TromboneChat

Specifically, the B natural 1/16th? It's a little quick for my trigger, and a little of a stretch in 7th.

What do you mean by "quick for my trigger?"

This is the only way to play it.

Bach5G wrote: ↑Fri Jun 07, 2019 12:32 pm Specifically, the B natural 1/16th? It's a little quick for my trigger, and a little of a stretch in 7th.

Sounds like you need some valve oil. On my Edwards thayer with good long through I can do it pretty easily.

Sounds like I just need a little coordination.

I never played it, but I suggest to make all 16nth notes longer and stronger with out loosing the timing.
Full length and more loud on short notes.
Leif

Savio wrote: ↑Fri Jun 07, 2019 3:42 pm I never played it, but I suggest to make all 16nth notes longer and stronger with out loosing the timing.
Full length and more loud on short notes.
Leif

Exactly. Ignore the staccato on the 16th note; play it as long as you can in the the rhythm, even approaching a slur to the next eighth note. This will make it heard without having to kick it out in an awkward way.

As far as the valve not being quick enough, as stated above, make sure it is well-oiled and working the way it should, and then practice the timing and coordination of your thumb.

GabeLangfur wrote: ↑Sat Jun 08, 2019 6:45 am
Exactly. Ignore the staccato on the 16th note; play it as long as you can in the the rhythm, even approaching a slur to the next eighth note. This will make it heard without having to kick it out in an awkward way.

This !!!

Double trigger in roughly 5th place. Almost no slide movement necessary in this passage on my dependent bass.
You just need good coordination with your triggers! (Helps for me, that I am a part time, but enthusiastic french horn player...maybe... and my dependent machine: you can hold the second valve trigger.)

That's the way I play it:

f sharp: 5; b: +5 ++; d: 4; b: +5 ++; f sharp 5:

So you see: only minimal slide movement necessary! You ca go from there.

GabeLangfur wrote: ↑Sat Jun 08, 2019 6:45 am
Exactly. Ignore the staccato on the 16th note; play it as long as you can in the the rhythm, even approaching a slur to the next eighth note. This will make it heard without having to kick it out in an awkward way.

I would not favour this. This will kill you in any audition, for the comittee is certainly waiting for exactly this mistake to kick you out. At least over here in Germany. Maybe it not so in the US.

Tooloud wrote: ↑Sun Jun 16, 2019 4:36 am

GabeLangfur wrote: ↑Sat Jun 08, 2019 6:45 am
Exactly. Ignore the staccato on the 16th note; play it as long as you can in the the rhythm, even approaching a slur to the next eighth note. This will make it heard without having to kick it out in an awkward way.

I would not favour this. This will kill you in any audition, for the comittee is certainly waiting for exactly this mistake to kick you out. At least over here in Germany. Maybe it not so in the US.

Not so in the US. In fact, this advice comes from the principal trombonist of a major American orchestra.

Bear in mind - I'm not suggesting changing the rhythm, just adjusting relative lengths of notes within that rhythm in order to make it clear.

You mean: ta tah ta-ha tah ta? (the h standing for a slur) Right?

Could be slur, could be a light tongue, but you don't play to emphasize the slur - just keep the air support steady throughout.

I even use a touch of tongue stop for definition of the end of the eighth note after the 16th (shhh...that's against the rules!)

Well, that's how it goes! It's crucial, that the the short notes are very defined und clear.

(If not - as ist happened on the last performance.... - the guy with CB drowns everybody else having too much fun with this thing. You can find this catastrophe on the internet, but i will not provide the link! Never!!
And the 'Stierhorn' was played on a tenorhorn - a nasty sound, too.)