This is the channel of Barnaby Dickinson ( Musician, Educator, Producer, influencer, Composer, Brass player/ Instrumentalist, Founder of the 'London Horns').
@ 1:40 It's helpfully labelled G7 - that's the G seven spaces above the stave, up in the stratosphere, a mythical note old trombonists weave tales about
@@szatkowskiartur Hello my friend, Thanks. It’s a Bach 12 with a MarcInkiewicz C.loper sig. it still doesn’t do exactly what I tell it to do… but I’m working on it ha ha 🤣🤣
STRONG - do the rhythm and phrasing. Devote a ton of effort to making it SWING and exhibit strong phrasing and rhythm approach. The usual reason some improviser is not really reaching their full potential is NOT notes, or choice of licks. It's not having strong phrasing, rhythm, and swing feel. When you lack the right rhythm and phrasing (and this includes stuff like perhaps vibrato, having VARIED articulations - some staccato, some legato, some repeated it's not really good to have ll the same articulation for endless minutes of playing). Barnaby shows us a really nice, varied, and rhythmically interesting approach here. One has to WANT to have this kind of effect, it won't just accidentally happen.
@@williamfleming892 Thank you mate. This is part of my study book that has another 10 solos with explanation/exercises and backing tracks etc.. ‘The modern brass player vol 1’. How to play on funk. Www.patreon.com/barnabydickinson/shop ( you don’t have to subscribe if you don’t want to, it’s just a shop 👍) check it out
I find this little exercise helps - I play some note like middle Bb, or D above middle C, or really any of several notes like that (notes where two or more of the same note are available at different positions on the horn), then I somewhat quickly move the slide out to the other Bb (# 5th position) and play with particular attention to good centered sound and pitch matching. D in first and in adjusted 4th is another classic one of these. F in first and in raised 4th is also like this. I may also run a tuner on my phone or iPad so I can see if I'm near the actual legit pitch. A Snark device would do this same thing. There really are a bunch of notes which can do this. The A natural right below middle Bb is good for this too - you play A in second, and A in sixth position. There are notes like this which will help you get the feel for all the positions on the horn. This makes it easier to get a solid muscle memory on where the various positions are (some are not plain positions but need adjusting - so keep in mind that adjustments are needed to tune everything up). Like you, I avoid using a finger to check third position being by the bell.
I have to disagree with the statement about tuning to the lead (12 mins. in). You tune to the bass - it establishes the overtone structure for the ensemble. When the bass plays a C, you're actually hearing an amalgamation of pitches (Harmonics: C, C, G, C, E, G, Bb, C,...). So, the G is built into the C sound. If you don't tune to the bass, you will sound out of tune. Listen up for articulation, but definitely down for tuning.
It's a team thing. Everyone has their responsibility. I'm quite often lead trombone, but also do plenty of 2nd or 3rd, just depending upon the group. The lead alto, and rest of the saxes and all the sections have to pay close attention to the bass and piano. The piano is typically the only axe which is not going to be able to be tuned differently. In a Wind Ensemble, or orchestra this may the orchestra bells or tubular chime bells or celeste if that is in the orchestration. Wind ensembles use Bb for tuning, but orchestras use A. It turns out that A natural is not really all that helpful for a trombone since it is located in second position and thus relies upon the vague notion of where that is exactly with the hand slide. Trombonists are constantly tuning up on each and every note they play, so we never cease focus on that area. This is a bit like with cello or other string instruments, we have seven locations for the hand slide called positions, but not all notes line exactly up to the same physical location (some partials just are not the same in pitch, this depends upon the specific horn; each horn can be different). There are some notes which always are seriously flat, say, and thus need raising. I agree that bass and piano are key normally. Barnaby is also right that key players through the group are worth paying attention to as well, it's not binary, we are all tuning up to a sort of "standard". First we do our main tuning (Barnaby is right - the back of horn tuning slide is actually not going to get moved around a lot), then we continue to pay attention as we perform. The more you play the horn the better you get at this stuff eventually doing this stuff remarkably fast.
"In Germany they have a different pitch, I think it's slightly lower in Germany? Can't remember!". This intrigued me. Pitch of 440Hz for A4 (A above middle C) was adopted by the ISO in 1955, following an international conference in 1939 and American usage long before that. Historically it was generally lower but variable. Commercial orchestras sometimes inflate pitch to sound brighter - this annoys vocalists. In Japan and Cuba they apparently use a different standards, but in Germany, as far as I can tell, they use concert pitch? Stay tuned!
Are you talking about just intonation as a brass trio, ensemble or band? Raise the 5th, lower the major 3rd, raise the minor 3rd, etc? In the US several books, scholars, and pedagogists use this to great success
Hi mate, all of the above and Yes, great advice. That’s exactly what I’m talking about 👍 always keep your ears switched on to what part of the chord you are on.
how to lip everything so you DON'T have to use the tuning slide? that could be an effect. also for partials if you lip everything then you DON'T have to move the slide for certain partials [but you said that was bad?]
If you are a trumpet player then you should move the tuning slide to be in tune for sure ( Trombone players can adjust with the main slide but the principal is still something to think about). When you play, you always want to be playing in the most efficient way.. so the less ‘lipping’ of notes is surely the most efficient way of playing.. which will help stamina. 👍
Thank you for this! Very inspirational, you have an amazing sound. And that flat 6 pentatonic scale was a whole new concept for me! I was wondering if you have any tips on how to practice intonation? Should you always have a tuner in front of you when you're practicing? Or do you just use your ear? 🙂
Thank you so much. Intonation is always a tough one on the Trombone. I’ll do a video on this I think…but working things slowly, in tune, to build up muscle memory is key. Practicing along to a chord or pedal point/drone so you can relate your note to something.. and ‘yes’ get yourself a ‘snark’ to practice with or sessions that you can’t quite hear properly.( set it to vibrate not mic and put it on your bell). Your ears are the key though. 👍
Thank you mate, if you turn the music upside down it might read better for tuba 😂 might sound hip as you like all backwards , ‘out’ and angular ha ha Try it.
