SUOGLS'Il':D PLDA GOG I CAL CONCEPTS RELATING TO THE PLAYrno OF THE TENOR TRO MBONE
A T!ffiSIS
SUB!.U'i.TED IN PARTIAL 1- ULFILL:i!EMT OF TIU:. ro:: 1.;lJIRU/lhN'l'S F OR
TRL DEG!'lEi. OF MASTER OF ARTS IN MUS IC EDUCA~ION
IN Tll'F GRADUATE DIVISION OF THE
Ti :: 'JUS !','!'l\'l'F COLLFJJE "'OR W•)ME N
rt:PAP.TJmNT OF
M USIC ED UCATIO?l'
BY
L. J ANE HATIEY , Bo S ,
t:ElITON , TEXAS AUGUST , 1953 TJ'i/3 TEXAS WOMAN'S UNIVE'RS'ITY LIBRARY /)3~ ✓'/,.-: :,;,
Texas State College for Women
Denton, Texas
__ _August _ ____ 19 ___ 53_
vVe hereby recommend that the thesis prepared under our st>pervision by ______L • __ J A,NF __ HA TLBY ~ ------______
entitled S lJGOJ l'-,__']Ji,l}_ l;'J,i;l)l!flQ_']_I_QA.L....C.0.NCEl'TS.. RFI,ATT NG_~--
he accepted as fulfilling this part of the requirements for the Degree of
Master of Arts,
Committee in Charge of Thesis
Accepted:
(/~~~ ' Director,~ F ,E• ACE
The v,r it:r w:i. shes t o a c\.:n owled;:;e her a ppre cia
tion for t he he l pful o s si1Jtance an d advice t; lve n by Dr ,
LowrencG A, fa,nlc ,: i n th0 preparation of thin t hesis.
The wr· itc. r a l so n i s h cs t o expr• c ss s i ncere ap pr•eclate d t u her trombone t ea cher , John J, Silb er,
for h i s untl11 i n ° i n t Etrcs t un ci. cncourage1ao nt in tile wr ltin;_ , o:t' this thesis,
iii TABLE OF CON'!'afT$
•• ·••w••oo • • • ti • • 111
C'.Il~. P 'l'E fl • • • • • • • • " 41 • . . . ii • • • • • • PAGE
I• I N~tHOi>UC T'I ON " 0 • • • e- j) 0 0 9 t< 0 l
I.'¼l ckground o (> ., • • • o • • ., , • ~ l Purpoaa o f t he Study • • • • • • • • l Pl.an o f .Procu cture •• • • . " 2 ::ev1ew of !?e l ated Ma t erbl 4 Pl9n f or Ilemaindor o f 'I'he R1s •• . .. 5
• 0 • • • • • • . " 7 He r mon1.c overtones 7
Intone tion P:robloma o • ll
Jl. cou:1t1ca l Con!l i de !'9t1ons ••• • • 0 ....., 1.(\ff\;')' 1(1 f!U RE AND n rn WHiTHPIECE G , ) III. • 0 • • • • Physiology an <'t Histology o f tho Lip Mus cule ture o • • • • • • • • • • 23 Embouchure 1n Rela tion to the l'iesulte.nt Pitch • , • , •· • • • • 28 Placement of the Mouthpiece ., • • • .. 31 Selection of a Mouthpiece • • • • • • 35
I V• 'l1 JUE • • • • • • o • • e. , • • • • • e- • 42 F,eaonance ., • • • • • • •• • • • • ;, 43
Brea t h Control ., • • • • ti • • • • • 49 Vibrato••• • • • •. • • • • • • • 51 iv CARE THE .TROMBONE v. OF . ~ .. 54 • " . • ~ • ! ! Care ot' Inst:i?Uinent in Case 55 • ~ • ~ Handling the Trombone ' 58 • • • . ~ ~ ~ ~ ~ Oare of the Hand Slide 59
Care of. the Mouthpiece • • • • • ~ • • 63 Cleaning and Polishing the Finish of the Trombone • • • • • • • • • • 64 VI. SUMMARY AND CONCLUSIONS 67
Summary • • · • •· • ~ • • • • • • •· • ~ 67 Conclusions end Recommendat1ont • • • • 67 Suggestions fc.r Further .Study . '• . . 70 BI BLI 0G PA PHY • ·• • • • • • ·• • • • • • ·• • • • • • 7~
V LIST OF FIGURES
FIGURE PAGE
1. Harmonic Series ~ " • ., " " if " • • • • 8
2. Vibrating Rope j • ' ·• • • .. • .. • . • ' 10 31 Deviation of Partials in the Harmonic $er1ee Eis Away from Equal Tempera .. ment • • • • • • • • ••. • • • • • • 14 Nomenclature or Notation • • • • • • •• 15
50 Alternate or False Slide Positions• • • 17 s. ttNormaltt Positions as Compared to the "Truett J?os1t1ons • • • • •• • • • • 19
7. Arrangement · r,f Fibers of the 0rb1eular1• Oris • Tracing ( from Gray) • • • • • 24 a. Muscles of the Face. Treeing ( from Gray) 26 Recess of the tower Teeth. Tracing ( from Gr·ay) • ,. ·• ~ • , • • • • • • • • • • 32 10 • The Cup Mouthpiece ·• • • , • • • • • • • 36 ll. Physiolog1csl s11d Acoustiesl Description for Three .Vowel Sounds, Tracing ( from Miller) • • • • • • .. • • • • • 48 l2 • Diagram of the Trombone • • • • • • • • 64
Trombone Slide in Sections • • • !I • • • 55 l4o Blocking the Trombone Hand Slides • • • 56 •• Incorrect Blocking . ••• • • • • • 66 b. Correct .Blocking • • • • , • • • • 56
'V1 CHA,P'mR I IN'!' l':!ODUCT! ON
Ba.dcip.-otmd At the present time there are n•11oua trombo.ne method bodu1 with general pedagogical COllll!lentar1e(! on 1mrned1et& problema of execution on the in11bument. Only e few of.' these boo)UI preoe.nt the fundamentai 1tl• fol"!l¥it1on that would s:lt'ford the pl.lllyer· en ell•1neltut1ve grasp of' the most Oollll'llon p:rocedurea involved 1n the proper exeeut1on or available tri:mibone l1teratUZ'e. Ub• :t'ortunttely, op1n1ona concern1rig basic procedures of execution are almost as nume:r,ous ss their authors. · It 1s felt by aom.e that there 1s en a.bsenee of any valid fountainhead of e;eneral theoretical 1nt'ormat1011 on the playing of the tenor trombone.
Purpose o.f' the .~tu~ It 1s the pui-pose of this thesis to diuover th1'0Ugh andyds the fundamental informational data neceuary for the ut'.ldefftand1ng or ce!'tain eommoimble aspects or braas pedagogy, and in pa~tf.cul.ar• the un1Qw, ractt• Uildol'1:,1ng the theo17 of' teno:i, bombone playing ancl teaching. The 1mmed1ate value of such a colleet1oi:1 ot data eonceming the tetacb1ng or t?'Ombone 1a to atf'ord
l 2 a re•dj refeNnce or spec1 1." 1e pedagog1ca1 mterial fOl' the experienced instrumental muSS.o diNctor u wel1 at £or the nGvice teacher. To clal'itJ the meaning of the term tenor trombone, tbe ina~nt 1.a also ,:,eferred to ae the Bb tenor tJ'offl,o, bone, eo called beeuue the-bamons., ae:r1ea 1n closed or f1ret pod t1on 1a bu!lt on BBb• The pract1eal range ot the teno,.,. tlt'omborie 1a E to ca> it 1a • · non-t1/'8in&poa1ng lnetrument.
Plan ot Procedu.ro The bade lnf'ormat10111 that would dd 1n supplying trombone teachers end players with effectiw analytical and pedagogical asdstance was embodied in treatment or certain related problem ereaa, including, (l) the harmonic aerlu and ita 1mp:U.Cflt1ons ror tt>ombone perfOl'• maneeJ (2) emboucm.u-e developt11entJ (3) the mouthpieces (4) tone produ.ct1on and rea.onanc;&J and (5) Clare of the instrument. An oxbauetlve 1nveetigst1on or the implications ot the bamon1c aer1ea and related acoust1cal problem• f or trombone per:t'o1"l!lanc:e •• madee Intenelated aapeett con• cernillg tom qual.11:1 1 1ntonatton, ~nd tbe 11l1de l!lSCbllnlem •te examined atid categol'ieed, In connection w1tb the need tar a aelentlff.e app:roe eh to e111bouch1Jl'e development, 3 the physiology and histology of lip and facial muacul.4l• ture were reviewed and suitQ~le recoll!!llendatione mad$.
Sal1ent info rmtlt:I. on co1;1()l;lm1ng mot.tthp1eee c~racteris ties and f'unct1one.1 aspects of selection of mouthpieces were reviewed. An explanation was mede .of' the importance of a clear understanding of pressure, placement, and regard for individual differences in relation to the embouchure and mouthpiece. Answers to the following questions were soughtt (l) What may a mouthpiece be e.xpected to contri• bute toward good performance? (2) What mouthpiece for which player? (3) Under what conditions should a change of mouthpiece be recommended? The factor of tone prodUc tion• together with such ram1f'ica tions es .reaenanee 1 breath control. and vibrato was reviewed 1n ai!lbhor1tative so'Ul'eell and summarized. Important phases treated under the care of the instrument are grasp of the instrument,. play 1ng posi t1ons • p~•ui•utiona in the care of t ha 1ne tr,,1.. ment, and a suggested prooedure for maintenance of the trO!llbone. It was not the writer's objective to invent or to propose any step by step plan of presentation of trombone technique as 1s commonly found in trombone method books, but to present a review of the factual information that 1s. essential 1n any flexible procedure or methodolo.gv. The investigator used analytical and observational researoh 4 methods. Related literature was extracted from method books and from literature concerning the teaching of brass instruments and the trombone• The investigator ueed certain observetional p1•actices with beginning in• strumental students at Texas State College for Women.
Review of Related Ma t erial The investigator has made an extensive search of studi e s 1n music and has been unable to discover com prehensive pedagogical mate-r ial concerning th, funda .. mentals o f trombone playing . Numerous pedagogical pre sentations concerning the trombone in respect to its relationship to other brass instruments and a few spe cific remarks as to its unique position in the brass family were found. No specific or highly related ma terial b.as been repo1' ted in the Bibliographz £f_ ~ ~ Studies .!E, ~ Education1 £!:. .!E, Doctoral~ tationa Accepted .!?1. American Universitiee. 2
-lMusie Educators• National Conference, Research Council, B1bl1oiraThfi of Research Studies in Music Edu cation, 1932-19 8 C 1cago: Music Educators17fiitronal Conference, 1949).
