlng'
the exercj,ses as you play thee.
and every_note!
Releeber co COi:ICENTRAiEon €aqh
Repeat t}re cxerqise in all keys (Dajo! and nj.nor)
t
and in a1l octaves.

thj,s exercise should be playGd elthout the a1d of the tongue.

use a -ho" syllabLe to alti-culate sa;h irrroosr,
tie tube ro keep lhe rhlort open. rhls ";a.:--B;;aiir!
exerciie iias ihe fips
'-ovj.Srate the desired pitch norc Eaadily. whcn playing, tha
sourd should be cven and !r6a of "!sclls"
the nouthpj,ece whan necqlsarl'.
and .uah!'.
/i
Buzz
I
t
I
I
Cove! thc rntllc raDgc o! tha 1lrtnaant.
I
while playi[g
I
thEse exercilas, ctrlvc t'o erintab tha ra&a balic

i*'Yj'"i'i::i1"4
speed up the
.il'S :ii;:'.,"I*fl:tffi.:,--
ailstrefi:-r!, for cx-aupli, ir,-'.ii-io.
I
-Dly .'1p
[ot6 ClaveLs at 5 nph, the air for a ;7 n6tc'uj,ctrt ii.r..,,
50 mph, rhe airstrea.E muEt, hor{.ver,flrerain
io\der speeds. .rthen playj,ng thesa axerci!€!, "iiij
-inlcnsc
".
at th.
try to achj.avc ura
effect of r stereo,s rroiumi being slouly turncd'up ,oi ao"rrr.
t
Play each of rhese over the entiie ransi ;a-iha #o;;;"".
I
A
lo I
ttt{l t{t2l

r a4 .f t tlnf qp I
"
I
A ==:>9 tt -- A pH=fr--f-p I
E.
I
t
I lhj-s exercise

^f
r
should
followed by another,
c r r c.m
^F
a + a .^ i
be thought of as be.j-ng one beau:i-fu1 sourld
glued cleanly
1 !' Fl
__ ^r - ra n g a t r.
together, and rid:lg o!1 :cp

-2

lt

I
tlo tlris exelcise in all keys and actaves, all dynaftics lpp-.ffj
I ttlink Ef steadily incleasing
befole-
ai!. Relate the speed cf the air
to nph, as Fentioned

I
I
ln
I
I
II
I Play j.n each position
j.f neces sary.
four

I
t in e s . Us e d if f e re n t

2
v a ria t lo n s

3 1

I DIRECTION
tongued

t2
s.Lu!!ed s 1'llr ed s l.rE ec

I DYNA.I.{ICS
-f .t P

t Be celtain that the sound i-s e v e n , s mo o t h a n d re la x e d : h rc u g S o uE .

Buzz the mouthpiece to he lp ' ' s t ic k y " notes.

I 9.
 I
I

PLry in alL scvan posj,tionr. vary the articuJ.alion flon liquid

!1u! co vary d.tached. ReacEbe! !o buzz the noutipiece when
nacatstry.
I
I
I
Pl,ay ln aLL sevcn poEitions--both roftJ.y anC ioudi.y.
I
I
I
I
I
PLay this excrcisa without tlle uge of Che tongue (glj-ssando)
starting with a 'ho" 3y11ab1e. Play up chromatically to: '
I
I
I
PLay thi.s exelcise vely softl,y and gently.
t
10. I
L

I Play the followi:1q exelci.ses (rith the irdlcated

t Eo n g u i:1g only --he first

snoothLy, evenly anC slorrly.
an octave.
nole o f e a c h s e q u e n c e . Pla? each cne
These nay aLso be played dow!
Vary the speed of the ai!.

I
?,19
I
I
I
I
I
I
I
t
I
I
I
t
I
I '| 'l

I
 I
Play this exe!cise both smeared (g lis s a o d o ) and er,r,ro,-{ rr!, +
'.'er y IoudL:.' rather
a s far as possible.
chan s o f t ly . Continue down
I
I
,l
t
?L a l':hr s exercise both s l, u rle d and detached. ? andf . Make
I
the si,Jrred version sould lj.quid smoolh. lhe oeE acned vel :sl on
c.^,r'. e ^ ,.r d I i za
r m a il bri-cks Of sound.
: I
^ha
cr,i Fd o f id e n Cic a l sounding notes--
I
I
I
Continue dolrn ch!omalicaLLy
I
I
B
,:
; I
I
,4---
I
I
The se s tudies of idtervals

weLl- as strengtheoing
and evenLy.
of a pe!fect
:or ra!chj.:1g rhe sound of che upper and
the upper laiqe.
Make the uppet notes sound
foulth ale inval.uable
Iorder regi.sters. as
PLay then very smoothly
easy and relaxed.
t
PIay
bcth so ftl? and loudly.
t
r1
rl
I
t
I
I

