![]() ![]() One is our tendency to tongue every thing. ![]() There are some traps trombone players tend to fall into when playing valves. Eventually reading in other clefs helped me tie everything together. To actually learn valves, I started with scales, moved to Rochut, real book stuff in simple keys, then graduated to more sharps and flats. You can read in other places about compensation, that's another intonation option, usually only available on more expensive euphoniums. More valves = more alternate fingerings = more intonation options. Similar to using a gps in your car - if you just follow the gps you won’t really know how you got there, but if you figure it out yourself you’ll remember it forever. Things like that.įor me, don’t worry too much about the theoretical learning, beyond quick glances so you’re not stabbing wildly and getting frustrated. Play a bunch of diatonic things in B♭ so you can really learn those notes before you move on. Also, play things you know, easy ballads, simple short tunes, etc. The Remington long tones are, as always, excellent, because they give you plenty of time to focus on tuning and air, but also force you to make larger jumps. Play scales - always scales - and warmups you know on trombone already. Try a euphonium, flugabone or valve trombone for a 1-1 translation and without requiring too much in the way of embouchure changes. My best advice, similar to Doug’s, is just to get one and play. ![]() Sharp and flat positions aren’t reached so easily, if at all, and the physics of the horn is obviously different. For example, that whole 7th partial, which we learn automatically as G in sharp 2, F# in sharp 3, etc.you can’t do that anymore. One issue with simply remembering a conversion chart (and I’m as guilty as anyone when I play sousa) is adjusting for tunings. ![]()
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