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TROMBONE SLIDE MOTION AN ALTERNATE POSITION by David William Brubecli

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the trombone, ji^^^^^^^^^^^|Hlf>sful approaches. lently instruct them to »r as possible." To many, this does not _ J. The obvious drawback to moving the slide e dreaded satear. The "as slow as

ssary froifPfflSFto second p^^PH^^HesbwjDOsition. The potential dovra«idf «f "[_ i B j ^ ^ ^ ^ ë ^ p e \ ^ K t as possible" is that it may ' -.¿«íSíon in the 3^. Tension anywhere in the body ' itential of redMi^ resonance.

Too fast a slide and it may even impact the airstream in a negative manner. One of Frank Crisafulli's favorite illustrative examples of this dilemma was to ask his students, "What is the first thing someone would do if they saw lightning or heard thunder?" He would demonstrate and then reply, "They would automatically hold their breath!" CrisafuUi would often point out that the same involuntary response results when one is surprised by a sudden loud noise, or frightened "boo!" In either case, one instinctively holds their breath. CrisafuUi would continue to explain that the gross (at times more than two feet), motion of the arm was a similar shock and could potentially interrupt the air. Finally, the "as fast as possible" slide can create a separation and even harshness between the notes resulting in unintended articulation. It appears that the "just right" slide motion should be the goal; neither too slow to sixth, nor too fast to second, (when taken from first position). What seems to be required is a continuously variable sUde velocity, which considers note value, distance, and tempo—a seemingly seamless coordination between tongue and slide. What we really want, it would seem, is "just right." Right?

sound, the slide moves as slowly as the beautiful execution of the music will allow. Slowly and smoothly disrupts the air as little as possible. Slowly and smoothly favors relaxation to allow maximum resonance. Think of a loose wrist. The rubbery wrist acts as a shock absorber and helps to avoid inappropriate tension. The slide is loose and, at times, tossed between thumb and fingers like a ball between two boys. Isaac Newton's first law of physics seems to apply Itself here, "objects in motion tend to stay in motion," and "objects at rest tend to stay at rest." Or, as I sometimes like to think of it, "the faster the side gets there, the longer it's stopped!" A loose "Newtonian Slide" would tend to remain in motion. The technique of a slide in "constant motion" advanced to a new peak with the trombonist Bill Watrous. I took the inspiration for my exercise regarding this technique from Watrous and Alan Raph and their book Tromhonisms published by Carl Fischer. At a certain point in evaluating slide motion, one may encounter a mind-set categorizing certain techniques as strictly classical or strictly jazz. Both of these types of music, and others invoking the trombone, can and have advanced the art of D. Brubeck

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While it may seem that coordination between the tongue and the slide is the goal, that would be comparable to asking a tree to coordinate its location with a bird in order to accommodate a nest. Slide motion begins with air. Constant air is the tree, and given these three parameters, is probably 94% of the consideration for successful slide motion. An "efficient slide" is approximately 4% of the equation and represents the bird. Finally, the tongue is the smallest remaining percent of the equation. The slide must depend on a rich constant flow of air, and the tongue must adjust itself to the air and the slide m response to the music. Of course, all of this technique is subservient to music and expression. In accordance with the artistic "pre-hearing" and creative imagination advocated by Arnold Jacobs, we should strive to forget the slide completely. Pre-conditioned technical responses become automatic as the performer floods his or her mind with an ideal of excellence and the perfect "tonal image" of the music to be played. Or, as Crisafulli might say, "Drive the trombone. Do not let the trombone drive you!" The most efficient slide just might be the slide that moves as slowly as possible, no excessive speed or motion, just right! In the same way, the most efficient muscle motion is that which accomplishes the task by firing the fewest number of muscle fibers. Guided by the ideal of a beautiful and freely resonating -12-

International Trombone Association Journal / www.trombone.net

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plajing trombone. The tremendous influence of classical music on the trombone is pervasive and undeniable. Jazz has also had a considerable impact. The influence of Tommy Dorsey on almost every trombonist who succeeded him is evident. To this day, George Roberts is considered by many to have been the greatest bass trombonist to have ever lived. Bop and modem jazz trombonists continually explore new frontiers in technique and expression, as do modem classical players. The view is limited indeed, which summarily rejects an idea without full consideration, and a limited view may serve to exclude valuable advances. Another area where this may be applicable is in the consideration of \'ibrato. The perception of slide motion primarily involves three senses: sight, hearing, and touch. As a trombone teacher, I have occasionally found myself focusing my attention on the visual observation of the slide. Ironically, sight may be the least important of the three. A friend and fellow student of Frank Crisafulli who is now a prominent orchestral trombonist related an experience he encountered during his lessons with Crisafulli. My friend would listen to Crisafulli play, and the sound would be rich, resonant, and singing, but he would become slightly unnerved while watching Crisafulli's slide because it frequently appeared that it would not make it to the next note in time. My friend would somewhat nervously imagine the resultant sound.

which never came. CrisafuUi's slide may have looked too slovi', but it sounded angelic. The legendary musican and teacher's slow slide may have been the result of one of his famous "Crisafulli variations." CrisafuUi was extraordinarily gifted at devising variations, exercises, and etudes employed to work on music during the lesson. Many of these ingenious variations, and the spirit which created them, continue to inspire his students. These variations were often set on a series of technical and musical themes, and most often featured CrisafulU's famous "isolation of elements", where he would remove one or more technical aspects to focus on those which remained. The goal of the particular "Crisafulli inspired variation" which applies here is to play passages, particularly legato passages, without any tongue at all. The goal is to make the sound as beautiful as possible without the use of the tongue. This concentrates the primary focus on the sense of hearing and emphasizes sound and resonance. The elimination of the tongue immediately reveals any dips or interruptions in the constant airflow. Given the ideal of a beautiful sound and uninterrupted air, the slide becomes secondary, and responds with the smoothest and most efficient motion possible. Once the passage can be played beautifully without tongue, go back and add as little tongue as possible.

