Trombone Techenique

UNIVERSITY OF OKLAHOMA
GRADUATE COLLEGE
TONE DEVELOPMENT THROUGH NON-TRADITIONAL TECHNIQUES:
A PEDAGOGICAL RESOURCE FOR TROMBONISTS
A Document
SUBMITTED TO THE GRADUATE FACULTY
in partial fulfillment of the requirements for the
Degree of
Doctor of Musical Arts
By
PHILIP MITCHELL MARTINSON

Norman, Oklahoma
2017
TONE DEVELOPMENT THROUGH NON-TRADITIONAL TECHNIQUES:
A PEDAGOGICAL RESOURCE FOR TROMBONISTS
A Document APPROVED FOR THE

School of Music
BY
______________________________
Dr. Irvin Wagner, Chair
______________________________
Dr. Karl Sievers
______________________________
Dr. Frank Riddick
______________________________
Dr. Eugene Enrico
______________________________
Dr. Judith Pender
© Copyright by PHILIP MITCHELL MARTINSON 2017
All Rights Reserved.
To Shelley and Mina
Table of Contents
List of Figures.................................................................................................................vii
Abstract..........................................................................................................................viii
Chapter 1: Introduction.....................................................................................................1
Background.................................................................................................................1
Purpose........................................................................................................................3
Need for the Study.......................................................................................................3
Scope and Limitations.................................................................................................4
Methodology...............................................................................................................5
Research................................................................................................................5
Questionnaire.........................................................................................................6
Related Literature........................................................................................................6
Chapter 2: Concept of Tone..............................................................................................8
A Singing Style.........................................................................................................11
Chapter 3: Vocal Techniques..........................................................................................17
Vowels.......................................................................................................................17
Throat Tuning and Vocal Tract Resonance.........................................................21
Singing and Playing in Unison..................................................................................22
Multiphonics..............................................................................................................23
Alternating between Singing and Playing.................................................................27
Sing, Buzz, Play, and Other Variations...............................................................28
Flutter Tongue...........................................................................................................29
Chapter 4: External Devices............................................................................................31
iv
Mutes.........................................................................................................................31
Other Apparatuses Targeting Sound.........................................................................34
Chapter 5: Buzzing..........................................................................................................38
Mouthpiece Buzzing..................................................................................................40
Finger Resistance................................................................................................44
Hand Buzzing......................................................................................................44
“Cut Out” Mouthpiece/Visualizer.......................................................................45
Rim Buzzing........................................................................................................45
Free Buzzing........................................................................................................46
Buzzing/Playing the Inner Slide..........................................................................47
Mouthpiece Buzzing with an External Device..........................................................49
Chapter 6: False Tones and Pitch Bends.........................................................................56
False Tones................................................................................................................56
Pitch Bends................................................................................................................60
Chapter 7: Conclusion.....................................................................................................64
Summary of Findings................................................................................................64
Bibliography....................................................................................................................67
Appendix A: Questionnaire.............................................................................................73
Explanation of Study.................................................................................................73
Buzzing......................................................................................................................74
External Devices........................................................................................................75
Vocal Techniques......................................................................................................76
False Tones / Pitch Bends.........................................................................................77
v
Concluding Questions...............................................................................................78
Thanks……………………………………………………………………………...80
Appendix B: Proposed Questionnaire Participants.........................................................81
Appendix C: Questionnaire Data....................................................................................84
Appendix D: Institutional Review Board Approval......................................................110
Appendix E: Consent Form...........................................................................................111
Appendix F: Recruitment Email....................................................................................113
vi
List of Figures
Figure 1. Tone Construction..............................................................................................9
Figure 2. Anatomy of a Trombone Tone – Quality Variation.........................................14
Figure 3. Vowel Exercise................................................................................................18
Figure 4. Sing and Play in Unison Long Tone Exercise.................................................23
Figure 5. Multiphonic Long Tone Exercise, Perfect Fifth..............................................25
Figure 6. Multiphonic Long Tone Exercise, Major Tenth..............................................25
Figure 7. Practice Mute Playing......................................................................................33
Figure 8. Pinwheel Exercise............................................................................................36
Figure 9. Buzz Stretch.....................................................................................................43
Figure 10. Mouthpiece Exercise in First Position...........................................................43
Figure 11. Inner Slide Buzz.............................................................................................49
Figure 12. Practice Pipe (a.k.a. F.A.R.T.) Schematic.....................................................53
Figure 13. False Tone Position Diagram.........................................................................57
Figure 14. False Tone Exercise.......................................................................................59
Figure 15. False Tone Exercise with No Slide Adjustment............................................60
Figure 16. String of Benders...........................................................................................62
Figure 17. Pitch Bend and False Tone Exercise..............................................................63
vii
Abstract
Sound development is arguably the most important aspect of trombone
pedagogy. Over time, most brass players arrive at a daily routine of exercises
specifically focused on improving sound; however, certain exercises straying from
traditional trombone performance—which are referred to as non-traditional in this
document—have become or are becoming an important part of pedagogy. This study
identifies these exercises, catalogs them into a pedagogical resource, and ascertains the
prevalence of their use within the trombone community.
Delineated into four categories, this research explores the use of vocal
techniques, external devices, buzzing in its various forms, and false tones/pitch bends.
This document provides a detailed explanation and analysis of each technique discussed
within the four categories. Analysis includes comparing the exercises to traditional tone
studies and exploring their intended benefits to tone development. Trombone
pedagogues continuously search for fresh ways to explain and demonstrate different
aspects of playing to students; non-traditional techniques may potentially add a new
branch of resources to the low brass pedagogical toolbox.
viii
Chapter 1: Introduction
Background
Traditional technique cannot be ignored, since it is mandatory in order to learn

and master new techniques; learning and mastering new techniques enhance and
define more clearly traditional techniques. The old and the new, so seemingly
separate, are actually inseparable and, in the long run, complementary, even if in
the short run this seems not to be the case.
