I’m intrigued by the frequent, if not exclusive use of the high F in #4th position - even when it might be considered as unnecessary. I teach my young students to use the less common positions at every opportunity, because doing so leads to further understanding of the instrument’s capabilities. Not all purists (traditionalists) might agree on the use of the numerous alternate positions on our instrument, but if taught/guided properly, the essence of the instrument can be unlocked.
Yeah - it's helpful for trombonists to understand that we should be using the position that follows the direction of the phrase instead of just what we "usually should be using." It certainly helps to make one's performance more fluid and vocal rather than the "oompah-oompah" style that you can put yourself into by playing only "traditional" positions.
Had a teacher in college who advocated a cello method on bowing for considering tradeoffs around changing the direction of the slide. I never picked up the book, but as I'm getting back into playing I like to consider the direction of the slide in terms of conserving momentum. Also, if cellists get bowings, trombones definitely get "bonings".
@1:58 1-3-5-7-5-3-1 stepping up diatonically @2:49 7-5-3-1-3-5-7 down @4:29 7-5-3-1-3-5-7 up @5:16 1-3-5-7-5-3-1 down @6:14 1-3-5-7 up @6:31 7-5-3-1 down @6:52 7-5-3-1 up @7:09 1-3-5-7 down @7:32 1-3-5-7 up 7-5-3-1 up @7:46 7-5-3-1 down 1-3-5-7 down @8:02 7-5-3-1 up 1-3-5-7 up @8:16 1-3-5-7 down 7-5-3-1 down Approximately 🤣
The arban book of Trombone and Euphonium excercises!!! Just found it yesterday and its got em all, its very classically based but there’s some good excercises in there, Or marshal gilkes warmup on youtube is another brutal one with arpegios
i got to meet the great, conrad herwig, and he guided me through the importance of arpeggios, and how to practice them. he said to use the least amount of slide possible when practicing them, which is very much how he plays
A great experience I'm sure, Conrad is such an inspiration! It has taken some getting use to (and still does), but being able to play some of the arpeggios further out on the slide makes the movements so much smoother.
That’s a cool song, and using a B7 adds another flavor to the minor blues. I have actually never played it (I love Horace’s recording though) but I think I would treat that chord like it was a “regular” Abm7 and just replace the note bb with an a.
I’ll definitely try this out! What would you say this exercise would be most helpful for? Like as far as developing in improvisation or just general playing
I'm finding it's useful in becoming familiar with starting phrases on chord notes other than the tonic. This is essential for improvising but difficult to jump into. The seventh is a stepping stone to the upper chord structures too - it's a gateway! 😃 Cascading seventh chords are like a tune in themselves, you get a feeling for how and why a lot of songs work. Going through all 12 keys, or (ahem) at least some of them, gives an insight into how they are related, with interval patterns overlapping and repeating. Apart from that, what has this exercise ever done for us?@@DanielKJohanssonTrombone
I need to practice arpeggios...on ANY instrument. I play: piano, euphonium, trombone, & guitar, and they ALL need arpeggio practice, BIG time! I also play the North Indian tabla...no arpeggios needed there, though(!) HAVE AT IT!
I’m intrigued by the frequent, if not exclusive use of the high F in #4th position - even when it might be considered as unnecessary.
I teach my young students to use the less common positions at every opportunity, because doing so leads to further understanding of the instrument’s capabilities. Not all purists (traditionalists) might agree on the use of the numerous alternate positions on our instrument, but if taught/guided properly, the essence of the instrument can be unlocked.
Yeah - it's helpful for trombonists to understand that we should be using the position that follows the direction of the phrase instead of just what we "usually should be using." It certainly helps to make one's performance more fluid and vocal rather than the "oompah-oompah" style that you can put yourself into by playing only "traditional" positions.
the 4th for D and f make improvsing in the common keys so much easier for those fast phrases, its vital for Jazz trombone I gotta say
Alternate positions are our friend.
Had a teacher in college who advocated a cello method on bowing for considering tradeoffs around changing the direction of the slide. I never picked up the book, but as I'm getting back into playing I like to consider the direction of the slide in terms of conserving momentum. Also, if cellists get bowings, trombones definitely get "bonings".
