Trae ied INSTRUMENTS MOUTHPIECES o TRUMPETS LDR eT a a eee Creates Comets-Fluegelhorn. 5 Lechter coe Oo TUNING-BELL TRUMPETS Derr ee a ee cy improving intonation and See offer varied tone color. Gm s8 TRUMPETS and CORNETS Mac ea Dy Moderately priced, these in- Se ers De and comets priced much rig 5 el Cees STANDARD ued Precision made for Trumpet, fn bone, Euphonium and Tuba. CATALOGS INSTRUMENTS, MOUTHPIECES will be sent on request to schools and Schilke Music, Inc. 529 So. Wahash Ave Chicago, II. 60605 312-922-0736 professional 56 ness a Equ? Introducing the F Attachmey The F attachment or trigger on a trombone obviously allows the play ‘0 add range, and eliminates the d for long position changes; but embouchure correction is another very important advantage that is not well known. Students can usually obtain a reasonably satisfactory tone quality nthe bone, cure, ften don’t appear until extremes are attempted The most common fault in ap- proaching the middle register of the trom: their embou- 0 embouchure problems instrument is a tendency to allow the lips to extend in piece causing reduced volume, lo pitch, and a nasal tone quality. In order to compensate for the pitch change, an aurally-alert student will shorten the slide. As a result, the tubing length needed for maximum resonance will be incorrect and the fone will not be centered. The llusion created by the presumed necessity to shorten the slide leads to the misconception that the posi he BP and F sides of the trombone correspond Actually the slide of the Bb-F tenor trombone is designed to take e of the seven chromatic altera: tions on the Bb side only. When the Jack Flouer the valve or tr be lengthened proportionate order to lower each pitch a ful he slide is ml step. Because Bb sside there are only six us slide positions with the F a ment. In order to emphasize il differences I recommend to mail dents that they refer to the posi on the F side with Roman nun and those on the BP side with Aug numerals. This practice helps dl terms of a long third, or a sll short fifth, and it accent concept that slide Jack Flouer is professor of Kansas State U tan). He received Marshall Universi Maurice Fautkner is ing Editor for the Brass Cliil ed a PhD degree from Sie versity of Califo he U Barbara nia, SeUPHONIUM MUSIC GUIDE — Barle Louder Here isa comprehensive guide to the literature for euphonium, an instrument rapidly growing in popularity, written by one of Its foremost autherities. Solo works, transcriptions, solos from other musical media, methods, etudes, and ensemble works are Included to give o comprehen: sive list of available literature, Also included are contemperary works still in manuscript form but available from the composer. Besides title and composer, each isting details the publisher, date of publication, price, length, grede, range, tempo and usually @ brief note from the author on the piece's character. No such guide has been available up to this time. 46 pages peper bound, $6.00 The Instrumentalist Co. 1418 Lake Street, Evanston, Illinois Propaid orders will bo sent postpaid. a si , r roc T oom Wt ‘The correct approach in teaching good embouchure for the expanded Tower register requires that the jaw move forward and down. Iti essen tial that the lips stay against the teeth and that the corners maintain tension so that the air stream passes over as little area as possible. How to Begin My most successful approach in teaching students to deal with the F attachment is to begin on common ground and start in first position on c Example 2, F Attachment I¢ is important to find the correct slide placement for each position tsing familiar notes. rather than beginning with the F which is new ground forthe student. The obvious advantage to this approach is that the student can relate to pitches ‘which he has already played on the Bb tenor trombone. It is also less likly thatthe pitch will be affected by the embouchure. For example, the student begins with Cin fist position withthe rigger, then B! in Second postion, chen B® which can be checked against BP in first posi tion on the BP side, He learns that the Bb, position Ill on the F side is much further out on the slide than the normal third position on the Bb side. Alter following this procedure for the A, Ab, and G, the student has learned the location of the six positions on the F attachment (ex: ample 3) Example 3. tb Side F side The next step in learning to use the F attachment is to expand note production into the instrument's lower range. The student should first locate the correct slide position for the notes he has studied and then play the pitch a perfect fifth lower without allowing the slide to move. This exercise forces the stu: dent to bring the lips back against the teeth from their extended posi: Ten G00 corners of the mouth. Ifthe tion with the embouckure made, the resulting pitch," ‘out of tune, Example 4. Av this point a student m lack good tone quality and flex in moving into the lower regisin order to correct these problenys jaw should be allowed tm downward and outward. Wher player first attempts this motig is often exaggerated. To offse exaggeration use the BP side cf} instrument and have the stud lift the slide when playing F (wh holding his head stationary), us the point of contact of the mout pieee on the upper lip as a piva. the head is not allowed to tlt wards and the embouchure sma tained, the jaw must follow te lower portion of the mouthpiece order to maintain a seal. As ty lifting continues, the pitch will bg tadrop until eventually it will fall Bb with little or no relaxation ofthe lips. After working with these br rmonics in all positions. the same exercises may be attempted wih the F attachment, playing betwee Cand F. This horn tilting isa pe tice used by many bass trombonist to some degree as @ normal pre dure. It also works with baritor and tuba but the head is droppel rather than changing the angle the instrument ‘Though flexibility and consisten may be increased by tilting th horn, tone quality is not helpel because the jaw does not mov downward. Therefore studen's should watch ina mirror while pet forming these techniques, concet trating on keeping the skin coverité the chin flat and stretched through out so the jaw will be forced intothe necessary downward position as moves forward ‘A degree of security and cont dence can be achieved this way and a properly-formed embouchare should be evident. Continued use ol lip slurs encompassing all positions on bath sides of the instrument will help maintain this embouchute formation and a noticeable improve ‘ment in playing should result.