Thank you! if you ever want help getting there, just let me know!

Me gusta tu trombón transpositor

my current professional level horns are already out with my students at OU - sorry, but I don't have anymore at the moment.

Honestly nothing much - if anything tongue does more of the work rather than air. In any case I always try to lead with music first and technique second. I have a few videos that detail the work I do if it helps: kzbin.info/www/bejne/e32UXmt9jLidaNksi=HZgTyTAHk-QMEmcD

Hi there! My Conn was modified by the legendary West Coast instrument builder and tech Larry Minick. This happened well before I received the horn, so I'm not sure how he went about it - but I do know he did an absolutely wonderful job!

i think the hardest part of it is moving away from a traditional classical sound techniques while not sacrificing good sound and technique when needed.

@ ok, thanks!

thank you!

I am currently the interim professor, and will be applying for the full time listing. It's nice here

sure - send me an email at [email protected]

Oh yes! There is no real way to zero out, or completely get rid of motion through the ranges I'm using. I like to try to find the minimal possible motion for maximum efficiency

@@WilliamLangThat makes sense. Thanks, again, William. I am loving these videos. ❤

Free buzzing is more of a concept to me than a tool - if you can free buzz a middle C on piano - you can play that same note into any brass instrument, for example. But I don't train that specifically, or even work on it at all. Occasionally I will use mouthpiece buzzing as a diagnostic or teaching tool though.

@@WilliamLang Thanks, William. Again, thanks for all of the good information.

Hi Luke! I wish I could, but it's currently with one of my students at OU. Good Yamahas do pop up for great prices from time to time, I got this one from the trombonechat forum, if that helps.

@@WilliamLang I gotcha! I actually just got an offer for a really good conn 88 HO so I’m very happy I got an open wrap, thank you for the response, if it ever gets back in your hands let me know, I’ll snatch it up

thanks Dan! some of them are really beautiful, and it's nice to dig into the musicality of them

@@WilliamLangyeah! I always try to put myself in the shoes of Bordogni, singing all these I’m guessing, accapella? And also I’m sure very dramatically to show off all his skills.

I'm using a Stephens trombone, made by Stephen Shires new company. Specifically it has a MV bell, a french bead on the bell, and an annealed brass valve cap.

I use a LI Brass 550E - I like the company a lot and they fit me quite well. Everyone is different though, and you can hear some of my mouthpiece comparison videos to get an idea of how different mouthpieces affect my playing. For large tenor, I recommend most people start with either a Bach 5G or a Shilke 51D (if you are adaptable to deeper mouthpieces, which I personally am) and refine from there. For bass the standard starting piece is a Bach 1 1/2G, but I like to start newer players on a Shires Vintage 1 1/4 personally. Thanks for watching!

I don't personally believe that there are mouthpieces that automatically work for lip shape. Try stuff out and see what works for you!

Thanks for dropping by! Helped me remember to respond to some other comments

It definitely does! It will depend on the instrument and player mostly, but the slightly larger mouthpiece, as well as the bore size combined with a widened throat leading to a larger bell will change the character - usually resulting in something like a wider timbre

it's more of a harmonic rip - up higher the partials are close enough together that it does sound like a gliss though!

Those types of octaves come up in Blue Bells and other Pryor-era solos - super fun repertoire

World's easiest Waldo puzzle 😂 just need a scarf, hat, and some glasses

Squeak.

Rathbone, of Denver Symphony circa 1965 put me on a Bach 3 for my Conn 6H. He said it would take time to develop the high range. He was proud of me, favorably comparing me to “squeak artists”. My high notes were BIG.

Did you know the trombone is the loudest instrument in the orchestra? (Cannons excluded).

@@WilliamLangBut some energy in those high notes!

thanks for listening so closely! it's tricky to tell from behind the bell exactly what pitch in that technique

@@WilliamLang That makes sense! Honestly wanted to check whether you had some secret I wasn't in on, I'm going to use this technique in my score (with a link to your video) and the tuning matters for this piece. Thank you so much again ^_^