Trombone Emb. Flashcards
Fuzzy sound (1 cause)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Aperture in embouchure too large perhaps due to excessive pressure
Sharpness in upper register (1 cause)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Excess tension in embouchure and/or breath mechanism
Flat, flabby sound in low register (1 cause)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Low breath pressure. Flabby embouchure
Lip slurs pop rather than flow (2 causes)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Attempting to place pitches with breath rather than with lip
Too slow (gliss) a maneuver between notes
“Egging” the notes (1 cause)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Junk factor, movement of jaw, lip, throat at beginning or end of a note
Difficulty with upper register (1 cause)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Mouthpiece too low
Difficulty with lower register (1 cause)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Mouthpiece too high
Frayed tone quality (1 cause)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Split tone quality caused by lower lip being drawn back toward teeth
Pinched sound in all registers (1 remedy)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Focus attention on allowing air into instrument, not on resistance in lip, throat, tongue or abdominal area
Fuzzy sound (1 remedy)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Practice on mouthpiece. Hold mouthpiece lightly, avoid pressure. Work for efficient buzz.
Sharpness in upper register (1 remedy)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Practice high passages down an octave, then transfer sensation up octave
Flat, flabby sound in low register (1 remedy)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Practice passage up octave, then transfer sensation of energy down an octave
Lip slurs pop rather than flow (2 remedies)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid drastic breath pressure changes between notes.
Move quickly between notes.
Egging the notes (1 remedy)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Play a long note and take mental picture of sound in center of note. Keep emb. in that position on subsequent attacks
Difficulty with upper register (1 remedy)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Move mouthpiece up
Difficulty with lower register (1 remedy)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Move mouthpiece down
Frayed tone quality (1 remedy)
A. Focus attention on allowing air into instrument not on resistance in lip, tongue, throat, or abdominal area
B. Practice on mouthpiece. Hold mouthpiece lightly. Avoid pressure. Work for efficient buzz.
C. Approach problem range stepwise from above or below
D. Practice high passages down octave, then transfer approach up an octave
E. Move mouthpiece down
F. Practice passages up octave, then transfer sensation of energy down octave
G. Move mouthpiece up
H. Practice on mouthpiece to get small efficient change between notes. Avoid movement outside mouthpiece. Avoid breath pressure changes between notes.
I. Play long note and take mental picture of good tone in middle of note. Keep emb. in that position on subsequent attacks
J. Move quickly between notes
Approach problem range stepwise from above or below.
Pinched sound in all registers (1 cause)
A. Blockage in P-G-K or T consonant positions
B. Aperture in emb. too large, perhaps due to excessive pressure
C. Split tone quality caused by lower lip being drawn back toward teeth
D. Mouthpiece too high
E. Mouthpiece too low
F. Excess tension in emb. and/or breath mechanism
G. Junk factor, movement of jaw, lip, throat at beginning or end of note
H. Low breath pressure, flabby emb.
I. Attempting to place pitches with breath rather than singing with lip
J. Too slow (gliss) a maneuver between notes
Blockage in P-G-K or T consonant positions
