[Trombone-l] An alto neophyte asks for it.

Tue Apr 17 21:52:14 CDT 2007

These are very good points.  The quality of advice on this topic really shows how far the alto has come in the last 20 years.

I wanted to offer two thoughts:  

Because of the small quantity of altos produces these instruments really tend to be individuals.  If you find a good one - grab it.  Matching the mouthpiece to the horn is a similar problem. Don't be afraid to try some odd sizes, each horn may have an individual solution.

In 1984 I happened to be in the Brasswind the day 2 Courtois altos came in the mail.  (I was told that they got 2 a year.)  One was good and I bought it - the other was a real dog.  At that time the other options were the Bach (ick) or the Laztsch (which was very hard to get.) I tried many mouthpieces and even had a 5G rim screwed on a Wick 10, but that Courtois does not like big (for an alto)  mouthpieces - it plays best with the weird v cup mouthpiece that came with it or a Bach bass trumpet mouthpiece.  Fighting the horn/mpc match wasted a lot of time.

The second thought is simply to use glissandi and a tuner to find the positions. Looking away from the tuner play the note in first, establish a great tone then check the tuner.  If it is out, move the tuning slide and repeat.  If it is in tune gliss down a position w/o looking at the tuner.  When you think you have it (with a great sound) look at the tuner.  Repeat this until you can hit the mark everytime.  I find this a good way to get to know the horn and train your brain/arm to agree with the horn.  Then you can nove on to Sluchin, etc.

The reason not to look at the tuner is to avoid liping the note while you are watching the tuner needle.  Liping notes around on the alto can be a painful experience.

I hope this is useful.  Good luck with the new alto adventure.
Andrew Glendening, D. Mus
Director, School of Music
University of Redlands
1200 East Colton Avenue
PO Box 3080
Redlands, CA 92373-0999
909.748.8684
909.335.5183 fax
andrew_glendening at redlands.edu

________________________________

From: trombone-l-bounces at maillists.samford.edu on behalf of Al MacDonald
Sent: Tue 4/17/2007 4:54 PM
To: Dave Demko; trombone-l at samford.edu
Subject: Re: [Trombone-l] An alto neophyte asks for it.

A few ideas:

- Mouthpiece recommendations vary all over the map.  I find that my
Yamaha 671 with a Bach 15c gives me both the "ping" that distinguishes
alto articulations,  and carrying power for section.  I recently tried
a Wick 10CS, which was designed specifically for the 671, and will
probably buy one for a more extended trial.  Some players have
trouble moving to different rims and just use their regular rim with a
shallower cup.  Chacun chez soi.

- Play slow scales and arpeggios while thinking about the note you are
playing.  Otherwise, you'll just be using the physical patterns you
know from the tenor and won't really be learning the alto.  (Credit to
Bill Stanley at CU Boulder for this suggestion.)

- Sluchin's "Alto Trombone Tutor" is excellent.  It's also quite
expensive, but worth it, in my opinion.  Available from the usual
sources.

- Air on the alto is a different world.  Don't overblow - a good alto
doesn't need nearly as much as a tenor.

- Don't neglect the lower register, even pedal tones.  It is, after
all, a trombone.  And yes, the first time you pull it out of the case
you'll want to see how high you can play.  Get it out of your system,
then settle down to some real work.

- You'll have to get used to having the bell closer, and to the smaller
sound (often described as "nasal").  Don't try to force it to sound
like a bigger horn.

- You'll pull the outer slide off at least a couple of times while
learning.  Don't worry about it, we all did that.

- Try to find a good alto teacher, at least until you have the sound
in your head and have a grasp on intonation.

Cheers,

Al

DD> Tenor trombone is and will remain my principal ax, but I'm considering
DD> taking up alto and would welcome some informed advice. Even if the
DD> advice is "don't."

DD> My notion is to have alto as an option for chamber music with trombone
DD> quartets and mixed brass ensembles. I want to be able to play in tune
DD> without having to fight and cajole the horn too much and to blend well
DD> with the "normal" instrumentation of a brass quintet.

DD> Some bore sizes I've seen range from the .454 on the Amati ASL-601 up
DD> to .500 on the Edwards. Is a "large" bore .500 horn designed to hold
DD> up in a section where the second and bass are playing modern, "louder
DD> is better" orchestral trombones? What kind of contrast in tone quality
DD> between small and large are we talking about?

DD> What do people think of the Bach 39, the Amati, the Conn with the Bb
DD> attachment, the Yamaha YSL671? Any other favorite equipment? This
DD> question is not an invitation to launch a holy war over the One True
DD> Alto, merely a request for impressions. Does anyone have
DD> recommendations about method books and etudes? Any thoughts on whether
DD> alto will confuse my chops or my clef-reading on tenor?

DD> Thanks,
DD> Dave
DD> _______________________________________________
DD> Trombone-l mailing list
DD> Trombone-l at maillists.samford.edu
DD> http://maillists.samford.edu/mailman/listinfo/trombone-l

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