Sven, I have to say that your posts on false tones have been immensely helpful. I struggled with these for years until I read your posts and adopted the one position down method (normal, firm embouchure with relaxed, warm air stream). A few months of slow bends and slurs using those positions, and they're starting to sound good enough on my small bore horns that I can actually use them on gigs if needed... or in jazz solos in certain contexts. Next step is to get clearer articulation and some melodic fluidity using false tones. Perhaps 'false' is a misnomer... they really do start to feel like 'real' notes after a while.

Have you noticed that this method can work on other brass instruments as well? Makes sense, it's physics. I showed it to a trumpet player colleague yesterday, and he was immediately able to center his false tones better than before using one chromatic fingering below - 12 F, 23 E, 13 Eb, etc. He sends his thanks, Sven!!!

J

The best thing I ever did for my playing was to get the tongue away from my lips. It was also the hardest, as it required a complete overhaul of my playing system. In my case, I was supporting the bottom lip with my tongue even while sustaining, as well as tonguing on my lips. Worked fine through university and early freelancing, but eventually I realized it was the source of a few limitations and inefficiencies. Take away the tongue and I had ZERO bottom lip strength and a collapsing embouchure - lost 2 octaves off my upper register, which took me about 2.5 years to rebuild. Now, it's stronger than ever (high and low) and I can do things I never dreamed up before making the change.

10 steps back, 50 steps forward. Sometimes it's like that. YMMV

I know a lot of pros, bass trombonists mostly, who tongue through the teeth in certain registers with no apparent difficulties. If it works for you and you can honestly say it doesn't impact other aspects of your playing, no reason to make a laborious change.

J

I've been using the Nils mpc lately on my 32H... Also a 'small horn, big sound' project. I've tried a few pieces in that size range between 6.75C and 6.5AL, and for me the Nils has the best balance of warmth and brightness, with crystal clear articulations. The G&W HW is definitely closer to a 6.5AL, deeper than the Nils with a funnel cup and a wider throat. Very good mouthpiece, but too dark and muffled to be the overall commercial mpc I need. Also, stainless feels great but to my ear lacks the complex overtones and projection of a brass mouthpiece.

I have a modified Wedge 6.75C (opened throat) that is nearly identical to the Nils, but just a hair less cup volume. That was my main commercial mouthpiece until finding the Nils, which I'm currently having Wedge-modified.

J

I use the Aida for small tenor, large tenor, and sometimes bass trombone. It's never had a tipping problem. Seems remarkably stable, but then again my bass is on the light side (Yamaha 620G). It's really a beautifully engineered stand.

For me, the Aida stand is by far the best combo of stability, durability, and portability. If someone can come up with a comparable design for less than $100 (Aida is $150), more power to them!

J

Don Drummond was probably the most influential Ska / Reggae trombonist of the 20th century.

For horn arrangements, check out Burning Spear - very tight horn sections on his tracks, textbook voicings and relatively sophisticated harmonies.

You'll find that most solos and horn lines in this genre are intentionally simple, mostly pentatonic (and diatonic). Interesting Reggae solos usually make use of great phrasing and rhythmic devices, but are harmonically quite tame. If you want to create more harmonic interest, start with learning to use a little bit of chromaticism (passing tones, upper/lower neighbors), non-chord tones (suspensions, etc.), and start thinking 'above' the changes (extensions or 'upper structures')... but be careful not to lose your connection to the Roots & Riddim (play in the pocket!). Reggae audiences are mostly after a mellow, uplifting experience - assaulting them with altered dominants probably isn't the way to go.

Here's a hint: if you really want to lock in to the melodic content of a Reggae tune, listen to the bass line - it's all there.

J

My Shires .547 has a great high D in first position (I assume that's what we're after).

On other axes, I will tend to use a different position/partial for that note.

J

Thanks for the props, droffilcal.

SALE PENDING

Selling a Yamaha 321 4-valve inline (non-compensating) euphonium in good condition. Used lightly by a professional trombone player for the past 4 years, in excellent condition: valves are smooth and fast, good compression, all tuning slides move freely. A few small dings, light lacquer wear at contact points - plays very well. Includes a case (old style), no mouthpiece. Asking $1000 or best offer.

This is a great horn at a great price for a pro doubler or advanced student. I'm selling this horn only because I have upgraded to a compensating euphonium.

Buyer pays shipping from Canada, pictures available on request.

Offered for sale is a rare 1939 Conn 12H Coprion trombone. Owned and played by me professionally for about 6 months in salsa bands, jazz, rock, etc. , but I 'm selling it because I've found a Conn 24H that works even better for me.

