TromboneChat

So I have been playing trombone for about 2 1/2 years now and I have noticed that there are a couple of notes that just don't ring like they should. I work on tone and flexibility, but I feel like notes like G (on the 3rd leisure line) and Ab (above third leisure line) always give me more trouble than other higher notes. I can play up to a high F on a good day, and all the notes between those two notes are just fine. I do notice that my breath support could be better, but I have been working on that and getting better. Are there any suggestions on how to fix the cracks in these notes. Also any suggestions with articulation in the high range.

Too be a little more specific with the problem... when ever I play a high G or Ab they crack a little before settling. Legato playing is nearly impossible with this problem. Thanks for the suggestions!

You have some really casual music.  Mine comes with ledger  lines

Then again, there is often an embouchure shift right around that Ab and G.  Sam Burtis (Sabutin) has mentioned it a few times.

The way to get around it is to approach it from both directions: Bb-A-Ab-G, and F-F#-G-G#.  Try to play them  with no movement of the mouthpiece and try to play long tones.  Experiment with different placements and jaw positions.  Generally you should have your jaw almost closed for those notes.

I hope Sam Burtis or Doug Elliott chimes in here.

https://www.dropbox.com/sh/hg9hyq63w1jy9fe/AABRIIdfJN4D5kdi8Ip5DcIxa?dl=0

I have a fair amount of masterclass notes that I've been meaning to share.....

These two are related to range

Even range is an art

This is an unstable partial on many horns, so these notes require extra care and attention.

Also, it's not necessarily your problem, but a frequent reason for cracking notes is having the slide slightly off-position. If your slide is not precisely in the right spot for the note, but your mind imagines the right pitch, your chops are going to automatically compensate for the slide. You will get the right note but you won't be in the center of the note - the tone is affected, and there's a higher chance of cracking (especially on such an unstable partial).

Making sure your slide is always precise helps a lot with not cracking, with tone, obviously with tuning, clarity in fast runs, and stamina (your lips don't have to work nearly as much).

Quote from: Le.Tromboniste on May 02, 2017, 02:12AMThis is an unstable partial on many horns, so these notes require extra care and attention.

Also, it's not necessarily your problem, but a frequent reason for cracking notes is having the slide slightly off-position. If your slide is not precisely in the right spot for the note, but your mind imagines the right pitch, your chops are going to automatically compensate for the slide. You will get the right note but you won't be in the center of the note - the tone is affected, and there's a higher chance of cracking (especially on such an unstable partial).

Making sure your slide is always precise helps a lot with not cracking, with tone, obviously with tuning, clarity in fast runs, and stamina (your lips don't have to work nearly as much).

I always wondered about this... How can you be sure, your slide is in the right place?

I mean, a G can sound right intonationwise without the slide being in the right place...

Although this a job for somebody like Doug, I will chime in anyway.

Similary to singers, brass players often have a "break" point which consist of one or two neghbouring notes that are very easily cracked. Sometimes it depends on the instrument, more often is our embouchure and body use. As mentioned, take extracare and attention when playing those.

Very often is about unnecessary tension and mucling too much the high register. so...

1. Modify your routine in a way to help you playing the register with minimal efforts.
2. Take a warm bath before practice (this is about relieving tension). You can OCASSIONALY add a glass of wine, but please do not replace practice with horn with wine bottle practice 

Some players have a break around there due to using a "middle range set" and a "high range set.". You can try to work through it with exercises, but it's better to resolve the mechanical issues that are causing it.  Every face and embouchure is different and there are lot of factors involved with learning what YOU need to do to navigate the whole range without breaks.

Quote from: bonenick on May 02, 2017, 05:41AMAlthough this a job for somebody like Doug, I will chime in anyway.

Similary to singers, brass players often have a "break" point which consist of one or two neghbouring notes that are very easily cracked. Sometimes it depends on the instrument, more often is our embouchure and body use. As mentioned, take extracare and attention when playing those.

Very often is about unnecessary tension and mucling too much the high register. so...


Another way you can inspire yourself from singers is in how they breathe. Try breathing in the note, that is, with both a mental concept of the note you're about to play as your breathe and allowing your body to naturally form the right shape for the air column before the note starts.

Though I do pivot the angle of the horn, I don't have a well defined low and high range sets and always try to minimise those movements. The result is, that you get a very gradual and smooth movement that can be an obstacle only on very large intervals.
That applies both to my trumpet and trombone embouchure.

https://youtu.be/qChtz-3LhT0?t=3m58s

That's is my embouchure phylosophy and that's what I always try to do.

Quote from: cozzagiorgi on May 02, 2017, 02:34AMI always wondered about this... How can you be sure, your slide is in the right place?

I mean, a G can sound right intonationwise without the slide being in the right place...



The idea is to eliminate all but one variable. Putting on a drone, playing while focusing on always being in the center of the partial without bending, and using only the slide to find the correct intonation, and then doing it often enough to have muscle memory of where your tendencies are on your instrument. Of course each notes is going to have variable intonation depending on harmonic context and what frequency your ensemble or piano is tuned to. But the key is getting used to always be in the center of the note buzz-wise, and using the slide for pitch.

I know this is frowned upon in certain modern North American schools of teaching, but being able to buzz on the mouthpiece with control, great intonation and incorporating articulations really helps make sure you're always on the center of the note.

Quote from: cozzagiorgi on May 02, 2017, 02:34AMI always wondered about this... How can you be sure, your slide is in the right place?

I mean, a G can sound right intonationwise without the slide being in the right place...



The idea is to eliminate all but one variable. Putting on a drone, playing while focusing on always being in the center of the partial without bending, and using only the slide to find the correct intonation, and then doing it often enough to have muscle memory of where your tendencies are on your instrument. Of course each notes is going to have variable intonation depending on harmonic context and what frequency your ensemble or piano is tuned to. But the key is getting used to always be in the center of the note buzz-wise, and using the slide for pitch.

I know this is frowned upon in certain modern North American schools of teaching, but being able to buzz on the mouthpiece with control, great intonation and incorporating articulations really helps make sure you're always on the center of the note.