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![]() Sound production, range, sound quality, volume, and consistency, all get better when you play a little tuba for a while. Features solo and ensemble French horn, trombone, trumpet and tuba, with a. Getting good at tuba helps us with airflow, which helps in almost every technical aspect of playing. Features solo and ensemble violin, viola, cello and double bass, all record in. If there is any one instrument that can make us better would be tuba. It`s a toy, not to be used in any realistic situation. The purpose of the soprano trombone is equal to that of a kazzoo. I`ve said it before, and I`ll say it again. And on the bass bone, the addition of the second trigger is not to facilitate playing a scale without moving the slide but a couple times, it is to lower the range of the instrument and change that tambre.Īlso, as for increasing the range, don`t bother with a soprano, that would be pointless. These are the fundamental notes and positions you need. If it does not, please elaborate in your original post or in the comments. The only time you see real professionals using their triggers is just what Mas said, playing fast, low passages. Tyrell 40 Advanced Studies for B Bass is an excellent etude book for developing technique in the double trigger range of the bass trombone. I have students that have just recently purchased trigger horns, and they are sometimes confused when I tell them not to use the trigger to do things like play middle C in 1st instead of 3rd. Here are a few thoughts on slide positions. But you do see them quite often in orchestral playing. They aren`t as common today, since most trombone players have much better equipment and a much higher range, so they don`t need the smaller horns to play in the stratosphere. It`s basically a smaller trombone, usually in the key of Eb. Traditionally, bass clef was for bass trombone, tenor clef for tenor trombone, and alto clef for alto trombone. Especially back in the past when composers used alto clef a lot. The alto trombone is pretty common in the classical world. When I tried to play it, I had to twist mw thumb around so I could activate it, and at that angle, it was actually painful.Ģ. The trigger mechanism was also really weird. The slide hardly moved, because the outer slide was way to smalle and the inner slide was way to big. I friend in college bought one, and as soon as she got it, it had to go right to the shop to make it playable. ![]() They are relitavely cheap, and not made very well. Maestro horns are knockoffs made in China. I'd choose an instrument that I liked playing rather than one with a specific tuning first, if you get what I mean.1. You'll have to spend serious time learning to read in F anyway, so any perceived difficulty with a new valve tuning is wrapped up in that struggle. I'm not sure my instrument would even be playable that way (and it was in that configuration before!). Older German tuning is F/Eb/BBb/AA, which is mostly just worse. The big tradeoff is probably G and Gb at the bottom of the bass staff, which are pretty far out, as well as thee transition from low B to Bb- same as a normal bass trombone, basically 5 positions. The low notes G and Gb are also farther in, as well as more flexibility with 4th position notes with the D valve. All of those positions are the same, i.e. With open and 1st valve, it's like an Bb/F/D bass trombone with 1 valve down (F) and 2 valves down (D). The advantage of this is that the instrument presents like a bass trombone in another way. The "other" tuning (there are more, of course) is German tuning, usually tuned now as F/D/BBb/AAb.
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