2Associs tion of Research Libraries, Doctoral Dia• sertat1ona AcceWted Er American Universities. Vois. r:!'9, (New Yorks H•• Wilion co., 19!3:'\-Hlbz). 5 Plan r ot- ~ma1nder o:f' Theda
In Cbaptoi- II II th$ hflrmon1c aeries snd tr-mbone $:U,de ll!OCbanhs ls d10CUll!ii0d utldtll' tb=-ee dlvidone t {l) bemon14 ovo:rtonal'JJ (2) intonation probl!lllllO (3) •• oouats.eal conddel'GI ti.on•• C:bsptu• III 1ncludH tt1tomt1ti<>n relstod to the ombouch;.ire snd tho mouthpioee pl i;; e1ng empha111s on tbsee i'll.to,u (1) trui 1>hl?'dology fJDd b:t.stolog,v Of the U.p m'WI• culttuNt wlth U.luatnttona or tho 11tr-uetu.re of facial m,uicle111J (8) th" fllliboucb~l"$ 1n relation to tho remultent pttebJ ( i ) pllll cement of' t ho mouthpituie J ( 4) eolnt1on ol" • 1110utbpleoe •. In (lhll! pte:r IV, hne qunlity h tU.GCUI.\IHd emphaslz lnij the follow!ngt ( 1 ) the V1'll"10UIJ ONIU of' l'GdtOriBtlCG wtth1n tbo head csvttyf (B) braath c.ontrol l'elllt.ed to tonoJ (:!I) tn,"1) 11 of v1b1'ato and their e:xecutton♦ In Obapte:r v. th~ wrc of' ttie tNimborie 18 tt-oated Ul'lde1l' the t'ollowl ng he1Hi1nge t (l) eare of 1nst1"Umeot tn
Cfl&eJ (2) handll.ng the tromboneJ (3) cue ot tbs a:Udef
(4). Clilff or the moutbpieceJ ( 5 ) cleal'!tna and polb:htna the t'~Uh ot too tromwn,. OZ.ptel' VI 16 devoted to a 1•ev1,n, ot thf.l pNC
"'atiptiona lltlMI &'!.1i/sgosted' belted on oortatn eep&cts ot the pedagoeieal conoepte d$veloped in this th HA RMONIC SERIES AND TROMBONE SLIDE ME CHANISM S:tn ce an unde rstanding o f' the harmonic s eries and its implications in r elati on to trombone s lide mechanism based on scientif ic information was deemed necessary f or setting up pedagogical concepts relat i ng t o the playing of the t enor trombone, a c omprehensive examination of harmonic overtones, int ona t i on problems , and a coustical considerations was made. Harmonic Overtones Almost every sound we he ar is a combina tion of tones of diff erent pitches. This complex s ound is made up of a series of tones consisting of a fundamental note plus its overtones or harmonics; the overtones or har monica are subliminal tones• This .fundamental note la called the P1rst partial, the first overtone of the f undamental is the s ecc:,nd partial, etc. P.i gure 1 shows the fundamental note BBb and its first eleven har monic overtones; pedal tone BBb is the fundamental note in f irst position of the tenor trombone• The t enor trombone has one fundamentsl note f or each of the seven slide positions. All of these notes are pedal . tones. In the trombone all tones are overtones of the fun damental tone of the pipe position in use at the time• 7 8 ovor'b1owtns the placement ot tb& !lll:r atre•m •kes et1ot bt1v overton• moH prom:l.~ent ~1-tl. t.iw 1'un~mental.• tb:u$ eound.!' i.ng $1'.l~tbeli" pattf:ltl.. - I 1>0 I " l J -·,. - 7 I ' 9 The l"elat1 ve p'.ln:m1nenee end nwnb@:r or ove:rtonee, or pertimls., p;reaent give • t he cher ecter!Etie quality o.t the tone., 'l'b.e number of p11rrtials in e t cne depends upon the loQGUon of tho tone within the compau of the 1nstru• ment, the loudn,en 01' the to1ui, ~nd tbe p~dcal oonstru• t1on or tho instrument.:' . Tlie lower tones 01' an tm,trUlllllnt pouess the moat p&\.rtials ♦ An inllire1aie 1n 1ntena1 tJ caueea en tnei-tuu1e 1n the nUtllber of part:!.$.ll!I preeent• The e:itp&ndon or the tubEI ilt the bell 1n.Q.UE1ncea the quality or tone by 11:ltr-oduoing even partials, redudns the intensity or hlghel' partial t®ee1 end radiating the sound more eff.1c1ently tnto the atmosphere• Too greet a bell rlare maku a dull tone• end natural :t'requenc!es of the tube &l'e dift hult to produce., Brillbnce snd pene..;. trat101'l or tone ~uelity are given by great n'Wllber end strength or the upper partials,. 'l'o produce anlll c.hsnge the tone, a1r colWIUls, w~ob form tho vibrating viellll>e1•s of wind 1nsti>1UOOnt11, d.1V1de 1.n e ,ray e1lllU.4!l' to • rope ett-etched between two point• end made to if1bJ.'ltt♦ - A r()pe atretebed 'bet1"ten two aupport1 end alaw.l.1 3tgiled at one end ca,1 be made to ew1ng 1-\P and down •• ehown 1n .Figure 2-c, v1bvat1ng H a whole, If the 10 ------...... •• b., c. Figure 2. Vibrating Rope speed of the movement is doubled the form would change ae in Figure 2b, dividing the rope into two vibrating parts or segments with an apparent po1.nt of rest in the midd1e. By tripling the speed, the .form would change as in F.tgure 2e, having three segments and two poipts o.f rest. The moV• ing segments are called antinodea s the points of rest are oa1led.nodes. 'l'be air columns in wi.nd instruments vibrate ae a whole or 1n a numbei, of segments. It the bQ.ccy" vibrates as a whole, the tone produced 1a the fundamental or first 11 partial; if' 1t vibrates in two segments; thus vibrating twice as faat as the f oMner frequency,. the tone produced is the octave or se <:?ond partial., If the frequency is tripled forming three segments• the interval of a perfect twelfth, or the third partial, is produced• 'l'he double octave, the fourth part1a1 41 1ll produced if the air column is d1v1ded 1nto fo'Ul' segments. Theoreti~lly, the par tials continue indefinitely beyond the l12!11ts of hearing; es psrtials become higher, they grow weaker and weaker. Intonation Problema BJ virtue of' cont1nu.ed exposure to keyboard in• atruments, we rney become tndo ctrinated. to piano tuning, the Equal Tempered ecale. Assuming tha.t our reflexes •re eond1 t1oned to the Equal Tempered see le, the overtone series or Just tun~ng, when need with music typically eight• eenth and nineteenth century in 1 t~ or1giri, sounds out or tune to ol.U." eare, As a result of this con.t'liet of tuning, 1natruments p:roduc1ng tones that are overtones of a funda• mental note of the overtone series, will have inherent 1nton£tt1on problems. An 1ntent1onally variable intonation 1n trombone playing 1111 desirable. The hand slide makH the trombone more eapabb or tledble 1ntQnet1on than any other b:rast 1n111trument. The perfol'!ller 1ntentionall:v uses deviat1ens 1n licale tones and slide po81tions in an effort to get 12 lil'll'!!y trm keyboard tun1ng. Seale patterns are relative rather than absolute. It is neither ne cessary nor ad• visable to adhere strictly to O);)e fixe d sosle pattern. Intonation should be flexible e. nd not a h111rd, .fast phy.. steel quantity• The prevale.nt scale pattern ehoiees available to present day trombone perf ormers are the Pythagorean, Just, e.nd Equal Tempered scele systems. 4 High intervals are charseter1st1c of the Pythagorean scaleJ llere,. sharps are higher than enharmonic f lats. Vitality is inherent in Pythagorean intonation. Low intervals are eharacteristic of the Just seeleJ here ., smrps lilre lower than enharmonic nata. Purity is characteristic of' Just intonation. The Equal Tempered scale divides the octave inte twelve equal semitones, aa used 1n keybOGrd tuning• Th.is seale takes a middle pesition between the Pythagorean and Just scale patterns, end some feel a loss 1n vitality of sound a.Tid a resulting drabness of the contrasts of major and mlnol" modes 1n temperf!d tuni~ • The trombone ls 1n a free posi• t1on to meet the demands of any of the scale patterns by minute a.djuatment ot' the slide position. 4awrence A. Hanley, "Some Factors of' Scale Usage and Interval. Adjustment Affecting Ensemble Intonat10Q P1'aothe.e in Music Education 11 ° Unpublished Doctoral Dis• Hrtation,_Graduate School, College ot Education" U.nlve:t-dty ot Colorado, 19511 J>. ,33,. Iu the Nle ti on-ship of tnte¥111l1 of ttie aeai. '1tJ• tot11 it b n1teeH1u7 to hs'17e a !'e.w etlllbUh!.ne gu1d~oste. Perteet p1>1ln•a Cu unis.ant}, pevteot oet-.ve,,,. ~l:tf'oo~ rourth• and pe.:t>feet fUtha are the beet cC'mstl!lnt valu.ea,. tsv1at1oru1 Of J,-!lt~h hltom tim, in the N'!llll1a1ng 1nternl• "1tbin the oetuve, u ami,y from •u1111ttblbbmd F:,thi!.goNan, Just, or 11:q,1101 Temp<11Nd wl.ues, t1&ni1 to gnvitate a'bout thsto eonsta.ntat A S"ilP or tot'l$l 1•obt:lonell1p b tht ba•t• of ln• tonet1on pttoblem•, Itl eneem'ble playing the m1.,u1ielan atrivo f'or toiies thllt blend reault1n#$ 1n an .!.nc:t'&Oo in a,.u,thettc va.lWt of the po:rtorimu1ee, A 0$:Niful 11ati.!n1n~ p:ropt11t b!Jlaed on ,ehn tHie 'kiiowled~ .()f rel•t!fl lntella.• t1on h neeeHt!? bef'oNi the 11cun!'" eon be :re-e,duc!!tltd to aecopt 1"'0ltltbe 1ntona tton and. vai-ied •ode pattem•·• Ff.gUtJe S thows how the fbat eight )'.lll't't11'1!le !.ti lust o:r Jfatunal tuning tend. ti., a.ev1ate ft-om the Eq"Qellf \l.'emporod •tfllti CQmlClrll:, used bt the pia'M ♦.5 In th• UluOration, plw, BlS'Jl• ••n abal'l)f m1n"Q;S lltps mean tlat. Fbl' dl pnc.tl.041 purpo11fu1 the tbbd arid sbtb pa.vt1al•• 'being tba:i-p onb t.11/0 cent•• *" oonsUtHd 11). tune11 O.mi b a trequ:entlJ utied term eq11lvalent to the 11u1UUN1~e'llt ot • hunclredth tft • •emitcme" 14 Partials :1 2 3 4 5 6 7 8 .. L- T,I ' r,o - _, = ...... "- I• - / I ~-.. - be _Tleviat1on in Cents: O O 12 -31 0 Figul"e 3• 'D8v1at1on of PArt:lela in the He:rmon:te Series es Away from Equal Temperament. Intonetion problems erise from the constant switch• ing from one harmonic series to another. The tubing of the instrument cannot be in the correct proportion for perfect tunine 1n each of tho slide positions. In f irst position, the instruruent 1s temporarily like an open pipe with no valves, constructed so as to have th1:1 fundamental note of BBbJ 1n second position, the instrument changes to another ha:rmon1o series based on AA as the fundamental; the third position 1s based on Mb, fourth position on GO, fifth po. sition on 0Gb, sixth position of F'll', and seventh position Oll .EE,J In Figura 4 111 l.':hlll't $'Xpld.n1.is the notat1cm q&t<;;JII 1:u1ed in this hhotis is s1,,_n , J 0 It \ ~' ' -9 -·I • / __, ~ 1-- CC C c c1 c2 PJ.gure 4,. No.iaenel .. tUH or notatlo:a When the d1de monii dotrli:lwttrd,,: there ts 411t'l hlcNUi) tn the le~t~ ot' the a~lltulrical tubln«,, but not 1n the eon1ee:l tubing •hhh t'oma the bell or the tN>-mbQl.'le,, '!'ht l'}rt>pori:lOil .of the cyl!nd:r1cal-conhal tntb1r,g h al toNd• As • roault ot thh c~.se. tbe lntonlil tS.on of tbe bel"m.ontc ser1e1 of the fund1.n11ental note beo.omE111J prosreu1vel7 complex 16 as the slide ls extt:J nded. The distance between slide pos1~ tions becomes gr eat er as a minor c ompensating device for the more rapidly increasing length of the instrument. When the trombone 1s placed in a musical circumstance demandinc the use of e ither the Equal Tempered Scale or the Pythagorean intervals, the notes of the f ifth partial are excessively f lat. Altering offensive notes leads to com• plications: when . one