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The following excerpts from the Standard
Repertoire will give us a chance to work on our Numbered
Tonguing.
One of the great aspects of this Numbered
Tonguing System is the ability you'll have to change "on
the fly". Some conductors will like you to play quite crisply,
while others will demand more full-bodied notes with less harsh
articulation. Having a STANDARD by which to compare tonguing styles
is what this system will give you. The conductor will appreciate
your flexibility, as will the members of your section and the
orchestra at large.
We can compare our tonguing styles
to the many BOWING styles of a string player; or the DICTION of
a singer.
I strongly believe, too, that a historical
as well as musical perspective is crucial to making these excerpts
"come alive". A little research into the lives of these
composers and the times in which they lived will go a long way
towards realizing a meaningful interpretation.
With the Internet only a click away,
it's easier than ever for us to learn more about these fascinating
people and their compositions. You can start by visiting Google
and typing in some search words. Just click on the link below:
The more you can actively engage your
imagination in this music, the better. Your intense interest and
knowledge of the music being played will make its way to your
audience. Gaining some musical insight, for instance, will lead
you to understand that a marking of "fortissimo" in
Rossini's music is probably not performed like a "fortissimo"
in Mahler, or even Berlioz.
As you prepare orchestral excerpts,
always be aware of the CONTEXT in which these musical passages
take place. What other instruments play when we do? Are we doubling
anyone? From whom shall we take our cue for articulations and/or
phrasing? Are we part of a thick texture, or are we supposed to
be prevelant? Are we stating a theme, or is ours a harmonic function?
These and a million other questions
should be on your mind as you perfect these excerpts. The players
most sensitive to these issues are the ones most often getting
calls to perform! Nobody likes listening to or playing with a
trombonist possessing no sense of balance or ensemble, let alone
an idea as to how the music should sound. Remember that.
And ask yourself this:
Just because the trombone CAN play
loudly.......should it?
(Sometimes. If you play loudly when
it's not appropriate, though, the times when you SHOULD will lose
their desired effect.)
Here are a couple of excerpts to illustrate
fast, staccatto tonguing. The Rossini excerpts both call for very
clean # 7 tongue (at least; perhaps an 8) and a strong rhythmic
pulse. These excerpts are among the most frequently asked because
they show whether or not you've got slide technique, tonguing
technique, and RHYTHM.
Rossini's "La
Gazza Ladra" (The Thieving Magpie)
to
view the music
Rossini
Rossini's "William Tell Overture"
to
view the music
The only way to work those excerpts
into performance shape is to start slowly, use a metronome, and
RECORD yourself.
When I perform this next excerpt, I
think of a slightly lower-numbered tongue (#5 or #6). My dynamic
range, too, is expanded. When playing loudly, it's important not
to drag, especially coming off tied notes. As always, use a metronome
when working on this...
Berlioz' "
'Hungarian March' from The Damnation of Faust"
to
view the music
Berlioz
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©TSG Music, 2001