—Stuart Dempster, The Modern Trombone
Traditional techniques of developing tone on the trombone are firmly rooted in
the iconic method books of the field. Pedagogical works by Emory Remington, Robert
Marsteller, Max Schlossberg, and Jean-Baptiste Arban are revered to an almost biblical
extent and represent mainstays within trombone literature.1 While the long tones and lip
slurs advocated by the preeminent pedagogues of the twentieth-century will always
exist at the foundation of low brass playing, numerous innovative non-traditional tactics
remain largely undiscovered and underappreciated, yet hold tremendous potential for
pedagogical exploration.2
While non-traditional or extended techniques elude succinct definition from
even standard music resources3—the generally accepted definition articulates that
1
Authoritative method books include the following, among others: Emory Remington’s Warm-up
Exercises for Trombone, Robert Marsteller’s Basic Routines for Trombone, Max Schlossberg’s Daily
Drills and Technical Studies for Trombone, and Jean-Baptiste Arban’s Complete Method for Trombone
and Euphonium, the last of which is described as the “‘Bible’ of brass pedagogy” in the Encyclopedia of
American Gospel Music. William K. McNeil, Encyclopedia of American Gospel Music (New York:
Routledge, 2005), 403.
2
In his Practical Hints on Playing the Trombone, Paul Tanner articulates the generally accepted standard
remedy for improving sound and its prominence asserting, “All instructors seem to agree that the best
exercise for improvement of the tone is one of the oldest exercises even invented—long tones.” Paul
Tanner, Practical Hints on Playing the Trombone (Melville, NY: Belwin Mills, 1983), 22.
3
Rather than assigning an all encompassing definition, the Grove Dictionary of Music describes extended
techniques as a linear process, or evolution of performers and composers approaching existing
instruments in experimental ways. Hugh Davies, "Instrument Modifications and Extended Performing
Techniques," Grove Music Online, accessed March 9, 2016,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/47629.
1
extended techniques, “…require the performer to use an instrument in a manner outside
of traditionally standard norms.”4 The “standard norm” as limited within this study, is
the performance of a trombone fully assembled, using a traditional tone—no
multiphonics, flutter tongue, or other oral alterations—and with no external devices
attached or used in conjunction with the trombone. The term non-traditional is
expanded to encompass atypical tone exercises that incorporate external devices such as
mutes, pin wheels, and other commercially available products. Unfortunately, evidence
suggests that a stigma accompanying non-traditional techniques can cause artists and
teachers to push them aside, but by excluding these methods, trombonists may
inadvertently eliminate valuable resources for musical growth.5
While the non-traditional techniques in this study are centrally focused on
improving tone, they additionally hold the potential to diagnose fundamental
performance issues, unlock greater efficiency, embouchure control (flexibility,
sensitivity, etc.), projection, sense of pitch, consistency, and other aspects of playing
relating to sound. From a pedagogical standpoint, the sound one creates is not a singular
entity but a complex combination of factors that add up to a final product; non-
traditional techniques can simplify many of these factors by isolating key fundamentals
and circumventing complex instructions.
4
Matthew Burtner, “Making Noise: Extended Techniques after Experimentalism,” New Music Box 71,
vol. 6, no. 11 (2005): 1, accessed March 1, 2016, http://www.newmusicbox.org/articles/making-noise-
extended-techniques-after-experimentalism/.
5
Jazz trombonist and pedagogue David Baker comments on the negative connotations accompanying
extended techniques in the foreword of his method series, Contemporary Techniques for the Trombone,
noting that if an awareness of non-traditional techniques and contemporary music exists it, “…is
accompanied by apathy, ill disguised tolerance or open hostility toward the music and the musician who
plays it.” David Baker, foreword to David N. Baker's Contemporary Techniques for the Trombone (New
York: Charles Colin Music, 1974), 2.
2
Purpose
Developing a beautiful sound is arguably the most important aspect of trombone
pedagogy; over time, most brass players arrive at a regiment of sound-focused warm-up
exercises. For most, achieving a pure tone—free of stuffiness, airiness, or extraneous
noise—as efficiently and effortlessly as possible is the ultimate goal. The purpose of
this study is to identify and analyze non-traditional exercises focusing on tone
development, catalogue them into a pedagogical resource, and ascertain the prevalence
of these techniques within the trombone community. This research collects and
categorizes exercises of accomplished pedagogues from around the world into a single
user-friendly document available to assist low brass players of all ages and abilities in
their quest for a resonant and vibrant sound.
Need for the Study
Trombone pedagogues continuously search for fresh ways to explain and
demonstrate different aspects of playing to students; explanations or exercises that work
for one student may leave other individuals still grasping. Non-traditional techniques
may potentially add a new branch of resources to the low brass pedagogical toolbox.
Additionally, in pursuit of the optimal sound, performers and teachers inevitably
encounter abstract topics that evade concrete explanation. For example, instructions to
play with an “open throat” or to “use more air” often frustrate students who lack an
understanding and means of practicing these intangible concepts. Non-traditional
techniques like singing and playing simultaneously, offer an accessible pathway
towards achieving lasting developments in these conceptual areas.
3
Numerous resources explore the technical means of producing various extended
techniques, yet few documents address the utility of these techniques within sound
production. Of the few documents that discuss the advantages of extended techniques
for sound development, the benefits of these techniques are simply mentioned in
passing, with no further exploration of the pedagogical possibilities. Additionally, while
numerous warm-up routines and methods include non-traditional techniques, these
documents are largely unpublished and inaccessible to the greater trombone
community.
