I am currently in two orchestras where I am in the bass trombone chair, so bass does get the majority of my time. I get hired for shows where I have to double on tenor and bass, and there are other gigs where I have to use tenor. ![]() Unfortunately, it's not feasible for me to only play bass trombone. Is a really big piece, I have played it maybe a smaller measure like the Wedge S59 would be better, I think. įurther, reading your post on the Mouthpieces section (on the thread " Mpcs sized between 59 /60" ), I think that probably you are playing with a Wedge 1G mpc. If I can give you an advice, I suggest to keep your mouth' corners in a firmness position and also to avoid puffing cheecks. It is the same as to play very high tones FF (high D or Eb ecc) on tenor so one have to pay the same dues : practice a lot.! I think that it take a lots of time to be able to play bass trbn with a good sound in that range at very loud dynamics. To me, first you have to reach a good, clear, steady, centered suond at medium/ soft dynamics, good articolations, flexibility, ecc. Īlso, I think that would be better not to aim to play these notes FF. If this were true, I suggest you to stay only on bass trbn, at least for several months. Reading your post, I presume that you are still playing tenor trbn too. ![]() 25in on the 830.īoth of these solutions above have the added bonus of allowing the main tuning slide to be pushed in further, which also makes the trombone play and slot better. Talking like 1/16th of an inch for most horns, but. The solution was to build the shank of my mouthpiece with Teflon tape so it didn't go as far into the leadpipe. This tells me that I IDed an equipment problem. My Yamaha 830 physically would not slot these notes. All this to say, the notes won't speak if you're not playing in the slot.Ģ. This makes it easy to actually slot and not "lip" low notes. Double trigger notes have a home base, and single trigger notes have a home base, and home base is a little past third, not in first. This actually might make the valves harder to play for some people, but the key is that I know where low C is and I'm not guessing. I tuned my valves so that low C with both valves is very close to low Eb with one valve, so they are pulled quite a bit. I'm a tenor player who recently has had to cover some bass parts, but those notes speak pretty easily for me. What are your favorite exercises for practicing the double valve notes? When I first pick up the horn, I can play those double valve notes at will for the first minute, and then they begin to feel stuffy and uncentered, probably due to quick fatigue. I have the Phil Teele book, but sometimes getting through only one or two lines of that is a challenge for me. I quickly get too tired playing low notes over and over. Some of the advice that I've gotten is to just keep playing those notes in my practice sessions and they will naturally get better, but it's easier said than done. ![]() I, on the other hand, have difficulty supplying the needed air support for those notes, and I don't always get the response that I want. (Yes, I do know that it's me and not the horn!) When I listen to other bass trombonists with more experience, it seems like they can play those notes cleanly and loudly at will. That makes sense to me - blowing through two valves with the slide extended can't be easy, even with excellent Shires valves. The two most difficult notes for me to play cleanly and loudly are the double valve C and B natural. So I now consider myself more of a bass trombonist than tenor trombonist. ![]() During the past few years, most of the time I've been asked to play bass trombone.
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