Watching this in the middle of night lead to the single most productive practice I’ve ever had the next day. I think I finally learned what it means to focus :).
Thanks so much; when we focus on our practicing, we typically don’t have to do very much to get a big change. Good luck, and glad you found the video helpful
@@olivercsatlos7988 It is likely that your jaw will indeed come forward, especially if you are keeping your chin engaged; I can't say for sure exactly what that looks like for you, but if you find yourself doing it and being happy with your sound, then everything is as it should (or could) be. Good luck!
Many thanks for this video James. No matter the level, be it a student beginner, intermediate or professional you can always learn something new. Even if it’s something you already know or do, just from a different perspective. A great teaching perspective, so kudos to you Maestro.
I used a very similar approach this last semester teaching a student who switched to bass trombone. It was very effective. The Paul Faulise warmup book also emphasizes this technique to match and/or maintain timbre. Such an important concept to lock in consistency!
It's great to see so many people saying thank you in the comments. I want to add my thank you as well ! It's so great to hear you in this "isolated" context (as opposed to a performance context with other musicians). Wow, I love your sound!
Thank you so much for generously sharing your time and expertise with us! Just did Day 2 of this, and it feels so therapeutic. Can't wait to get my students on this as well.
Really really great. I have experience with the bass bone but it's never bad to consolidate and I had never practiced it this way. I'm EAGER to see next week's video!
I just started doing this and I’m already seeing improvements, but something I’m noticing is that when I go lower I get little air bubbles in my embouchure, how do I keep them from forming when I go low? Btw I love this practice technique, thanks so much for making this!
awesome, I'll surely incorporate these routines into my practice. One question: what kind of hold/grip are you using? This looks so comfy compared to my neotech. :D
Amazing exercise! As a new teacher to the scene and aspiring trombonist this video was exactly what I needed. Thanks so much! I have to ask though, what's the approach for going high? I've been a lead bone player for a few years now but I still feel like my tone is constricted and forced once I get past Ab4 or so. If you have a good method or know someone who does, let me know! Thanks again!
Thank you for this exercise, Mr. Markey! This paid big dividends for my brilliance of sound and connectivity in all my registers. I did have a question though... in chasing a sound closer to the one in my head on this exercise, I feel like I'm really pushing against the resistance of my bass trombone to make it happen, which is leading to me needing to breathe much more and occasionally getting more tired than I'm used to... I'm curious if you have anything to say regarding that?
@@andrewbianchi1294 that’s a larger question, especially since it brings up resistance. If you just blow into the instrument without a vibration, you’ll find the instrument itself provides extremely little to no noticeable difference between blowing through it and exhaling without it. To test it, assume that you can probably play a low Bb at a fortissimo dynamic for two to three full seconds. If you exhale all the air in your lungs through your horn over that same amount of time without vibrating (just put your lips over the rim of the mouthpiece), you are likely to feel, well, nothing, or near nothing, blowing back against you. So the question is less the resistance of the instrument, and more the resistance that you yourself are creating through your embouchure. And the more you release control of the inside of the mouthpiece, the more you let the instrument do the work for you. Wish I could do more in a comment, but perhaps I’ll have a vehicle to present this at another time!
As a bloody amateur I did this exercises two times a week and recognized better playing in next rehearsel. Hope to continue to the next videos and next levels of better sound. Off topic: wondering what is the big white button at your horn?
@@markeybone ahh! Didn't saw that before. Trumpet players often tip their devices and low brass players have foot pedals. I myself use oldschool paper.
Mr. Markey, thank you so much for this video! I had a question for you regarding what to do at the points in which the sound either loses its core or feels like the structure of the embouchure has begun to weaken to the point where I am unable to play the note at a stronger dynamic whilst maintaining a full sound. I know that you teach the mantra “move as much as you need but as little as you can” but it begins to get frustrating trying to figure out why there seems to be a sudden cliff between certain notes (low Ab and G in particular) where I am unable to play with confidence in my structure without a large shift. Do you have any advice for bridging these shifts, and how would you approach learning to play notes the right but unconfident way vs the confident but maybe not right way? Thanks!
That’s a great question. And it points to the limitations of a series like this, which while very useful for general advice, doesn’t really address individual situations. My best suggestion to you would be to take a live lesson with someone whom you trust to be able to help you answer this specific question for yourself. Regardless, I hope that this series helps you to at least feel more comfortable while you go through that process.