Scope and Limitations
This study focuses on techniques that fall into four categories: vocal, external
devices, buzzing, and false tones/pitch bends. In the vocal category, the following topics
are explored: vowels, singing and playing in unison, multiphonics, alternating between
singing and playing, and flutter tonguing. The external device category explores the
incorporation of independent devices or tools used either in tandem with the instrument
or solitarily, aimed at developing a better tone. Topics covered include: the use of
mutes, and the use of other apparatuses targeting sound, including embouchure and
tongue devices, and the use of a pinwheel. The buzzing category investigates the
benefits and applications of: mouthpiece buzzing, buzzing with finger resistance, hand
buzzing, buzzing with a “cut out” mouthpiece/visualizer, rim buzzing, free buzzing,
buzzing/playing through the inner slide only (without an outer slide), and buzzing with
an external device. Finally, the fourth category delves into false tones and pitch bends.
Trombonists often employ false tones to improve low register sound, but this document
4
will further discuss the application of this approach across the full range of the
instrument.6
This document provides a detailed explanation of each technique explored
within the four categories. Additionally, each discussion of a specific technique
explores applications to sound development and analyzes example exercises collected
from research. Analysis includes comparing the exercises to traditional tone studies and
exploring their intended benefits to tone development.
Methodology
This study is comprised of two phases; the first phase explores documents
already available through traditional methods of research, such as databases, libraries,
and websites. The second phase of research seeks to discover the prevalence and
methodology of non-traditional techniques being used for sound development by
professional trombonists, through an online questionnaire approved by the Institutional
Review Board.
Research
This document investigates and compiles non-traditional exercises from all
resources available, including etude and method books, warm-up routines, published
journal articles, master classes (both transcribed and recorded), and online resources
such as audio/video interviews, podcasts, and blogs. If physical musical examples of the
exercises are not available and only described—as in the case of an audio interview—
then the exercise will be transcribed and included in this document. These examples
6
Paul Tanner, introduction to Practice with the Experts: Twenty-Five Favorite Exercises for Trombone
(New York: Leeds Music Corp, 1960), 2.
5
will be organized into the four categories outlined in the scope and limitations section,
where their purpose will be defined and analyzed.
Questionnaire
The second phase of research gathers data from a questionnaire (q.v., Appendix
A) to explore the prevalence and application of non-traditional tone exercises and
identify trombonists most engaged in their use. The questionnaire was distributed to
professional performers in orchestral, military band, and commercial positions, as well
as respected university and conservatory pedagogues within the trombone community
(q.v., Appendix B).
Related Literature
While the topic of sound is mentioned in many brass method books, a document
dedicated wholly to non-traditional sound development for trombone does not exist.
Much of the literature that explores the non-traditional techniques discussed in this
study (vocal techniques, external devices, buzzing, and false tones/pitch bends) serve
only in an instructional capacity. Performance guides focusing on extended techniques
within specific solo literature exist, yet rarely discuss the benefits of these exercises for
sound development.7
Despite this gap within trombone literature, resources in other wind instruments
focusing on tone development using non-traditional or extended techniques are
available, and can be useful as a model for low brass. Robert Dick, contemporary flutist
and advocate of extended technique sound development, offers many pedagogical ideas
for the flute that are equally applicable to the trombone. Published in 1999, Dick’s Tone
7
Examples include: Milton Stevens, “New Techniques Required to Perform Recent Music for the
Trombone” (DMA doc., Boston University, 1976); Cason A. Duke, “A Performer’s Guide to Theatrical
Elements in Selected Trombone Literature” (DMA doc., Louisiana State University, 2001).
6
Development through Extended Techniques quickly became a standard text within flute
pedagogy, and demonstrates the potential impact of extended technique tone pedagogy
within a specific instrumental discipline.8
Chapter 2: Concept of Tone
8
Robert Dick, Tone Development through Extended Techniques (St. Louis: MMB Music, 1986).
7
Tone quality is your most important attribute as a trombonist. If your tone is
inferior, nothing else will matter…
—David Vining, What Every Trombonist Needs to Know about the Body
Sound is the most important aspect of performing on a musical instrument. It is

what listeners hear first and what will stay in their minds.
—Charles Vernon, The Singing Trombone
Anyone who has worked intensively in this field knows that tone quality is not
primarily dictated by a certain brand of instrument or mouthpiece, but by the
instrumentalist himself; a very complex procedure involving a lot of different
components.
—Heinz Fadle, Looking for the Natural Way
The topic of tone or sound—used interchangeably in this study—is discussed in
numerous trombone pedagogical resources. The quotes of Vining and Vernon at the
head of this chapter are just two among a myriad of statements that identify sound as the
most important aspect of playing the trombone. Intangible in nature, tone alludes
succinct definition; this chapter explores, discusses, and defines the concept of tone as
described in contemporary and historical trombone literature.
What constitutes a good or bad trombone sound is largely subjective and
situational. While individuals may value different aspects of tone more than others,
most professional trombonists agree on the basic tenets or characteristics that comprise
a favorable sound. In a recent interview, Peter Ellefson, of Indiana University, was
asked to describe the sound of his teacher and mentor, long time second trombonist of
the Chicago Symphony Orchestra, Frank Crisafulli:
His sound was like no other I have ever encountered. Compact yet wide and
very “meaty.” His sound was full, pure, direct and filled with overtones. He
played relatively small equipment (by today’s trend) but he had a huge sound. I
like to describe the ideal trombone sound as narrow and deep rather than wide
8
and shallow (a la baritone horn). I believe that the narrow and deep sound is
what projects and he certainly projected with apparent ease.9
Aural images such as these can motivate and inspire students and professionals alike,
but also underscore the inherent abstractness that characterizes descriptions of trombone
tone. For example, it’s difficult to quantify what precisely constitutes a “narrow and
deep” sound.
Arthur Lehman, in The ART of Euphonium Playing, provides a visual
representation of the composition of various kinds of tone:
Figure 1. Tone Construction. Lehman provides four types of tones: a, normal tone,
balanced good center; b, dark tone, rich, lots of core; c, light tone; d, broad/airy tone.
Arthur Lehman, The Art of Euphonium Playing, vol. 2 (Poughkeepsie, NY: Bob Hoe,
1977), 26.
