Return to Tips for Trombone Trombone Tone Production	by Dr. Deb Scott Assistant Professor of Music Trombone SFA School of Music dscott@sfasu.edu

Concept of Sound

• Before a student tries to play a sound on a horn, he/she should know what sound he/she is trying to make. 
• There is no substitute for a concept of sound; it is the most important aspect of tone production.
• Perform and demonstrate often if at all possible!
• Bring in clinicians, private lesson teachers
• Play recordings:
  • Lindberg, Christian -- Bis 378 David, Grondahl, Guilmant
  • Conant, Abbie -- Audite 97410 Guilmant, Marcello, Handel
  • Bousfield, Ian -- Doyen 014 Blue Bells of Scotland

Breathing/Breath Support

• This is one of the most important aspects of performing on any brass instrument. 
• "Sustain the beautiful music from below the rib cage with no conscious muscle involvement on the intake or the blow." (Buddy Baker)
• Student should sit gently tall (relaxed).  The spine should be straight. ( Do not curve the lower back.)
• Intake
  • Think the syllable "HAW" on the inhale.
  • Air should fill the lower abdominal muscles first (below the belt line) -- then to the middle -- finally to the upper chest. 
  • There should be no gasping or wheezing sounds.  Stay relaxed.
• Exhale
  • Use the syllable "POO" (after the embouchure is set, use "TOO").
  • Support the sound.  Use the air first from the lower abdominal muscles -- then the middle -- and finally the upper (if needed.)
  • The inhale and exhale should be one continuous smooth, relaxed motion. 
  • There should be a visible movement of the lower abdomen during this process.

Embouchure Formation

• Use the student's natural lip formation, a natural "facial mask."
• Bring the jaw forward slightly.
• Upper lips and cheeks "gently hug" the teeth and gums so air can come through the center of the lips ONLY -- no air puffs. (Buddy Baker)
• Flat chin.
• I prefer a wet embouchure.
• Teeth slightly apart.
• Use "POO" so that the lips are slightly pursed.
• Gently firm corners (not pulled back, i.e. smiling)
• Most relaxed part of embouchure is the aperture (the center of the lips).

Combining Breathing and Breath Support and Embouchure

• Use the syllable "TOO."
• Hold a piece of paper in front of the air stream for a visual reinforcement.
• Watch for "smiling", puffed cheeks, bad habits, etc.

Mouthpiece Placement

• Hold the mouthpiece by the shank with two fingers and a thumb.
• The mouthpiece should be positioned with more of it on the upper lip than the lower.
• The vertical placement is more important than the horizontal.  (Some players perform off center because of dental structure.)
• Practice placing the mouthpiece.

Creating Sound

• Start with the mouthpiece by itself.  Place it gently on the embouchure and blow "TOO."  Remember to constantly reinforce proper breath techniques and embouchure formation, constantly correcting bad habits.
• Some may have trouble producing a sound; keep trying.  It may help to partially cover the end of the shank with the "pinkie" to create more resistance.