Texas ATSSB Trombone Etudes: Gatti

[soundcloud url="https://api.soundcloud.com/playlists/54004997" params="auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true" width="100%" height="450" iframe="true" /] So, in this second post, we're gonna tackle this little vigoroso treat that Mr. Gatti has in store for us.

First of all, let's discuss the proverbial elephant in the room... What the heck do I do about breathing in this piece???!!!  Well, I hate to tell you, but this is one of those pieces where you're "damned if you do, damned if you don't!"  What I mean is, you have to get your priorities straight. Ask yourself what is most important, playing every single note super fast or playing as clean and musically as you can, while picking and choosing smart places to breathe?

Now, I'm not here to say one way is right.  However, I do think there is a best solution.  In any audition, I prefer to hear someone come in and play a musically sound performance, while showing off their technical ability and skills without sacrificing their musical goals.  I think you can make this piece sound plenty vigorous while playing at the low end of the tempo scale, single tonguing, and breathing in strategically placed spots while leaving notes out to do so.

"WHAAAATTTT???? Did you just say to LEAVE NOTES OUT???!!!" Yep, I sure did. It is done all the time in ensemble/section settings in the interest of keeping the time consistent above all else and in facilitating staggered breathing within a trombone section. "But this is a solo piece!", you say. Yes it is. I think it is more important that you make this "strategic breathing" thing a part of your tool bag now, and this is a great place to learn it.

It IS possible to triple tongue this whole etude.  In my opinion, the time it would take me to be able to do that would be much better spent developing a faster, clearer single tongue, practicing long tones, cleaning my slide, and doing lots of other things in my life!  In my professional experience, with the exception of some Pryor solos, or playing cornet solos, there is much more use for fast single tonguing and even double tonguing before spending so much time developing this kind of triple tonguing.  I'm not saying it's not needed, but not before the other articulation skills are mastered.

My plan when I recorded this was to play all the phrases on one breath until I got to the passage beginning in measure 22.  I marked my music to breathe first in m. 26, on the last 16th of beat 1.  You can hear in the recording where I took my breaths.  I did my best to try to make my breaths short and quick, and get right back in on the next beat.  By breathing mid-phrase, I'm better able to play the dynamics printed which give this somewhat repetitive etude much more musical contrast. I tried playing faster and softer, but I could not make the phrase in the last four lines no matter what I tried!  And that was playing faster and very soft without really doing any of the printed dynamics.  Circular breathing is possible, but again, I just don't feel it adds much to the musical goal of the piece.  Finally, anticipate the fact that most mortal humans will be nervous in an audition, and planning for phrases that stretch your air capacity to the max in a comfortable practice session are probably not a good idea in an audition setting.

So, how to practice?  SLOW.  Slow it down.  Take one phrase (or measure, or beat) at a time.  Strive to make all the 16ths equal, unless they are marked with an accent.  Record yourself and listen for equal sound and even time.

Speaking of time, I'm thinking 8th note subdivisions, except for the measures where we have accents/hemiola, such as measure four. Keep the eighth note pulse rolling in your head constantly, and combine that with metronome practice at all speeds. You will have to live with the practice of the time concept for some time to really ingrain it! Don't give up! Keep at it and if things start to fall apart, revert to a slower speed. Practice SLOW FIRST! Have I been clear enough ?! :)

Good luck. Get to work, and keep your eyes peeled for an upcoming series on How to Prepare For and Take An Audition.

Healthy Habits During Marching Band Season

OK you young trombone jocks, I'm on to you! I know exactly what you do every day beginning in August: standing outside, slide parallel to the deck, running set after set in the hot sun, and playing AS LOUD AS YOU CAN PLAY! Yeah, I know that's what you're up to! How do I know? I know because I like to do that too! Who doesn't love to go out on the football field on a hot August morning or a cool October Friday night and play loud in your pre game warmup, loud in the bleachers, loud at half time, and loud during the 4th quarter? That's all well and good, provided you are playing with a good sound. You are thinking about your tone quality out there, aren't you?!?!

I want to address one way that we, as brass players, stay healthy. Well, what the heck does "staying healthy" mean? Do you ever have those moments where you play really hard and loud at a game or contest, and the next day your face feels like a brick? Maybe it's hard to warm up, your sound is super fuzzy, articulation and starting notes is difficult... sound familiar? That feeling is not healthy and it's a sign that you could be overdoing it! LISTEN TO YOUR BODY, it is trying to tell you something!

Now, I'll be the first to admit that restraint is not a common virtue among trombone players! We tend to have the reputation for getting a little excited at times, maybe overdoing it a bit... So, I want you to think about your practice habits during marching band season! BALANCE is key! If you are outside playing loud during rehearsal or performance, then the vast majority of your practicing should be easy. Work on soft long tones, lip slurs, Rochut etudes 8ba and in tenor clef 8ba. This is also a good time to catch up on listening and studying recordings of new pieces. You might work on music theory or ear training practice. There are many options. When I have had a period with a lot of loud playing, especially if it's outside, I balance that with easy, soft practicing on my own. Try it, I think you will feel, and sound, much better!