Hi Mr. Markey, I am back after 2 days rewatching this video since I wanted to play along with you while I worked on this exercise today and I had some new questions. First do you think we should be matching the pitch of the notes such as C in 6th with the 2nd valve 2nd position, if we choose to tune our 2nd valve to the Db and our first valve to the low F, instead of tuning our first valve to the C. I also wanted to ask if you think tools such as Berps, cutaways, and rims are useful to use when working through this exercise. Thank you in advance!
Welcome back! And good questions. Regarding the valves, if you use your Gb instead of F valve, that’s fine. As to the other question, it’s a bit complicated, and I’d rather address the topic in a different manner than a comment. But thanks for asking!
Hi，Jim. I noticed that my embroucher didn't chaneged when I played low B flat to F. But it seems the direction of my air flow chaneged naturally. Is that ok? thx.
Hi v.s9125 - what you’re describing is pretty normal. It’s my believe that the air flow will almost certainly change between those notes, so consider that to be normal. And in the words of Duke Ellington, “if it sounds good, it is good!”
Thank you so much for this video! I have one question. It sounds like you were saying “your tamber” at 7:00 but I couldn’t understand the meaning of the word “tamber” due to poor English skills. Could you tell me the meaning?
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I love these exercises, my neighbors hate them
Watching this in the middle of night lead to the single most productive practice I’ve ever had the next day. I think I finally learned what it means to focus :).
This video really teaches a great lesson about mindfulness that I wasn’t able to find elsewhere.
Thanks so much; when we focus on our practicing, we typically don’t have to do very much to get a big change. Good luck, and glad you found the video helpful
Mr. @@markeyboneI would like to ask a specific question, which is do I need to move my jaw forward when I'm doing these glissandos?
@@olivercsatlos7988 It is likely that your jaw will indeed come forward, especially if you are keeping your chin engaged; I can't say for sure exactly what that looks like for you, but if you find yourself doing it and being happy with your sound, then everything is as it should (or could) be. Good luck!
@@markeybone Thank you so much for the answer, Maestro!
Many thanks for this video James. No matter the level, be it a student beginner, intermediate or professional you can always learn something new. Even if it’s something you already know or do, just from a different perspective.
A great teaching perspective, so kudos to you Maestro.
I used a very similar approach this last semester teaching a student who switched to bass trombone. It was very effective. The Paul Faulise warmup book also emphasizes this technique to match and/or maintain timbre. Such an important concept to lock in consistency!
It's great to see so many people saying thank you in the comments. I want to add my thank you as well ! It's so great to hear you in this "isolated" context (as opposed to a performance context with other musicians). Wow, I love your sound!
James- thank you so much! Such an obvious thing, but those are often the things we forget quickest.
Thanks for sharing! Always great to hear you teach.
please do more of these! So helpful!
Thank you so much for generously sharing your time and expertise with us! Just did Day 2 of this, and it feels so therapeutic. Can't wait to get my students on this as well.
Really really great. I have experience with the bass bone but it's never bad to consolidate and I had never practiced it this way. I'm EAGER to see next week's video!
So so excited for this series!
I just started doing this and I’m already seeing improvements, but something I’m noticing is that when I go lower I get little air bubbles in my embouchure, how do I keep them from forming when I go low? Btw I love this practice technique, thanks so much for making this!
Thank you so much Maestro!!!! Greetings from Peru 🇵🇪
Thank you, Mr Markey! Greetings from Brazil.
Thanks James! Its so great to see your videos, wonderful teaching and playing as always.
Really helpful. So simple, yet so effective. Thx Jim- looking forward to more!
Tank you so much for die video. Have been working in my low register a lot recently and also in my embouchure.
Greetings from Germany 🎉
Thank you for sharing your knowledge and talent with this video!
awesome, I'll surely incorporate these routines into my practice. One question: what kind of hold/grip are you using? This looks so comfy compared to my neotech. :D
it's a get a grip
Amazing exercise! As a new teacher to the scene and aspiring trombonist this video was exactly what I needed. Thanks so much! I have to ask though, what's the approach for going high? I've been a lead bone player for a few years now but I still feel like my tone is constricted and forced once I get past Ab4 or so. If you have a good method or know someone who does, let me know! Thanks again!
When warm-up session #1?
Just shared this with all of my students, really great stuff!
thanks for exercises! what hand support are you using?
It’s a Get-A-Grip, made by the late Newell Sheridan. I’m not sure what is out there right now, but I believe others are making a similar product.
