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18

There are acoustical reasons for not wanting close voicing in the lower register; in short, the upper harmonics muddy each other up and fog up the sound. But in my experience, C4 is a really high limit; I can think of tons of scores with thirds below C4. Every musical environment is different, and sometimes you might want that slightly muddy sound. But if ...


16

The "N.V" just means No Vibrato.


14

Yes. All tenor and bass trombones are pitched the same. The difference between student instruments and professional ones is actually more in the bore size than whether or not the instrument has a trigger (which is typically called an "F attachment"). The F attachment's primary use is to extend the low range of the instrument, and enable technical facility ...


11

A vamp is a repeating musical figure, like a guitar riff. In jazz, Latin jazz, and musical theater it’s often given for the accompaniment so that they can repeat as necessary during intros or solos, in which case it may be noted as “vamp until ready” or “vamp until cue.” Depending on the style and band, players may improvise on the vamp. The “open vamp” ...


10

you literally just point your bell into the stand, not directly touching it, but the sound should be muted by the stand


10

This is only for comfort. The part where you hold the trombone is not very ergonomical so we search for as comfortable position as possible, with control of the instrument. Try various hand positions yourself to see which works best for you. Ideally you should not lift you left shoulder at all (do check in a mirror, lifting left shoulder will with time lead ...


9

Nowadays I always get a close shave before playing the tuba in a gig. I started doing this when I realized that after longer breaks from playing I had trouble getting a distinct attack and tone when I had facial hair around the lips. I also had trouble playing pedal-notes. I then experienced getting a close shave as "gaining" one or two weeks of practice, ...


9

Speaking as a brass doubler (trombone is my primary; I play all other brass instruments with varying proficiencies), the main difference between the embouchures for trumpet and trombone has to do with the tone concept. The trombone itself (and current pedagogy and instrument manufacturing) allows for a very open and dark tone concept, and the fact that ...


9

Closed vocings aren't bad, but you need to be aware of the register you are in no matter what you compose. In lower registers, having notes close together isn't always what you want. Specifically intervals that are supposed to have color like 3rds and 6ths both will sound "muddied" to most. Perfect internals typically don't observe this problem. This is also ...


8

The first answer above by NReilingh covers the physical appearance of the instruments but there is also an acoustic difference. A Slide trumpet has a large bore of .460-.470" and is played using a trumpet mouthpiece. It also has a long tapered lead-pipe inside the upper tube just like any other trumpet. A Soprano trombone has a more trombone like smaller ...


8

For trombone you'll typically see a number of mute markings, but the style of music changes what you'll frequently need. In traditional, classical music and other chamber style music you may see the term Con Sord or some similar Italian or even German markings (Con Sordino, Mit Dampfer, etc.). If a mute type is not stipulated, the vast majority of the time ...


8

There will be differences in the tone quality, because the baritone/euphonium is a conical bore instrument whereas the trombone is a cylindrical bore. (Generally speaking, this means that the trombone will have a brighter tone than the baritone/euphonium.) But in terms of range, the two instruments are pretty similar, and the baritone can certainly play the ...


7

Absolutely. JB Arban once said that people have the wrong idea about embouchure - that it's a fixed thing like a statue. He said that embouchure is fluid - you need to do what's right and what sounds good. I am not surprised that you have difficulties with flute after trombone; remember how each instrument works: The flute is like a fickle bottle - you ...


7

A trombone is the sum of its components. And the words of the economist, Thomas Sowell, "There are no solutions, only compromises..." applies to the trombone world as well. Part of why you might like the Bach are some of the things that you are trying to "fix." Similarly, part of the reason you liked the CL2000 valve may be because you also like the Conn ...


7

Human pitch discrimination is frequency dependent. There is a concept of critical bands. You can read about it in a text on Physics and music by Rigden. I keep promoting that text because I've taught out of it as several universities. There are probably many good texts on the subject. In short, there is a critical minimum frequency difference at which ...


6

You really need to get more specific than "mouth muscles". The formation of your mouth and lips that is used to create a tone on the mouthpiece is called your embouchure (colloquially referred to as "chops" by many musicians). Once you identify what this is and what it feels like, as well as which muscles exactly are being used, it basically amounts to ...


