Trombone First Aid: tips and hints for trombone practice
Gabriele Marchetti was born in Città di Castello (Italy) in 1983 and started his musical studies at the age of six with accordion then on euphonium, trombone and bass trumpet. Since 2007 he is member of the Italian Wonderbrass (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-beC5smBu1AE.html).
He acted as freelance Solo Trombone for Teatro La Fenice in Venezia, Orchestra del Maggio Musicale Fiorentino in Firenze, Teatro alla Scala and Orchestra Filarmonica della Scala in Milano, Orchestra Sinfonica della RAI in Torino, Teatro Lirico di Cagliari, Spira Mirabilis, Gstaad Festival Orchestra, Kammerorchester Basel, Camerata Bern, Berner Sinfonieorchester and more.
In 2012 Gabriele Marchetti joined Theater Orchester Biel Soloturn (www.tobs.ch/) as Solo Trombone and in 2017 he is appointed Trombone Professor at Conservatorio F.Morlacchi in Perugia and at AIMART in Roma (www.aimart.it).
This is a very powerful piece. It takes a lot of effort to play it that way, and I'm going to have to try to play it. I'll take your performance as a sample.
One other comment. What differences do you see between US and European trained trombonists? What do they do differently in Europe that we in the US can gain from adopting?
Gabriele, enjoy your First Aid Program and your comments on attention to detail. To often we want to just jump in and play the piece, and we lose a lot with this approach. My question is when is a practice guide for the 3rd movement to be released? I hope you are doing well and look forward to your response.
Very fine playing by soloist and band (those triplets in clarinets are HARD!) One suggestion-memorization enhances any concerto performance. Soloist knows the piece well, I imagine the next step to “off-book” would not be hard!
Ciao Gabriele complimenti davvero per tutto e grazie per aver pubblicato questi video tutorial che trovo molto significativi per chi vuole studiare il trombone come si deve. La mia domanda e' questa. Ci sono rimedi per chi ha una eccessiva salivazione mentre suona?
Ciao e grazie per il tuo commento! Ma la salivazione è "eccessiva" in generale o solo quando suoni? Il problema si presenta sempre o solo in determinate situazioni? Per trovare un rimedio si deve capire la causa del problema e quindi è necessario descriverlo e circoscriverlo al meglio!
After playing this piece 3 separate times (one for high school solo and ensemble, one for an audition for my college music scholarship and another time for auditions in symphonic band) I would like for it to get out of my head. I love this piece, and you play it beautifully, but I never want to hear or play it ever again.
Watch again and listen carefully: the answer to your question is already there! You should think about staccato as a continuous air flow which is "disturbed" by the intermission of the tongue. If you focus more on the flow and less on the tongue, you should be able to get what you want.
this unlocks a deep memory of trying out for regional concert band ( I made it on a technicality 😂 ) But seriously, this piece is masterfullh crafted to put the trombone out in front. It setd the expectation of trombone glory, then toys with the very idea thereof, right before brilliantly accomplishing what it set out to prove. Mr. Rimsky Korsakov is a genius.
Why aren’t the K and G tongue taught before or at the same time as T tonguing. The K and G sound are much easier to make then a T, without interfering with the air. The K sound is the closest articulation to no tongue in my opinion.
Bravo, Gabriele! Your sound is what I hear and strive for! Immaculate performance! Very helpful tips - exactly what I need in addition to my legato connection. I like to do fraises of wide intervals for two or three interchanging chords with breath accent in legato and in triplet feel, so the accents fall on different notes. Doing that in staccato, seems for me, takes more effort, but approach you explained is the key! Thank you!
