Edwards Lip Sulrs Melodies

Brad Edwards

Lip Slur Melodies

A melodic approach to building

tone and technique with lip slurs

© 2013, Brad Edwards, All rights reserved

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Table of Contents:

Part 1: Getting Started ... 1

Easier tunes that introduce the concept of lip slur melodies. Methodically introduces common alternate positions and trigger notes.

Part 2: Moving Along ... 10

The challenge gradually increases as does the harmonic variety.

Part 3: Soaring Higher ... 19

Helps to build the high range by gradually introducing higher “target notes” starting with high G and extending up to C. Tenor clef makes an appearance!

Part 4: Plunging Lower ... 33

Explores lower notes, especially those in the trigger range from F down to C. A few pedal notes are thrown in.

Part 5: Raising the Bar ... 45

Mastery of these pieces will help you develop mastery over your instrument. Start them slowly and work them up.

Part 6: Soaring Even Higher ... 60

Picks up where Part 3 left off, starting with high D-flat and sailing all the way up to high F. Take your time building up to these notes.

Part 7: Plunging Even Lower ... 68

Intended for the double-valve bass trombone but brave tenors are welcome to give it a shot. Ranges all the way down to a double pedal C-flat. Don’t pass out!

Part 8: Taking a Bow ... 76

Eight “finishing” etudes that require virtuoso technique to polish. Nail these and you can definitely take a bow!

Part 9: Playing Together ... 85

34 duets starting off fairly easy and ranging all the way to “What was this guy thinking?”

Lip

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and n break Here notes that fine p musi This mark Tips

p Slur M

rt 1: Get

On tromb natural slur k in the ove e are some e As you ch s jump betw one should players emp ic. example re But, even ked with a t s for Impr • Ke th • Ke em sh • Ke yo yo so • Li po al fo

Melodies

tting Sta

bone, our le rs. Natural ertone serie examples: hange pitch ween partia d legato tong ploy natura equires som n here, it is tilde (~) sym rovement:

eep your air hese pieces w

eep your em mbouchure hould be fir

eep the thro our breath. our throat m ound. isten carefu ositions and so hurt you or pitch!

s

arted

egato playin l slurs occur es. hes, it isn’t n als of the ov gue every n al lip slurs t me legato to possible to mbol. : r stream ste will greatly mbouchure should be m m (no air p oat relaxed If you hear may be too t ully to pitch d trigger no ur tone. As ng can invo r between a necessary t vertone seri note for the to avoid bre nguing: o employ so eady and m y improve yo corners ste more relaxe pockets) wit

and the air r a high gas tense. The h. Especiall otes, it is ea a tromboni olve a mixtu any two not

to use the to ies. There i

sake of con eaking the a

ome natural

move the slid our slide sp eady. The c ed so it can th minimal rway open. sping sound breath sho ly when you asy to mispl

ist, you can

ure of legato tes with a n ongue since is a school o nsistency bu air stream i l slurs (at th de precisely peed and ac center of th n vibrate. T movement Listen to t d when bre ould make a u begin to u lace the slid n never stop o tonguing natural e these of thought ut many in legato he spots y. Masterin ccuracy. he The corners t. the sound o athing in, a soft, low use alternat

de. This wil p listening

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of

e ll

Moderato

Moderato

Allegretto

Part 1: Getting Started

1.1

1.2

1.3

4 Allegretto 4 simile 4 Moderato simile ₁ 1 4 1 4 rit. a tempo 1 4

Introducing Some Useful Alternate Positions

Remember that, like the E-flat next to it, this note is on the 6th partial (or "F partial") of the overtone series. That partial is usually sharp. Listen carefully and correct as needed.

