| Trumpet is pitched/ transposed |
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| in B-flat and transposed a M2 down. |
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| Differences between cornet and trumpet: |
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Bore Construction (Cornet-conical, Trumpet-cylindrical)
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Cornet has a darker, more mellow tone
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| Advantages of starting a student on Cornet |
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| students who should not play trumpet |
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-Students who have a large overbite
-students with braces
-students with a teardrop lips
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| Little finger should be placed atop it |
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| should be touching the valve stem covers |
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| Right hand thumb should be under the lead pipe between the first and second valve casing. |
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| correct trumpet embouchure |
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Oral cavity should be relaxed
-Jaw muscles should be firm and flat
-MP should be centered over the apeture
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| Rolling the borrom lip in too far will cause endurance problems and problems in the upper range. It can be easily diagnosed by looking at the student’s lower lip while playing |
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| signs of too much MP pressure |
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-Excessive redness
-Circular indentions
-small abrasions inside the lip
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| Intonation tendencies of Valve combinations |
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1-slightly sharp
12-moderately sharp
13-very sharp
123-very sharp
23-slightly flat
3-moderately flat
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-Hand:Hand vibrato is created by a slight movement of the right hand against the valves, usually in a slow, rhythmic motion
-Jaw or Lip Vibrato: is a combined movement of lip and jaw.; Jaw is moving as if saying “yah-yah” while keeping the throat and tongue relexed.
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| Used in the upper register where overtones are close together; the chake is a variation.; The right hand rocks back and forth to widen the lip trill. |
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| Drop and Doit are all performed with the valves partially depressed |
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| Beginning and Advanced Trumpets |
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B: Getzen 390 no thumb
A: Stradavarius 180 series
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| Bach 3C, 5C,7C; Schilke 11, 12, 14a4; Yamaha 11C4, 15, 16C4 |
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Vincent Bach-straight
Harmon-wah wah
Himes and Berg-cup
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-Remove all slides and valve caps and soak
-remove vavles, set aside, soak body
-Dip valves enough to cover valve but not wet the fet pads; rinse carefully and dry
-Run snake down the tubes of the bell and spend time on the lead pipe.; Clean the valve casings with a piece of cheesecloth around a cleaning rod very carefully
-Reassemble-valves first- handle by stems on cap, coat each valce with oil.; Grease slides with small amount.; Spread with fingers
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| Maurice Andre; David Hickman, Ni Klaseklund |
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| the basic trombone and choice for beginners.; It is a cylindrical brass instrument, pitch in B-flat |
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| Highest pitch of all trombones.; It is usually pitched in E-flat.; The bore, bell and mouthpiece are smaller than a tenor and it produces a lighter sound.; IT is best left to advanced players |
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| Shaped like a slide trombone, but the slight does not change the pitch.; It has three valves that are used instead of the slide.; Used more often by Euphonium, baritone or tuba players when their own instrument would be unsuitable.; It cannot adjust intonation problems that happen with valves. |
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| Should a beginner start on Bass Bone? |
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| No.; The nature of the instruments and its range, timbre and specific literature demand a specialist |
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| selection of Tbone students |
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| Should be able to match pitches or sing melodies in tune |
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| Basic trombone articulation |
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| Tongue is slightly more forward, with the tip touching the back of the upper teeth.; Tongue should be as relaxed as possible.; Motion should be decribed as up and down and not back and forth.; Syllables best used are “toe” and “taw” because they allow the jaw to be lower and thus the oral cavity is larger. |
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| Produced with a “tuh-kuh” syllable, with the “kuh” being articulated further back in the mouth |
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| Continuous airflow, slide must move quickly and exactly in rhythm, slide movement must be smooth; articulate with “doe,” “daw” “noe” or “nah” |
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| Most often used.; Pulsations in intensity are added to the tone by slight fluxuations in the lips or jaw as if saying “woe-woe-woe” |
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| Motion of slide will create pitch change vibrato.; Used cautiously in “classical” settings, it is the vibrato used most often in commercial and jazz settings. |
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| Involves pulsations of the airstream as if pronouncing “ho-ho-ho”.; it is difficult to learn and is best left to advanced player. |
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| created by rapid back-and-forth lip slurs betweem adjacent notes in the overtones series |
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| always small bore instruments.; Built for sturdiness rather than craftsmanship |
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| Pro-quality smallbore trombones |
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| used by advanced players in commercial or jazz settings.; It produces a brighter, lighter sound |
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| used by advanced high school students as a stepping stone onto the large bore trombone |
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| choice for advanced students and professionals.; Used in orchestral band, solo and chamber ensemble playing.; It is often equipped with an F attachment |
