Extending the Trombonist's Range

by Joel Elias and LaMar Jones

CUSTOM-BUILT

INSTRUMENTS AND MOUTHPIECES

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Performing consistently in the extreme upper and lower registers is one of the biggest concerns of the trombonist. It is also a major concern of conductors, audition committees, and fellow brass section members. The following information will help you diagnose as well as alleviate any existing problems or potential problems in these registers. The Lower Register It is possible to trace a stuffy or unresponsive low register to one or more of the following conditions: An embouchure that is too tense An embouchure that is too loose or not focused enough Tension in the throat or chest Insufficient or uneven air flow. Embouchure Problems An embouchure that is too tense or rigid may function to a certain degree in the middle and upper registers. However, an excessively tense embouchure is certain to cause response problems in the lower register. If the notes speak at all, they tend to be more coarse and brittle sounding than the tones in other r e g i s t e r s . It is t h e r e f o r e necessary to relax the embouchure in the lower register in order to achieve a uniform tone quality in all registers. You can accomplish this relaxation by playing a daily exercise that consists of long tones. Start on F3 and play downward, chromatically, one octave. Play the
Maurice Faulkner is the Contributing Editor for the Brass Clinic. He received a PhD degree from Stanford University and is Professor of Music Education Emeritus at the University of California, Santa Barbara.

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first F at a mezzo forte level and hold it for one complete breath. Relax the embouchure as much as possible while maintaining a steady, even tone. As you proceed, keep the mouthpiece on the lips at all times so you can relax the embouchure while maintaining some amount of focus. This means you must breathe through the corners of the mouth; do not breathe through the nose, because it encourages shallow inhalation. Always return to the starting pitch, F, for another long tone before going on to the next note. This approach allows you to match the tone quality of the lower notes to a reliable standard of tone quality. Bass trombonists may want to do the same exercise on At>3 or C3. At first, some fuzziness in the sound may be present. It is probably due to an embouchure that is too tense and not accustomed to vibrating freely and responsively in this register. The fuzziness should disappear after a week or two. Puffing the cheeks is often an indication that the embouchure is too loose or unfocused. When these air pockets are present, the tone may be wobbly, attacks uncertain, and playing at different volume levels impossible. A variation of the first exercise can help solve this problem. Instead of relaxing the embouchure during the long tones, keep the embouchure formed and focused so that attacks are not airy and haphazard. One way of helping to focus the embouchure is to make several atJoel Elias is principal trombonist of the Sacramento (California) Symphony and lecturer in low brass at the University of the Pacific. LaMar Jones has performed with the Boston Symphony, the Boston Pops, and the Mexico City Philharmonic. He currently plays in the Boston area.

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tacks without using any tongue at all. This approach should enhance your awareness of the role of the embouchure, air, and tongue in creating various kinds of articulations. Another way to open up the lower register without overly relaxing the embouchure is to keep the lips together and lower the jaw. This formation increases the size of the area inside the mouth, and encourages a feeling of attacking a low note from the "bottom" of the pitch.
Tension in the Throat

the pitch retains the same quality as it does in other registers, the sound is not too wide.
Air Flow

A tense throat or chest can cause the air to react unevenly with the embouchure, thereby restricting the tone. Once players free the flow of air, they are often surprised at how open and big the lower register can sound. As long as the center of

The ability to call upon mental images can help improve the air flow in the lower register. For example, imagining that the air stream is passing over the lower part of the mouth, or creating a picture of blowing on a hot piece of food in your mouth that you are trying to cool can help to relax the throat as well as insure that the breath is low. It may also prove useful to think of the air stream as always being in motion, regardless of the register or volume at which you are playing. Whatever the imagery, it should be directed at sustaining an even column of air that is unencumbered by body tension.
Tone Quality

with the valve, i.e., the low F2 in the second measure would be played in the first position, but without the valve. Lip the note down without the valve. The second time through, do not use the valve either.

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To achieve a concept of open tone quality in the valve register, it is important to practice exercises that go from the open horn to the valve register.
The Upper Register

the Human Experience BY SHIRLEY MULLINS

Teaching Music:

To improve tone quality, first buzz the following exercise on the mouthpiece, then play it on the horn.