I
t
t
t
I Do tlis exercise first !.j.thout tlle tongue, sBealing betlreen
each note (except whele [atura.]- glurs occu!). pay calefuL
I attentioa to t}1e indicated alternate positions.
exercj-se. adding a vely soft "doon articuLation
smea-rsqrere previo\rsly.
Repeat the
rhere the
Buzzing the exercige on the douthpiece

I will lrelp eli-nj,nate "stj.cky" notes.

the smoother, the BETTER !
the slorrer, the softer,

t,
a23
I
I
I
t
t
I
 altention to each and every alticulation in r-he
t
Pay careful
,r"it e*arai"e;
"o\rrta;
drake
titto"qlrout.
sule
valy
they ale consistent'
the dynamj'cs and tempo
Thiik
'
"beautifr'rl
I
24
I
t;
I
I
I
I
I
I
I
I
? -+'
t
I
I
I
+- I
I
14.
I
 -ti'.= A

> __i''
-
-fr - I 1-
--)_-ar= -t

-/-\
,/- '- =_t_: _:4= -a
 t
LOWREGISTERSTUDIES I
Play each of these sxtremely sEooth, both p ana f . using the
bleathing tu-be between repelitions
uJrregtlicted
lrj,Il aid in producing an
coLu.Dtr of rarD novinq ai,r. I
ll
2S
A I
I
I
I
I
I
I
I
I
t
I
t
I
I
16. I
fr
It
lr
I
I
I
I
t
I
I
I
I
I
I
I
I
I
I
I
 I
t
I
ryqt I
I
I
I
I sould and Dusic ahould alirays bc of prl$e initortance ' AII notes
al! ulth the saae, even sound '
I ihouLd sourd ealy al|d rclaxld;
PLay (sing 1{ith che lips) ballad3, Bach 'cello sultes' Rochut,
etc. i,n aII reglsters.
I For Iow regiEler develoltEent, start uilh a Rochu! atld Play iC
as writlen.
\

I
26*
I
l" dottn ar octavq
Than read it h tenor clef,,
I
I
I
I Bar! q1al, ilovtr an octav.

l_
I
I
I
I Tcnor cle:, do$n tlro octaves

I
I
I
 I
Ba99 clef, dot n tl,o octaves
I
E
I
/

For high regllter develoltDent, Play Rochut in I

tcnor
I
F
I
t
t
ALto clef I
I
t
I
Ba3s clef, uP !n octave
t
I
I
Crnce again, remetrber to nal<e tlle upper fange sound free and easy.
I
T
n-
I
I the follovrlnq (or ginlla! satarial) Day be used in lhe
Piece

I sErlle Daluler a9 the Rochu!.

Bach Cello Suite

As written SAXABANDEflON

I
t 28
t
t
I
It
tf
if
!
I
I
I Teno! clef, ilowtl an octave

I
I
I
I
21.
I
 And that j.n tenor clef, down an octave

--__ZF:_: p4

Alrct'-,o.
I
t
I About the autllo!. .

I charl,es G. vernon is presently Bass trornbonist of the Phj.ladelphia

I orchestra, a poaition he has held slnce 1981. Plior to this. he

held the 6ane posilj-ons eith ti6 Baltlrcre s!'aphony (1971-1980).

I and the sa! Flanciaco Slmphony (1980-81).

t A nau,ve of Asheville, Nolth Carolj,na. !'lr. Vqrnon attendod Brevaral

T College
iar gill
and c€olgia
and cail, wlllon,
State Univcrsity.

as sell ac hl!
El' tqach.rr

[.ntor!
include wlll-

Edeard Kloinlta@r
I and Alnold Jacob! of the ChLcaEa Slrnphony Orcbcltla.

I Mr. vernon has bean on tho facuLtier of both Catholic Unlv.rrity

I and Brevald Uualc Catrtgr.

Col.legc of Perforning Arle
Ee culreDtly
and the Curtls
teache!

Institute
at thc phlladaLlrhtr

of tturlc. Ee

I j,9 allo a clinician for the SalDqr tnslrurant CoDpany. and a fra-
quent guEst artirt for the Internatlonal TroDbon Alaoctation.
I
I
I
t
I
t
I