While Lehman expresses a preference for a “centered tone,” with a balance of overtones
and undertones, he recognizes that each of these types of tones can be appropriate for
different types of work or performing situations.10
Similarly, influential hornist Fred Fox, in his Essentials of Brass Playing, also
advocates for a centered sound that balances “highs and lows” within the tone. He
suggests “tuning” the instrument sound as one would adjust the lows and highs on a
high-fidelity stereo system:

9
Peter Ellefson, interview by David Brubeck, “A Trombonist’s Tale…“1385” Features Master Teacher
Peter Ellefson,” July 18, 2016, accessed June 1, 2017, http://www.davidbrubeck.com/2016/07/a-
trombonists-tale-1385-tm-features-master-teacher-peter-ellefson/.
10
Arthur Lehman, The Art of Euphonium Playing, vol. 2 (Poughkeepsie, NY: Bob Hoe, 1977), 26.
9
If you turn off all the highs the sound will be dull and tubby. If you turn off all
the lows, leaving only the extreme highs, the same sound will be thin and edgy.
A mixture containing both highs and lows gives a more satisfactory sound…
Some players may prefer a few more highs or lows…but there should never be
an extreme imbalance in either direction.11
Milt Stevens, the late former principal trombone of the National Symphony
Orchestra, provides another description of sound in his thought-provoking diagram,
“Characterizing Tone Quality.”12 Stevens begins by posing a question: asking “Is Your
Sound…….?” He then lists 27 words commonly used to describe a beautiful sound;
descriptors include words like, pure, rich, resonant, centered, etc. The “Characterizing
Tone Quality” diagram then advances with, “Or Is Your Sound…….?” and then lists 30
descriptors of a poor trombone sound—fuzzy, narrow, pinched, raspy, etc. To
demonstrate that different sounds are appropriate depending on the situation, he poses
the final question, “Depending on the musical context, can your sound sometimes
be…….?” and then lists 42 descriptors of situational sounds such as, bright, feminine,
grotesque, hot, etc. Through this series of questions and descriptive prompts, Stevens
suggests that trombone tone is a result of the individual player and represents a complex
amalgamation of numerous characteristics. A jazz trombonist and a classical
trombonist, for example, might very likely select different aspects of a “good” tone to
describe their ideal sound. Trumpet pedagogue Louis Maggio restates this same concept
in the Original Louis Maggio System for Brass, but adds a set of qualifications:
We all have an idea of the sound we would like to have on our instrument. It
may differ from student to student according to individual taste.
11
Fred Fox, Essentials of Brass Playing: An Explicit, Logical Approach to Important Basic Factors that
Contribute to Superior Brass Instrument Performance (Van Nuys, CA: Alfred Publishing, 1974), 11.
12
Milt Stevens, “Characterizing Tone Quality,” accessed June 1, 2017,
http://www.miltstevens.com/htmlpages/Characterizing%20Tone%20Quality.doc.
10
Yet, there is the natural free sound of the instrument that is always there…Once
we have the rich, clear, raw sound of the instrument played by these principles,
then we can develop a particular sound to fit the type of music we want to play.13
Maggio underscores the idea that while subtle differences in concepts of sound exist,
some aspects are universal, regardless of performance medium. Maggio then proceeds
to describe the requisites of a good sound, using the typical descriptors, “rich and big,
dense core, centered pitch, relaxed, and fully controlled in all registers at all volumes.”14
Despite subtle differences in concept of sound preferences, a “good” sound can clearly
be approximated and described with some similarity between instrumentalists.
A Singing Style
How then does one create a “good” sound on the trombone? Though the
operation seems relatively simple, achieving the highest quality sound on the trombone
can be more elusive. Many of the top performers in the trombone field describe a close
connection between the way they play the instrument and singing. This singing style is
often associated with the teachings of the late Chicago Symphony Orchestra tubist
Arnold Jacobs, but most likely stems from brass playing traditions from even earlier. In
United States Army Band trombonist William F. Raymond’s The Trombone and its
Player: A Theoretical and Practical Treatise on Both dating from 1937, he discusses a
singing style at length, stating, “When you start a tone you must make every effort
possible to think you are singing the tone.”15 Similarly, Deanna Swoboda, Assistant
Professor of Tuba and Euphonium at Arizona State University further describes this
concept in The Brass Player’s Cookbook, “We must continually remind our students
13
While originally designed for trumpet Louis Maggio’s method was later adapted by Carlton MacBeth
for all brass instruments. Carlton MacBeth and Louis Maggio, The Original Louis Maggio System for
Brass (North Hollywood, CA: Maggio Music Press, 1968), 16.
14
Ibid.
15
William F. Raymond, The Trombone and its Player: A Theoretical and Practical Treatise on Both
(Cincinnati: Fillmore Music House, 1937), 9.
11
that we are first singer and then instrumentalists. The instrument is merely an extension
of our voices.”16 Countless other references to singing within brass playing exist.
Regardless of the origins of this concept, this singing approach pervades trombone
pedagogy, as illustrated by its visibility within method books and literature.
Bass trombonist of the Chicago Symphony Orchestra, Charlie Vernon titled his
method book, A “Singing” Approach to Playing the Trombone (and other Brass), and
suggests, “singing with the lips as if they were vocal cords.”17 Similarly, trombonist and
author David Vining in What Every Trombonist Needs to Know about the Body also
reinforces this concept, adding that by “treating the lips as vocal cords…the trombone
itself becomes an extension of what we are hearing in our heads.”18 Mark Lawrence,
retired principal trombone of the San Francisco Symphony describes the sound of the
trombone in a video for the San Francisco Conservatory stating, “It’s a very earthy
sound. It can be very powerful, it can be very sweet, it can be very mournful; it’s very
much like the human voice, and the really good players on the instrument make it sound
like the human voice.”19 Performer, pedagogue, and author of several method books, Dr.
