Hello, this is a 7 year long reply! I've come back to this video to practice and saw your comment first, so I'm pleased to inform you that Mr Markey has made a video series on the low register! You can find it easily as they're very recent, and it looks like you're still playing trombone - so happy practicing!
I concur with some of the previous comments, please post an extreme low register video. I have been listening to your recording of Tetra Ergon, and I love your sound and finesse on the pedal Ds and pedal C. Any insights you have would be beneficial.
This is really helpful information. I would be interested to get information on how the direction of the airstream should change as you ascend higher into the upper register. My sense is that it becomes directed downward more incrementally relative to the specific note(s) in the range. Perhaps I'm not sensing it correctly... I have always had challenges with the upper register (as a bass trombonist). I am committing myself to overcome that however. Thank you for this video.
I would appreciate a side view when when you are describing embrasure adjustments as the range changes. Also, is it ever desirable to switch mouthpieces when switching the kind of music being played? I do a lot of low register work in big bands, but hardly any in a concert band. I have always assumed that it is better to always use the same mouthpiece all the time but I do lose notes in the upper register.
I'm no James Markey... But personally, randomized drones have helped me in addition to some glissing exercises to better find where the slide and buzz have to meet. Make sure you're filling the note out completely, which seems simple enough, though I was made aware of it in a lesson where it was pointed out that I was playing in tune but my slide positions were completely inconsistent. This is an artifact of bending the note which keeps you from finding where they best resonate, since the pitch doesn't actually match up with the ideal overtone series for the length of the trombone at that given moment. Once you find the resonance you can place slightly more reliance on slide accuracy for tuning which also has helped me with steadying pitches throughout my dynamic range. Hope this helps some!
Hey Mr.Markey! Not sure if you'll see this but I figured I'd ask. I have been trying to fix my almond shape emborchure and I can only get it on middle Bb on the staff. I'm not sure how I can work on it because no matter how slow I go or where I start it still shifts inside the mouthpiece so it's hard to even be aware of it
That’s a good question! First off, there are constant changes inside the mouthpiece; it’s the reason why it’s important to be as stable as possible outside, so that only the things that need to change do so. So yes, my aperture on a low Bb is very different from my aperture on a high Bb. If you check out my video on extreme low register you can get a sense of what’s happening inside, or at least my best descriptions of it. It means that our aperture is constantly changing, and therefore you can’t really lock yourself into one particular setup. Even dynamics within one note will change the aperture size, from smaller at soft to larger at loud. And there’s nothing for us “to do” about these, since it’s more a matter of allowing the changes to happen (most of the time when we have trouble playing, it’s because we’re getting in our own way). If you’re getting a good sound, chances are you’re doing what you need to do. If you aren’t happy with your sound, this video might help self-diagnose what you need to do differently to make the change to a more desirable sound. It’s less a video about “always do this,” and more about correcting in order to get a more desirable result.
@markeybone Ah! Awesome. I got too caught up going for all the ideal physical shapes and changes that I forget I have to allow myself to change. Awesome, amazing advice Mr.Markey I can't thank you enough. You're one of my biggest inspirations
Please for the love of all, don't say air controls pitch. Lip posture does. The smaller aperture IS more resistive, and efficiency is lower as one ascends. Requiring more air pressure as you ascend.
I think if you watch the entire video, you’ll see that I talk specifically about what the lips are doing, particularly with embouchure engagement to make sure that the aperture stays round. Check it out!
Can you please do a video regarding the trigger register of the bass trombone? Thank you!
Hello, this is a 7 year long reply! I've come back to this video to practice and saw your comment first, so I'm pleased to inform you that Mr Markey has made a video series on the low register! You can find it easily as they're very recent, and it looks like you're still playing trombone - so happy practicing!
I concur with some of the previous comments, please post an extreme low register video. I have been listening to your recording of Tetra Ergon, and I love your sound and finesse on the pedal Ds and pedal C. Any insights you have would be beneficial.
This is really helpful information. I would be interested to get information on how the direction of the airstream should change as you ascend higher into the upper register. My sense is that it becomes directed downward more incrementally relative to the specific note(s) in the range. Perhaps I'm not sensing it correctly... I have always had challenges with the upper register (as a bass trombonist). I am committing myself to overcome that however. Thank you for this video.
I would appreciate a side view when when you are describing embrasure adjustments as the range changes. Also, is it ever desirable to switch mouthpieces when switching the kind of music being played? I do a lot of low register work in big bands, but hardly any in a concert band. I have always assumed that it is better to always use the same mouthpiece all the time but I do lose notes in the upper register.
So I have a question on what exercises to help pitch center?
I'm no James Markey... But personally, randomized drones have helped me in addition to some glissing exercises to better find where the slide and buzz have to meet. Make sure you're filling the note out completely, which seems simple enough, though I was made aware of it in a lesson where it was pointed out that I was playing in tune but my slide positions were completely inconsistent. This is an artifact of bending the note which keeps you from finding where they best resonate, since the pitch doesn't actually match up with the ideal overtone series for the length of the trombone at that given moment. Once you find the resonance you can place slightly more reliance on slide accuracy for tuning which also has helped me with steadying pitches throughout my dynamic range. Hope this helps some!
it is really good
Could you kindly do a video on your approach to the lower register? I am a bass trombonist but my low register is probably my weakest register.
octave excercises
octave excercises
@@coldhands4799
Yeah
Hey Mr.Markey! Not sure if you'll see this but I figured I'd ask. I have been trying to fix my almond shape emborchure and I can only get it on middle Bb on the staff. I'm not sure how I can work on it because no matter how slow I go or where I start it still shifts inside the mouthpiece so it's hard to even be aware of it
That’s a good question! First off, there are constant changes inside the mouthpiece; it’s the reason why it’s important to be as stable as possible outside, so that only the things that need to change do so. So yes, my aperture on a low Bb is very different from my aperture on a high Bb. If you check out my video on extreme low register you can get a sense of what’s happening inside, or at least my best descriptions of it.
It means that our aperture is constantly changing, and therefore you can’t really lock yourself into one particular setup. Even dynamics within one note will change the aperture size, from smaller at soft to larger at loud. And there’s nothing for us “to do” about these, since it’s more a matter of allowing the changes to happen (most of the time when we have trouble playing, it’s because we’re getting in our own way).
If you’re getting a good sound, chances are you’re doing what you need to do. If you aren’t happy with your sound, this video might help self-diagnose what you need to do differently to make the change to a more desirable sound. It’s less a video about “always do this,” and more about correcting in order to get a more desirable result.
@markeybone Ah! Awesome. I got too caught up going for all the ideal physical shapes and changes that I forget I have to allow myself to change. Awesome, amazing advice Mr.Markey I can't thank you enough. You're one of my biggest inspirations
Thank you!
I can barely hit those notes on tenor.
What model is this trombone?
Edwards B502-I
lower register
I'm a tenor trombonist I'm good in both high and low ranges ok and my teacher makes me play the lowest part
*nobody asked*
@@퐝문질환
Nobody asked for you to be a dick.
Please for the love of all, don't say air controls pitch. Lip posture does. The smaller aperture IS more resistive, and efficiency is lower as one ascends. Requiring more air pressure as you ascend.
I think if you watch the entire video, you’ll see that I talk specifically about what the lips are doing, particularly with embouchure engagement to make sure that the aperture stays round. Check it out!
I did watch it.
Just put the fries in the bag bro, you ain’t getting an orchestra job
やっぱり外国の方はお上手で。
ただ、何て言ってるのかわからないという問題を除いては。