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| LArge tenor trombone; can access lower notes and have a deeper and darker tone.; Bass trombones are always equipped with an f attachment and often have a 2nd valve tuned to e,e-flat or d.; Most who choose to play bass trombone end up becoming specialists because of its particular playing characteristics and sound |
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Beg: Getzen 351
ProSB:Bach 12, 16 or 16M
ProMB: Bach 36
ProLB: Bach 42
Bass:Bach 50B
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extension of range-when engaged the trombonist has the F overtone in first position; E in lowered 2nd; E-flat in Lowered 3rd.; It continues through C
Technique-Awkward slide positioning is easier with the F attachment
Special Effects-Some trills and other effects can be executed with the F attachment
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Fill tub with warm water
-disassemble
-remove all slides
-soak all parts
-use flexible snake to clean unner parts
-flush all other parts, bell, tuning slide, etc. using faucet
-dry everything, relubricate and assemble
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Remove hand slide
-wipe of outter part of the inner slide
-apply a small amount of oik or silicone cream to the outer part of the inner slide
-if using oil, replace the hand slide
-if using cream, spread evenly over the stockings
spray the inner slides with water
replace hand slide and work it back and forth
reapply water and remove excess cream
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| reccommended Bone artists |
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| Carl Linthe, Charles Vernon and Ian McDougall |
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| General characteristics of a Euph |
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Euphoniums are large bore instruments with large, upright bells
-are european or japanese made professional quality instruments
-will have 4 valves
-do not have reversible main tuning slide
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| Euphonium Embouchure problems |
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| Common tendency is for the bottom lip to protrude too far into the mouthpiece, causing the air to be blown upward.; IT can be very limiting and should be monitered carefully |
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| Bell fronts are better suited for marching band while bell up horns are better suited for solor and concert ensemble settings.; |
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| reccommended baritones/euphs |
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Bari:bach 1566
Euphs-BEsson 967
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Beg: Bach 11
Int: Bach 6 1/2 AL
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an attempt to alleviate the intonation problems of valves used in combination when the fourth valve is pressed, air is sent through a shorter set of tubing that adds the lengths needed to lower the sharp combinations.; It also allows the complete chromatic range below E to B-flat below the staff.;;
Notes: Low B,C,C# and D
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| Lyndon baglin, fred dart, leonard falcone |
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| Pitch and transposition of Tuba |
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| The CC tuba is choic for professional tubas because it’s built for responsiveness, not durability and because the fingering patterns are easier in the sharp keys when played on this type of tuba |
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| Cylindrical or Conical (Tuba) |
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| A Sousaphone is a form of Tuba built for ease of carrying in MArching situations |
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Sax, Percussion, or horn transfers will work well because the characteristics of the sax embouchure bear enough similarities to tuba that the student will be able to adjust fairly quickly; because percussionists have no previous embouchure to change but can already read music; because a horn covers a large range and the concepts for low horn are similar to tuba
Transfers from trombone and euph work well also because they have similar embouchures
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| Who not to transfer to tuba |
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the transfer from trumpet to tuba do not work well beacuse the trumpet embouchure is considerably tighter abd nire rigid; the oral cavity is smaller, the tongue placement is higher and the airstream is more focused.
The transfer from dbl reedsor clarinets is not reccommended either because the lips are rolled back over teeth and the airflow is highly compressed
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| Height or Size problems (tuba students) |
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| if the student cannot reach the tuba, they can sit on a book. If the student is too tall it may be necessary to rest the tuba on their lap. THere are devices made to help with holding the tuba, such as a stewart stand and they can work well if they do not rigidly hold the tuba |
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| pivoting helps heep equal pressure on the embouchure as the lower jave moves forward and backward to allow the lower jaw to move forward so the lower lip is accentuated for the lower register. They head needs to slightly tilt downward. For the upper register, leaning forward slightly will allow the jaw to move backward. This techniqu can be used as an aid if the student is having difficulties with the low register. |
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| Problem with tuba embouchures |
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-smile embouchure-ends up restricting airstream and creates a harsh, nasal sound
-Roll the lower lip over teeth-causes problems in the lower range and gives upper rang a harsh, unfocused sound.
-Puffed out cheeks
-tucked lower lips
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| “Puffing the air,” articulating with the throat, articulating with the lip |
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-excessive expulsion of air occurs at the beginning of each new note. This habit will restrict smoothness and facility
-Has a softer attack than the basic attack, so its easy to hide from the instructor
-similar to throat articulation, students will make the “poe” syllable
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| IT is built so that the tuba can play chromatically down, below a low E. It is used as an alternate fingering to 1,3 valve combination. It also helps keep notes below low E to be better in tune |
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| Diaphram and jaw vibrato (tuba) |
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| the latter is successful as long as the student doesn’t raise their tongue or close their throat. |
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| Transposition of treble clef E-flat…read it in bass clef and add three flats |
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Besson 797, Conn 5j, BEsson 997
MPs-Bach 32, Bach 18, Yamaha 18, Helleberg 1205
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| Roger Bobo, Velvet Brown, Floyd Coley |
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