Brad Edwards in Simply Singing for Winds: A Wellspring of Melodies for Building Tone
and Technique offers the advice that, “The essential thing when you play any
instrument is to keep your “singing mind” awake. As Arnold Jacobs put it, be a great
singer in your mind and let your instrument reflect this.”20

16
Deanna Swoboda, “Spice Up Your Musicality: Dynamic Flavoring for Low Brass Players,” in The
Brass Player’s Cookbook, edited by Kenneth Amis (Galesville, MD: Meredith Music Publications, 2006),
108.
17
Charles Vernon, A "Singing" Approach to the Trombone (and Other Brass) (Atlanta: Atlanta Brass
Society Press, 2009), 1.
18
David Vining, What Every Trombonist Needs to Know About the Body (Flagstaff, AZ: Mountain Peak
Music, 2010), 63.
19
Mark Lawrence, “Mark Lawrence, Trombone” (video), posted January 8, 2017, accessed June 1, 2017,
https://sfcm.edu/faculty/mark-lawrence.
20
Brad Edwards, Simply Singing for Winds: A Wellspring of Melodies for Building Tone and Technique
(n.p.: Brad Edwards, 2009), 31.
12
Another key aspect of the singing style of playing/sound centers on the
development of a clear aural image of the music to be performed, or hearing the pitches
in one’s head while playing. Vining elaborates on the concept by comparing the act of
singing to playing the trombone. He parallels a singer’s imagination being translated to
sound by the action of vocal cords with a trombonist’s aural concept being translated by
the embouchure, referring to the air flow, lips, jaw, tongue, and facial muscles.21
In this study’s questionnaire, Edward Zadrozny, retired professor of trombone of
the University of Akron, indicated that he utilizes singing to improve trombone tone,
but specified, “I sing, but not in the traditional sense. My singing is all done internally.
I merely want my performance to be a mirror of what I am singing internally.”22 The
concept of an “inner voice” can also be defined as audiation. A term coined by music
theorist Edwin Gordon in the 1970s, audiation is defined as hearing or comprehending
music for which the sound is no longer or may never be physically present. Gordon
posits that, “Through audiation we interiorize singing and movement psychologically
before we actually sing or move physically.”23
Many trombonists report an ease and efficiency that come hand in hand with the
singing style sound. Vining defines this as, “Embouchure Equilibrium,” and Edwards
equates it to finding a “point of resonance” for each note. 24 Edwards points out that the
resonance of an instrument is optimized when the minimum effort produces the most
vibration. If the air is forced less resonance results.25 Influential pedagogue Reginald H.
21
Vining, What Every Trombonist Needs to Know About the Body, 63.
22
Edward Zadrozny, Appendix C, 95.
23
Edwin Gordon, “Audiation: A Theoretical and Practical Explanation,” Koday Envoy 20, no. 2 (Winter
1994): 12.
24
Vining, What Every Trombonist Needs to Know About the Body, 69-75.
25
Edwards offers a physical test to experience and understand resonance, “To experience resonance, try
blowing warm air across the opening of a jug (or a straight mute), making it vibrate. Notice that if you
force the air you get less resonance, not more. The lips are the same; they have a “point of resonance” for
13
Fink provides a visual representation of this concept in The Trombonist’s Handbook
(see figure 2), stating that, “A balanced combination of lip tension and breath pressure
which is near the middle point of the line will result in a centered tone.”26
Figure 2. Anatomy of a Trombone Tone – Quality Variation. Reginald Fink, The

Trombonist’s Handbook: A Complete Guide to Playing and Teaching the Trombone
(Athens, OH: Accura Music, 1977), figure 21.
Like Vining, Fink describes an optimal resonance on the instrument that can be gained
by developing a sensitivity to the various parts of the embouchure system working
together, stating, “When your body is adjusted to the proper resonance, you can almost
feel the tone of the instrument coming back up the mouthpiece pipe and resonating in
your oral cavities.”27 Michael Mulcahy, second trombone of the Chicago Symphony
Orchestra commented on the paradoxical nature of achieving an optimal balance of
structure and breath in a 2014 interview, “If you listen to a great player play, you'll hear
beautiful, clear, pure sound, that sounds effortless…” and later adds that, “…when
you’re doing it right, it's quite close to doing nothing.”28
each note.” Brad Edwards, Lip Slurs: Progressive Exercises for Building Tone and Technique (Ithaca,
NY: Ensemble Publications, 2006), 3.
26
Reginald Fink, The Trombonist’s Handbook: A Complete Guide to Playing and Teaching the
Trombone (Athens, OH: Accura Music, 1977), 17.
27
Fink, The Trombonist’s Handbook, 110.
28
Michael Mulcahy, interview by Sarah Willis, "Mick Mulcahy Live from Chicago: Trombone, Music
and Chicago Legends" (video), Sarah's Live Horn Hangouts, posted June 28, 2013, accessed October 28,
2014, https://m.youtube.com/watch?v=Dsaz-2pIR2o.
14
From a pedagogical standpoint, learning to sing with the lips, audiate, and
achieve an air/embouchure equilibrium are incredibly complex topics. While poetic in
concept, these ideas can be perplexing to master and perhaps even more difficult to
teach.29 The goal of this document is not to over-complicate sound production, but to
explain a complex operation and provide insight on an idea that is difficult to
conceptualize. A 1911 entry in Grove’s Dictionary of Music and Musicians states, “The
trombone is a very simple instrument,” and while the assertion may seem naive, over-
thinking and over-analyzing can be the bane of a budding trombonist. In the words of
Metropolitan Opera trombonist Weston Sprott, “Obsessing over this type of thing can
sometimes create more trouble than it's worth. For the most part, you can just hear the
pitch in your head, try to sing it out of the instrument, and a lot of these…issues will
naturally fall into place.”30 An effortless singing style sound is something that can be
learned and ultimately become an automatic operation; non-traditional tone
development techniques may offer key advantages in developing this style sound.