note 1.s changed through construction of the instrument, lt is at the expense of rei'rnlting changes in other t ones . Correction of tho flat f ifth partial usually sharpens the notes o f the sixth pa1,t1al. A f lat d1, f i f th partial in f i r st pos ;_tion, cannot be altered by shortening the f irst slide position, but a sborp f1, sixth partial in first position, can easily be altered by a slight lengthen• ing of the f irst slide pos itionJ thoret'ore, sharpness of' the sixth partial may be considered less undesirable to the trombonist than flatness of the fifth partial., •rhis correc tion results in a slightly extended position of the trombone slide for the sixth partial. All seventh partial tones are inherently flat 1n relation to the Equal Tempered scale EJnd the Pythagorean system. Method bod,a widely acknowledge the necessity of alterations o r the normal position for this partial, The seventh partial in first position, A•flat1 , is unusebleJ the other notes of the seventh partial are played very short but 17 progres ,·1vely longer all J;he sli de 1a extended to its full lengths eecond position g1 . thir d position f #l, fourtll pos ition f1, and fifth position e1 are extremely ,short. F'or al l practical p,u•poees, norir.al positions al'e i n tUll& for note:! in the eighth partialJ but certain methods of sl taring l ower parti als may upset the 1nt@nat1011. ·, To a slight degree , the ninth parthl i s inher•ent:i.y sharp: ea is the ninth pmrtial in fi r st podtion. The tenth partial has the same f l atting tendency as the lower octave fift h partial d1; d2 , in first pos ition 1a flat • _g_ .52. I:>.;:.: :Ir-& l::; ::; Ifs ~~: I I I I I I (4) (JJ ('H ('I') (b> V-5- ~ z .-2.- ~:;;;- ~ - 11: -a, I :2, I 2. I {JI,) (~ (3) (If-} (3J (f,/ (b) Figure 5 . Alternat & or Hi l se Slide Positions 18 In F1gure 5, parentheses about a position indicates that it h a false positlon, a position not generally used• The use of alternate or false pos1t1one i s the means by which a number of the trombonist 1 s execution difficulties may be solved. In first position, variable intonation is limited; pitch can be lowered by minute slide adjustments but not raiaede The only other ava.ilable option taken by some performers to make pitch raising adjustment possible in f irst position is t o tune the basic b-f lat to a slightly extended f irst position with a ll other posi tions extended accordingly. Alterna t e sli de positions me y be desirable f or the tones timt ere "lot when played in first position. In rapid passages an awkward slide movement can be prevented by the use o f' sn alternate position; f or instance , in a- line going from t 1 , f irst position, to f#l' fifth position, the r1 can be played in an alternste sixth position. Ordinarily, tones played in f i r st positions are more resonant and require iass projection of breath msking desir• able tone quality more easily produced than tones produced with the slide extended to another position and thereby length• ening the tubing of the instrument. The location of a tone in the harmonic series influences the playerts choice of slide positions. The lower the partial in the harmonic series the greater the number of overtones present thus enhancing the tone q:ua 11 ty • Notes in different slide positions can not hove an identical quality since the notes will not have the same 'loe.11\iti-Q-n in tho bll'Utori:Le a,e~S.ee • fbc, trOl'lil,on1tt aboul.i:! , ~M a.gt\J.aitt. ucivel'>P~&i a ~entfll bl.eek o.r t'ibiar ~t .t'lll.la• podt1cne, 'rbe tr!!!lllb~& play.;r ,itbo\lld WOll'k to dtvolop rue:oruint tione qu!ll;tty 11,nlil e;®'d tutoruition 11:1 &l.t.ei-nate ,.ostti".lrie »-iii ~ll u :tn N:GJ.llnr z;,9ett:1ono., Too 1.u:~ of' 11lt~rMte p C 13 - - .91J - .,,, J 8blllf R :c: # Xr.:-,-_-_-=-....,+---".!!,-'-"1!-I<-:::---'- ' +------:i--i..... _,--+-..:.'.:,..---! (!bF# ...... :.. F E E•of - .. gbcll ...... C - ..."' ,_ - J',IORMII~ .,. 6 'I P051Tl6N,5 I s .s 20 Figure 6 1s a diagram of characteristic "normal" positions in relation to tttrue" positions on a ttnor'!!la lly" tuned trombone for the ;'ifth partial through the tenth partial as shown by Thomes Beversdorr.7 Note that the chart is based on a fifth partial that is in tune in the normal positions. This is a questionable asswnption to malre considering the informvtion shown in l i gure 3 oi' this thesis .and considering the very x•eal possibility that the many instrument marwfactu:re1•s have adopted no standard ized procedures of instrument construction in this regard. Temperstuit'e affects intonation. Before tuning~ the player should warm up the trombone to normal playing tam.. perature, The pitch of the trombone normally oocomea h1 i];her as it 1a played. PI•olonged rests durine; performance will result in a lowe ring in pitch of the instrume nt unless a high room tempers tut'e preva ila • Trombon1st 1 s inton etion is a .f'fected aceordinc to the method or methods of tone production employed by the indi vidual. Fitzgerald states that a tendency to play extremely s harp in pitch results fr'om muscular tensions and constric tions, particularly tho.se involving the muscles of the embouchure, throat and t onguee8 With an individual, pitch 7rb1d., P• 47 8Bernard Fitzgerald, "TUIJ1ng Problems of Brass Solo• 1ets," ~ Instrumentalist (Nov.-Dec., 1952), pp. 22, ao. 21 may vary et diffe rent dynamic l evels~ The trombonist should overcome the comicioua mechanical aspects of per• f'ormance._ The remedy for bad 1ntonat1on is to listen• Partials vary on all instruments J theref ore, being aware o f ell f actors of intonation problems 1e not enough f or the player., Careful listening to make immediate compen• sat1on 1n pitch 11! the essential f actor 1n good intona... tion~ Of all the brass ins tr1.U11ent,s, good intone t1on 1s most easily available on the trombone, and any careless .. nesa on the pert of the trombonist toward good intonation must be ultimately regarded as an essential weakness in his playing technique. All trombones should be built in tune, A•440 when the tuning slide is extended to a moderate degree in order to permit rahing the pitch of the horn above A-440 by the use or the tuning sl:!:de. Changing the proportions o f the instrument by an extreme extension o r the tuning slide can a ffect the entire partial system making good intonation and tonal response almost impossible• Acousti~l Considerations It 1s dif ficult to establish acoustical laws in trombone construction as the instrument 1s ne1!:;her wholly con~cal nor cylindrical. This leek of uniform;i..ty of taper 11 flare of the bell, and some corrections t'or the fifth pa,r .. t1al il&.ueea conflicts with the acoustical laws of open and closed pipes. Brass-wind instruments are assumed to produce 22 the same tones ae an _open pipe, that 1s, to produce all even and odd partials within a certs in limit. Follow1 ng the laws o.f acoustics, a ciosed conical plpe produces- the same harmonic series es open pipes• The trombone is not conical in the true sense of the word; the cylindrical tu.be, expending into a bell by a line o f.' lncreeaing cur.. vature, gives an approximately hyperbolic shape. In a perfeotly cylindrloal instrmnent the .nodes nnd sntinodes would be equally divided in length. The conical bore varies the positions of tho nodes and an tinodes J the nodes and antinodee no longer lie neatly and \,evei'lly spaced; ::JUt the unite are longer in the small part of the bore and shorter in the large part of the bore, This mak·es the appl1ca t1on of the principle for the correction of partials more complicated. Where each node or antinode will tall within the instrument t -ublng is ll;lore difficult to dEiterm1ne: no correction of a given overtone la possible until the exact location of each node and ant1node of that overtone is determined. Over-correction of 1-ntonation may cause und&s!N.ble blowing or sounding features of an instrument. CHAPTER rn ENIBOUCHUP.E AND THE MOUTHPIECE Pedagogical concepts,. based on a scientific know ledge of embouchure development, are approached through a thorough study of the physiology and histology of the lip mua eula ture • lnforma t1on concerning mouthpiece char a cteria ti cs and functional aspects of selection of mouth.• pieces are also necessary for setting up pedagogical con• cepts related , to the playing of _the tenor trombone. Pl::iysiology and Ei.iatology of the Lip Musculature The embcmchure (Hp placement) involves the forms• tion of the mouth, the l1pa, the relative position of the upper and lower teeth, end the physical character1st1os of the jawit The teeth end facial muscles support and form the embouchure • In view of. all . physiognomic components; it is readily apparent that no set rules can be form~lated to deduce the correct e,mbouchure~. A thorough study of the physiology and histology of the lip musculature and an analysis or the structure and developmenti of the r-.cial muscles are neceuary for 9Jobn J. Silber, 11Pedagogy or Brase, 11 Lecture U tbe Texas State College ,for WOfflen, I:enton, Texas, 1951. 23 24 u1ent1fio und'oratand1ng of tµe emoouonl.ll'~, tn or,ier to underc:lt;and tbe muscles a._nd .n:iu11eJ.o timet1on• tlult 111'~ 1n-. volVed 1il the $lllbouehux-e; 1t \l'fOuld l!IG~l'iil both 1'7."111 ttul and whe to obtain e®e insight int<> tho phydolol.!,.'Y of the 25 'l'be n '!here •r1!1 nurm,l"ou« other ®tS¢11G$ th.it iaet upon the orbicularh ~r1il 1n ,ui •ntagouists.c m.nntl'• 1he llll!)st 1n• tendve ~f thl!l'H 13 tbo buaetnat.oi- muselt1, • thin quodl"Uat... u'ill muacla at the aide or th~ ra~ er.11'.heddefl in the eheek 'between the up~r 111nd lo.,.,.!" jawJ tho buectnst<>r 1s the pt!ineipal, inu11cle $.f the choaks,. 'l'b& f1'1>$1>n or tlni 1."J11.oebla• toi- nonvo.rgo tofft>d the engle ot th@ mo,ith and dhei1SHt• ~t tbe eome'!'11 or the moutht tho1u1 fT!'Om bdcm •l!'o oontiltiu• outt 1tlth th~ ttJ?per aegment of' the ol'l;l1eu1ntt11! o:rb nnd tho•• f:rom •bove art1 conU.rni.()ue from th~ lower aepe:nt of' the or• b!euln:rte <'l'h, Tl:'w. pr~ncti,al. fun~tfon 1:1!" the 'bu.;dnatoi- mu1cle h to cOl'lipreu the ~ FigVe a_. Mus cles or the Peoe11 1. • M•ol"1US s. • Qu&d?'a. t,j,,, • labU. 1!1.UpettlorU 2,. Buoctn•t:ol' 1 •. Quadrat~s le.b1:t euporlol"ll l5.