Trombonist Anders Larson on Triads

Swedish trombonist Anders Larson has a blog called Digital Trombone about, as you might imagine, trombone playing.  He’s got a lot of exercises on scales and chords that would be particularly useful for jazz players.

His latest post contains pages of triad exercises.  I’ve been thinking about triads for improvisation lately (see this recent post of mine) and Larson’s exercises are good for practicing different triad patterns.

One of the sounds I like the most utilizing triads is superimposing a triad that doesn’t contain the root of the chord.  Here are four examples.

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What Every Trombonist Needs to Know About the Body: A Review

Trombonist David Vining has a new book out.  Called What Every Trombonist Needs to Know About the Body, Vining’s book is a fascinating discussion on human anatomy and how to use that knowledge to become a better trombonist and music teacher.  It’s 134 pages (spiral bound) and lists for $34.95.

Vining’s main point in his text is to familiarize trombonists with the human body in order to provide an accurate “body map.”  He effectively argues that a poor understanding of the body and how we actually use it to play the trombone can inadvertently make things more difficult than they need to be.  Vining writes,

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Trombonelessons.com Video Podcast

Trombonist Dr. Tom Gibson has been producing a video podcast on trombone playing since 2007.  His podcasts range from interviews with excellent musicians (not just trombone players), handouts of exercises and routines, discussions of performance and pedagogy, and much more.

You should go to his web site to learn more about Dr. Gibson and how to subscribe to his podcast, but just in case that’s too many clicks for you, here’s an embedded player for his video podcast.

Wes Funderburk – A look at his chops and his podcast

I’ve been checking out trombonist Wes Funderburk for a while now.  He has a really neat podcast called Blog Sounds full of great trombone playing and composing.  He also posts sometimes over at the Trombone Forum.

The other day I came across one of his YouTube videos that provides a pretty good close-up look at his chops.  Embouchure geek that I am, I thought I’d play one of my favorite games – guessing a brass players embouchure type.  Check out his “Pavilion Improvisation” and see what you think.

What a great player!

Because of the camera angle, it’s a little hard to get a good look at the ratio of upper to lower lip inside the mouthpiece, but I think it’s a pretty good guess to say his embouchure is one of the downstream types because there is more upper lip inside.

The real clue in this case is the apparent direction of his embouchure motion.  It’s especially noticeable when he jumps from the middle or upper register down to low notes (usually in conjunction with the multiphonics in his video) and back up again.  It appears he’s pulling his mouthpiece and lips down to descend and pushing them up to ascend.  There’s only one basic embouchure type that does this, the Very High Placement embouchure type.

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Jazz Improvisation and the Brain

This link (embedded player didn’t want to work) is from NPR’s Weekend Edition, originally aired back in 2008.  The host interviews Dr. Charles Limb about his research studying the brain activity of jazz pianists while improvising using an fMRI.  Probably unsurprising, they discovered that there was a characteristic pattern of brain activity, what Dr. Limb calls a dissociated frontal activity state.

You know, there’s this notion that, and a musician like Coltrane when he’s playing “Giant Steps” there, he’s in the zone. I mean, he is far away from, you know, the concerns of everyday life, and he is in some other place where all of these novel ideas are flowing and pouring out of him. You know, how does he do that?

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Embouchure Questions

Some more embouchure questions I got via email.  It’s very hard, if not impossible in some cases, to help someone troubleshoot embouchure problems via email.  He asked some good questions, though, and others may be interested in this too.

My mouthpiece placement is slightly off to the left, but you would have to look closely at me to be able to see it. Do you recommend that I play with the mouthpiece directly into the center, or keep it where it is at?

Most players, in fact, play a bit off center.  Human beings aren’t as perfectly symmetrical as we like to think we are.  The teeth, gums, jaw malocclusion, and other factors that aren’t so obvious, all have an effect on just where the mouthpiece placement works best.  Centering your mouthpiece placement because you think it looks best there is probably not going to be helpful.  In fact, some players will find that by moving their placement off to one side makes things much easier, even without an obvious protruding tooth or other obvious anatomical feature.

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A Look at Triad Pairs at Casa Valdez

Jazz saxophonist and blogger David Valdez has recently posted some thoughts about using triad pairs to select note choices for improvisation.  I’ve explored this a bit, using Walt Weiskopf’s book Intervalic Improvisation.  The basic idea is that instead of using a scale or chord arpeggio, you can improvise over two different triads that relate in a particular way to the chord.  For example, over a Cmaj7 chord you might use a C major triad and a D major triad.

This can produce some interesting sounds.  While stepwise motion between pitches can happen while switching between the different triads, there is a tendency to avoid them and the line has a more “angular” sound to it.  There is also a bitonal implication to the sound, even though all the tones played can be thought of as extensions of the 7th chord (D is the 9th, F# the raised 11th, and A the 13th).

The distinctive sound that this approach has is also its drawback.  

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What Does Music Look Like?

Music is an aural art form.  Unlike language, which can be accurately communicated through the visual medium (text), looking at music notation doesn’t carry the same meaning as the actual sound of that piece.  Where an author’s work of art is in the text of the book, a musician’s art isn’t in the score, but the performance.

Human beings are visually oriented, though.  We take in most of our information about the world around us through our eyes.  We also have visual associations with sound (e.g., a dark timbre, a colorful chord).  Writing for Psychology Today’s blog, evolutionary neurologist Mark Changizi considers What Does Music Look Like To Our Brain?

Visual and auditory information interact in the brain, and the brain utilizes both to guess the single scene to render a perception of. For example, the research of Ladan Shams, Yukiyasu Kamitani and Shinsuke Shimojo at Caltech have shown that we perceive a single flash as a double flash if it is paired with a double beep. And Robert Sekuler and others from Brandeis University have shown that if a sound occurs at the time when two balls pass through each other on screen, the balls are instead perceived to have collided and reversed direction.

Changizi offers some other examples of research about visual and auditory processes in the brain, but I think he makes a couple erroneous assumptions.

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“Apres un Reve” for Solo Trombone and Piano

Several years ago I arranged Gabriel Faure‘s composition, Apres un Reve for a trombone student to perform.  I posted a PDF of this arrangement online and promptly forgot about it.  Now that that web site redirects here I’ve been getting some requests to make it available again.

I wrote out this nice vocal solo specifically for high school and young college trombonists.  I selected the range so that the highest pitch is only B flat above middle C, accessible by most high school seniors.  It starts off easy, in the lower register, which gives a nervous student a chance to get things moving and relax during a performance, but then will challenge the student to play smoothly and musically in the upper register throughout most of the piece.  There are some good opportunities to also teach about alternate positions in a few spots.

Here are the links to the PDFs.

Piano score
Trombone part

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