That tone is just amazing.
@1:58 1-3-5-7-5-3-1 stepping up diatonically
@2:49 7-5-3-1-3-5-7 down
@4:29 7-5-3-1-3-5-7 up
@5:16 1-3-5-7-5-3-1 down
@6:14 1-3-5-7 up
@6:31 7-5-3-1 down
@6:52 7-5-3-1 up
@7:09 1-3-5-7 down
@7:32 1-3-5-7 up 7-5-3-1 up
@7:46 7-5-3-1 down 1-3-5-7 down
@8:02 7-5-3-1 up 1-3-5-7 up
@8:16 1-3-5-7 down 7-5-3-1 down
Approximately
🤣
Thank you for this video!
Some of them the later exercises do also sound quite musical, especially if played with some swing :)
You're welcome. 😊
Yeah, bits of them could definitely be used as is!
Thanks Daniel!
Very good video and exercises . THANKS JOHANSON
amazing video, just got my braces off and this is helping rebuild my range and new embouchure!
The arban book of Trombone and Euphonium excercises!!! Just found it yesterday and its got em all, its very classically based but there’s some good excercises in there, Or marshal gilkes warmup on youtube is another brutal one with arpegios
i got to meet the great, conrad herwig, and he guided me through the importance of arpeggios, and how to practice them. he said to use the least amount of slide possible when practicing them, which is very much how he plays
A great experience I'm sure, Conrad is such an inspiration!
It has taken some getting use to (and still does), but being able to play some of the arpeggios further out on the slide makes the movements so much smoother.
I like the stuff you introduce for trombone, I was wondering about a tune called Senor Blues because of the Ebmi going to B.
That’s a cool song, and using a B7 adds another flavor to the minor blues.
I have actually never played it (I love Horace’s recording though) but I think I would treat that chord like it was a “regular” Abm7 and just replace the note bb with an a.
"Patterns for Jazz" is actually a great book of arpeggios and different scale form exercises, and there's a bass clef version
Nice
Such a nice tone!
Thanks! 😊
Método musical para trambone tenor arban como fazer para estudar pelo RUclips
da primeira lição até a 60
@@DanielKJohanssonTrombonecomo fazer para estudar trambone tenor como método arban como referência como estudar os licaos pelo RUclips
da primeira lição até a 60
bom dia professor como fazer para estudar trambone tenor pelo método arban fundamental pág 29 obrigado
I'm sorry, I don't speak Spanish (and I haven't used Arban's exercises much at all if that's what you're asking).
I’ll definitely try this out! What would you say this exercise would be most helpful for? Like as far as developing in improvisation or just general playing
It’s such an important building block in jazz improvisation, and for me it’s also a great flexibility exercise.
I'm finding it's useful in becoming familiar with starting phrases on chord notes other than the tonic. This is essential for improvising but difficult to jump into.
The seventh is a stepping stone to the upper chord structures too - it's a gateway! 😃 Cascading seventh chords are like a tune in themselves, you get a feeling for how and why a lot of songs work. Going through all 12 keys, or (ahem) at least some of them, gives an insight into how they are related, with interval patterns overlapping and repeating. Apart from that, what has this exercise ever done for us?@@DanielKJohanssonTrombone
Thank you for this
My pleasure! 😊
May I know the model of the mouth piece you are using? Seems it is very good for high register.
It's a Bach 7C "Megatone". I've tried other mouthpieces but I always come back to this one. I know others that don't like it though.
Como puedo conseguir estós ejercicios
Link en la descripción del video! 🎶
What mute are you using?
Yamaha Silent Brass from the 90's.
Que boquilla utilizas?
In this video it's a Bach 7C, but I have since then switched to the Yamaha Nils Landgren mouthpiece!
Jerry's Coker's Patterns for Jazz - Bass Clef instruments
🤝
I need to practice arpeggios...on ANY instrument. I play: piano, euphonium, trombone, & guitar, and they ALL need arpeggio practice, BIG time! I also play the North Indian tabla...no arpeggios needed there, though(!) HAVE AT IT!
Love your tone man
Craig Fraedrich , Practical Jazz Theory for Improvisation.
I am your 1000th sub
Nice, thank you! 😊