Excellent video. I didn't know you articulate like that in the pedal range. I have to give that a try. Please keep the videos coming. You are equally an excellent teacher and performer!
Paul, Thanks for posting this. I had a terrible bout w/ Valsalva Maneuver-related stuff and rebuilt my playing back in '92 using the same ideas you present here. It was interesting to have worked on this sort of thing with speech experts, too. This condition affects many trombonists, and I spend a lot of my time helping students adopt this style of playing. This video will surely help a LOT of folks.
Gerardo Garza García Trombonists aren't just the best kissers--we're the best lovers, period; Of course, nobody handles the sliding part better. We are proficient in 7 different positions (and hundreds of micro-positions) And we tongue everything!
Extremely helpful. I have such an excitement to go and practice in this moment. Thank you! The suggestion of buzzing a note to match the same note from a piano is an interesting one because for most of my trombone playing time I've imagined that our lips buzz at a few distinct levels - the pedal level, first octave (Bb down to E in seventh), second octave (F down to B), etc.) - and the slide tubing does the rest of the work. But I've also noticed in my later years of playing that hearing the note you're about to play in your head and trying to match your embouchure to that specific pitch (especially above F3) improves my accuracy. Undeniably from your example, one can buzz seemingly any pitch through the mouthpiece without the aid of the trombone itself... which I never considered. I grew up assuming that anything played through the mouthpiece alone was effectively in first position, comically.
I think some may think not to tongue that 1st note when you say "continuous cycle of air" (and that may be what you mean). I used to just start playing by blowing, and I'd miss the note a bit when I would. I've found that after breathing, filling your mouth with air and actually tonguing the starting note instead of playing it simply with air.
I’m not the smartest man in the world by any stretch of the imagination, but the slide looks like it moves slightly ahead of the note sounding. That would mean that all three things are not moving at the same time, would it not?
play a note for as long as you can then time it and try to past that time the best way is to start on B flat than when you get confortable switch to F natral then when u get real conforteble try a high B flat 👌it works
play a note for as long as you can then time it and try to past that time the best way is to start on B flat than when you get confortable switch to F natral then when u get real conforteble try a high B flat it works
Simply practice this exercise: inhale for 2 beats, exhale for 2 beats, inhale 4, exhale 4, so on and so forth until you can’t go further. This helped me greatly with increasing my lung capacity.
I know this might seem like a rhetorical question but can I take this theory and apply it to a tuba!? Because right now I'm trying to figure out tonguing while buzzing with such a big mouthpiece.
It creates a build-up of pressure which can result in an explosive attack. It can also stimulate the valsalva maneuver, causing stuttering on the t-bone.
Couldn't you boil everything in this video down to "sound like this" and allow the student to match it through trial and error? It would make everything much easier to understand.
Seems like a troll comment to me. This is the equivalent of saying, why doesnt an olympic coach just tell someone, run as fast as me, and just match it through trial and error