- z.,-gomatic:ntt e, tfontaUe 4., q11t1drttbul!I lehU t1upcdol'18 g_. Qua n,uJcles other t hi;in the buccinstor converging upon the orbicularia orie areJ risorius, zygomattcuir, r::iental1s, que.dra tus lab11 super1ort9; qtUl dra tus labU 1nferioria 11 trisnguler1s, end the esn1nus ( See figure 8), These mus e.las function in various f'acbl expres sions when pulllng 11pon the orb1 cular1s oris • Tm cent histological .atudias of m11scle contra ct1on reveal thet when a . m11~cle goes 1nto a 3tate of cont raction :lt ofi"erR consic'l.erable '!'esistnnc('l to eny pull to lengtbep it, Thi111 r,is1ste.nce to pull dor-? s not s eam to require any energyJ tbe'!'efore, 1rny of' t.:he antagonistic muscles to the orb:l.c11lar1ri or!a would r.ot have ony g:rent.:FJbl.l:i.~oU.ng or tetanic effect upon 1 t. If' the pedsgog is to t ake full advantage of l:nowledge of the muscular proceasee involved 1n the lip structure, it 1e necessary to bUDch the lips, The orb1cular1s oris, as for all skeletr.l muscles, is 1n a ste.te of functional ect1v1ty only when cont:re.cted._ Stretch1nr; the lips le tcrally c£1u1Je the c beek musclee to become tense end when the orb1culsl;'1s oris muscle is stretehed to a certain point, it csnnot :resist pressure, !,1p st:r.etch1nc'. spreads the mui!cloa in opposite di:re,.,tion:,; en"! ten:is to ,,ea'kan the 11ps • If the proper lip mus.oles ere ueed correctly, the c-crners of the mouth come ~lightly fot"ll'erd. Muscles become activated by contrQct!ng 88 or b1:mch!nc;, not b::' atroteh1n/h More or the moaty s1.1bstance of the lip ls abso1•bed :in si de th€' mouthp1e.ca by puctrnr1ng sults 1n much nore s:icurity of' the emboucln~ro. '·n:rowlng 1n mo~•u lip to wor't with results in an enlarged and entilch• ed tonal c1 ual:tty, ·. When d:Hn"1ng the llp:i torrether, I'B1a1ng the bottom lip sli,ihtly t1ehtene the , musclos in the 0orners or t:10 mouth an,' secures the escAnding from the lov, to the high re .<,:; iete r. Lowering the bottom Hp for a slight open• 1ns c1ves wider v1bre, t1onR &,nd aids in developing a reson ant bottom register. · By keeping the chin .fl1"l11ly set, needed vitality cnn ,) e drnvm frO!?! all fa.eial muaclos: eye• chin• upper lip, ilnd "11u11cles · ln the r('l"noi~s o 1' the mouth • . ~Embouchure in Rel& tion to the Resultant Pitch , Elementaey principles which underlie the determina• tion of pitch by a braes player's embouchure sret (1) size o f the opening, (2)° air pressure, ( ~) thickness end firm• neas. of' the vibrating agent, and (4) the length of:' the vi- brating agent,12 , The size or the lip aperture is e factor in the eon• trol of pitch che~e, the smaller the hole tho higher the pitch. When playing high tones the aperture between the lipl! l2Newell H. Long• 11 The Development of Embouchure," ~ Lducators Journal, Vol. 27 (~c., 1940 ), pp. 23, 24• 1s very amQll; rominG s largo opening betvreen :the lips rneke P. :re~Hly l"~!!!porrno !',?'ld full 80?1◊Pl·t7 in the low register much eesie r., For maximum tone quality the lip aperture (ihould be r ounded 1•c5a.r<'l laes of size• Bun.ch1ng tbe- lips w11l r o13 a lt in a :i:'01lnded lip open1ng J stretching t he lips !'lo t tam.1 the epertul'a;, Air prossu1•e 1s .a controlling element 1n pit(',h" Low notl!l s de,:llmd a l,nrge 6l motU1t of elr t o fill tbe horn; h1gh nutel:l dent1rnd a l.sr6e a mount o i:' air p1•;; astU'e. Oonsider1ng equel force s, £,1.•1:;ater sir prc aauro ie created tt1roush a 317.>llll pipe thEH.1 th.t•ough a large piPElt The usime pr~nc1ple appliea to the air pre s rJ U!'f:I nnd size of lip opan1nga in pl8:7 ing e wind tnstl'U.lllent; deer-eas ing the lip npert11re re ... e·, ltP. in 1nc1•N1a!nt; o1:r presaure which 1n tur n r<.rn ults ,.n rBising t he pitch. Wh.,n pl!l:,~i ng, t he volume o ," t one h img:iitent n. d by 1n.. c1•oe1.!ing th<, qu.ont1ty of o1r pese1ng thr ough tho 1notrum1:1nt thus causing the lip &nd t11P I'd.thin the instrum-.mt to vi.brate with 17eete1• amplitude., 'l'o inc:reaee tho qwuitity of a.1r fi ltbor the air pl•ti:1etu1e is inere&si:ld 01• the lip opening 18 llllide l.srgo1•,. Unle ss thiei l1p opening 11! oor-o f ully controlled; the increcse of a1r prossm•e when playing n ore.scetido ll'llily produce a higher tone tlwn dea1rodJ 1t only tl:-..e opc.nin~ 1s '\ enlarged whori playing a crescendo• the tono may slip to a lower tone than de.nil•odo·· ''!'brou.gh practice the player so ~•elope tho •t>U1ty to simultiaineoualy combine co 1nere1ure in ab pressuro end an 1neN&H in the she of tho Up •• porture to produce e C!'HC9tldo md dec1>0"1condo tn tune and without eltpptng t(' m dll"terent ha'Pffionh, ~ Upe should Nlll81n me without w,due pr&11's.ure 1i'1 ot'del!' to 1,e Nady to v1'1':rrab&, Cle.?'kel.S ,x,emmonda thot liUl:.V necenHey PMHrnure asatnst the mouthpiece should be telt beneath tho red pnrt or tbe lower lip, According to Hutit,.14 tbNe muacles on dU'f'erent angles tn the lower Up wol'k to support tbe mouthpiece while tn the upper lip only one mut1cle 1s directly involved 1n support• 1ng the ll'IOuthpioCt:t, !Unce the upper lip h th(1 weaker ot ti':le two, tbs uH of exoudve pNE!stWe on it tends t.o lower 1 ts res!eitaneu thclrefo:Nt • the roqubed prtu111ure 1111loulo be on the lower 11p. Buat etatee thiat excenaive preHve cauau i"!gidlty th.!'oUgbout tho entbe l'»d:VJ 1/ben necir muicle• be• come ttmae tb• ab column becomes restl"1Cted and the tone quaU ti, suffei-a• 'lbe 'bade ·aooWJUcd ppi11clr,,le of dertnite p1teh ii that Nlp1d Y1brat1one pl"Oduee ldgber pttches while slc:mer :51 v-lbntions irroduce low pitch,; By ~oub:Unt tba nl.tlllbep ot Vibrations per secorid , pttch can be rahed en octeve 11 A fi'.a:ely v1brat1rig body~ :ln thfo co111e tho Ups, dll vibrate more w p1dl J lf thick and tilllll tbln 11' thin and flabby• Bunohin~ the lip• into tho llH'IUth,PleQG elosee th& epoi;t~ bet"en the 11Pa Nsultlng 1n • t 1J'IIIMH and :r1d1g1ty allo"""' lng; the pos,tlon ot tho Upe near tho e&nter to \fS.brate f'Nte• l.y • To J)l"Oduee distinct htgh tone• 1t h necote6U7 to bunch the rrf1.u,eloo tn tbe Upe 11Wldng them th1Cker and f1nner. Streteh11'1S the 11pe and th1m,1ng the pdt t hat v1'bzttltetl tncf'euos the difHcult,, or pla71ng high t oma. The length or too vtbNatlng agent detemtnes pitch. B? ehortaning the vibwt1ag attent 11101'0 Np1d vi bMtions can be pMduced,; Making the lips 110 rtrm and rigid th$t only the l)llJ't nea1> the eentol' opening la vibt"Bttng ebortena tho v1bnt1ng lipa end thua p1'0th1eea high tonea• !?lacoment of. the Mouthp1&cl!I What might ~ 0ondd8Nd 111vcenge or noPmal Ol'JibouohuN tende to haw tho mouthpiece placement ellt}bt)J off tho borhom·l plane and p-o!ntf.llG al16htly d01m•i-d• Tho nol'lllll lonr; or av•ns•~ teeth roeepe app.-o.rlmato1y ¼" 'bab1nd tbo uppeP teeth (5H ElgUl'& 0). ~ugone 1:.0, te1te:r• u. »• ., adv'o eatee that 1n f1tt1ng talH teeth the bottom hont teeth c ehould be eet bad&: 1,Al" to torm on .S.r-way•15 Gray •tatea 32 theta The Super1gr dental arch is larger than the 1nferio:r• lrn that. . ln the n.ormal cond1 t.1on the teeth 1n the •:id.llae slightly 01rerlap those of the l!llilnd1ble both in front end at the Bides H • ... the cusps of the upper. molar teeth lie behind the eorrisPondltig cusps of the lower molar teeth. Figure 9• Recess · o.f the Lower Teeth17 l6Henry Gray*!£• e1t 9 , P• 1ise. l7Ib1d., P• 1133 33 Any a.ttempt on the pert of the pedagog to have the student keep the trombone "parallel to the .floor" would di:1:1tort the normal relationship of the mandible and the maxilla, the upper and lower jaws. Ernest Lyon advocated keeping the teeth even w1 th no receding lower jaw.18 Vincent Bach recommends pushing out the lower jaw so that the lower teeth are in line with the uppe,r ones to prevent the mouthpiece rim from cutting the lips.19 For the average person this would result in an unnatural, rigid position for neck muscles. As previously discussed in this chapter, BWlt believes that if the neck muscles become tense the air column becomes restricted and the tone que.lity sufters.20 Fillebrown states that a raised or stiffened tongue, e stiff ened jaw, or any other rigidities 1n the heed that might prevent free emission of the tone pre vents normal resonance.21 Fitsgerald states th.at a tendency to play extremely sharp 1n pitch resulte from muscular l8Ern According to I.eifet>,23 many tnsbum~nti&lhts who havo g1nn up pla7tng u Q Peeult of Up sti>~ 1n Ol'fll mh tnt&rpPGl:1ng tbeb piPOblell!J moat o·r the tH 1'!':tculty in• volves all wu,uitable mouthpil!lce and teeth defects. Le1fer etates that to really l'Jtl'a1n or pel'mllnontly 1nj'Ul"e the Up m,..u,clea whUe pleyi11G h unltlrn]zy' sna: t hat eucb st-rain would r'>quire gN&t violence. Individual d1fferentafble end the Up• v1bt'lllte most tNely. If the center lobe. or the Up iii not w1 thin the pel"ipbery or the tr.mer mouthpiece rim• tOl!lgll• tng and ttme pt'oduction ay be !m1)81Nd• BemaPd Fttzgero.ld 22Btsm•l'd ftt1&genld, . 11'1.'untn~ hoblems ot .SNtaa Soloieta", ~ Igat£!,Jlll'Wtdlf!t, Vol• 7 1 No, 3 (Nov.•l»li'•• ( 1959) , P·• 6'v. 23Js\lSOM Le1tel', Qi.• Jtll• 35 believes that better reeults on the larger cup mouthp1eee h attained by placing more of the mouthpiece on , the upper l1p.24 Selection or a Mouthpiece The type of mouthpiece uaed is an important factor 1n tone production, execution, intonation. and endurance es 1e the well•controlled &mbouchure. The teacher seldom has any cr1 ter1a for selecting a_mouthpieee other than the faqt that he likes it,"~; that it is best for a particular individual. Too often the selection of. a mouthpiece is a proeese or trtel end error and expense, '!'he selection will not neceesar:lly become intensely preblemet:lcal if the teach er possesses at least a modicum of information by which he can answer the following queat1ona 1 (1) What may a mouth• piece be expected to contribute toward good performance? · (2) What mouthpiece for which player? (3) Under what con• ditions should• mouthpiece be recommended? The parts of the mouthpiece to be considered are t rim, cup, shoulder, throat, backbore~ and width (See Ftgure 10) • Tho rtm 1s the convex portion ot the upper part of tbe mouthpiece. The cup is the concave portion as viewed from aboveJ it ie located just below the rim, The shoulder of the throat 1e a convex surface ,viewed rrom ,above; .the ( shoulder blends the top into .the throat;, The throat extanda 2-'Be~•tHard FJ.tl!:gerdd1 "Tone Production If, !!:!!, Ipetru.. meptal1et {.Ten •• F\abe, 19491 • PP• 151 16. in length r,,,,m 1/811 (W les1,1 ·t0c u m.ueh u 3/4"; the $h11pe ts gensrs U;r ey¢11ndr1 c-.a l aritlhu st%'1l1ght: or &l.'!!Oat etrdght delete• The 'b&ckbore te the. pel't extending !'rc,m the thl"08t to the lowe:r imd or t:he mouthpiece• 'l'he dismetor on the 1n• side or tlw r1:!II ts the wtdth.25 !l1gun 10. The Cup ~outhp1ece26 1. Mm 4. 'I'l:1'roat 2. Cup s. Back'bore 3 • Shouldfn• 6• Width 25aenold o. Seh1llte, ffD1 menslonal' Cheneterlsticlf of Brus Moutbpteeea f11 Tb.e lnstrwveptelht ♦ Vol. 7 t No. ( 3 (Nov.