Lesson 4 of 10TromboneIntermediate

Detached Articulation

18:50
Ian explains detached time on the trombone - how air and toungue work together. He also debunks common trombone myths.
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IYour guruIan Bousfield

What's in the course

10 lessons (2h 21m) · 1 free
    • 01. Breathing, part 1

      Free lesson

      6:59

    • 02. Rossini, William Tell and The Thievish Magpie

      14:54

    • 03. High Range Building

      8:50

    • 04. Detached Articulation

      You are here

      18:50

    • 05. Mahler's Third Symphony

      22:21

    • 06. Mozart Requiem

      13:41

    • 07. Ravel's Bolero

      11:35

    • 08. Legato

      17:55

    • 09. The Philosophy of Warm Up

      14:04

    • 10. Wagner, Ride of the Valkyries and Prelude to Act 3 of Lohengrin

      12:20

Lesson transcript

: The tongue can effectively strike your tooth, but it must remain relaxed. If I'm honest, about two-thirds of my tooth is covered by my tongue when I play, but I'm not pushing.

Myth 2: Saying "Ta" for Articulation

  • We're often taught to say "ta, ta, ta" or "da, da, ta". However, this causes the jaw to move.
  • If we try to say "ta" without moving our chin, it doesn't work.
  • Move away from vowel sounds and focus on relaxed contact. The sound should be a blend of P, N, D, and ta.

Importance of the End of the Note

  • The clarity of the beginning of the next note depends on the embouchure's position at the end of the previous note.
  • Often, the embouchure is affected by airflow , it can push the lips open when played, causing a lack of clarity.
  • Critical Point: The aperture (the hole) must be maintained. If the embouchure tries to revert to its position as we articulate, we lose clarity.

Practicing Articulation Without the Trombone

  • The combination of tongue and air can be practiced without the trombone:
    • Think of blowing out a birthday candle , the goal is to get the air out effectively.
    • Isolate the use of air and tongue in practice to enhance articulation without relying solely on the instrument.

Preparation is Key

  • The clarity of articulation depends on ensuring the air is flowing correctly to create the note.
  • Always have the embouchure fixed in position before playing. Speaking through the embouchure can help achieve ultimate clarity, ensuring the aperture is open and ready.

Summary of Articulation System

  • The embouchure must be:
    • Open and fixed at the beginning, middle, and end of the note.
  • The tongue:
    • Touches wherever needed, remains relaxed, and should not use the tip.
  • Focus on direction of airflow when using the tongue.

Practical Exercise: Fast Articulation

When I joined the London Symphony Orchestra at 23, my biggest weakness was fast articulation. I spent several months working on this, starting with a series of exercises.

  • Tip:
    • Begin by ensuring the embouchure is fixed while developing your articulation system.
    • Try the exercise for triple tonguing found in traditional etude books.
    • Understand that clarity and legato can be challenging; playing with clarity and length is harder but essential.

The Slow Exercise

  • Use a metronome to practice:
    • Ensure the clarity of sound comes from consistent airflow through the instrument.
    • The key to this practice is keeping the tongue relaxed.

Mastering Speed

  • To achieve speed in articulation:
    • Focus on the clarity at the beginning of the note while maintaining relaxed articulation.
    • The airflow must be steady.
  • As your skills progress, push through the discomfort , that's where growth happens.

Final Thoughts

In conclusion, the basics of detached articulation include:

  • The embouchure must remain in position.
  • The aperture must be set and stable.
  • The tongue touches lightly and relaxed, without using the tip.

By mastering these elements, you will enhance your playing and develop clear, articulate sound on your instrument. Happy practicing!

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Meet your guru

IA

Ian Bousfield

Ian Bousfield has been at the top of the profession for over one quarter of a century, excelling in perhaps more facets of the music business than any other trombonist to date. His career has included playing in two of the acknowledged top-four orchestras in the world, one of which is recognized as perhaps the greatest opera orchestra, performing as a soloist to the highest possible level with orchestras, brass bands and on period instruments, recording as a soloist on top labels, playing theme tracks to Hollywood blockbusters and teaching at the Royal Academy in London.

As a soloist, Ian has, amongst others, performed with the Vienna Philharmonic, London Symphony, London Philharmonic, BBC Philharmonic, Halle Orchestra, Sapporo Symphony, Austin Symphony. He has worked with the following conductors: Riccardo Muti, Michael Tilson Thomas, Sir Neville Marriner, Kent Nagano, Ion Marin and Matthias Bamert, and EMI, Camerata, Chandos and Doyen are amongst the labels for whom Ian has made several solo recordings over the years. Probably the two highlights of Ian’s solo career to date have been performing the Nina Rota Concerto with the Vienna Philharmonic and Riccardo Muti (2008) three times in Vienna, as well as in The Lucerne Festival and in Tokyo, and giving the world premiere of Jonathan Dove’s Stargazer, written for and dedicated to Ian, with the London Symphony Orchestra under Michael Tilson Thomas (2007). He has performed with all of the world’s major brass bands, recording with many of them. He has appeared as a soloist pretty much everywhere in the world, and as a clinician, it’s probably easier to mention the conservatories and festivals at which he has not appeared!

 

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