1.13

Lip

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isn’t some Tips

p Slur M

rt 2: Mo

Now it’s necessary t e articulatio s for Impr • W no • Ac ea sli • Pr do H Be wi Sl • Pl to dr H th it

Melodies

oving Al

time to add to legato to on at the be rovement: Watch out fo otice how te ccurate slid asy to play w ide placeme ractice slow on’t invest e ere’s an exa e sure to sp ith some slo

low practici lay with dir owards or aw rinking from ere’s an exa Be sur he following certainly sh

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d some com ngue within eginning of : or tension – ense we are de – As thes with a slopp ent! wly – Most p enough pra ample from pend enough ow practice ing is your “ rection – M way from a m stagnant ample: re to play th g 8th _notes. houldn’t be mplexity to t n any slur. a slur, how – Tension is e as we work se melodies py, inaccura people don’ actice time p m the upcom h time work e. Perhaps “secret wea ost musical “target not water, you hat sustaine This isn’t q e a diminue these melod You will pr wever. s the enemy k to master s get more c ate slide. B ’t slow thin playing thin ming section

king out tha something apon” to eff l lines have te.” Just as should avo ed C with a quite the sa ndo. dies. Reme robably wan y. We often r tougher m complex, it Be very prec ngs down en ngs slowly. n: at 16th _note like this: fortless play e a feeling o s you would oid stagnan feeling of d ame as a cre ember, it nt to use do not material. is all too cise in your nough and Be patient e passage ying! of motion d avoid nt notes. direction to escendo but r t! o t 10

Moderato V1 4 Moderato 4 ₄ cresc. 1 cresc. rit. _{a tempo} cresc. 4 4 1 2.3 2.4

Andante 4 4 3 5 3 cresc. 5 V 3 3 Allegro scherzando 5 6

Expect to start seeing some harmonic "curve balls" every now and then. This next one floats between C major and C minor.

2.11

2.12

Lip Slur Melodies

Part 3: Soaring Higher

Now it’s time to build up to some higher notes. This next section

methodically works to higher and higher target notes starting with G and ending with C. Each target high note has two pages of material devoted to it. Patient work with these etudes will help you build strength in the high range. Don’t be discouraged if your high range doesn’t develop as quickly as this book progresses. These etudes should supplement other strategies for building high range.

Tips for Improvement:

• Stay relaxed – Many brass players tense up too much for high notes. This is especially true in two areas: the throat and mouthpiece pressure. Tension is the enemy.

• Use fast air – High notes require cooler, faster air under greater pressure.

• Notice your oral cavity and embouchure – For low notes, think of the “ah” vowel. For higher notes, an “ee” might help. For most players, rolling in the lower lip slightly also helps. This causes the air stream to point down.

Keep those embouchure corners firm! Avoid turning the corners up into a “smile” for higher notes. For most players, this weakens the tone by spreading the upper lip too thin.

• Glisses are helpful – Play a glissando in from a long position to a shorter one. Like this:

• Patience is helpful – In fact, patience is critical. It takes as long as it takes! Work at it a little bit each day. However, if you’re tired, give your lips some time to rest. This allows the muscles to rebuild and strengthen.

• Low notes are helpful – There’s an old saying, “The low supports the high.” Learning to play low notes with easy warm air seems to pay off in helping the high range.

• Yes, slurring to these notes is harder – Tonguing the notes may help them come out but slurring to them will provide greater benefit in building embouchure strength.

Singing fully rit. _{a tempo} Cantabile 1 4 ₄ cresc. Extending up to G

Occasionally, you will see longer slurs suggested with a dotted line.

Part 3: Soaring Higher

3.1

3.2

3

Andante con moto

4 1

( )

4 3 3 3 3 cresc. ₃ 3 3 3 3 3 3 Flowing (in 6) 4

con moto rit. a tempo

4 5 3 rit.