~Doc., , 1952, p';""m:3. 26lll!io P• 26, 37 Selection of a suitable mouthpiece is one o f the most common problems of brass players. The shape of the mouthp:l.ece exerts an 1mport,ant and, so far , unexpla i ned i nfluence on the tone; in the generation of t one the width of' the rim, width and depth o f cup,throat and bore o f shank, and the shape of the mouthpiece are con sidered impor tant. Th,~ construction of the mouthpie ce a f fects ·the se f actor s: sharp attack , ease o f blowing , clear t one , resonance, intona tion, an d f acility i n t ona l r>enga. Tho mo uthpie ce should enable the pl ayer to produce a g ood que lity and e large volUllle o f' t one and t o g l ve f ull con trol over the entire reg ister of the instrUllle nt. In considering the rim of' a mouthpiece, appl y the principle that the greeter the friction, the less the flex1b1lity. 1'he nar1'owar r im contribut.es t o greater .flexibility ; but this small rim tends to cut of1' blood circulation. A thick rim f orms a cush ion f or the lips, lengthens endurance• but lim1 ts f lexibility. A sharp edge on the inside o f the cupwrim provides a firm grip emibl ing the plll ye1• to better judge what tone he is g oing to play ; the edge determines the lip ·ribration at a f ixed point. The tone will be f uzzy i f the rim is too ronnded 0 It ms :, be neeesssr•y f or pleyer•a with heavy sof t lips to use broader rims to prevent cutting into the flesh. A rim which is a compromise b etween the o f ten needed 38 cushion feeling or a wide rim a!lld the f lexib:l.11 t y afforded by the · narrow rim h the mouthphce luivtng e higher sur• race at the inside edge of the cup. '1:'bis produces the fee Ung of a narrow rim and ha·!I almost its flexibility; but when preHure h applied, the lip comes 1n contact with a relatively larger surf110&• 'l'h1a compromi.se is suited fol' a playev who uaee more than ordinary pressure or who plays f or long periods or time, Evidence suggests that the high• er the bite, the inner portion of the rim, the more sccu• rete is the attack 1n both phniss1mo and f ortissimo playingJ but the flexibility 1s sacrificed somewhatt As the inner edge becomes ro'$ded, flexibility ts greeter but the attack becomes more diff icult• A medium rim off ers i'lexib111ty and will not cut off tb.e blood circulation to the extent that the lips become para.lyzed• Cons1der next the cup+ Vincent Bach ma1e s the fol .. lowing recommendation bat1ed on his e.xperienee in both per rcirmanee and •nutactur1ng mouthp1ecets•2'7 !to develop a 1'1lll, resonant tone, Bach suggests a mouthpiece w1 th the Urgest CUP diameter that tne player can comfortably play on., A de.ep cup will tire the player more quickly, and cause the high reg1it:er to flatten. A person with normal muscular lip construction should wort to strengthened his lip 39 misclea to aehbtYQ a.n osso in playtng a med1Ull'l ..51,se .d or llll'ge moutbp1•ee• ~eh Pecommends th r,t no instructor should pend,t • student tG d11t..,empba81ae tb.c important of training hh l.1,p musele r1 by using e i, ht1llow mou thphce w1 th a small cup dbmoter and " very wide :vl:t!l which p-,rm1ts t he player to pinch out the high note•• To pNduee de .. s1rable toffll q.u~:Uty using a;ie little pru au.Ni e a posdble aZ1d contracting , or t1.ght en1ns , the lip ni\t3e.lee r.or tbe high regiate;r waa augge1ttid1 a&oh c!en1ov thnt UB1ng a mouthpiece wttb • &m~l bore tl'.u?oat or too &bellow cup will make 'thtl:f pz,oduct:ton c,f a brtllililnt t one quell ty eade1•, or that a mouthpiece having a sumll throet will mak e the u,trome htgh register ouier to produce, To achieve br1ll1cn:iey 1n pl,liy 1ng and: t c ine1•ease the range,. be sugeHte concentl'Sting on propel'ly tn 1n!ng the lip musela11, Buh gtvee ii hlnt ln develcr,p1ng a stl"ong eitl• bouchure , that 18, to relax the il!Outhpleco p:reseur e by removi ng the 111outbplece rrom tbe; lips am of ten as possi• bleJ the ro.l.ulng o .r pre1tt1wee perms.ts the blood to cir• oulate and prevents tho 11pm e'rom becoming numb too quickly• A biooer ~P diaineter causes a larger portion of the Up to Tibnte produeing i:nore volW110 of tone and g1'1'1ng bettir Up cont,..ol. A player wbQ spU.ta too man1 notes may be udng too illlffll,l • eup. ¥outhpieee11 '11 tb &i!!all open• lnga fev•ol' tone prod:q.etlon of tho biglle.:r ranges a larges, 40 op(:m1ng in t4e tiliuost of tbe meuthpheCi ravonr low toms.. A ~edtum boN tb.:ro&t t• :reeommsntlod by aeVJ:>ral · .euthorit1ea toi- a.u.~:round pJ.ay1ns• ftw .ro is sotne ed.. denoe to BU,Ppwt tbt idea that!I ~f.l wider o:r l!ll.'lfe op1>n the eboulde:r of' tbe thNtatt, tbe u110'Wet- becoiaes the tcme • .A more b:r1).11ant t0u• t.e en111r\\.cted~tt,o of the t1'0mbono. Extl'&mea in the tm,oet dl••tur shot.tld be •voided by the avera.ge pleye""; :tnton111.tton \cnde.nctu blamed on the :tn .. 11tl"Ul!lcmt c1r11 often 'h& · corr,ected tn the ml'mthptece, Wh41'tl ueblg e throet bevtne; .etroeight liide;; f'ol' ee web aa 3/4"; th~re wUl ba a t&i:!deriey to play t.he higher register sharps 1t' the atra1ght ebiea erllt too l!!hort the higher res• ist:l" 11Ul hl'ld to be played f lat. If the backbolit'I tlal.'H out NJ.tber rapidly, the tolilG · wUl b9 t'ull but e11,sbtily more difr 1cult to cont.r111l, . If tbc blackl»x-e bteoua e.t'Nlish\el.' with len rl&i;r1ng o~t, the tone bet10111H tni=e;r wt more tuil.y controlled., el'ld t.be bloll'lns roabtsnoe ia 1nere,sed• I.1' there b 1uieqU1.te tbh¥:neu of metal 1n the mou.thptoe111 all, t;he sbc;pe of tbe outui1de of the mouthpiece ba• nothing to do with lta playing qualt th•• · 'l)be memtbpi•ce chOl!ll!n muet have • tl!lpeN»d ahank whleb rill ru the 1nlf;:l'Ufflent..,,· Ur po<:k&ta between the thank and the 1-.d :Pipe c•use 1ntonet1on troubles•,· When l!UlldJ:IB the choice or • mou.~bpl,oee; extreme:, sbcn~ld be 41 avoided whetiever pond.bl.$• ~ml i,,xwssive experim %'8'8if1eat1ona 1111 ret1onanoe, bhoth coi,trol, and v!bnto waa revte•tt.i 1n au.thoritati•• soU:l'Clell in o:rdeJ' to re•® ba1111c pedagogical conoit:pts rtbted to the tl'ombone , ttt'ie♦ Tone 111 • reHlt ol' pvod.Uct of rtbrtltion:t ,♦ 'l'be typo Qf tone 1• a result of !(in&t or vtbntion111, and hott thty *" enbana.d or contl"'Glled by t"eaollllnce. • ·· ll'on• la developed by' the b'°e th auppol'tod ft"Glll tile d.iapbNgm, the U.p1 tl'anmfoftlllng the dx- co:S,'Umn 1nt-o d.bNtlona, and the 1ntt:i.oument delvaloptng and 11Dp1U',r1rig the v1b:ra• Uoi,.• On the tromboM, ton~ h p:,:,olfuoed ·b:, the use o t WPloua dlde posltlone ln coordination wlth 'V'llntng d.Gpees of' Up tendon iilttd bloeatb lntondty. • · The tone 1a e,eated b:, the v1bnt1ng o.f the delicate, unexposed pa:i-t ot the Up just 1%:u!lide wnei-e the Upa touen when eloaed; not the J)4l1't tbllt h •lwaya gposod. Sl'eatk ereatee the tOJle by caWl1ng 1!.p• to vlbNte, 'but pitch 18 regUlat.d by • proper menagelttOnt. of the U.p• 1n con• junction •1th the b:,eatn. 4S Reaonanct The t:combooe le U.tUe \\DOre tblln it highly i-efin,. ed l'OO?l®ting cb&mbex• ctiptble o.f aush1n1ne; snd :reinfo,:>c• :l.ng mmieroui, p1tohee;11 Ito1tevett~ wheu considering r•sonance of the trffl1!bone, 1t is :l.ll!po:utant to note tbet tha trombone h on11 one lit uvel'a1 :reaon111t:l.ng areaa-. 'l'be tro111bon1•t muet und<,r41tand that :rHonence 1s elao establhhed 1n the htHld c,vity., Oh$rlea Colin states t?uit1 "Resonance 1e i.'o:rnu;d by vofll e1ng1ng.•28 'nlerof ol'e* it becom:.a neces• sary for tbG tr-Ombon111t to tlllO."QUShlY 1U1deretat1d the baUe tenet• of vowel. preduet1on 1n the bod Ct!Vity in order that he m1ght compr~hend res®aneo. noaonance ts tbat e:peo1al caae o.t, torood vibraticm where the natural f'llequ;mioy 01' the ay&tem corre.~pond1 to the .ti:i,s._µpl,'l.~ .. of act1vatlon ♦,d , ·· · . Retonsnce in an tnatl'uniont 1a the reault ot &:teitat:ton of 'lr1bratton or the d:, colUllll'l in tm1ty with the •llt or the 1t1att'Ulllent by a sound ave ganel"atad ft.tom at1.othe1" 11oune (l1ps1 lltouthp1pe etc•)*' \1M.n tbe volume witb:u1 th8 tuba o.f the 1nsbtm1ent 111 oorrectly p:i-oport1oned to the T1'brot1ons of the gane't"ator, :l'eaonl!iiee 28caorl.u Cols.ti, Utal Br$ss Noteis (New York 1 Cbarl.et Colin, 19413), P• ~ 29aeorge A11 IU.ller, LaDfiil.Ulge fi!f C~lQ!UOQ (New ?Qrt\: • KeGro..JIU.l Coo Inc,•11,.i , V 44 takes pleee ~•Hn '.tone quality depends on resonance end the relet1 ve intend ty of those parthls present in proportioti to the fundamental vibrationa.:30 For optional resonance 1n the trombone tone, vowel sounds should be f ormed ln the mouth• The roof of the mouth act.ii u a sound ¢h$mber similar to that of a viol:tn sounding boarc1.3l The different sounds of Emg• lish apeeeh are produced by adjustments of the aill:es and openings of the throet; nose,, lilnd mouth., The sizes of the cavities and openings between them detel'llline the natural frequene1H of the columiur o f' air. The air puffs, pro• Tided: when vocal folds open and el,ose during phonation,. contain a fundsmeptel frequ.eney and a great number of hat'monics• .If the bsrmonics 11tr1l! e at the resonant :!'re• quencies of the head eav1t1es and the instrument, they are :reinforced• Or conversely, ti the haI'l!lonios do not coin• cide with the sys.temts relioPant points, they are consider ... aolji d.im1.n1shed 1n amplitude, Resonance dehrm:l.nea the quality and carrying power of etery vocial and batrumental tone and ls, there• fore, an important dement in the study and training of 30:t.eo J, :Onr•k • "Tone fJ;'OductioJ11"aild:'.Resop1,1nce ot tbe Winds," !idu<:ationlill M1.1pic )laga~.1ne, Volt 2l (JU1rch• AprU, 1942), P• U, 3leol1n, 22,, cit., P•· 9 45 tone production+ The 1mportancs of dr cavities is easily shown by cupping tba hande around the mouth while spefik .. lng• 'l'he queJJ.ty 1e .t'a:r from the normal voioe. The hand, acting not too unl.1ke the resonating chamber of a wind 1nstl"JmEmt·, 1s an additional reoonsnt cavity reinforcing some components and attenuat1ng others. tn a s1m1lar way the throat, nose, mouth, and mouthpiece modify the quality of so®d• Through the resonance of the e 1r 1.n the oa'\71 t1es of the pharynx, head,. and tubing of the instrument, tones are modified in quality and 1nc;reased 1n power• 'l'he area of resonat1on 1s in direct relutionsh1p to the size end pitch of the tone. The higher you play on the trombone the more sharply def:l.ned the a:rea of resonat1on must be ... come. Fo-cudng the tone is simply a matter of resonance or, more paXit:lcmlarJ.: 1 eonti!."ol of the resonator, Aa stated under the discussion of a nol'm&l em• 'bouehure in Chapter III, a raised. or stiffened tongue, a stiffened jawt or any otb.er rigidities in the head that might prevent tree emission of the tone prevents nol'mal The oongeat1on end consequent thickening 9f the mucous membrane. e . lining the. . cav1.. HH Qt tie noo and head resulting from a S9if! IM @ the ~9Utid muff.led end ve~k, owing to he 1nabU1t-y of the parts to respond to tbe Vib+>at:l.on and add to the 46 tone nomol na1.u1l re:ionsnee .