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Play the exercise in the keys of Ab, G, Gt, F, and for bass trombonists, E. Use a variety of articulations, such as these:

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False Tones for Trombones with F Attachments

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Using false tones (a note played in a position that does not acoustically produce that pitch in its natural overtone series) can be valuable in improving tone quality in the valve register. To produce the false tone, place the slide in the correct position, but without the use of the valve, buzz the desired pitch. The tone is not especially clear, but the embouchure can induce the note to speak. The first time through each of the next two-measure phrases, play the low note in the Same slide position as the same note

To produce a pleasing, consistent tone quality in the upper register, focus your attention on creating a firm, stable embouchure and a freely-moving stream of air that passes through an open throat. To gain control over the up>per register, first think of creating firmness in the corners of the mouth. Form the corners by pressing the sides of the mouth (the corners of the cheek muscles) back and slightly towards the center of the mouth with the thumb and forefinger. Once the corners are in place, they should remain there, to become a source of strength, stability, and control for the embouchure. Except for extreme cases, such as very low pedal notes, the corners should not stray from this locked position. We recommend a mirror to help keep the corners in place as you play. It is crucial to keep this concept of the embouchure constantly in mind because without it you will not achieve any consistent degree of success in the upper register.
Accurate Playing

Accuracy in the high register (or in any register) is directly related to the player's ability to hear the note before playing it. This skill becomes especially critical on an instrument like the trombone because it has no keys or valves to increase the chances

THE INSTRUMENTALIST/FEBRUARY 1985

of landing on the correct pitch. Practice daily by vocalizing isolated notes and short passages before playing them. This is a good technique that will help minimize the time and effort spent trying to locate correct pitches. Practicing and gaining endurance in the upper register are delicate matters. In general, avoid playing scales and buzzing on the mouthpiece because both seem to encourage tension and excessive mouthpiece pressure in order to make the notes speak. Playing high notes in alternate positions should prove helpful, as in the next set of exercises. Because of the differences in resistance that result in playing a note as a different partial in a different overtone series, this technique seems to force the embouchure to focus correctly, as well as to build strength and confidence (a psychological condition shared by all who can play high notes, seemingly without effort). Some amount of high register playing every day is preferable to a lot of high note playing once in a while. Embouchure strength is developed over time and needs to be reinforced with consistent practice. As you gain control over these tools, keep the following thoughts in mind: Visualize and feel that you have enough embouchure strength, control, and diaphragm support to blow "down through the notes" instead of squeezing "up to" them. (This image can help free the air stream and make certain that the player is relying on the use of air, and not mouthpiece pressure, to play high notes.) Have an idea of the tone you wish to present, then try to match the final product to your mental image. (As a type of model, listen to the ballads played by trombonists that are piped into supermarkets and elevators. This super-smooth, lyrical kind of sound developed by Tommy Dorsey in the 1930s and 40s has been an inspiration to singers and instrumentalists.)

Practical Applications

For a practical application of alternate positions in the upper register, study the following works from the symphonic repertoire: Ravel Bolero (first trombone part) and Daphnis and Chloe, Suite No. 1 (first trombone part), and Kodaly Hdry Jdnos Suite (movement six, first trombone part). The following exercises will help develop the upper register, as well as sensitize the ear to the small but distinct adjustments in slide placement that these notes require in order to sound more in tune. Always blow through the entire phrase and not just from note to note.

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Tongue the notes if necessary, but make every effort to slur. Play slowly and at a comfortable volume, but try to play the phrase in one breath.

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(Through first position, with appropriate position adjustments) As you develop strength and confidence, begin adding the notes that correspond to these in the other positions.

Editor's Note: For a thorough discussion of breathing as it applies to playing wind instruments, review the article "A Medical/Musical Analysis: The Dynamics of Breathing with Arnold Jacobs and David Cugell, M.D." in the December 1983 issue of The Instrumentalist.
FEBRUARY1985/THE INSTRUMENTALIST 39

Teaching Legato '..*-,; ?:,'*-; to Young Trombonists

by David Mathie
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legato technique to young trombonists is often a difficult and confusing task for band directors. Many elementary-level methods introduce the slur, the foundation of legato technique, in the book's first lessons and the articulation style abounds in easy band compositions; yet, rarely do editors offer a complete explanation of the slur and legato playing. Although achieving a true legato takes years of practice, learning it is not as difficult as you may think. The best time to teach legato slurs is when the student has a full sound, is comfortable with slide positions, and produces good intonation and consistent articulation. These qualities usually appear during the second year of playing for most students; using legato tonguing any sooner usually proves to be too difficult for them. The process of teaching legato falls into three stages: preparation, first lessons, and follow-up. Preparation Just as for any new playing technique, plan in advance to teach legato. The most obvious starting point (and the most frequently overlooked) is the student's trombone slide. Unless it is in good

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working order and moves freely, legato slurs are impossible. A good method for testing the slide is to have the student place the trombone in front of him (straight up and down), unlock the slide lock, and lift the trombone with the left hand. The outer slide should remain on the floor. A slide that adheres to the instrument is either bent or in poor condition and will need to be repaired. After playing some student trombones, I am amazed that the young owners of these instruments can play anything at all. Fixing such a slide would improve the trombone section of almost any band. Next, check the lubrication of the slide. Trombone creams such as Superslick or Conn Formula Three are best. Wipe the inner slides clean about twice a week; reapply the cream in small amounts to the end of each inner slide. Trombone oils or liquid slide treatments are usually ineffective because, after applied, they disappear through the spit valve.
David Mathie has been the trombone instructor at the National Music Camp (Interlochen, Michigan) since 1978. He is the band director at the Bloomfield, Connecticut Junior High School.