Extending to A

3.7

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notes

Tips

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It’s impo s. In fact, I

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• Slow, Reme you e you m more blow • Open and to separ • Roll O roll o more • Mout teeth, even be do • Don’t spot” at firs Just i positi I tune trigge

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, Warm Air ember how ever blown a might want vibration t this way. n Up – Open owards an rate your te Out – I find ut a bit. Th . thpiece posi , you may fi tilts up a bi one within a t Force – W in partners st. Seek res in case you ions, here’s e my F-atta er to be a lit

es

g Lowe

lance all th ys found th

ent:

– Have you you took a air across a to use a str than fast air n your oral “aw” sound eth a bit mo d my low no his naturally ition? – As find that you

it more. As a slur it sho With low not ship with yo sonance! need a quic s a guide: achment so ttle flat. Ot

r

ose high no hat a good lo u ever used deep breat a jug to mak raight mute r. Low note cavity by m d. Notice ho ore. otes come o y causes th you roll ou ur mouthpi s long as thi ould be fine tes, you’re r our instrum ck refresher the 1st _posi thers tune t otes with so ow range he d your breat th and used ke it vibrate e. Same ide es usually s moving awa ow your ton out better if he air stream ut your lowe iece moves is improves . really searc ment. Don’ r on the F-a ition C is in to the F inst ome rich, da elps my hig th to fog up d slow, warm e? If a jug i ea: slow air sound bette ay from an “ ngue drops f I allow my m to angle u er lip and o down sligh s your soun ching for tha

t try to play attachment n tune. This tead. ark low gh range. p a window? m air? Hav sn’t handy, will yield er if you “ee” sound s down. Als y lower lip t upwards open up you htly and nd and can at “sweet y too loudly t slide s causes the ? ve so, o ur y e 33

V 2 Unhurried V 5 6th ... 4th ... V 7 6 3 3 6 V6 Noble V5 3

( )

cresc. 6 ₆ 6

Part 4: Plunging Lower

4.1

V Somber ₆ V 6 2 6 5 Fine 2nd time..ritard 3 6 V ₂ 6 Fine 5

Waltz (in three)

2

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1 6 Accurate slide! 5 V V ₆ 5 5 5 6 rit. D.C. al Fine

From here on, you will often see a valve marking without a slide position indicated.

4.6

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me s

Tips

• S • R st h “p se Keep to los

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low it down Really hear t truggle with hear the inte

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n! : Yes, thi the interval h somethin ervals at wo example: Th quence” ins nor triads in accurate: A curacy.

es

the Bar

thinking, “ my teeth int

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s actually w ls: There ar ng, isolate th ork. here isn’t a stead. If yo n inversion As you play

r

I’m bored w o.” Fear no works. Do i re some une he trouble s a clear tonal ou “decode” n… y through th

with all thes ot, things w it. expected pa spot and ma l center in t ” the accide hese “positi se easier pi will get trick

atterns in h ake sure yo this pattern ntals, you w on sequenc ieces. Give kier. here. If you ou really n. It uses a will find a

ces” it’s easy u

Unhurried

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4 4 V 5 cresc. V 5 4 4 Agitato 2 5th ... 4 5th ... rit. ₄ 5.5 50

4 5

Allegro con fuoco

4 5 2 4 1 4 5 ₄ 4 dim. Fine Flowing 3 3 V 3 3 3 3 3 3 3 3 3 3 3 D.C. al Fine 5.12

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Build a tim

Tips

• • The “Exte If you of th Gli of gli Note it ma

p Slur M

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ding a stron me, for a lon

s for Imp

Watch ou the blood tired soo Keep tho the uppe e etudes in ending to G u struggle w e book. ssandos can isses from 6 e: at times y akes sense t

Melodie

oaring E

ng high rang ng time, yiel

proveme

ut for mout d flow. No b oner and, ov ose corners er lip thin. I this section G.” The etu with a new n be helpfu 6th _{to 1}st_{. S}

you will see to use trebl

es

Even H

ge takes pa lds nice res

ent:

thpiece pres blood mean ver time, ru firm: Allow It may work n build up g des in this l “target not ul to help yo Something l treble clef e. (I decide