29
Empire Brass tubist Kenneth Amis in an essay for The Brass Player’s Cookbook notes that, “When
brass students are told to sing with their instrument or to bring out the music, they often simply play
louder and with more vibrato.” Kenneth Amis, The Brass Player’s Cookbook, 4.
30
Weston Sprott, “How Tongue Placement Relates to Range” Weston Sprott – Trombone – The Met
Opera, accessed June 1, 2017, https://westonsprott.com/articles/blog/how-tongue-placement-relates-to-
range.
15
Chapter 3: Vocal Techniques
Vowels
“Vowel sounds are special because they bring attention to mouth shape; one can
gain increasing sensitivity to mouth shapes working with vowels.”
—Stuart Dempster, Appendix C
“Resonance is formed by vowel singing.”
—Chas Colin, Advanced Lip Flexibilities
As preeminent avantgarde trombonist Stuart Dempster in the quote above
alludes, the experimentation of vowel usage while playing the trombone can be
16
beneficial in improving one’s sound.31 Dr. Donald Appert in A Progressive Study of
Multiphonics on the Trombone brands this technique “phonetization,”32 Benny Sluchin
in a Practical Introduction to Contemporary Trombone Techniques describes it as
“vocalisation [sic],”33 Giancarlo Schiaffini in The Trombone: Increasing its Technical
and Expressive Capacities terms it as “vowel distortion,” 34 but all authors are
essentially referring to the same vowel usage described by Dempster at the opening of
this chapter and by extension within his influential writing, The Modern Trombone: A
Definition of its Idioms. While many applications of vowels to trombone performance
exist, this section focuses on standard buzzed vowels and buzzed lip vowel harmonics,
which result from the slow movement between different vowels.35 Sluchin provides a
comprehensive definition stating, “this technique consists of changing the mouth cavity
while playing, thus obtaining a sound with varied spectral components. In this way, one
hears the main pitch (fundamental) and the harmonics that are reinforced because of the
corresponding resonance of the mouth.”36
Dempster gives a rudimentary introduction to the production of vowels in the
The Modern Trombone, noting that the first step is to learn to produce standard vowel
31
The first quote at the head of this chapter was a response from Stuart Dempster extracted from this
study’s questionnaire. The response was given in answer to the query, “Are there any other non-
traditional methods of tone development that you utilize that have not been mentioned in this
questionnaire? If so, please describe.” Dempster’s response spurred the inclusion of vowels in this section
of the document.
32
Donald Appert, A Progressive Study of Multiphonics on the Trombone (West Springfield, MA:
Trombone Association Publishing, 1978), 22.
33
Benny Sluchin, Practical Introduction to Contemporary Trombone Techniques: 20th Century Excerpts
(Paris: Editions Musicales Européennes, 1995), 17.
34
Giancarlo Schiaffini, The Trombone: Increasing its Technical and Expressive Capacities (Milano:
Ricordi, 1982), 21.
35
Dempster categorizes the use of vowels into the following types: buzzed vowels, vowel harmonics,
vocal vowels, and buzzed lip and muted vowel harmonics. Stuart Dempster, The Modern Trombone: A
Definition of its Idioms (Rochester, NY: Accura Music, 1994), 14.
36
Sluchin, Practical Introduction to Contemporary Trombone Techniques, 17.
17
shapes on the trombone: “a (ah), i (ee), e (ā), o (ō or Oh), u (ōō)…”37 Both Dempster
and Sluchin mention that the ideal range for harmonic production lies between B-flat
and F. As no extensive exercises exploring this idea are included in the previously
mentioned texts, the principle has been organized into a very basic exercise in figure 3:
Figure 3. Vowel Exercise
Many method books advocate playing with an open oral cavity and throat. Some
pedagogues view lip slurs—typically regarded as a very traditional method of sound
development—as improving sound by encouraging the opening or expansion of the oral
cavity.38 Non-traditional exercises such as figure 3, expand on this idea by encouraging
students and performers to reach new levels of openness and resonance in the oral
cavity through stretching and experimentation.
While active alteration and shifting between vowels is discussed in
contemporary and extended technique texts, the use of vowels, or syllables that promote
vowel shape is seen prevalently in many traditional trombone method books. Paul
37
Dempster, The Modern Trombone, 13.
38
Clarence Sawhill explains the benefits of lip slurs in Practice with the Experts: “The main object of this
work is a good basic sound. The exercise is constructed in such a way as to open not only the facial
cavities but the entire resonance chamber.” Clarence Sawhill, as collected by Paul Tanner in Practice
with the Experts. Tanner, Practice with the Experts, 36.
18
Tanner in Practical Hints on Playing the Trombone mentions, “there is always a great
deal of discussion about what syllables to use… The main objective for a player to keep
in mind concerning these syllables is that his oral cavity (actually a resonating chamber)
should be kept as open as possible.”39 As Tanner indicates, trombonists adopt many
different approaches and techniques in applying vowel syllables to playing; perhaps the
most prevalent strategy includes the use of an “Ah” syllable in the low range, “Oh” in
the mid range and “Ee” in the upper range.40 Ben van Dijk, bass trombonist of the
Rotterdam Philharmonic Orchestra, comments on this concept in his own method book
stating, “The low notes require a greater volume of air to produce a great tone. Imagine
making an ‘ah’ sound in your mouth and directing the air into a large tube… The high
notes require fast air. Imagine saying an ‘e’ sound in your mouth and directing the air
super fast into a small straw!”41 In Essentials of Brass Playing, Fred Fox encourages
players to experiment with bringing notes into focus, explaining, “as you sustain the
note vary the tongue position from “ee” to “aw” and find a position midway between
the extremes that sounds best to you. The note is now in focus.”42
Retired University of Northern Colorado trombone professor Buddy Baker takes
this notion of “note focus” even further, claiming in his Tenor Trombone Handbook,
that, “…there is a different oral cavity (resonating cavity) for every pitch on the
trombone. The correct oral cavity for a given note will produce the most warmth and
39
Tanner, Practical Hints on Playing the Trombone, 14.