• 32 Just es neture.l p,?riotle ch!:t,ge whtn, 11hapf.! of voeal resonator·s chsnge,. so do d1 l' ferent harmonies predominate on nn instrument when heod 1•esoo11t1on changes. Just as mouths and throats vary in abe and shepe with each 1nd1• v1dual so must nece1.Js11u•.U.y tone production Vflry with the trombonists. Tbeae two facets o,mnot be alienated but must be reconciled with each 1nd1V1dual. Cev1t1es atop v1bt•at .i ng qu.1oklY if they are highly damped.. 'l'ho trom bonist, wh(m playing high tones; muat f ocus the reson..-ition rather finely and f ully u in singing the VO'i'lol "e•" When play ing a low tone the trombonist utilizes a larger &l:"oe or reeona1:u:1e as in the vowel "•V Those adjustments, in feet end prect1ce 1. require en arching o i' the tongue in order to achhve the most dedl"eble d1str1but1on of the mouth end throat N1t1onating cav1t1ee• The sir i,,treem 1s unhampered b;r the nrch&d tongue. Placing the tongue 11• sa1nst the top teeth bold.11 bock the a1r and atore111 up edded intense povror J as soon e.s the tongue 1s released; the eir utrefUtl shoots up i"orc:i ng the lips to v1bNto at any controlled spee(l.,. The tip of the tongue 1s drop~d 4/1 'oobind the bQttem teeth to meke :rcom J\'>·l' sir prees'UNI• T'o lociate the co:rrect tongue pJ11s1tlen. Ch&rles Colin suggHt11 ue1ng the woX TM Eugllah vo-wel phoneme• u.se•d 1n Fig~ U are J 1 u 1n W1, ;, u 1n J.!.:!• and u. H 1n ®Pl• 33coun, s~ JtUu PP¥ a, ft~ ~1lhl", s, ~"' ~• 1e,,. 48 Phonetic ';·_, ,.:':') ). x .. liay l'ict1U'G Model of AeOUE¾tic Symbol ot Mouth Vocd '!'Paet Spaetl'um [N l~ f ?r.,.f n., • M•.. ih :, R l~ f of ~"•..tll L,p.1 ~ cM 1~ f Figure llt . Physio.log!.cal and Acouat1esl . Des.cription :t'or lful-ee Vow1 Sounds .ss FigtU>e llt • .,.,.... .,_. summarizaa the phy .. · s1olog1eal and acoustical deacr1pt1on fol' thr" vowel scunds, ( 1), (, ), iand (u) • :n>om x ..:x-ay picture&, (after o. o. Ruoell, l9f38) ttle approximate potiition of the VO• ul orgtml'I can be sketched., At the tongue mo•ea into 1 ta v,u:•ioua JO:ai ti ens, the ra u t1 ve shes of -the throat and mouth ca'vittee are i::batlged• For s1mpl1fication the vo<:ll tract can be regarded as a ser1ee of eylilldr1eal sections pleeed end t-0 end; sound pan1ng tbrOU8h such a ,e:rles of eyUnde:rs 1a filtered 'by the resonating <:av1t1ee of the votd tract (tmm, 1950)• ~ - seousth output of these eyetems, when th$'Y are activated bt the la:rgynse.-1 tone, 49 :ta a&eex,l bed bl' t'be .spect:ra on ti. r i ght. •• • J eound 1nttnt1t)' . t!S plott•d ag411nst the .fre• quonoy♦ 'l'be 2'&ld1Ye podttcma or the r 1r1t tbNe toNants Al'$ 1Mhated • ppro:d.m•tely.36 B-roath ecntrol Polle10 and lot-geruu1e of the b ombon& t one ~ i!I de• pendent u.poti the voll:Ull8 of bNath ueed under pcroper coi,... trol •• well u upon the CO't't'eet use of t he i-enonant cav1t1ea. In bnatb1ng1 tho size ot tho chest cavity 1a changed. When the eavit;J' ta lnereana 1n volume during lnbltlation, ab preoe-. 1n the lunss h 11l1ghtly &,.,. ereued !llld outd9 Gir flow• into the rogton of lower pressU11e, Expirat ien :re'\feN(Hi t he pro1.»1u1 by 1nerealling tho internal pl"ltlltUX'O• V.'boti. piay1rig U 1e noeeuary f oi a-xp1rat1on to be under controll♦ d presirl.:IS'e and f oe"@ w1tb- 1n the mGuth .-v1t1J 1ni!p1Nit1on •ll®ld be !31eed from obatruotton and done V permit l"tlltxed,. de&i) bl'eathfog 1• more oodrwable. In bre:athing uae the whole body1 not w1th the upper cbe11t onlr, lateral o:qamiion o?l'l,-, oi- abdomtnal. expanalon only• 50 Should•r bet'Vlng ai,d b:r&Q tbtng H mi t&d to the ebest evi dence 1mpedAtd br1!111th1ng.., With the leut poea1ble tU.trtr1U."bence ot the 01!1• boucl'nw.e , air b taken 1n thl'll>ue;h ti:. C in leu amount in produc1nt,I high tomu, thlU'l f or tba low I tonee, but. ut1de,:, sNater tendon• In pl,r 1AS piano pas• eage11, the t)la7cu.- e~ timc,s feels that lt ta nec(uuuu•1 to push out the bN•th •Ughtlyt :tn a fo:ttte pilrrHge, the play• er 1tie1"ea.ses the wlnd suppl,- and pushes out tbo bHath 1•utoi-,. fbere 1s a dinct :rstto between the amo11nt: ot bresth and length irnd vol~ of phroaau.. Toe player etould make u.ae of al.l the 'breat;h nece~aa:r7 but without undue eti'oJ."t e.nd w1 thout r1g1d1t1. The lmb!t ot holding the bzi,eath bot'oN udng Ul .b conducive to ne:rvo11$nesa and 1s not neonnen®d by teaeb,ora., EEH,p tho tbro•t re• U.-.d ud.ng U a, • pac..-e:•wr, 'l'b& pl.Alyq;, .1:1uat re.el • t:roe tlow or ail' to ~ .t'd ac;e1net b'r1ng1ng r1g1d1ty that prevents prope:e i-teomulQ!/#1;; Contl'ol of! the breath 1' ♦ saont1Cil in pi"Odudng the 'b•ilt i-eault• ot whleh • player b capable• Steadinoe• or breath J)l"oseure 1a related tlo !'1!'.mneta of tone. We•k 51 broathhlg and 1'aUv111 to ptcp•rl.;r focus the ton,; are tr~.,. ~nt aiuaea ot play1ng out ot tun•• v.t:l)n~ Vibr:oto .te an 1tllportant •l.S?ll8rit in the type or totlt quli tJ dtd;rod• 1:'1toh vibrcd,o 1s a dev1a tion, Upward i!nd down•rd, fpcm the tl'U.e piteh, occl.ln'tng at :i'$guh:r inter• val•• The German etylil of vibnt♦ i:>:re,u,nt• to the ♦ar a l'll!fl'1U ef broad and slow osc1l1-t1oni'I with it'lt&l"l!ted1ate variationsJ the ,French style 18 'ba&ed on narorow and ~p1d 011c1llat1ona. tl'se o.f' the \li.bNato and the 1ntonalty or the Vibrato depend11 upon mustc111l dber1rn:l.nat1Qn,. taste, or st:v-le• rt should be used only as a medium f or adding wamth and becfluty to tho tQtt Iti the Up vtbl"&to1 the Upe are allowed ti'> '0'1bNto with the nuctuatton or bl-eath aett .lng up pubatiot:1• which !llllY be due more to volume ebangee than tlu>ougb pitch• Thia h done with th• 'bl'eatb and llp•• and it b eonsldeNd bab1t',lnl U' the playet' C)annot play without tw1ng nuetru.a• t1Ql'l et the 'brett~ Tb$ a.1agel' o.t the Up vibrato 1.e the uao •® et tbe breath and Up• S.rt p:rouuoins the vibNtoJ eontx-ol ot tho bl'esth anel l11,u1t 1e vital to toM qu.d1t1, The Up vtbx>ato noeee.:r.tu.-e • constant ch.1rns• in Up poe1t1on and '!!he tone quality 11ufferi!I becau,e tbta cl'eatee a tone la eking 1n aolf.dtty and fullnetia.. '!'be top and bot. um er tbe vibnto pitch in ltp vtbnto may be lue N.tsonsnt and 'bftathy sinoe tt"ombonht• 1118ke no sUdt •d• justment te COIIIPEltl8Ate f'Ot" lOWl' IU'ld btgbe#' pitches, Cbtn and jaw v1'bnto eon•hts ot :regular., even liown•i-a and upward mOYeffl\ilnt ot the ebb 11111 jaw mucln~ To play tb1s vlbl'&to., UH the •yJ.lablee tab..;;;, •h-3i. •h..:;'o, ab..oo tor the ohln •ltd Jaw movement•• AdVocate!iT or. tbe chin and .1•• vlbnto My that this Vibrato does nc>t dhtw.-b the embouchure, aa the lip vibrato d~es, s1nlJQ tb$ liplJ are movl.ng in per:f'eet coorolnatiQn with .1a• snd eb.1n, Slide vibrat111 h z>eeomme');lded .for beg:l.nners and it is u.s ed by many pro.f'el!ldonsls, It 1s conefdei-ed easier to control, since it 11.s or e;irter1or nat1u,e. 'J!o produce, I c push the E.lide bae,r. and :f'erth about six times a secono., traveling approxbiately 3/411 a.bove f!n. 11 huxnor1ngff tb.e tone., Dange,rs to '\iStch 1n teaching the slide vibrato al'e iin irregular, muddled slide tetbn1C1\'1G and moving the slide to an incorrect position. Iri the use of any tJpe o .f v1bnto guard against a t~;;-'tllow or a too wide vibrato. C!JAFS R V OAHli: OF' 'Ji'SE TRrJMBONE Sil'lttfl 1ntol'llllat10t1 ~ tbe e•Pe or the trombone tn th• cue, bandUne; tbs 2.net.:.-wumt, are or 'tho eUd• ll1!l4 the 1!'1Quthpl ♦ t'ti, md C'!lean,tng and pol1shtng tbe !"in111th or tbG t1'01nbone 16 conslde:red bole ktiOWl&dge for the. t!'G!ftwo bot1ht, a procedure f0'l' e«N mnd mid.nteminee af. the t:rcm .. bone b 11Ugguted., D1ag8mat of' the ti.-ombonG and trombone allde lill"e included t .o clarify tel'!l'llnol.ogy w,ed 1n thh chtl pte:r- ( See .F1gUt'H 12 and 13)" ...t, ,clE .sl,,IE l bow i...,ob ?lf-it~~~~~~\ ~:!i::=:::=::~~~======f';• F1gUN 12-i ntagl'b of the T.t-Olllbone 54 55 i,..s,c:le sl.~e CaN or In•trlllllent 1n Caa• A bil'l'd CH♦ 1e necanal')' for> propel' P'l'Otectlon of on tr111tPument when ,towed., Two t:vr,H of trombone •~•• a:re eva tlablo, the Alexn1det> eeee en'd the l'ol"llled eaH,f The Alexandel" oeae 1• ln a box ilba.pe with •toraga a:v&at f 'b• Conent '.81oek1 ng F:'l.guN l.f. B1oek1ng the Tt-omboDe liand SU&t,37 57 bo held in the case with a single button across the br ace rand the crook giving the slide enough freedom so lt :l.s no·!; twisted with. the lid• Figure 14 illustrates the cor1•ee·t and incorrect blocki ng f or trombone '-llides, A heavy objoct loos e in a case can ceus e s er i ous dama ge t o t he inatrunrnntJ keeping the mouthpiece f i rm ly held in the case is a necessary precaution. Slides ma y become s p r ung i f music i s r orced into the case j ammine the slide tightly against the blocking., The playe r should not cons i der the case as a catch-all. Unnecessary chances of damage a r e incurred by car- rying the trombone case by the center handle when i11 a large ga.thering of: veople and thereby getting one end h:t.t. If' a f ormed case is usecl, it is convenient to hold the bell end in the crook of the arm close to the carr•ier 1 a aid@, Care of a trombone is most easily f ostered by a routine which :!.s a cquired through caution and practice, It 1s rewarding to th0 student to follow e definite rou tine in taking the horn out of the ceae.- A SU£'/,·e sted pro cedure for removing the horn from the case is a s follows: Ta h e the bell out o '' the ease. Then, remove the slides_,. which should be in a locked posit:l.on, grasping them by both the outside and inside cross ba1•s•: Place the con .. nective tube in the receiver tube with about a ninety-five degree angle between the cross bars of tho slide and bell section.. Rotate the slides slightly, approximately ten degrees, to create friction between the bell receiver tube. 58 and the slide connective tube thereby pvevent1ng any leak• •88• The slide bNces and bell brace should be slightly lees than pe2'J)end1cular. At the J:)t'Uent tillltl trombonea •re constructed with oei A suggested routine for tak1ng the 1natrument a• part h u t'ollowU P.emove tho mouthpiece. After disen.. gaging the boll lock, hold the bell atatlotlBry and turn c the slide out•rd ten or fl fteen degrees to break tbe ri-1ct1on between the l'ece!.ver tube md the slide connee• ttve tube• At the same time eue the bell and sl1dee •• pal"ti, Hendl1ng the Trombone Tbe trombone 1a auppo:rted en.tirel.y with the left band. When pa'.tlally aupported by tbo right hand, the alldt tubH wlll beeOl!le ap?'Utlg bocauee of weight on the sUde•• the weight alao cauees al~giah ellde action,. In holding the iru,trument• the tip of the lett thumb touches 59 the fi:rat bnce ot the bell; the index fingOI' rests upon ·the throlil,t of the mouthpiece: the remd.. n1ng three fingers errn1'VC1l!f the upper alt.de bNtce holding the tubing securely agalnlilt the palm of the hand• When not playing, form the habit of automlilt.icaUy placing the little finger of the left hand eround the sl:l.de brlico even 11' the slides are locked• When play1ng, Lt' all four f1ngera of the 14.ft hand encircle the dide brace. a perform.er with large _hands runs · the :risk of pinching the outev edge of the left band when the slide 1e quickly brought up into first pos!t:i.on. 