TromboneChat

Off to practice I go!

https://1drv.ms/i/s!AhFQSIkxphcTkVyYuXihfnPGKQob

I will be playing arpeggios from pedal Ab up to high Ab to begin tackling that leap!!

Any other suggestions?

. . . Fire Paul Lavender? 

Quote from: Andrew Meronek on Nov 05, 2017, 04:49PM. . . Fire Paul Lavender? 

Ha!!!

I’ve seen this on audition lists before because of that leap.

There's a breath in between. So it's not a jump. Two separate notes.

Check out The Great American Trombone Company playing the same melody. 

Quote from: harrison.t.reed on Nov 06, 2017, 05:19AMThere's a breath in between. So it's not a jump. Two separate notes.
Right.  And musically, the brain really doesn't like hearing big jumps. 

That first low C to middle C for sure is in two separate phrases and should not be connected.  The Eb to low C, I dunno, but the breath mark separates them for effect. 

Two extreme examples in solo rep I can think of right now.

https://imgur.com/a/GPIOA

Weber (or whoever actually wrote the piece) Romance, if you take the lowest and highest ossia lines, as two jumps of a minor 21st, nearly three octaves...

Rognoni, Susanne ung jour, jumps up one octave then immediately down two octaves, in fast 16th notes...

Quote from: harrison.t.reed on Nov 06, 2017, 05:19AMThere's a breath in between. So it's not a jump. Two separate notes.It's not just two separate notes, it's jump between two different musical lines. The third trombone is with the upper and middle voices in bars 5-10, then suddenly jumps down to play with the basses when they enter at bar 11. Same thing at bar 20 - but not at bar 37.

The staccato marks and breath marks aren't original to the part; they were penciled in. I'd like to know if the rest of the ensemble is playing it that way.

I'd also be curious as to what the original orchestral third trombone part looks like.

In any case, that's not really anything that crazy. Even the Weber example is very playable. Vizutti has the Carnival of Venice that he put together, and if you play it on trombone it has the opportunity to do something like a pedal Bb to a  Eb

OP had it right -- practice.

Quote from: JohnL on Nov 06, 2017, 08:44AMIt's not just two separate notes, it's jump between two different musical lines. The third trombone is with the upper and middle voices in bars 5-10, then suddenly jumps down to play with the basses when they enter at bar 11. Same thing at bar 20 - but not at bar 37.

The staccato marks and breath marks aren't original to the part; they were penciled in. I'd like to know if the rest of the ensemble is playing it that way.

I'd also be curious as to what the original orchestral third trombone part looks like.

I penciled them in just to help me prepare for them. Breath and timing. We've only practiced this a couple of times. Won't get back into it until January next year as the holiday music is being worked on now. This gives me ample time to work on this and the other show tunes we will be doing closer to spring time.

Quote from: Le.Tromboniste on Nov 06, 2017, 08:08AMTwo extreme examples in solo rep I can think of right now.

https://imgur.com/a/GPIOA

Weber (or whoever actually wrote the piece) Romance, if you take the lowest and highest ossia lines, as two jumps of a minor 21st, nearly three octaves...

Rognoni, Susanne ung jour, jumps up one octave then immediately down two octaves, in fast 16th notes...

I almost feel a jump from a pedal up is easier than from let's say high Bb down to a pedal note. At least for me. But again, that must be chalked up to practice.

Me looking at it:

"Oh, thats not too bad, ah what's he griping about, just a fifth, harumph, (sees the low C) OHHHHHHHH"

The difficulty is to catch enough breath before the low C. The Weber is regularly played at the music school at the age of 16-18. Not a big deal.

Quote from: svenlarsson on Nov 10, 2017, 06:52AMThe difficulty is to catch enough breath before the low C. The Weber is regularly played at the music school at the age of 16-18. Not a big deal.
All in time and without overblowing the low C as well.

Quote from: svenlarsson on Nov 10, 2017, 06:52AMThe difficulty is to catch enough breath before the low C. The Weber is regularly played at the music school at the age of 16-18. Not a big deal.

I don’t know the work, but I would either play the upper register line softly while tanking up between notes. My thinking being that I am probably playing a unison line with the section or leave out a note and lay in wait for the low C.

Quote from: GetzenBassPlayer on Nov 10, 2017, 09:30AMI don’t know the work, but I would either play the upper register line softly while tanking up between notes. My thinking being that I am probably playing a unison line with the section or leave out a note and lay in wait for the low C.
You are correct. This is a unison line. I've thought of laying off the the Eb before the low C in anticipation and preparation for said low C. But I really hope to play as written.

Some good advice on how to approach this. Keep them coming!

Quote from: GetzenBassPlayer on Nov 10, 2017, 09:30AMI don’t know the work, but I would either play the upper register line softly while tanking up between notes. My thinking being that I am probably playing a unison line with the section or leave out a note and lay in wait for the low C.
You are correct. This is a unison line. I've thought of laying off the the Eb before the low C in anticipation and preparation for said low C. But I really hope to play as written.

Some good advice on how to approach this. Keep them coming!