40
This strategy or some variation of it can be found many texts—a select few in example include: Brad
Edward’s Trombone Craft, Donald Reinhardt’s Pivot System for Trombone, Louis Maggio’s Original
Louis Maggio System for Brass, and Chas Colin’s Advanced Lip Flexibilities.
41
Ben van Dijk, Ben’s Basics: for Bass/Tenor Trombone + F Attachment (Den Haag, The Netherlands:
BVD Music Productions, 2004), 54.
42
Fox, Essentials of Brass Playing, 11.
19
vibrancy for that pitch.”43 This concept is inherently related to the singing style
trombone sound discussed in the previous chapter, and has parallels to Vining’s idea of
“embouchure equilibrium” and Edward’s claim of a “point of resonance” for every
note. William F. Raymond, in The Trombone and its Player comments on this idea as
well, suggesting that internally singing can be used to control vowel usage, and other
aspects of the vocal tract:
You will note…that the tongue after starting a sustained tone withdraws itself
from the roof as far as possible thus causing the throat to open. This is the
identical condition when one sings the tone. If you do this properly you will
make a resonator of the throat.
If you will open your mouth and sing a resonant “ah” in the lower staff,
you will note that your throat seems to be stretching itself open…. Nothing must
retard the smooth flow of air from the lungs to the lips. When you start a tone
you must make every effort possible to think you are singing the tone.44
Schiaffini also discusses how the vocal tract is paramount in determining the quality of
trombone sound and emphasizes the importance of a player, “pitching the tone before it
reaches the instrument…” Though conveyed differently, these concepts separated by
expanses of time, geographic location, and language, all arrive at a style of trombone
performance informed by singing.45 While this style of vowel usage is clearly a
traditional trombone technique, it is mentioned here in detail, as this document explores
other vocal techniques that can be used to enhance, remind, and expand on this idea,
such as the previously mentioned vowel studies.
43
Buddy Baker, Tenor Trombone Method: An Approach to Trombone Basics, Warm-Up, and Daily
Routine for Tenor Trombone with or without F-Attachment (Miami: Warner Bros. Publications, 1983),
19.
44
Raymond, The Trombone and its Player, 9.
45
American trombonist William Raymond’s The Trombone and its Player was published in 1937, while
Italian trombonist Giancarlo Schiaffini’s The Trombone was published in 1982 in Italian with English
translation.
20
Throat Tuning and Vocal Tract Resonance
Robert Dick, contemporary flutist and advocate of extended technique use in
tone development, offers many concepts in his Tone Development Through Extended
Techniques that are universally applicable to a variety of instruments, including the
trombone. What Dick calls “throat tuning” is intimately connected to the concepts of
oral cavity resonance and vowel usage discussed in the previous sections. A complex
phenomenon, Dick offers the following explanation:
If one looks under the bars of a vibraphone, a resonator tube is found beneath
each bar. Each of these tubes is of the correct length to amplify its note, and the
throat can function in a similar, but far more sophisticated manner. In order for
this to happen, the vocal chords are held in the same position they would be if
one were preparing to sing the note about to be played.46
To accomplish throat tuning, Dick suggests that a performer silently sing along with
themselves as they play.47 The acoustic science community has attempted to test this
theory, labeling it “vocal tract resonance.” Their findings may suggest that players
actively or subconsciously alter the oral cavity while playing, and that the most efficient
method of playing is one in which the oral cavity is shaped to the resonant frequency of
the note being played.48 Throat tuning and vocal tract resonance are mentioned here
because the primary method that Dick uses to cultivate throat tuning is through singing
and playing in unison; a non-traditional technique discussed in the subsequent section.
Singing and Playing in Unison
Singing and playing in unison is a technique in which a trombonist sings while
playing the same pitch on the instrument. This technique is mentioned in several
46
Dick, Tone Development Through Extended Techniques, 9.
47
Robert Dick, “Throat Tuning Part 1” (video). August 9, 2009, accessed June 1, 2017,
https://www.youtube.com/watch?v=FCxXc5p96YA.
48
Vincent Fréour et al, “In-Vitro and Numerical Investigations of the Influence of a Vocal-Tract
Resonance on Lip Auto-Oscillations in Trombone Performance,” Acta Acustica United with Acustica
101, no. 2, (March / April 2015): 256-69.
21
contemporary technique books such as Dempster’s The Modern Trombone, Appert’s A
Progressive Study of Multiphonics, and Jen Baker’s Hooked on Multiphonics. These
manuals provide thorough explanations of singing and playing and rudimentary
exercises for developing the singing and playing in unison technique. Singing and
playing in unison is often used as the first step in teaching multiphonics.
While these resources thoroughly explore contemporary techniques, they do not
fully examine or apply these techniques to tone development. In research, no instance of
unison singing and playing being used for tone improvement was found, however, the
results of this study’s questionnaire indicated that 35% of participants used this
technique to improve their tone on the trombone. Because no examples were provided
by participants, an application of this technique applied to the most common tone
development exercise (long tones) is shown in figure 4:
Figure 4. Sing and Play in Unison Long Tone Exercise. This exercise is based on the
first long tone exercise found in Max Schlossberg’s Daily Drills and Technical Studies
for Trombone.
The effectiveness of singing and playing in unison for improving the overall
traditional trombone tone may stem from the vocal connections previously mentioned in
the concept of sound chapter; if a player seeks to develop an inner singing voice in
22
one’s mind, singing and playing in unison is a logical stepping point between singing,
singing in one’s head, and actually playing. Additionally, this practice may help
establish a connection between oral cavity shape and the pitch being played through the
instrument, by encouraging the performer to form the correct oral cavity for each pitch.