6

Like the comments said, it's a combination of both. As a trombone player, we have the muscle memory to hit notes at what should be in tune, but what is in tune may also vary. You tune the notes based on what is in tune in context (surrounding ensemble/accompanist), the tuning will not always be A = 440, so you need to have the ability to hear tuning and ...


6

Aha! Pictures definitely help. So let's talk about this one component at a time Slide Your slide is all nickel slide. (Bach slides that are lightweight (LT42) are also made of a nickel-brass alloy, without oversleeves). The problem with nickel is that many people are allergic to it. Your cork barrel is pitted as is the part of the slide that you would ...


6

Muddiness depends on other considerations as well, such as volume and tuning. Just thirds (i.e., in a harmonic ratio of 6/5 or 5/4) will sound clearer than equal-temperament thirds. Check out some renaissance counterpoint, which generally works very well with trombones playing the lower voices. I'm thinking of Schütz Die mit Tränen säen, SWV 42, and Selig ...


5

I'm going to start as if you have already played a brass instrument and have some knowledge of them. As a former trumpet player and teacher I found that if you copy the same position and feeling w/o a mouthpiece as with a mouthpiece you can get great benefit. Trombone or trumpet. So practice the same embouchure w/o the mouthpiece. Form the same shape w/ the ...


5

TL;DR version: Will low C be as hard as Bb to play even though it is not a pedal tone? Nope, harder Are pedal tones easier to play on large bore? Kind of, but not to an important degree Can you get luscious pedal tones down to E1 (no trigger) with a large bore tenor, or do you need a bass? Depends on your definition of luscious, but listen to Joe ...


5

Actually, American manufacturers (notably Conn and Olds) produced slide-tuning instruments well into the 1960s. The design lasted longest in bass trombones (the Olds P24 and Conn 7xH). S. E. Shires currently produces a slide-tuning alto and makes slide-tuning slides for tenors and basses on special order. Kanstul makes a slide-tuning bass in its 1662 ...


5

I can't speak definitively on this since I haven't had a full beard and mustache before, but I've always made a point to keep what facial hair I do have out of the way of my mouthpiece placement. Not knowing the full magnitude of your facial hair, it's hard to make specific suggestions, but I wouldn't want a lot of hair cushioning the mouthpiece against my ...


5

As a general rule, I've always found the trigger Eb to be a little easier than regular F and E. But then again, I have a relatively large bore trombone. Is it possible there's something wrong with your F attachment? Does it sound perfectly fine on higher notes? It might be helpful to play higher notes and scales using entirely (or mostly) the trigger in ...


5

Listening for cue parts in specifically the Bolero is difficult, because of many repetitions and subtle changes, so I fully understand your difficulty, and I too get lost most of the times I listen to this piece. As others mentioned, I would expect the conductor to help your section with this problem, as he has the overview. But I can also offer some other ...


5

As a trombonist, I've used D3 as the cutoff though I make context dependent exceptions. When you say: or to put the 1st trombone up into the higher part of its practical range, crossing higher than the alto voices That this isn't as big of a deal as you might think for trombonists, depending upon the difficulty level you are writing for. If it is a ...


4

I have played trombone with varying degrees of facial hair. I just trimmed the area around my lips so that I could sort of tuck the mouthpiece under my moustache in order to contact only skin for a seal. It was fairly easy, and with care to let the upper hairs grow long and hang over that area, unnoticeable. There was no real difference in my playing when I ...


4

The brass players I know and play with all seem to double on some other brass instrument. While it may take some time to adapt, I think it benefits to be able to know the different instruments. Think of it this way if you drive a car: In your own car you get to know the clutch and know when to shift gears, then when you drive another car you suddenly get ...


4

A larger bore bass trombone will let you put more air through the horn in a manner that will let you more efficiently produce low register notes. (Lots of slow air). In my experience, this certainly helps, but will not magically solve all problems. It may even introduce a few of its own, especially if you're playing it for a long period of time, without ...


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