Proper right-hand position is important in smooth playing. Have the student hold the slide between his right thumb and the first two fingers at the bottom of the slide brace (he should be able to look at his thumbnail). His other two fingers should loosely dangle below the slide. Tell the player to let his fingers grip the brace firmly, but with a relaxed feeling. Although there are many right-hand positions, this one works best for most students.

First Lessons Professional players often describe the legato on trombone as a seamless connection of notes, performed as a vocalist would sing a ballad. However, the most seamless connection of notes on the trombone is the glissando, which makes the best and worst slurs possible. A good slur is a compromise between tonguing a passage and smearing it. Keeping this idea in mind, the student should produce a slur by ar-

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ticulating with a "doo" syllable while moving the slide quickly from note to note to avoid a smear. At all times he should keep the air stream fast and steady. Demonstrate these concepts ("doo" tongue, fast slide, steady air) to the student by playing the trombone yourself, or using any other instrument or your voice. To further help young players, suggest that they listen to good recordings that have excellent examples of the technique (some are listed at the end of this article), or recruit the assistance of high school or college trombonists to demonstrate how legato is done. Next have the student play F to E'' slowly, without tonguing the EP, to produce a glissando. Then have him do the same but tongue the two notes "ta-doo." Listen carefully to the articulation on the second note, making sure it is a soft "doo" sound, rather than the normal "ta." The student will acquire a much better legato style if you teach him to clean up the glissando, rather than soften up the tongue. Have the student play F to E^ ("ta-doo") a number of times to become familiar with the new ar-^ ticulation. The notes at this point probably will be rather messy. Have the student move the slide (not the tempo) faster between the notes, emphasizing a soft tongue on the E^ and a smooth, even slide motion. By now the slurs should be fairly clean, and the style should be more of a glissando rather than two separate tones. Have the student add fourth position D to the two notes, playing "ta-doo-doo." Stress that the player should work for smoothness; as he adds more notes to the slur, he should increase the amount of air for playing them. Next ask the student to play simple songs by ear ("Mary Had a Little Lamb" on G, F, and E^) to try this new articulation. In this way, he can listen to the quality of slurs while not worrying about reading notes. If the slurs are not clear, ask the student to move the slide faster; if the slurs sound too hard, suggest that the player soften the "doo" tongue. Always stress the unbroken flow of air be-

veen the notes. As an assignpent, have the student go back to ne beginning of the method book find slur all the exercises. Follow-Up At the next lesson, the student probably be tonguing too iard, so begin by reinforcing the I'doo-doo-doo" concept with two three notes, just as in the first lesson. If the player has difficulty coordinating the slide and his longue, suggest that he first play |lurred quarter notes; then, while you clap the beats, have him move Ihe slide to the correct position exactly on each pulse. Allow a few veeks' time for the legato tongue to develop, and be aware that a propter legato style goes hand in hand vith good tone and intonation. Trombonists are capable of producing lip slurs just like any other player on brass instruments, as veil as natural slurs (slurring against the overtones without usling the tongue) that are indigenous to the instrument. For young students, however, legato tonguing each note is the most effective method. As the student advances, suggest he discuss different articulation styles with a private fteacher. I see that most junior thigh and high school trombonists lover-articulate when slurring to produce a tenuto style rather than la true legato. Listening to recordlings by Tommy Dorsey, Bill tWatrous, or Henry Charles Smith twill demonstrate how truly [beautiful the trombone legato can fee.

B o r g d o n i - R o c h u t : Melodious Etudes, Vol. 1 (These methods are available from Robert King Music, 112A Main Street, North Easton, Massachusetts. Recordings Henry Charles Smith: Trombone Recital Ralph Sauer: Vox Gabrieli Ronald Barren: Le Trombone Francais Richard Cryder: The Lyric Trombone

Tommy Dorsey: any available recordings Bill Watrous: any available recordings (These recordings are available from Accura Music, Athens, Ohio.)

Study Materials Second and Third Year Students Concone-Miller: Forty Legato Studies Bordner: First Book of Practical Studies Remington: Warm-Up Studies Advanced Students Fink: Studies in Legato Smith (ed.): SoZos for the Trombone Player

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