Higher

atience. Wo sults. ssure! Push ns no oxyge un the risk o wing the mo k at first bu gradually. Y little sectio e,” give it ti ou build up like this: in this sect ed to avoid ork at it stea hing in that en for those of injury. outh corner ut won’t pay You will see on work up t ime, work o your high r tion. When our friend, adily. Doin t mouthpiec e muscles. Y rs to turn up y off in the l e section tit to the G bu on some oth range. Try n the notes g , Mr. Alto C ng a little at ce cuts off You’ll get p spreads long run. tles like, ut no higher her sections a sequence

get this hig Clef.) t r. s e gh, 60

Relaxed and lyrical 4 4 3 4 cresc. dim. rit. Joyfully 4

( )

1 4

Extending to D-flat (C-sharp) Part 6: Soaring Even Higher

6.1

6.9 Mournful waltz Fine Hopefully 4th ... rit. D.C. al Fine 6.10 Relaxed cresc. 4 Extending to E 66

Lip

Par

This of dif Teno aren

Tips

• •

p Slur M

rt 7: Plu

s section w fferent valv or tromboni ’t natural sl

s for Imp

Don’t for force the you migh being for takes to p Listen ca Sometim sound th listen car Here’s etudes. T unclear, help your

Melodie

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as created w ve configura

ists are wel lurs on a sin

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rce the air: ese notes. If ht mistaken rceful with t produce a b arefully to p mes we are s hat we disre refully to th an example The second start in tha r ear when

es

g Even

with the do ations and t lcome to try ngle-valve t

ent:

Lower note f you hear a nly assume t the air. You big sound. pitch: The e so proud of egard the in he intervals e: The first line is that at upper oct playing in t

Lower

ouble-valve tuning syst y these but tenor. es require sl an advance that, becau u would be extreme ran popping ou ntonation. P . line shows same sequ tave and rea

the lower o

bass tromb ems, few m they will fin

lower, warm ed player pla use of the lo

surprised a

nges can eas ut these low Play things a note sequ uence up an ally lock in octave. bone in min markings are nd some in mer air. Yo aying loud oud dynami at how little sily go out o w notes with up an octav uence from n octave. If the interva nd. Because e included. tervals that ou can’t low notes, ic, they are e effort it of tune. h a big ve and m one of the pitch is als. This wi e t ill

Plodding steadily cresc. 4 Dancing gracefully 4 7.4 7.5 71

Light and playful

cresc.

Flowing

7.8

Lip

Par

The impo than you c

Tips

• • •

p Slur M

rt 8: Ta

ese last eigh ossibly diffi

the technic can nail the

s for Imp

Work the Patiently more com Use patie to add la the myel typing, te slowly an body lear All it take Watch ou faced wit excessive few deep Believe other wo Become m material great div Here is becomin

Melodie

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ht pieces pr icult. The m cal challeng em, take a b

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em up over y work on sm mfortable. ent repetitio yers of mye in is added exting or so nd somewh rns to rapid es is time a ut for tensio th a challen e tension to p breaths, al e me, it is al ords, many o more aware in a relaxed vidends in th s a little rela g too tense

es

a Bow

rovide a gre musical stat ge. With pa bow. You’ve

ent:

time: Pick mall section on: Recent elin insulati d and thus s ome newer at clumsily dly execute and patient on: It is a n nging task. o creep into llowing the ll too easy f of us play w e of this ten d manner. he future. axing seque … eater challe tement shou atient pract e really acc one piece a ns, repeatin research h ion to nerve kill become form of dat y. With repe actions tha repetition. natural hum As you tack your playin tension to for tension t with higher nsion and fi It may be h ence you can

enge. Howe uld always tice, they ca complished

and live wit ng them slo as delved in es. As a seq es more aut ta entry. At etition (the at previousl man reaction kle these pi ng. Pause f leave your to sneak in tension lev ind ways to harder at fir n play if yo ever, they a be more im an be maste something th it for a w owly until th

nto the bod quence is p tomation. T t first one m e adding of ly seemed im n to tense u ieces, don’t frequently a body. “under the vels than we o approach t rst, but it w ou find your ren’t mportant ered. Once g! while. hey are dy’s ability practiced, Think abou moves myelin), th mpossible. up when allow and take a e radar.” In e realize. tougher will pay rself ut he n 76