'l'he right hand operates the slide, The thllll1b 1s held on the slide braceJ the first two or three fingers a:re plaoed under the slide b:racet the other f'1nger or 1.'inge.rs straddle the elide tube• 'l'he palm of the hand 1s held facing the player. The slide 1s e:xecuted with • loose, flexible wrist 1.nd forearm. The palm and fingers flatten to extend the slides to the 81:xth &1Hl seventh po• aitbn without distorting the embouchur. placement, The right hand nm.et be free from touching the bell r1m 1n slide movement. Oare of the Hand Sllde Bttcause ot the delicate act1en demanded on a trom• bone sl:l.de, 1t abould bll carotully cleaned and lubrhated frequently. To lubricate ohrom1um. slides eold cream and GO water is •uggHtell!, To uee..apply epadllf.Sl'Y a slight dab ot cold cream on the stocking of tbe dide, then spray WGte:r on tho stodl:lrigs• After the water sod thlll cold cream have 'beon tspHad by eUde ~merits; omllll mole-culee of •• te:, are ronaed by tbe mtxtng ot cold cream wltb water• The. molecule• eel"'II'& u minute 'ballbeat>1nge between ,tbe outatd• end 1rtdde all.des• trrider the 1n!'luonce of the euri'ace rorcee_, a pl'otiecthe costing h tormed whose prope't'tt,u ere ne1 the!' tboH or a olenn l!!Ul'i'a ee nor of the er.am or water., 'lbe solid $lll'face snd the \llllltor md cream comb1ll8• tton roset on one another f'o'Alling surface called "compoeite. 11 The film is attracted by the solid surface so that each molGCule etamde on end• 'I'M 1"1lJn h composed of a layel' of chains orlentod at :right angles to t:pe solid .race. The film on a solid ta~ lessons the capacity for cohealon by satul"8t1ng tbe attl'llot1ng fo:rcu end l~u,e,na the fi-1ct1onal reshtanoe of the f••• Static fr1ct10ll ceems to deCt"eue u tho layer or the lubr1eant 18 1noreued, but the fric tion :reaohee • m1t'l1mum when the· critical th1cknese ot the rum 11 ~•obedJ t'lotatton oocu:re beyond th1e thiokneu. Stot1c Motton ftllh mot>e or lou a.bruptly to zero at the ~-,.1ttcal thhlmeu. A commet"cbl trombone slide on h used to lub:ri• cate steel alideeJ continuous use of •tor on steel slides Ctl\UIOS S-USt!I\ 61 Sl1pp1ng of the su.Pfsc.e takes place, friction is high and the $eta1_1s torn when no lubricant 1s present or when the lubt-1oant 1s one which rails to reduce the maxi mum friction by eighty per cent, Anv substenee 1n the slide has the same harmf ul effect, F'l'Jct1on created by l!I dirty or dry slide will soon ruin a good instrument. Dry slides should never be worked and a play er should guard against t r ying out new 1nstl'lllllents bef ore the hand slides have been lubr1Clilted• Teking the slides apart vertically prevents putting any weight on them. Wei ght caused by taking the slides apart horizonally h a commQD cauae of springing the slides out of parallel. Slamming the outdde slide tube up a gainst the bumpers jars the inside slide out or alignment. An expeI'ienced player judges the movement of his slide in first position ao th,8 t he rarely touches the bumpers• Drop• ping the hand elide on the bow knob or elemming the out .. !l1de tube against the bumpel"s can cause the slis htest spring• ing out o.f" panllel or the inner slide tubes, When the elides become warmed through playing and expand inwardly and outwardly, the slightest dent or springing out of paral• lel becomes more px,onounced causing a drag or b:l.nd which may not be noUced when tile trQmbon1st f .1rst begins playing. To clean the oust1de slide crook, run a strip of clean cheesecloth. lbout dx to eight inches wide and .five 62 to ab feet l®fh thro1:1gb it ♦ To llfle this stJ"ip of cloth tie it to a etrong co:rtl• &boi1t 1'1ve feet long• ftighted Qt one end• '!'hen a cleaning :rod cove:r:ed by cbeeaecloth ts ttHd t.o elean the 1ne1at ot t.bo el1ae. .To cover the rod, tako another ptoce or eb«IH4H)lotb :epp:roximl.i!tely the same t!'ho u tb• UratJ t.bt-ead one co:mev ot t.l» cloth through. the eyo of the cleaning l'Od and wrap tho red epbtil• ly until oovered. Viben cl.611nin5, g14up one side of the d1&1 and clean tho eamo side J graep1ng one side 11nd clean.. tng the oppedte Bide tet'lds to epring the eUdes. U'dng a flllr,ht rotat1~ motion l!:0epe the rod from ot1cldng when pu11htng it throurth the elides. Holding the end or the cl0th ,~p, the hand prevenh th\11 cloth fl-om bunching up end etiok!ng wh&n pulling the elea.niag rod out. In the cleaning p,:,oeeae tt 1s d.esi:reble to t'U."l the cloth tl:ll'ough the elides several times• changing the cloth whon 1t beeomee Sl'illlY, fU'ld repeating the proc11u until the cloth emncu1 out clean. Finally• use tbe weighted cord end cbeuecloth ae;s1n through tbo outa1de a:U.de to clean out any d1l't 'Wbieh !!lQJ have bsen pushed into the crook by the cluning rod• Tbe rod ts not used ln cloanlng tho lnaide alldeJ thtl"e 18 a dan,z;eio or dallllllging .the mouthpl,- when inHttt1ng th& 1'Gd• For the tnelde d1de UN only the nighted cord anil cheesecloth• If the -i11"t lnl!ide the slide h dry and harc:lt W$&h the sl1de wit."! mld aoap and fflllteP, o:r use gu• oline or bcr111&ne on the cloth• After cltaning run cold water throuall both sl.ldee to J>emeve lint. '.1.'o clean the outa1d4t or the 1nolde hand slide• wipe the slide dJ:11 with III clean piece of eheesocloth clampened with gssoU.ne or btmien.:, OheeHcloth .18 at¼,;gest;ed beceuee it has veey little 11nt whhb mlghtl leave r uie 1n the slides to latel" eauH tttouble with ol1de aet1on. Avoid. buft'lng or the use ~f abraelves to l'efflOVl!I spots or dentst th1a wefii'!f through tbs p1"0teet1ve coat of nickel or chromium. The outaido all&> gradually dNw11 out an,- d1:rt in the eol"'k bo.rrd which causotr trouble with 11l1de oction. 'l'o clean d1J>t out of the cork bai-%'01 use a Sll!Qll b:ruah or pip& cleaner, s;1u10l1ne or troci.oone oU will loosen the dirt. C'1re of' the Mouthpiece It 1s 1mpol'ttant to keep the mouthpiece cle,an and in good eondttion. An unclean mouthpleoa can become verr Uliean1taeyJ U' the mouthpiece 1e to be Wf&d by more thBn one pe~eon tt l!lhoul •tel' ei:1d a small bNah OS' pipe clHner. To aterUhe and 64 to loosen minute particles end d:v1,,d se11va from the tube, boil the mouthpiece et least once a month~ :t,eaJui end faulty intonation are e6trtmon problems when the end of the mouthp1eee f itting into the leed p1pe becomee bent or creelted. I.f the mouthpiece becomes stuck, do not go beyond gentle•.,\i1ethod1l' to remove it. Try tapping the l"eeeiver with & wooden · handle or applying kerosene or. penetx-ating oil, letting 1t sbnd overnight,; It these metbOde ere not auo eenful talce the iniltl"Ulllent to an 1nst:ciumont repairman* tf$31ng val!leHnii! on the tuning slide crook, connec.. tive tube; end on the threads of' the bell lock keeps them from becoming tighti If vesel1n1J 1a not used moderately, the grease mey spread to the hand slide and interfe1•e w1tb slide setion ... To permit minute changes for tuning purposes, the tuning slide should be well lubricated. 'i'he tuning all.de can be cleaned 1n the same manner aa the hand slide, Keeping these psl'ts lubricated prevents leeks !lnd counter .. acts deterioration •. Check the water key often atnoe e. leak caused by a fiulty cork intel"feru with tone quality, A thin costing of oil will prevent rusting of tho spJ"iDg in the water key• Cleanirig end Polishing the Finish of the '1'rombotti;,,, It ii not neceuery to polish e;oldplated or l'a~ecl 1tist?'Ull'tents '11th any eonnnerelsl preparst1on. W-ashing ·· w1th'.' G5 clea:r, luke 11&1"1!1 •te!' end t-ubb!ng lightly w!th a dmnp cloth will Nmove- apoteJ ustng boiling or .hot water l!"'.dl'ls leeqti&r• A coat ol' liquid 'l'AUt l'ub'bed cm the 1nstttument a .. bout oneo a month wlll pttoteet gold, sUver• and lacqW!lr• ed t1n1aheil 1'N>m tlle etr•cta of pe:rspbat1on t':rom the handaJ the •x abould be rubbe<' ~ w1 tb a ao!'t cloth to keep the 1tillltt"\lt!'tll)nt fl'li;,111 teaU.ng etl~Y• Commepcial products 111'8 no ilable t or tbe eleonbis afid protection ot laequu•ed 1"1n1shei; • Avoid using spec.bl cleflne:ra w1 th tlc,obol S.n themJ alcohol removes lacquer. 'rhe len1th of time that • lsequered Mnbh wUl liut depen(,!.s on tbe amount or 11ctd in the per!,tp1Nlt10n 1md the ,nm,,mt ot use of .the hom • \'/hen the lcequer bee,omea worn:·, and spottod..1t can be ehem1, oslly ele111ned and vertn1shed by • Npdman,. Inetruments platot\ with a Slllooth stlver r tnhh can be polhhcd with • good quollty or 111lve.tt pplhh• Silver wtth e r,at1n :r:tnlsb tthould not be polishodJ t'ol' this t'ln.. 1eh caatUo eoap and water h au !'f'1c1ent,. Ill clean1nt&. gold f1n1smd instruments use rouge and a a.oft clothJ tho gold 1e ♦Hil.7 8Cl'lltch•d· A eleanes- for pl81n pol111h0d braH, chromium, nS.ekel,..Uver, or ntok:el plated ftn1.ah can be made by mix"' . tng a table.epoontul or tine grede wh1t1ng 1n • halt glue of detiatUNd d@bOl ♦ ':L'~ UH •t1r the wh1t1ng nll, apply Ughtly I Hid rub off when dry• 66 Use eleaning 'll!Bter1ela Bpe1"1nilY and w!pe them off C&\t'flt'ullf, 'l'o pvevent ecntcbtrii tho fintsh or the inatrument WIG• soft oloth ♦ S\11\"AntlF'f 'J.'be purpose of thh thesh wa• to dhcover through analyds tbe fund,u11entlll data neceo1u•y ror tbe undtrDtand.. tng ot fllertdn col'l'll!lOmlbl.e aapecta or bnu pedagogy and11 1n porttcut.r, the un1~ue tacets of' tenor trombone ple7• tng, A lmowl.edge ot bulc pedagoijleal concepts ia be• lieved bf the wr1 ter to be fundamontcl to valld teaching and pel".rormsnce• '!be atudy began with a search l'o:r a lhttns of ctmm10?11Jbl.e aopects or brau pe&asc;y nn~ or the •.m1q_ue f'aeets or tenot' tl'O!l:tbone p~•ylng. · A review \Wis made o.t . tr-0111bone method 'books snd or t'ho 11va1labb related lit• eratuN ln the fields ot acoustics, lip and facial muacu• latu'l'e 11 !"Cilsononco and slide tt-1ct1on. '.!'be essential data '1118.11 t1U11J11arhed giving ap"pnp'1.