Its been a long while since I’ve updated my website in any way. I figure since I have the time now via CoVID-19, that I start doing some updating to this thing.
I’m going to start using this blog as a way of posting some online content I’m working on for both my playing and my teaching. I know there is a ridiculous amount of trombone and music related content that people are trying to produce these days, and the production value is off the charts for some of them (link to these videos) I’m working my way up to that type of stuff, but I think this is a great way for me to document my progress with video and audio production, charting progress on my trombone doubling journey, and a lot of the projects I’ve had running through my brain for a while. The stuff I post will be in no way perfect, a lot of what I will post will just be legit practice videos. Maybe a new technique I am trying out, or trying to smooth out specific things, etc.
As I watch back some of these videos, I’m going to try and make sense of if something is working or not working. While I play, and while I listen back, I’m actively going to try and be without judgement, and look at it in a completely non-connected way. In a way that doesn’t connect my worth, or personal identity to missed notes, or flubbed attacks, I’ve spent a lot of time down this road and it largely doesn’t work. I’m going to try and find a deeper understanding of the way I play, the way I intuitively make music, and how I emote that to the world.
Randy Gist - an unbelievable musician in the LA area, just posted a facebook post about creating work and judging it. He has some great thoughts about just creating and not judging. Check it out here. No judge of good or bad here- not for these videos. Just an assessment of what seems to work or what doesn’t.
With that- here is a recent video of a practice session I had on two different Tyrell etudes. This clip is just a run through (sort of) on both etudes. #2 from “40 Advanced Studies for Bb Bass Trombone” and #8 from “40 Progressive Studies for Bb Tenor Trombone”. The Tyrell etudes are great progressive studies for technical issues and since they’re written idiomatically for both tenor and bass bone, i’ve found them to be a great way to work on “flipping the switch” immediately from bass trombone to tenor trombone (or vice-versa)
My main goal with this 5min clip was just to get through both etudes on each instrument and do it fluidly. Goal (somewhat…) accomplished. The first 3 or so minutes is Tyrell #2 on bass, and contains a fair amount of repetition to iron out some of the technique.
I am pretty familiar with this etude, so my main objective was to work, sound production and fluidity in the low register with consistent articulations. After listening to it a few times, I feel as though I’m consistently a little short on the quarter notes, especially right before I take a breath. I tend to “prepare” the breath in the sound, and forecast the upcoming pause in the music.
As a disconnected listener, this tended to make passage really predictable, something I really try to avoid during etudes. Goal for next practice session: a little more attention to the note before the breath (i.e. a little longer, or a more concise breath? Something I’ll have to practice to find out), and a less repetitive breath pattern.
Since I’ve started really working on the tenor trombone again, Tyrell #8 has been one of my favorite etudes. It’s sometimes hard to find etudes that have a nice mix of challenges (syncopation, range, multiple tonguing) and a melodic line to work on some type of musical contrast.
A lot of time has spent on the tenor trombone in the last few years. Throughout undergrad and grad school, the sole focus was on the bass bone and trying to get an orchestral job playing bass bone, so the tenor got neglected until I went back to school for my DM in 2017. I’m starting to get more efficient, but my main focus is usually on characteristic sound and centering pitches when switching to smaller equipment. I notice some tightness in the sound when I start to use more articulation, as in the following passage:
Or I notice it when I slur large leaps between two different ranges. As in this passage:
The most effective way I’ve found to practicing sound through both of these passages, is to slow the tempo down, and work on sound away from all other aspects of musicianship. Taking the tongue away and glissing through these passages helps to build comfort and pitch center. In the first passage (11-12), working towards maintaining an even slide motion can really help with accuracy when the tongue (I triple tongue this passage in the video) comes back to the fold.
In the second passage, it seems like I’m just consistently losing connection with the buzz. When I hear this in mine, or a students playing, I always think about when I was a kid and would try and skip steps up the stairs. No need to be in such a rush, each note must be given its time to shine. Some emphasis on the next practice session will be placed on slurring intervals over a wide range, either in the Arban book, or several of Brad Edwards materials deal nicely with extended slurs. Bridge the gap!
Just as a reference for future recordings, I’ll list the equipment used and the microphone settings.
Equipment used:
Bass Trombone - Bach 50BG with Greenhoe Valves (no leadpipe), Ultimate Brass G10NLP.
Tenor Trombone - Bach 36B, Bach5GB
Recording Setup - Zoom Q8 on board mics level 1 - AUX MIC - PreSonus M7 level at 4.