5 Flowing 4 _{5th ...} V

( )

cresc. 5 2 5 1 5 ₅ dim. Fine 6 ₅ 5 4 ₅ 5 cresc. 5 5 ₅ D.C. al Fine 8.3

Driving dim. Fine cadenza 5 5 5 5 5 5 accel. accel. D.C. al Fine rit. 8.4 80

Lip

Par

As fact t heard inter depa diffic

Tips

• • •

p Slur M

rt 9: Pl

I was writi that it woul d I was writ rest, I wante artment. To cult. Enjoy

s for Imp

Have Fun player th place. W each day Listen to be two in time. Ble partner a Tune, tun Make sur discord b things up adjustme interval. in which adjustme natural s In this by 14/10 5:4 ratio this trick You migh lock into Here’s a Here’s an

Melodie

laying T

ing this boo ld contain d ting “some ed to make o that end, h !

proveme

n: Sometim hat we lose s Whether thro y to simply e o each other ndividuals p end your so and listen fo ne, tune: M re these not between two p. Rememb ents away fr Electronic

all keys are ents, so eas state of pure example, th 0 of a half s of a real m kier on the t ht be surpri place. simple way Majo Min n even shor

es

Togeth

ok, I was su duets. Som kind of due sure that I here are 30

ent:

mes we get s sight of wha ough these enjoy playin r: Some peo playing inde ounds into o or the nuan Most of the c tes “lock in o notes, try ber that, esp

rom “in tun c tuners use e the same b y on a trom e ratios. He he top voice step (also k major third ( trombone is ised just ho y to rememb or 3rds _and nor 3rds _an rter version Major

her

urprised at t me people co et book.” G didn’t shor 0 duets rang so caught up at made us duets or th ng your inst ople put on ependent n one finishe nces in their cadences in n” to each ot y that spot a pecially wit ne with the e equal temp but none ar mbone slide ere’s an exa e will need known as 14

(if the botto s that this E ow much yo

ber the mos

d 6ths _{- top} nd 6ths _{- to} n: r down, m the level of ontacted me Given this a rtchange pe ging from fa p in “worki fall in love hough other trument! blinders as notes at mor d product. r playing! O n this sectio ther. If you again and s th 3rds and tuner” can perament, re ideally in e, can return ample: to lower th 4 cents) in o om note is i E is usually ou need to l st common p note dow op note up minor up interest sh e because th apparent lev eople in the fairly easy to ing” to be a e with music r material, f s they play. re or less th Be very aw Open up yo on use octav u hear “beat ee if you ca d 6ths, smal really impr a comprom n tune. Tho n intervals t he E of the la order achiev in tune!). W y sharp to be lower this n n adjustmen wn a bit p a bit own in the hey had vel of e duet o rather better c in the firs find time Don’t just he same ware of your our ears. ves or third ts” of an line ll rove the mise system ose small to their ast measur ve the pure What makes egin with. note for it to nts: st t r ds. m e e s o

9.1 Singing fully 9.2 Flowing cresc. cresc. 4

Part 9: Playing Together

4 9.10 6 Joyfully 1 V 4 V V

( )

V Fine 5 cresc. cresc. 2 D.C. al Fine

9.18 Forlorn dim. dim. con moto 3 3 3 3 V 3 3 rit. rit. 6th ... 105

9.27 4 5 Allegro vivo 5th ... 3 3 cresc. cresc. 3 3 3 3 5th ... dim. dim. 5 V 3 5 4 5 4 V dim. dim. V V cresc. cresc. 5 4 cresc. cresc. 3rd ...

4 4 5 cresc. cresc. 3 3 3 3 dim. dim. 5 4 1 3 3 5 3 5 4 3 V 3 5 cresc. cresc. 1 V cresc. cresc. 5 1 V 120