Condition: absolutely mint for a horn this age. Lacquer has been intentionally stripped from the bell and handslide, but has been left intact on the grips and tuning slide bow. Handslide is a perfect 10/10 - absolutely the most perfect slide I've ever played on, no wear on the inners at all. Tuning slide moves freely, horn is very clean inside and out. The combination of copper bell, nickel trim, brass tubes is very striking and beautiful. The counterweight is unique, with a tiny (non-functional) clock set inside it! This is a great horn for a pro, weekend warrior, or serious student.

$650 or best offer: includes original slim case in good condition. I can probably throw in a small-ish mouthpiece too, it you need one. Buyer pays shipping from Canada, pics are available if you're interested.

Speaking as someone who makes a part of a living teaching private lessons, you're going about this the wrong way, Project13. Think about this: pro players & teachers only have 24 hours in a day, just like you. We're frequently busy with gigs, PAYING students, family, practicing, writing/arranging, etc. Our time is valuable, and just like any other pro (dentist, lawyer, athlete), we expect to be compensated for demands on our time.

Having said that, most musicians aren't it in for the money; we're in it for the art. And most teachers are in it for the propagation of our art. I have on occasion taught and mentored talented, motivated students who can't really afford lessons. Compromised rates and skills exchanges can work out. For instance, one of my adult students is a talented seamstress; she does clothing alterations and repairs for me and my wife in exchange for weekly lessons. If a student has drive, respects the art, and practices diligently, I will not turn him/her away because of insufficient finances.

Someone who 'just wants to learn some new jazz licks' doesn't sound like the kind of serious, devoted student I would want to donate my time to. Like Bruce said, listening and transcribing are free, you don't need someone to spoonfeed you jazz licks. If instead you wanted to better understand underlying language of jazz music, you might have better luck finding a mentor.

And bringing your 'God' into it... Just a bit tacky, man.

J

King Jiggs
Yamaha 897z
Yamaha 891z
Bach 16MLT

All extremely nimble horns... but not exactly my cup of tea, old Conns fit me better. My favorite of the 4 would be the 891z.

J

You will find a lot of 32H fans on this forum, and just about all of them will tell you that they blow differently than just about anything else out there. Not the most even blow, and the pitch (partials) takes some getting used to... not to mention the long, narrow build. You have to spend a lot of time on these horns before you can get them to really SING. The sound is dense with complex overtones and great projection, blends surprisingly well with trumpets and saxophones... NOT so well with certain trombone sections (not all). A 78H bell will fit a 32H slide if you want a larger sound, better for salsa and section playing for me. My custom BAC 32H slide (w/ either bell) has the best false tones of any horn I've ever played, period. For me, a 6.75C with a .250 in throat is a great fit, 6.5AL makes it work on certain legit gigs as well.

J

Hmmmm... I see where our definitions are crossed. In what I was calling the 'rough buzz', my bottom lip is firm and flat against my bottom teeth, not flipped out in any way. Top lip is the primary vibrator, and is definitely relaxed and free to buzz... my sound cannot in any way be called 'blatty' when I play like this, and I make my living and reputation on being a warm, lyrical player. Like I said, this buzz is closest to how I actually approach the horn in all registers... and it works as a freebuzz from about  downwards, though it tends to lose focus above  . So I guess my 'rough buzz' is actually a 'fine buzz'?

Earlier  I was also referring to the 'fine buzz' as happening with a rolled in top lip (less vibrating lip mass) against a firm bottom lip... which results in an effortless, bright, clear, effortless upper register at the expense of anything below  . Not really practical as an overall way of playing, but I've learned a few things from it. I guess this 'fine' buzz could be call a 'novelty' buzz instead...

My anatomy is a bit unique in that I have extremely large, soft, fleshy lips (expecially top lip). By rolling in the top lip, the vibrating surface/mass area is reduced and extremely high pitches result effortlessly. On me, the rolled in formation actually looks pretty normal... lots of vermillion, still a pretty thick, fleshy top lip. But again, most of the bread and butter range in not accessible with this formation.

Doug, I'd love to arrange a lesson with you sometime to sort this (and a few other things) out in person...just have to find my way out DC sometime soon, if you're willing.

Best,

J

Thanks for the feedback, Sam! Funny enough, my exploration/discovery of this stuff was sparked by that lesson we had @ your studio a few years back - the diagnostic exercise above really helped me to identify my own 'breaks'. I'm in the (endless) process of timing in and 'blending' a few of the trickier breaks (scales, arpeggios, glisses, MUSIC crossing the break), and learning which compromises I have to make on different equipment. I've turned some of my more advanced students on to these concepts as well, with positive results.