Amazing video! Can you next talk about air and how you use it as efficiently in the low range? I struggle to make longer phrases when doing rochut 8VB
happy to do something about this - it’s a good question. I’ll consider it for another video/mode of communication.
Thank you for this exercise, Mr. Markey! This paid big dividends for my brilliance of sound and connectivity in all my registers. I did have a question though... in chasing a sound closer to the one in my head on this exercise, I feel like I'm really pushing against the resistance of my bass trombone to make it happen, which is leading to me needing to breathe much more and occasionally getting more tired than I'm used to... I'm curious if you have anything to say regarding that?
@@andrewbianchi1294 that’s a larger question, especially since it brings up resistance. If you just blow into the instrument without a vibration, you’ll find the instrument itself provides extremely little to no noticeable difference between blowing through it and exhaling without it. To test it, assume that you can probably play a low Bb at a fortissimo dynamic for two to three full seconds. If you exhale all the air in your lungs through your horn over that same amount of time without vibrating (just put your lips over the rim of the mouthpiece), you are likely to feel, well, nothing, or near nothing, blowing back against you. So the question is less the resistance of the instrument, and more the resistance that you yourself are creating through your embouchure. And the more you release control of the inside of the mouthpiece, the more you let the instrument do the work for you. Wish I could do more in a comment, but perhaps I’ll have a vehicle to present this at another time!
Sehr schön!Danke sehr!!!
Thank you!
thank you mr markey for the videos!
As a bloody amateur I did this exercises two times a week and recognized better playing in next rehearsel. Hope to continue to the next videos and next levels of better sound.
Off topic: wondering what is the big white button at your horn?
I’m so glad! The white button is a “flic” button. I use it to turn pages on my iPad
@@markeybone ahh! Didn't saw that before. Trumpet players often tip their devices and low brass players have foot pedals. I myself use oldschool paper.
Thank you.
Thank you for making this content!
Thank you so much for this video!!!
I tell my band students all the time that my favorite F word is….”Focus.”
Weekly!!! Get some!! Thanks!!
Thanks James 🙏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼
Mr. Markey, thank you so much for this video!
I had a question for you regarding what to do at the points in which the sound either loses its core or feels like the structure of the embouchure has begun to weaken to the point where I am unable to play the note at a stronger dynamic whilst maintaining a full sound.
I know that you teach the mantra “move as much as you need but as little as you can” but it begins to get frustrating trying to figure out why there seems to be a sudden cliff between certain notes (low Ab and G in particular) where I am unable to play with confidence in my structure without a large shift.
Do you have any advice for bridging these shifts, and how would you approach learning to play notes the right but unconfident way vs the confident but maybe not right way?
Thanks!
That’s a great question. And it points to the limitations of a series like this, which while very useful for general advice, doesn’t really address individual situations. My best suggestion to you would be to take a live lesson with someone whom you trust to be able to help you answer this specific question for yourself. Regardless, I hope that this series helps you to at least feel more comfortable while you go through that process.
The Goat posted
Can’t wait for p2
Hi Mr. Markey, I am back after 2 days rewatching this video since I wanted to play along with you while I worked on this exercise today and I had some new questions. First do you think we should be matching the pitch of the notes such as C in 6th with the 2nd valve 2nd position, if we choose to tune our 2nd valve to the Db and our first valve to the low F, instead of tuning our first valve to the C. I also wanted to ask if you think tools such as Berps, cutaways, and rims are useful to use when working through this exercise. Thank you in advance!
Welcome back! And good questions. Regarding the valves, if you use your Gb instead of F valve, that’s fine. As to the other question, it’s a bit complicated, and I’d rather address the topic in a different manner than a comment. But thanks for asking!
Hi，Jim. I noticed that my embroucher didn't chaneged when I played low B flat to F. But it seems the direction of my air flow chaneged naturally. Is that ok? thx.
Hi v.s9125 - what you’re describing is pretty normal. It’s my believe that the air flow will almost certainly change between those notes, so consider that to be normal. And in the words of Duke Ellington, “if it sounds good, it is good!”
Thank you so much for freeing my mind.
Bravo. More please
Shared
2:49 🧠"Hey, that's the start to Black Sabbath's Iron Man."
Sorry, continue.
Thank you so much for this video!
I have one question. It sounds like you were saying “your tamber” at 7:00 but I couldn’t understand the meaning of the word “tamber” due to poor English skills.
Could you tell me the meaning?
Sure! The word is “timbre”, and it means the quality of the sound. I use it because it’s more descriptive than the word “sound”.
@@markeybone Thank you! I could understand the meaning!!