My favorite exercise to apply here is by Emory Remington. This exercise came to my attention through Studies in Legato, edited by Reginald Fink and Published by Carl Fischer. I have excerpted a portion of the exercise below: My favorite "variations" on this exercise are: down a half step to B Major, down a perfect fifth to F Major, down a minor sixth to F Major, and down a perfect octave. Strive for a continuous, rich air stream blown at the lips. Trying to make each phrase in one breath is useful, but do not be bound by it. Play each exercise without tongue, and then add as little tongue as possible. This alternation may extend from phrase to phrase, or exercise to exercise. The famous warm up taken from Warm-ups Jor Trombone, by Fmory B. Remington makes an excellent study for this technique. I have included the original, along with my favorite "variations." The sense of touch or feeling may be of second import as related to slide motion. The "as fast as possible" slide seems to favor tension, while the "as slow as possible" slide seems to elicit smoothness, and by extension, relaxation. This idea

SLIDE MOTION A CHECKLIST OF THE BASICS o O O O O O O O O O

Sit/stand up straight. Bring the trombone to you. Place all of the weight of the instrument on the left hand/shoulder. Hold the slide with your palm facing you. Hold the slide between your thumb and two fingers, (index and middle). Play a comfortable note in 4th position to establish elbow position. With the "elbow in 4th", you viáll have to reach in for first—good! Use the smallest muscle possible for slide motion: fingers, wrist, elbow, etc. Keep the wrist loose, and the slide motion fluid. Maintain a well-lubricated slide.

helps to contribute to an overall predisposition for relaxation and sensitivity to tension. This concept of "body awareness" offers valuable insight, and is commonly found in athletics, or described as "bio-feedback" in medicine. As stated previously, the relaxation aflows the air to be unimpeded and does not impede resonance. This concept seems almost too simple to be true, which means of course that it is. Compare this to the recognition that the optimal breath is a yawn—too easy! Yet, it is correct. Or that the ideal exhalation is a sigh—too easy! Yet, this is also correct. Have you ever noticed how the truly great performers or athletes make it look easy? Make no mistake. The slide motion of the trombone involves gross muscles. The slide presents challenges. It is not without reason that the trombone has been nicknamed "the humility machine." And yet, slide motion can be achieved with greater smoothness and fluidity, even elegance! And what of the down side of the slow slide? Glissandi? Glissandi are beautiful. Glissandi are part of the essence of the trombone! They make it unique among wind instruments. Glissandi are to be embraced and willfully exercised. Glissandi

E. Remington etc. to

Variations: down a half-step, down a perfect fifth, and down one octave-8vb.

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are not ugly, and are certainly not to be avoided at all costs. The capacity of the trombone to produce a full spectrum of microtones places it closer to the human voice. This ability finds the trombone in the most distinguished company of the xiolin family, and thoroughly enables it for any tonalities of the future. Controlling glissandi means that you can decide when to use them, and when to refrain from using them. Most times, the ideal is a singing, resonant sound without glissandi. The deficient motion is too tense and results in an overly separated sound. The excessive motion is too slow and results in a sound that is smeary. Given the two pitfalls, I would prefer that my students err on the side of relaxation. Better a bit of relaxed glissando here and there than tense separation. A smear or two on the way to beauty does not concern me. It has also been my observation that a slow slide has often not been the cause of glissandi, but forgetting to tongue a tongued slur out of carelessness or by mistaking it for a natural slur. Of course, inappropriate smears are no more acceptable than inappropriate harshness or separation. The goal really seems to be smooth, relaxed slide motion. Both "relaxed and slow" and "relaxed and fast" are ideals along a spectrum which would include every other possible relaxed motion as well. The "slow slide" concept seems to help my

students more quickly and thoroughly achieve relaxation and resonance. This paradigm shift from observation of the visual to obsei-vation of the tactile (the relaxed, fluid motion-whatever the speed) is important. Though sensation is important, it must be a secondary goal. The next paradigm shift is more important still. This paradigm flows from sensation to sound. The musical sound is the first consideration, next the sensation, and lastly, the \'isual aspect. Suppose that there are at least two paths to "just right" slide motion. Suppose you try the slower one? David William Bnibeck is the composer of «Stereograms» for solo bass trombone and a Professor of Music at Miami Dade College, Kendall Campus. He performs with the Miami City Ballet Orchestra, The Bruheck-Neal Duo, and Brass Miami. Dr. Brubeck is an artist sponsored by BAC Horn Doctor (Jyacnmsic.com), and his teachers include: Frank Crisafulli, Charles Campbell, Tom Streeter, and Charles Stokes. ON THE

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_ For more info visit davidbrubeck.com

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