Legato

Four Interrelated Topics in Trombone Playing

Welcome! Today, we're going to discuss four closely related subjects in trombone playing that we couldn't divide into individual portions:

1. Natural Legato
2. Flexibility
3. Slide Technique
4. Legato on the Slide

Natural Legato

First of all, let's talk about what we call natural legato. This is the most beautiful legato we have. We don't need to do anything other than simply:

• Let the air flow through the instrument smoothly.
• Make minute adjustments with the jaw to adjust the lower lip position, moving across the harmonic.

Many people use a legato tongue technique on this. The reasoning for employing legato tongue across all types of legato is that it achieves two things:

1. It evens out all legatos so they all sound the same.
2. It makes it more secure.

However, my problem with that argument is that while it makes them sound uniform, it compromises the quality of legato.

The target, for me, is to make all legatos sound like the smooth, gentle exhalation of air that I aspire to achieve.

As you can already hear, I'm doing some techniques called flexibilities where we move around the range. We start with very basic ones and can increase the range up to two or more octaves.

Understanding Harmonics and Notching

The trombone is built on a series of layers known as harmonics, and in our minds, we cross over into the next harmonic, almost like crossing a bridge.

This defines a jump or change, leading us to what I call notching. This is when we "click down" across the harmonics, but this is counterproductive to increasing our range and improving our flexibility.

We need to convince our bodies that we are playing glissandos and that there are no notches, every note should seamlessly connect.

Embouchure and Air Flow Adjustments

Some teaching methods suggest that there should be absolutely no movement of the embouchure when playing. While I partially agree, I find it difficult to maneuver the trombone without making some movements.

• When going lower, my jaw moves forward and down.
• When going higher, it moves back.

It's crucial to avoid closing the lip aperture as we adjust.

Practicing Flexibility

When practicing flexibilities, I recommend starting in the middle register to find a hinge point. This approach feels more natural and allows you to practice effectively.

• As we go low, the chin moves forward and down.
• As we go high, the chin slightly moves back, with airflow adjusted accordingly.

We change the airflow based on the range we are playing, ensuring fluid transitions.

Turning Flexibilities Upside Down

An important practice is to turn your flexibilities upside down. While we all can go up and down, it's also essential to practice coming back down and integrating high, middle, and low registers together.

Slide Technique

Before diving into legato on the slide, it's essential to address slide technique. Many teaching methods claim that breathing is the most crucial aspect of brass playing. However, I believe that the slide technique holds the most significance.

If the slide technique is incorrect, the timing of the tongue and air won't align. Therefore, the first thing I correct with any student, and in my own practice, is the slide technique.

Importance of Slide Positioning

Many players spend:

• 25% of the note moving to it,
• 50% on the note,
• 25% moving to the next note.

This means we only spend half of our time in the position for each note.

Practice Suggestion: Look at your slide when playing a familiar piece of music. Many students struggle with speed because their slide technique is uncoordinated.

Timing Over Speed

Slide technique is ultimately a question of timing, not speed. To practice:

1. Move the slide as you articulate the note so that you're there on time.
2. Maintain the slide position for the longest possible time, even with staccato notes.

Legato on the Slide

When doing legato on the slide, avoid a separate air attack every time the slide moves.

Practicing Continuous Airflow

To practice this, work on a constant stream of air without interruption:

• When performing legato on the slide, the air should move continuously, reflecting the glissando technique.

Correct slide technique will help achieve the desired legato sound.

Light Legato Tonguing

Next, we integrate legato tongue. With legato tonguing:

• Lightly lick the back of the teeth.
• Avoid interrupting airflow; this is a common mistake!

A delicate legato tongue ensures a fluid airstream.

Putting It All Together

Now, let's combine these concepts in practice. Remember, even classical trombonists should return to playing ballads to enhance their vocal quality and beauty.

Final Thoughts

In conclusion, this segment covers the interconnected aspects of:

• Natural Legato
• Flexibility
• Slide Technique
• Legato on the Slide

This video encapsulates vital information that could significantly impact your playing.

As we continue this series of videos, you'll find orchestral repertoire alongside technical guidance. If you're facing technical challenges with orchestral excerpts or solo pieces, work on those issues in isolation.

Important!

Don't overwhelm yourself with difficulties in a challenging piece. Fix the technical aspects first, then return to enjoy playing with confidence!