I was wrong about how to lip buzz for many years. Now I believe I figured out how to approach it. This is really helping my playing, hope it will help yours too! I recommend that you spend the first nine minutes of your trombone practicing on this.
– 2 lips
– 1 or 2 lungs
– 1 trombone mouthpiece
– one arm with hand attached (or a mouthpiece stand)
– 9 minutes of precious time
Combining lip and mouthpiece buzzing
Lately, I have been experimenting with a combination of lip buzzing and mouthpiece buzzing. It has proven to be a great way to build up embouchure, as well as kick starting the lips. Using the lips attached to my specific body, I have found that lip buzzing somewhat equals mouthpiece buzzing one octave higher. In other words, a phrase played on the mouthpiece should be buzzed one octave lower on the lips to be comparable.
Buzz right or go to bed
Years ago, I occasionally did some lip buzzing trying to expand my high range. I once did this before a gig in the same dressing room as a really (as in really) good trumpet player, and he noted that I was able to lip buzz much higher than him. Since he has a world class embouchure, and plays effortlessly in any range, it got me thinking. I had seen him do some lip buzzing, and noticed that his buzzing sound was much richer and mellower than mine. This got me thinking, and I realised that I was actually lip buzzing all wrong! Continue reading →
Practicing with a wandering mind
I don´t know about you, but my mind tends to take a stroll during my trombone practicing. I have surrendered to the fact that I will walk around the room while playing, that´s ok, but not being focused on the task mentally is worse. This post is not about cleaning your mind, meditation, finding your inner zen or other new age-ish approaches.
My best solution is to plan what you will work on, and stick to that until you got it down. Don not try to cover all fields of trombone playing; scales, etudes, legato, flexibility, long notes, short notes, high notes, low notes, green notes, slide bending, trombone case remodeling, mouthpiece disinfection… Choose one or two focus areas, and find some suitable exercises (preferably some that you can not play properly already) and stick with that until it works. Of course you should work on general trombone playing as well, warming up properly, and make sure that Continue reading →
There are a series of articles here on Digitaltrombone about flexibility for brass players, and they all have their distinct advantages. Many trombone flexibility exercises tend to have a rather uninspiring rhythm and focus mainly on changing notes.
With these trombone exercises, I have added some rhythmical flavor, making them a bit more fun to play, but most of all, adding a new challenge to the concept of flexibility.
You should focus on playing these patterns as effortless as possible. Whenever you are changing note or changing from quarter notes to eight notes, think light and easy, rather than trying to nail it with force. More ballet, less sumo. Continue reading →
How to improve your trombone playing with 5 minutes of theory (and a lot more practice…)
or The only way to get to the next level of brass playing
or Get that music-school-trombone-sound out of my life!!!
or The truth about one of the worst and most common bad habits among brass players
Are you convinced that you continue reading this? Good, then let us get down to business! This post is about attack and tonguing for trombone players and ALL other brass players. This post is about how to discover one of the most common bad habits among brass players – and more important – how to get rid of it. Continue reading →
How come the saxes always get to play all the fun parts in big bands? Cool, beautiful and hip melody lines, accompanied by an occasional “bap” or “do-bauw” from the brass section. Ok, it is not the whole truth, but there are some fun sax parts that are (reasonably) playable on trombone as well. Do I need to say how good it will sound when played on trombone?
Thad Jones is known for his brilliant music for big band, and Groove Merchant is one of my favorites. Especially the sax chorus is amazing. Full-fat super-hip lines with intense voicings, this is Thad at his best! And even better, it is actually quite suited for trombone. Admitted, it is a bit technically challenging, but the range is spot on – when playing it an octave below the lead soprano. I wrote out the harmony as well, it´s a fun piece to solo on. Continue reading →
It does´t matter if you are a jazz or classical player, you still want to make music. And you should still make music in your practice room. A really good way to get some music into your daily routine at an early stage, is to play some free improvisation. Again, it does not matter what genre you play, as a matter of fact, if you are a non-improviser I would say that this tip is even more important!
Here is what I want you to do:
Find a simple warm up exercise and play it for a few minutes, just to get some air through the horn. Then you play a totally free improvisation for five minutes. Just play, and see where it takes you! Don´t worry about stiff lips, bad sound ore any other detail that probably would distract you if you where playing your standard 4 pages of flexibility exercises.
“But I have never learned how to improvise!” No problem. Here is the key: Continue reading →
Yet another flexibility exercise – seems to be that time of the year! These patterns show you some ways to get out of the first-down-to-seventh-position-playing-the-same-pattern-mode, making it more fun to play. This also makes your flexibility practicing come closer to the actual use of it in real music.
Many trombone (and other brass players) tend to do their flexibility home work, but as soon as they start moving the slide around, they put an attack on every note and cut up their airflow. Don´t go there! On of the benefits of flexibility exercises, is that it improves your legato playing – that is, if you actually use your flexibility skills. Both legato and flexibility should focus on constant air flow! Continue reading →
I have written about the value of working with pedal tones before, but there is more to it! In these exercises, focus lays on including pedal tones when you work on flexibility on the trombone (or other brass instruments), and being able to access them effortless and without changing the embouchure to much compared to the normal range. Continue reading →