![]() ![]() The upward-facing black arrowheads are for the D-attachment, for which the Faisst positions (beyond first) are all too long. The upward-facing red arrowheads show the precise positions of the F-attachment tones (for which the Faisst positions are much closer). If we take 1st and 7th positions as given, the other (correctly placed) slide-alone positions are as shown by the downward-facing red arrowheads. The problem with the Jurgen Faisst (via Doug Yeo) diagram-for a dependent setup, Bb/F/D-is that the positions shown, even for the slide alone, are mostly very inaccurate. Note that Dr Everett's chart does not extend down into attachment pedals-but these are just a repeat of the upper tones, one octave lower, using the same respective positions. All positions should be 'found' by ear! Clearly, 'Vee' is for F-attachment positions, 'Gamma' for Gb-attachment positions and 'Delta' for the D-double-attachment positions. The chart below by Micah Everett is much more straightforward, giving designations of all slide positions, rather than vague 'prescriptions' for finding them. These 'prescriptions' for finding positions are not only vague, but 'altered-slide-alone' positions are also not the best way to 'visualise' attachment positions. The 'complication' with the Bewley chart is the use of 'decimal' attachment positions, where, for example, 'Gb2.5' means 'somewhere between slide-alone positions 2 and 3'. Do NOT think of attachment positions as 'altered Bb positions'!įalin is clearly looking for a chart for the common independent tuning: Bb/F(thumb)-Gb(finger)-D(double). Practice playing simple tunes (scalar passages or arpeggios) entirely with the F attachment and entirely with the Gb attachment-until muscle-memory kicks in. When playing attachment tones, think of the instrument tuned in the respective 'key'-with respective (longer) 1st, 2nd, 3rd. ![]() This gives a perfectly-in-tune D tuning for the double combination, with a very evenly distributed set of harmonics throughout the whole range. I personally prefer the G-natural tuning for the thumb-trigger attachment, with the finger-trigger attachment tuned to (a 20 cent sharp) E. And, as is fairly well known, the G-natural tuning gives a lot more handy attachment alternates (including the fifth harmonic). This is why some players prefer a G-natural tuning for the 'second' valve. Adjust (slightly) according to your personal preferences.Īs you can see, the F-attachment and Gb-attachment tones are quite close together. With the F and Gb attachments tuned precisely, the double combination D tuning is (theoretically) a few cents flat-as can be seen. You can see at a glance where the coloured zones touch, indicating no alternates for those tones. The 'wider' the unshaded portions, the more alternates. The unshaded portions between the coloured zones indicate where alternate positions are available. The blue-shaded zones are bordered by a chromatic scale with longest slide positions. ![]() The red-shaded zones are bordered by a chromatic scale with shortest slide positions. Higher attachment harmonics are mostly too close to slide-alone harmonics and not usually used except for 'special effects'. These books have been written excellently by Mark Nightingale for that purpose and include plenty that is useful even if you’re not planning on taking grade exams.The following ETSP (Equitempered Tone/Slide Position) Chart shows relative Bb positions (black dots) F-attachment positions (open circles), first-through-third harmonics Gb-attachment positions (stars), first-through-fourth harmonics and D-double-attachment positions (stars-in-circles), first and second harmonics. I would highly recommend all brass players purchase a scale/arpeggio book, and this publication includes everything required for the scale part of ABRSM’s grade exams – as well as many helpful editorial tips for preparing them.īrass Scales & Exercises: Trombone from 2015: Grades 1 – 8 (Brass Exam Repertoire) by Trinity College LondonĪ common alternative to the ABRSM syllabus is Trinity, which also require technical exercises in their exams. Scales and Arpeggios for Trombone, Bass Trombone, Baritone and Euphonium Here you will find guides on how to play scales on the trombone and start your journey towards their mastery! 12 Major Scales Trombone Trombone scales are the basic building material of all tonal music and knowing them inside-out has a massive positive effect on all aspects of your music-making. A thorough familiarity with trombone scales is an essential part of every good musician’s arsenal. ![]()
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