Anyone out there who doesn't yet have Sam's book... it can be life-changing.

Thanks again, Sam!

J

I find this really interesting, as it relates directly to a few things I'm working on right now. In my freebuzzing practice, I have also noticed two distinct flavours of buzz - the 'fine' buzz for me is very light and airy sounding, using less lip mass (perhaps a bit rolled in), and the 'rough buzz' which is more rolled out and 'buzzy'. The ranges of the two buzzes overlap significantly - fine buzz works well from middle F upwards past altissimo F (most days), and the buzzy buzz works well from around  downwards past pedals (most days). So about an octave of overlap. When warmed up, I can usually freebuzz across that break seamlessly, resulting in a many-octave 'siren' from low raspberry buzz to altissimo notes and back down. However, add a mouthpiece and/or rim and crossing that break becomes more complicated. For instance, If I set for a 'fine' buzz on  and add the horn, I can slur pretty comfortably up to around  or higher with control and a bright, clear sound... but that setting becomes less useful below around  ; small, weak sound prone to airballs. The 'rough' buzz, on the other hand,when put on the horn is totally useable through the standard tenor trombone range (pedal G ish through high C# and a bit beyond)... but definitely not as easy in the higher extreme, especially above high C#. The 'rough' buzz gives me my ideal 'open, warm trombone sound' in most ranges, whereas the 'fine' buzz feels like a laser beam in comparison. This is all on a 6.75C , for reference... Shift points are different on larger and smaller rims (11C through Schilke 59 in my case). I've played around with smaller and larger, too. 'Fine' buzz works well enough on a trumpet mouthpiece and 'rough buzz'... not at all! Vice versa for tuba.

What I've discovered lately is that by allowing the 'fine' buzz to inform the 'rough' buzz, I've found a sort of compromise between the two, kind of like a firmer, more compact version of the 'rough buzz'... essentially centered around a freebuzz for a middle Bb. Very good things have been happening since I found this... above and below.

My feeling is that the 'rough' buzz is a bit closer to how I actually play the horn in most ranges, but the 'fine' buzz is the more useful one to practice for muscular development.

Eagerly looking forward to more comments on this...

J

Best advice ever given to me on sight-reading: play the time and let the notes just 'drop' into that time.

Practice sightreading Rochut etudes - great way to connect the ear/horn/time in all keys/ranges.

J

Depends on the listener, depends on the big band. Big band music can be absolutely thrilling for many audiences, mainstream or 'superfans'. By your own admission, you don't play in big bands or actively listen to them (except as incidental music in vintage radio), so you're probably not qualified to make judgments and/or gross generalizations about the genre. Maybe do a few dozen hours of serious listening then get back to us.

Man, what a ******** article/blog... Haters gonna hate, I guess. Excellent replies all around!

I will say this; in my local jazz scene, I have come across many musicians who are excellent soloists/improvisers, but relatively few who REALLY understand the nuances of large ensemble playing. And VERY few who are masterful in both contexts (I aspire to be like this one day). There is a joyful freedom to blowing solos with a responsive, communicative small band, and there is a wonderful thrill to playing with an impeccably tight big band. Different challenges and GREAT ART to be made in either context, as long as you're surrounded by competent, discerning like-minded musicians. And if you're not, then maybe it's just a paycheck... unfortunately, these days the level of financial remuneration is often inversely proportional to the depth of artistry on stage!

On the topic of 'unique-sounding' big bands, check out Kenny Wheeler's 'Music for Large and Small Ensembles'. Might be hard to find, not sure if it's still in print (ECM?). It features a big band composed mainly of soloists, including a few 'free' improvisers... Evan Parker (sax), Paul Rutherford (bone), among others... a few studio/session cats thrown in too. One of my teachers played on that record, and he said that it was a big challenge for all of those unique voices to come to a consensus... but the result is a very special, very different sound.

J

My .02

4H / 12H / 24H are variations on the same excellent design... don't pigeonhole them as dixie horns, they work great in a variety of situations. .485 bore, usually 7" bell, sturdy build (bell weights vary). For me, they blow much bigger than a 2B, much more gravity in the sound. Great projection, holds up better at loud dynamics than a 2B. Perfectly fine for lead in a big band, depending on the character of the band. Blatty? Maybe, if you choose to play like that... but for many, they sing. 'Too small to the point of being unplayable'?!? Maybe if you can't focus your airstream and sound concept enough to hang on small gear. 'Tight' with 'too much focus'? Compare one of these to any modern .500 horn, and you'll be surprised at how similar they feel... these small old Conns blow bigger than they are.

J