Re: [Finale] Trombone grace note interpretation
I'm wondering if there are any trombone players/experts out here. My question is, how would a trombonist generally interpret a grace note with a slur onto another note about a 2nd lower (in a 20th century score)?: a. Would they soft-tongue the second note? I certainly would, in a non-jazz context. b. Would they just tongue the first note as with any other brass or wind player? No, trombonists mostly have learned to soft-tongue to sound like a slur. There are other techniques (like cross-grain lip slurs) to imitate slurring, but most players simply soft-tongue. If this is the case, would it generally sound like a very quick and short glissando, or is there enough control even at grace note speed to make it sound like two distinct notes? It's all about the sound. They will try to make it sound like it should, regardless of how they choose to execute it. Usually trombonists will only resort to the gliss when it is specifically asked for. c. Is it just not usual or practical for grace notes to be found in 20th cent. trombone parts? I see 'em all the time. Half-steps are more common, and certainly easier to execute, than whole steps, but go for it anyway! Christopher ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
RE: [Finale] Trombone grace note interpretation
Thanks for all the help everyone. It confirms what I had suspected, but it's good to have it from people who know. C. -Original Message- From: Daniel Wolf [mailto:[EMAIL PROTECTED] Sent: 20 April 2004 15:30 To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Subject: Re: [Finale] Trombone grace note interpretation Portamento can be avoided if the the melodic motion is downward and the slide contracts (or vice versa) or if the register is high enough that the two tones required match consecutive partials of a single position. The second tone will be tongued, but near-imperceptable tonguing is a feature of professional trombone technique. With a trigger, such grace notes should be possible throughout the range of the tenor; without a trigger, the higher the register the more possibities there will be to realize the grace note.. That said, grace notes are quite rare in trombone writing, and many composers write grace notes when they _expect_ a slide, so it's best to be explicit about what you want. Daniel Wolf Budapest Colin Broom wrote: I'm wondering if there are any trombone players/experts out here. My question is, how would a trombonist generally interpret a grace note with a slur onto another note about a 2nd lower (in a 20th century score)?: a. Would they soft-tongue the second note? b. Would they just tongue the first note as with any other brass or wind player? If this is the case, would it generally sound like a very quick and short glissando, or is there enough control even at grace note speed to make it sound like two distinct notes? c. Is it just not usual or practical for grace notes to be found in 20th cent. trombone parts? Cheers, C. ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Trombone grace note interpretation
Klaus is entirely correct. Even a mediocre trombonist, such as myself, can play the grace and the main note as two distinct notes. That said, the composer's intent and the conductor's interpretation rule. I recently played a piece with a passage involving grace notes, and the conductor asked us to play them in portamento style, using slide only between the two pitches. This made it sound a little more raucous. Horace Brock On Tue, 20 Apr 2004 14:21:26 +0200, you wrote: on 20/04/04 13:57, Colin Broom at [EMAIL PROTECTED] wrote: I'm wondering if there are any trombone players/experts out here. My question is, how would a trombonist generally interpret a grace note with a slur onto another note about a 2nd lower (in a 20th century score)?: a. Would they soft-tongue the second note? b. Would they just tongue the first note as with any other brass or wind player? If this is the case, would it generally sound like a very quick and short glissando, or is there enough control even at grace note speed to make it sound like two distinct notes? c. Is it just not usual or practical for grace notes to be found in 20th cent. trombone parts? The 20th century has taken trombone technique quite far. If the composer knows the trombone, it is very well possible to write grace notes and other legato situations, which can be executed with a true legato. The basic rule is, that the slide shall move outwards in upwards slurs and inwards in downward slurs. And then trombonists generally are inn possession of a much more graduated tonguing technique than other brass players. Where glissando used to be a common trombone effect, trombone artistry now is to avoid any sort of un-planned for glissandos. Klaus SATB trombones in Bb, Eb, and G ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
Re: [Finale] Trombone grace note interpretation
Colin Broom wrote: I'm wondering if there are any trombone players/experts out here. My question is, how would a trombonist generally interpret a grace note with a slur onto another note about a 2nd lower (in a 20th century score)?: a. Would they soft-tongue the second note? b. Would they just tongue the first note as with any other brass or wind player? If this is the case, would it generally sound like a very quick and short glissando, or is there enough control even at grace note speed to make it sound like two distinct notes? c. Is it just not usual or practical for grace notes to be found in 20th cent. trombone parts? The first time, I'd choose A, but after that it would depend on what had happened the first time in relation to the melody, what else was going on in the song, and what the other parts were doing. cd ___ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
