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Flexibility for trombone By Anders Larson
Flexibility for trombone players By Anders Larson
Introduction
Trombone playing without good flexibility can be like being a bodybuilder; big and strong, but often clumsy and unable to use the strength to anything really useful. (And it looks kind of stupid too...) You want to combine strength with grace, flexibility and sound. And a big bowl of musicality, of course. Think of parkour (try search for it on Youtube of you don´t know what it is!). As brass players (and musicians in general), I believe that we can learn a lot from those performers. They combine strength with extreme limberness and body control. And there is always a fluid forward motion in their performances. My intention with this collection of flexibility exercises, is to make sure that you can always find something that is both rewarding, fun to play and challenging. Flexibility is fundamental for trombone (and brass) players, and the exercises are not targeted to classical or jazz players specially, but trombone players in all genres. Good flexibility is one of the keys to becoming a good trombone player. It builds up strength, improves legato playing, intonation and instrument control. But since you got hold of this book, you probably know this already!
This book
The book is divided in twelve chapters. You don´t have to follow the order of the book, neither do you need to play all the exercises in the chapter. It´s up to you to make sure you get the most out of it and your practice sessions. I have inserted a comment field after many of the exercises. This could make it easier for you to keep track on what you are working on, and highlight your favorite exercises. I have chosen to include written introductions to all the exercises, and I hope that helps you get the most out of the exercises. If you find some of the exercises to challenging – just skip it! It´s better to focus on the ones you can play well and include the others as you improve your playing!
Flexibility for trombone players
Who are you?
Are you a good amateur, looking to get the most out of your well chosen hobby? Are you going to music school, and want to dig deeper into the world of trombone playing? Are you a college or music conservatory student who want to be challenged in your everyday practice sessions? Are you a trombone teacher and want some inspiration for your teaching, while learning yourself? Are you a pro, looking to maintain and improve your skills, and want to dazzle your colleagues with lip wrecking flexibility? ......keep on reading then! If the mailman just delivered your first trombone, this book is probably not for you. You could take a look at the very first exercises, and then put this book away for a year or three. But if you are beyond the basics of trombone playing, I bet there are things in here that can help you improve your trombone playing!
Who am I?
My name is Anders Larson, a Swedish freelance trombone player, based in Copenhagen, Denmark. I have played trombone for more than 25 years (early starter...), and professionally for about 15. My work includes small jazz groups, big bands, recording sessions, salsa/latin, shows and musical and some occasional orchestral playing. As a teacher, I have worked with students on all levels, from beginners to conservatory students and professional players. I am the founder of www.digitaltrombone.com, where I try to share as much of my knowledge about trombone playing as possible. The site has become a well known and trusted online resource for many trombone players, and I do my best to make sure only to share trombone related quality content. Furthermore, I have released two albums: Unborn with Anders Larson Quartet & Paizo String Quartet and Monday Night Big Band & Anders Larson. You can find them on Spotify or in iTunes. I believe they are sold out at 7-Eleven for the moment...
Enough said (especially about me), let´s go get better!
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3. Large intervals Avoiding the notes "in between"
These exercises are made specifically to work on larger intervals while avoiding the notes in the gap between. You should aim for perfection and not speed when you work on these exercises. Find a tempo that enable you to play all the notes with full sound an good pitch without stumbling over the “avoid notes”. For example, if you want to make an octave leap up from a low Bb, you should make sure not to touch the F in between. The smaller notes in some of the exercises are optional, only play them when the tempo allows you to do it in one breath with good control. I use these flexibility exercises regularly, and find them very rewarding. Especially playing in a low range as well as high range in the same breath without changing the embouchure to much is very healthy. The smaller notes are optional, make sure that you play the exercise well rather than playing the long version. Exercise 18 and 19 are to be considered as very advanced. I can´t play them myself unless I am in pretty good shape… But if you are up for the challenge – please be my guest!
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7. Flexibility with rhythm Many trombone flexibility exercises tend to have a rather uninspiring rhythm and focus mainly on changing notes. Here, 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. It might seem like a small difference, but it actually makes it a quite different ball game. 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. More vegetables, less steak. More summer breeze, less snow storm... Exercise 1-3 are (quite) easy, 4-5 are easy/medium. For some reason, the triads in no. 6 are quite tricky to get in place. No. 7-11 are to be considered advanced, gradually getting tougher. And no 12 is just plain stupid... But if you can play it without having to change embouchure to much for the pedal tones, it is quite rewarding. A last important note: all changes (pitch and rhythm) should be controlled mainly by the embouchure and not so much with the air. Try avoiding blowing harder when shifting note!
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