[Trombone-l] Pedal Note Articulation

[Chris Tune]

I just saved all of Roger's photos on my "music" section of images and 
re-read his wonderful article about playing with the Eagle Rock symphony as 
a kid and how Dick Nash played Bolero. . .and then SURPRISE. . .how the 
conductor Mr. Arnaud, revealed that he had been the trombonist in the Debut 
of Bolero and how the concept was of a Tommy Dorsey style solo, complete 
with small bore. . .brighter and less loud than the Symph tenor size horn 
can do it.  I've always thought that Bolero sounded much better on my King 
2B and that it matches the bassoon and woodwinds better than my 8H did.  Now 
that I've got more "nerve" . . .I'd choose the peashooter over the cannon 
for that one in a heartbeat!

Roger is truly someone devoted to every aspect of music.  I'm glad to see he 
is getting the "good sushi" and teaching.  They are getting some very good 
brass instruction over in Japan.

Chris


----- Original Message ----- 
From: "Randy Campora" <Randy.Campora at verizon.net>
To: "Doug Rowe" <darowe at gmail.com>
Cc: <Trombone-l at server5.samford.edu>
Sent: Thursday, May 04, 2006 8:11 AM
Subject: Re: [Trombone-l] Pedal Note Articulation


> From Roger Bobo's website, an article called Articulation under the
> Writings page (www.rogerbobo.com):
>
>> Tongue placement modifies attack in a very important way. Like the
>> different "T's" mentioned in the first paragraph, tongue placement
>> changes the articulation from a clear instant attack when it is
>> forward and a less instant attack with the tongue further back in the
>> mouth. It should also be said that generally the low register usually
>> responds better with the tongue very forward, even between the lips
>> and in the higher register, to avoid being too abrupt, works better
>> further back in the mouth.
>
>
> It is normal for most bass trombonists to place the tongue in between
> the lips for pedal articulations.  I would take that as a starting point
> and practice  various etudes and exercises in that range that allow you
> to refine and improve those articulations, using your idea of what the
> final product should sound like as your guide, recored yourself on your
> minidisc.  In the pedal and trigger ranges, make sure you have enough
> meat inside the mouthpiece and keep the aperture in a round shape, not a
> circle that is squashed from top to bottom, for a good thick sound. For
> more rapid articulations down there, as in other ranges of the horn the
> stroke will be lighter with less contact on the lips the faster that you
> go. Remember that the overall goal of articulation in the musical sense
> is CLARITY -- let that be your guide, whether in legato or other styles,
> clarity of what you are trying to say is the key goal.
>
> Randy Campora
> Baltimore
>
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