Johannes Brahms (1838-1897)

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Johannes Brahms (1838-1897)

What follows are two of the most beautiful moments in all of Western music-

the chorales from Brahms' First and Fourth Symphonies.

They demand of the trombonist great control in the lower dynamic ranges of the horn, and also some

control of high, soft entrances.

The Dynamic Exercises and Breath Attacks will help you to develop consistency on these excerpts.

In the recordings below, you can choose to hear the excerpts any of these ways:

- with all 3 trombone parts playing

- just the 2nd and 3rd trombones, so you can play along on the 1st part

- just the 1st and 3rd trombones, play along on the 2nd part

- just 1st and 2nd trombones, play the bass part

Go here to view the music for the First Symphony, and

here to view the Fourth.

(They'll open in a separate window, so you can view the music as it's playing from this window.)

A Note about Interpretation: in both of these excerpts, Brahms does the rather unusual thing of

marking staccattos and slurs simultaneously:

These should be interpreted as FULL-VALUED

NOTES with just a hint of separation between them......a slight "lift", if you please. Liken this shape to that of a bow stopping, but not changing direction.

It would be a #3 tongue on our numbered tonguing scale.

Also, many players have differed in their breathing, especially in the opening measures of the

First Symphony:

I prefer to breathe after beat three in m.2, then not again until the end of

m.5. Conductors might very well ask for a breath after m.4, and you

will be obliged to do so. Thus, you should practice it both ways.

Breathe after mm.7,9,and 11 just as the music seems to demand.

Then, a quick breath after beat 1 in m.13 will allow for a full (albeit quiet) sound to the fermata.

You never know how long a conductor will hold this fermata, so it's best to be prepared for a long one!

As for the initial entrance in the 1st trombone, breathe gently in rhythm and feel the pitch on your

breath. Don't stop the air or close the throat at the top of your breath....

gently in and gently out. A circular concept of spinning air.

Practice this by Breath-attacking the "A" with a relaxed throat. Do this a few times, then add a nice

"deee" tongue to the front of the note.

In performance, it's very helpful to hear your note in relation to the C Major chord

that sounds just before your entrance.

Brahms' First with all 3 parts: Click Here to Listen

In each of the following "play-along" excerpts, you'll hear 4 quarter notes as a countoff.

Brahms' First (sans 1st part...play along): Click Here to Listen

Brahms' First (sans 2nd part...play along): Click Here to Listen

Brahms' First: (sans 3rd part...play along): Click Here to Listen

The Fourth Symphony doesn't leave as much room for interpretation.

You'll breathe on the rests. A very nice musical effect is achieved by

NOT breathing between mm. 8-9.

Brahms' Fourth with all parts:

Click Here to Listen

In each of the following "play-alongs", you'll hear 6 quarter notes as a countoff:

Just 1st and 2nd trombones (play along on the 3rd part):

Click Here to Listen

Just 1st and 3rd trombones (play along on the 2nd part):

Click Here to Listen

Just 2nd and 3rd trombones (play along on the 1st part):

Click Here to Listen

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