Hey, this video is amazingly helpful, thank you so so much. I'm pretty sure the pitched air actually sounds a minor second higher, or maybe a major seventh lower? The pitch at 7:00 sounded like it was a semitone lower than the reference C you played just before it. I played around with the video audio in Audacity to make the pitch more audible through the air noise and I'm pretty sure that's a B natural.
@@WilliamLang That makes sense! Honestly wanted to check whether you had some secret I wasn't in on, I'm going to use this technique in my score (with a link to your video) and the tuning matters for this piece. Thank you so much again ^_^
that's my Stephens Horns Trombone - a Mount Vernon inspired french bead bell with a solid gold brass slide, a caidex valve with an annealed valve cap, and a little metal ring for stabilizing near the main tuning slide
To me, the Yamaha sounds tighter and less resonant than the Stevens. However, I have found the Yamahas respond a bit better with a deeper cup, something like a 5G with a 4G cup. Beautiful sounds across the board.
I agree, and I’m actually using a euphonium mouthpiece in this video (I love deep cups!) but that’s just the difference between the horns. I thought the Yamaha was outstanding for the price
38yo flute major who is now learning trombone (and it's hard!) - you have the tone I imagine a trombone should sound like, so now I know what to work towards. This is huge, I've been searching for an excellent example of that tone for months, and finally found it! Now I have to get it to work on a Bach42BOFG >.<
the large bores are fun! one little piece of advice - the buzz and the mind-music connection matter more than the resonant chambers (mouthpiece and horn, basically!) imagine you're playing what would be a middle C on the piano (C4.) If you're buzzing that note and the positions/valve of the instrument is in the right place - that note will come out on every time on everything from tuba to piccolo trumpet!
yep! I have two: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Ah9mStgd680.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0qoISQZLvZI.html and I'll be performing it soon at the University of Oklahoma opening convocation on August 22nd as well!
Have a question about intonation differences on each mouthpiece. I also love to experiment with mouthpieces and the problem is there is lot of models that seems not perfect in intonation. Bb is sharp F is sharp more than it normally is. In my case it is connected with cup depth. If it is shallower than the intonation is worse. What are Your experiences?
I find with the deeper cup mouthpieces that I like to use, that I have to make sure to I'm not relying on positions and expectations, but that I'm constantly using my ear to hear the intervals instead of waiting until something sounds "wrong". But that might be the same no matter what equipment I'm using, tbh.
Thank you for this presentation - as an amateur trombonist of 81 years I've been trying to extend my range - have managed a few extra high notes but they aren't always available!! Your insights and explanations have inspired me to continue with the quest to be a better player. Best wishes.
i've found that's the easiest way to learn at first! once you figure out the upper 5ths and octaves, you can move on 10ths, 3rds, and other intervals, and then learn how to sing under
Wow thanks William. I'm 67 and from the UK. Back in my day we didn't seem to have anywhere near as much choice. The real go to trombone was a Conn 88h all of the London orchestra:s tenor trombone sections used them. I was very lucky to be able to get an 'Elkhart' 88H from 1968 when I went to music college in 1974.. All the advice of the day was to play a Vincent Bach 4G paired with an 88h and none of the top trombone teachers of the day really mentioned any other.. I still have the same trombone along with my original 4G and they're still in beautiful condition and get played every day ❤ not to the level I was playing at in the 70s and 80s but at a fairly decent Brass Band level... I really love your videos, they are so honest and unassuming. 😇
Hello, I'm getting a lot of double buzz when I get to the top of my register doing the exercise you suggested with the two octave arpeggios Do you think that will go away over time when I get more comfortable in that range or should that be addressed specifically?
in this case, my first recommendation would be to watch in a mirror and make sure that you're not over-pivoting to obtain a higher note. split tones generally happen when change the angle of the jaw to the mouthpiece. i hope that helps, and feel free to let me know if it doesn't
@@WilliamLang I tried playing in front of a camera but I couldn't really notice any change in the angle as I got to the high range... my sound quality also gets worse the higher up I go if that helps, like it's more airy the higher I go
Awesome comparisons! I started looking at Long Island Brass mouthpieces about a month ago and this video really helps in narrowing down what I'm looking for. A couple of questions. Do all the their mouthpieces come in two parts? And I know it's the 550, although what size backbore comes with it? Interested in trying out some of their different combinations. It's been some time now, are you still playing on the 550? And what else from Long Island are you playing on? Last, and a bit off topic. A long time ago I got to spend some time with a guy named David Lang, and he played euphonium. Any relation? Hope I hear from, and thanks for the demonstration.
Hi! the mouthpiece does come in two pieces - I'm using a T2 backbore for this mouthpiece, if I was using a SR model I would use a T1, though that model didn't personally suit me as well (it turns out I love deep "euphonium" style mouthpieces. I still use the 550E as my daily piece. I have a SR550 and a EON625, as well as a Chimera675 that I would use for super huge 2nd trombone parts in the orchestral literature. And finally, I'm not related to any other musical Langs (David (euphoria), David (composer), Tobias, Klaus, and (Lang) Lang!)
@@WilliamLang Thank you! Had to ask about the name because you just don't know how small the world is. I'm going to check out the Long Island mouthpieces, and thanks so much for your help.
Hi William, this is Russ in the UK. Thanks for this video 👏 Think you mentionee in the intro that you have 3 exercises you use. Would you please video the other 2 for us or do you have any further tips? - That would be awesome of you. You're an amazing player (what a LOT of work you have done) btw! And what do you do when your lip just fails and won't hit the top note? Wait a bit try again? - is the session over after 3 or 4 failures on one top note? - Thanks Man! 😊
Hi! I've made a playlist for the videos I have about my high range series so far - 2 of the 3 exercises are currently there: ru-vid.com/group/PLFvVC9OifxgsnZJJxO9lz-2nuAlguAJUe&si=Z3cY6UhToSk2NiFQ As far as when a note isn't speaking, I'll try it maybe twice before moving on for the day. I typically get up to about the top of my range give or take a few notes (occasionally I'll get up to C#7, sometimes I'll top out at G6.) On days where I'm really tired or sick, I'll notice a difference a lot lower, and just accept it and move on. The idea is to grow overall ability over time stress and pain free, and not aim at hitting a specific note everyday. Hope that helps, and thanks for watching!