•1ste comment.ery f:rom the po1rite of' view of both pla7b:ig end teaeh11'1th Hecormtanclat1ons were llltilde 1n which twlct1onal application or bade concept• were euggeeted• Concluatona and aitcommendotlona Tho. ptdegoglcill eoncepte devolopad 1n th1e atu.~, bued on op1n1ontt expresaed by a selected gHup or bl"IIH 67 68 pedegogs, suggest the f o l lowing conclusions and recomme n dations: (l) The orbicularia oris, the principal muscle of the embouchure, is in a state of f unctional activity only when contracted. In the development oi' the embouchure~ bunching the lips is recommended in order to take f ull advantage of the muscle strength and lip flexibility so necessary in good trombone performance. (2) Resonance determines the quality and carry ing pow~r of every t one . The r e sonant quality is affected by the placement of the tongue within the mouth as well as by the structure quality of the instrument played. Re sonance is established in the head i:SV:!.ty ~ The openings of the throat, nose, mouth, and mouthpiece modify the qua lity of sound. (3) Variable lntona tion on the tromb one, or :;;ny \ o ther brass instrumc, nt, is desirable in musical perf ormance. , The scale pattern in use and the scale degree o f the note determines the pitch. The i dea of pre~d~termined slide positions conflicts with the attempt to achieve variable intonotion. The trombonist should overcome the conscious mechanical aspects of performance and be trained to listen to make the tones fit in a given musical situation. 89 ( 4) 'i'h'6 ave1'83e loffllr teeth recede. behind the upper teeth4 J\py attmipt on the part of th.i pedagog to have the atudel'it koep tbe trombone 11parellol to tbe floor" would dbtort the Mrmal, relat1onsh1p ct the i;pper end lowo:r Jaw-. ( 5) The eeleottt;1n or a mouthpiece ahould be baaed on an understanding or the 1ncUvtdualJa apee1t1e probleffle a.nd on the knowledge or what aapcet11 of pro• duct1on certain types of mouthpl&eee affect. Extremes should. be avotded 1n the soloeti on of o rnouthp1ooe, und 1t ehould be 1'1'cognhed .that exceH1ve e:xpe:rimentat1on w1 th mo,1thplee&!'.I may !io mr::ire harm than good• (6) The hand vibrato la recommended in this etudy. Thia aeo1e1on 11! based on the moeht1n1col clement, thR ease c.,f control" and the exter!or &lli»cts of the h!!nd vib:reto which in no '111'7 1nterteros w1 tb embouchure control.. The trombonist imitates the voice vibratos the well control• led vibrato or the vee~l1st and trombonist cen be otarted and etoppttd a.t w1llt ('1) A lubrlcarit consht1~ of water based on cold cream tol'ml • coating of 8111Qll beads or molec:ules on the chromium dldet Such a lu'br.1cant leoen, resistance aud rr1ct1cm, and enable, better al:tde technique to bo develoi>$d then wtth •lubrtee.nte "1h1eh solidly cover too aurrace of the elideltt 70 Suggestions f or F'Urther Study In the .interest of additional clarification of certain aspects of the basic pedagogical concepts de veloped in this study , f urther investigation of the fol lowing seams warranted: (l) .(I. study of the orbicularis oria to determine . the effects the t stretching and contracting the embouchure have on endurance• (2} A comparison of resonant tones and leas reao .. nant t ones to determine t he effect of resonance on t he carrying power of t ones in i dent ical situations. ( ::' ) A study o ,, th0 mo st commonly used scal e s ys .. terns, Just. Equal Tempered, and Pythagorean, as an aid in discovering whether or not s lide po s itions can be pre-de~ termined. In this paper an endeavor was made to give blil,sio pedagog ical concepts which would prove both practical and helpful to the student and ·the teachere BIBLIOGRAPHY BIBLTOO l'IAPHY Apel, l'.'11 11. Harvi:ird Dictionarv of Music. Cambridge: . Harvard University Prea~,-Ygif:r.-- Bartholo:mew, W:l. l mer T. Acm~s.tics o" Mus ic. Now York : Prentice Hall, 1942• - --- Beeler, Welte r. Me thod f.2r. the Trombone. New York r Remick Mua1c Cor., 194•1• Best, c. H. and Taylor, N. 13. ~ Livin5 Do911:. New York: Henry Holt .and Co., 1938. Blacl<, N. B. and D!lvts, H. N. ~ Practical Physics. New York: r.iacmillan Oo., 1~3.:52 . Buck, Percy c. llooustics . fo1• Musici!lns. Lon don: Oxford Uh1versity Press, 1938. Clarke, Ji:rnest. Clarke's Method for Trombone. New York! Ernest Clarke• 191:r.---"' - Colin, Charles. Trombone Lip Flexib111t1es. New York: Charles Colin, 1948. Brase ~- New York: -----,"'"'"Col.. I'".n, Ial~l. . • Charles Collea, H. c. (ed.). Grove's Dictionery o" Mudc and Musicians. 3rd ed. Vol. 1. New York_: __ -- Ma cmiiHan Co., 1945. Cr!lndall, Irv1ng a. Theory of Vibrating Systems 1;1nd Sound. New Y0rkr c-;-von ~lostrand do •• 1928. Cullum, D. J. W• Acoustic . l?ri:nciplee. Lon don : E. and F. N. Spon Ltd., 1949. Culver, Charles ii. Musica.l Acoust19s. Philadelphia .. Toronto: Blsldne ton Co•, 1947 • F1llebrown, Thomas. Resonance 1E. Singin@ .~ 1:':,pesk inr;. 3rd ed. Boston: Oliver Ditson o., 1911. 72 73 Oluebrooli;, Mr Btebard ( ed_:)• A Dht1onary of AP!:U.ed Phydcs. Londorn Macmillan & do., .t,ta',, . M2. Gray, , Henry,., .· AntttomjY ,g! the Bwnen ~ .· d,, Edited.· by W1H'l\'tll'l n. tin1h • ~t~ --pfil1,adelph1a t tea end Feb1ger; 1942., He1lbrunn, L• V ♦ An OutliJ;le .2£. ,t;eper1.q Phyaiol.051• 2n. d . ed,. l?hili'aeXp!ilu w. B~ 8&"W1der$ (lo., 94lh Helml:lolti1!1, Herman L. • F• .Otl .. t;be.. gensat1ons Qi' Tone. 'l'ranslated e, .aleiana'er · • i'Ulis 1 mih""e'ir. New York I MaemUlan Co.• l9l6• How to Care for Y<>ur Inatl'.Wllent. Elkhartt (h o •. .Conn ---. - Ltd., ,1.9~ · · · · ·. Lafosse• Alldre-. 005:lete Method of Sl.1.de TrQm,bQll8t 2 vole• Peria, Alphonse L&ilue~ Mex1mow, Alexende:u A~ and !;llo.om, 'IU,lUtaJ11• A :t'eiittl:look Pl. HietolO$Y• 6th ed• Philadelphfu -w. "B• Saunders Co., 1952., McCleod, J .• J• R, Pbvs1oloi;y in '40,:'lern Medicine,. 7th ed, st •. Louise I o. V• osoy eo:-,-!9~~s .• Miller, Deyton C., Tbe Schnee of Musical Soundsw New ·York; Me cm man Co•• . 1n6. - Miller, ,~orge .A~ I.an~u11ge and ()ommuri1cat1on• !few Yorki lfaGI'sw•HU.1 BookC:h, Inc,.; 1951., Mueller, Rober.t • . 'Jllbnhd stwH.ea tor 'l'rombon~, Book n. New 'torkt ilrl Maher,. Inc.t'-;'"'!944, Peue, Donald J 9 Unhepo;, e Functai:neptal Method for tbe TrQmbone &Jld .Biirihne• flew fork t Udveresl - · iualc rui>:trimersj 11)89, Pract1caa r5obleJl!! Build1nl J1pd !i:u1trlllllent. Elkhart: • · • . donn IJ;a.,, 1 4 ., Randall,; Charles and Mantia, :JJ.mone (.~.i.h Ai•ban•• Fiamoua Method tor SUde and yaive Trombone and Barftol!le:.,, New Yol.'ir° ourFtsnerj :mo •• 1$H. · Raymond, William F,. The TrOJZ1bone end its fla;rer.. 01ne1ll• natit P'illlllore Bros., Co. ,-Ws'r. 74 F:i<:h!!lrd!l on, E, G. '!'he Ac ment~ And oT'the 1;nd co.• l92£i-.- H(')be1•t11, John T, Tu!i! M11dc Ecrueatorn &:iio He1tho d .for THo Trombone. Ne\~ Yo:t"k: Ca1•l ~taher, Inc:;- u,:;g. 'raylor, M~ur1ce D. l'1ny Sti§~ to the 83nd. New York f M11b Music , nc., ~o-:- - - Alvin w. "Chsrmcterbtio Ll1:\litetione o.1' the In• ternel Tuning of &elected 1,!nd Inatrilments as Pltiyed by Amateurs," Jo"4ttial of r~we, rlmentsl Edus,it1on1 June, 1947, P• !rn'eir.' &eh, Vincent. itr:o You Know Your Brs!loes?, 11 Instru• mental1nt, Je.l'lWley ... Februa:cy, 1950 1 P• eo. ____,,,_~• "Selection end Use of Brass ijouthp1eoos," u.fpetrumentalht 1 November-l(lcamber, l9f,2, PP• 40, fl-evorado:ri', ThOll'.19 s • "Problems o "' Trombone Intonation, 11 !netrum~ntsltst, October, 1952 1 PP • 24, 251 47. Buchtel, T'C>:reat L. "Trombone Problems 1.n Plcylng I.e gnto end Slurring," Edi:1~t1onal !~uds Map;oz1no, J"onu •l"Y•f>ebruary, HMO, P• 43, Cheney , E . A . and Hughes. B. o. 11 Donto-fac1al Irreg11• l a rtty; How It Inf luences Wind Instrumen t Em bouchure," Ji; tude. July 1946 , p. 379/.. • '' Dento-fac1al Irregularity; How It In ----""r"'i"'"u-a-nces 'Und Inatrumont Embouchure, " ~, August, 1946, PP• .439 1 440. • " Dento-f acial I r reg ularity ; How It In ----""r""l""u-e-nces Wind Instrument Embouchure," ~. 1..'i-e ptember, 1946 ~ PP • 499, 500. Cb1era, Jerry . " Teaching· t he Trombone," Instrurnonta• list, September-October, 1948 , pp. 11-14. J1'ttnn, w. c. "A rt of Teaching Wind Inst rumentn," Etude, March, 1923, PP• 204 , 205 . T)vorak , Loo J. "Tone Product1.on and Resonance of the . Winds," Educe tione l Music Magazine, March April, 1942 1 PP• 10,-rr;-41 0 Evans , Ted. "Mouthpiece Ma t e rials," Instrumental:tst, November-Decembe r, 1952, p p. 3?l, 40 0 Fitzger e l d, Be rnard. "Tone Production," Instrumental .!.!?!, Ja nue ry-Fe bruory , 1949 ; pp. b, 16. ------,,.---• "Teaching Problems and Techn i que s, 11 In strumentalist, March-April, 1951, PP• 19, ~. 40-42. ------• "Brass Problems and Techniques (II),n Instrumentalis t, May-June, 1951, P• 21, ------.-• "Tuning Problems of Brass Soloists," InstrLUne ntalist, November-recember, 1952, PP• 22, 600 Gehrkons, K . w. "How to Make a Trombone Vibrato," April, 1941, P• 242 0 Hunt, N0 ~-J. "Study of the Cup l,!outhpiece with Special Reference to 'Oento-f'ecial Irregularities," School Mu s ichn, Jenuer:v, l9SO, pp. 18, 41. -----=~::-.• "Cont1nu1nr,; the Stu·ly of the Cup 'll'outh• piece with Special Reference to 1'lnto-fec1al Irreguleritie s,n School Mu r. icifl n, February, 1950, pp. 23, 24. 76 • "Study o f' the Cup lfouthpiece w1 t h Special -----""P"".e,..f"". e-r-en co to Den to- f'a cia l Irregu.lsr 1t1e s, 11 ~ Muti 1 c1en, March , 1950, PP• 10, 11, 56. Jecoba, M. L. "Let' s Talk About the Cup Mou thpiece," ~-Dii cember, 1946, p . 682. "Use·s f'ln rl /\buses o f' Cup Mouthpieces," J enu0rsJ, 194,7, p . 19 /. Leif er, :E:u gene F'. "To otling m,eds Teeth, " Woodwind Magazine, June, 1952, pp. s, 15. Long , Newell H. "The L'evelopment of Embouchure• Music Er.11;1,catora Journal, 1'.\lccmber, 1940, pp. 2~;,24. Lyon, Ernest. "Outline Study of How to Play t he Troin bone," ~ Musicia.,!l, l"t1bruury, 1950, pp. 10, 11. Nor mann, 'I'heo dore F. "Pri nciples f or Effective Practice, 11 Instrumentalist, November-D;,cember, 1949, p. 20. Owen, Horbert E. "Trombone Problems," Instrumentalist, S:eptember .. october, 1949, P• 1 6 . Revel 11, W:l.ll1om D. "Vi bra 11 tis•" :&: tude, Vol. 59, PP• 311, 312, 347. ----.....-• "Teaching of Brass Instruments," ~. June, 1940, pp. 583, 384,'• .f!ohner, Treugott. "St~,nderdize.tion end Clos11ifica tion of Bra ss t,fouthp:l.eces ," Instru.."'l!e nte list, Nov eniber.. D:l cambe r 1 1952, pp• ,J0-39 • Russe ll, J. 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