Multiphonics
Multiphonics are a technique whereby a player produces two or more pitches at
the same time. The trombone is capable of producing several distinct styles of
multiphonics; Dempster, in The Modern Trombone mentions many, including varying
the oral cavity by shifting vowel shape, using a wa-wa mute to produce multiphonics,
split tone multiphonics, and of course the most widely accepted definition of
multiphonics in the brass idiom, singing and playing the trombone simultaneously.49
Complex combinations of many of these techniques, such as varying the oral cavity
while singing and playing are possible and add additional depth to multiphonic study.
Questionnaire results indicated that just under 20% of participants utilize
multiphonics as a method to improve their overall tone. Similarly to singing and playing
in unison, the use of multiphonics for developing traditional sound is virtually
nonexistent in traditional method books and literature. However, multiple participants
noted that multiphonics can aid in the formation and resetting of traditional embouchure
placement, resulting in a better sound.50
Despite the lack of tone studies utilizing multiphonics in traditional literature,
one exemplary example exists in the form of a 1991 interview published in the Online
Trombone Journal. In the interview, jazz trombonist Dick Griffin discusses the benefits
49
Dempster, The Modern Trombone, 5-12.
50
Both James Decker and Jen Baker commented on this aspect in the questionnaire. See Appendix C, 96.
23
of multiphonics to alleviate a “pinched sound,” and advocates the use of multiphonics in
conjunction with long tones as part of his daily warm-up routine.51 While a notated
example of this routine was not included in the interview, the following exercises are
representative of the application of multiphonics to long tones:
Figure 5. Multiphonic Long Tone Exercise, Perfect Fifth
Figure 6. Multiphonic Long Tone Exercise, Major Tenth
Figure 5 utilizes the multiphonic interval of a perfect fifth and figure 6 the major
tenth. Perfect fifths and major tenths were selected based on the comments of Dempster
51
Dick Griffin, interview by Bob Bernotas, “Masterclass with Dick Griffin: Multiphonics on the
Trombone.” Online Trombone Journal 1991; revised 1999, accessed March 1, 2016,
http://trombone.org/articles/library/viewarticles.asp?ArtID=85.
24
in this study’s questionnaire. Dempster highlighted that these resonant intervals—the
perfect fifth and the major tenth—work particularly well in relaxing a player’s throat.52
Multiphonics inherently carry with them the limitations of the performing
trombonist’s voice range. Performer’s should take care not to strain the vocal cords
while attempting these exercises.53 Figures 5 and 6 were designed to fall in a singing
range applicable for most male and female trombonists. Players should start in a range
that is comfortable for his or her voice, and only over longer periods of time attempt to
expand their range of singing.
The use of multiphonics are beneficial in improving tone, in that they require a
performer to commit to a continuous stream of air while playing. Multiphonics also
encourage an expansion of the vocal tract and inclusion of other overtones (both above
and below the fundamental). Appert confirms this idea in A Progressive Study of
Multiphonics on the Trombone, advising performers to use more air than normal for
multiphonics, and that, “Singing a pitch adds vibrations (or waves) to the sound that you
will not be accustomed to hearing.”54 Striving for a balance of overtones within
trombone sound is mentioned in several important trombone texts, most prominently
Edward Kleinhammer’s, The Art of Trombone Playing:
The science of acoustics proves that a tone is composed of two or more elements
called partials. The lowest and the most predominant one determines the pitch
of the sound, and is called the fundamental. The quality of a tone is determined
by the number and intensity of overtones or partials present in the sound in
addition to the fundamental. In other words, the more overtones, the richer the
sound.55
52
Stuart Dempster, Appendix C, 96.
53
Jen Baker in Hooked on Multiphonics emphasizes the importance of vocal cord heath, and spends a full
two pages discussing endurance, optimal vocal care, and strategies to avoid vocal strain. Jen Baker,
Hooked on Multiphonics: Multiphonics and other Extended Techniques Demystified (Raleigh, NC: Lulu
Publishing Services, 2016) 12-13.
54
Appert, A Progressive Study of Multiphonics, 1.
55
Edward Kleinhammer, The Art of Trombone Playing (Evanston, IL: Summy-Birchard, 1963), 36.
25
While trombonists often take for granted the importance of overtones within the sound,
these overtones are integral to beautiful tone. Ben van Dijk voices his frustration in his
own method book commenting, “I think a big mistake many bass players make is that in
their effort to make the sound big they forget to keep some higher overtones in their
sound. Their sound becomes unfocused, very dull, and not easy to play with for either
tuba players or tenor trombonists. I like to think of a pyramid sound with a wide bottom
and a rich top to it.”56 Dijk’s comments are reminiscent of Art Lehman’s visual
representation of tone described in Chapter 2, and reinforce the importance of a balance
of overtones in the production of an ideal sound.
Exposure to multiphonics can expand a trombonist’s tonal palate by revealing
previously unknown overtone possibilities. Additionally, maintaining a steady in-tune
pitch of both voice and tone during multiphonics requires a higher level of
concentration and may aid in the discovery of an optimal “point of resonance” for each
note as discussed in the concept of tone chapter.
Alternating between Singing and Playing
Alternating between singing and playing is the immediate alternation between
singing vocally (not through the instrument as in multiphonics) and playing the
instrument. While certainly not a new technique, interesting variations exist, that bear
mentioning here. Players often sing a phrase, and immediately repeat the same phrase
with the instrument, however, alternating between singing and playing is not restricted
to this alone. Another strategy utilizing this technique is to follow a “play a measure,
sing a measure” pattern, though the duration of playing/singing is certainly not limited
to one measure increments.

56
Dijk, Ben’s Basics, 80.
26
David Vining presents this idea at length in Ear Training for Trombone.
Vining’s publication begins with very basic exercises consisting of slow alternation of
playing a pitch then singing the same pitch and gradually adds complexity over the
course of the book. The final exercises consist of alternating randomized advanced
intervals and the alternation of longer phrases of more complicated melodies such as
orchestral excerpts, like the Tuba mirum from Mozart’s Requiem and selected
melodious etudes by Bordogni.57
The questionnaire revealed that over 70% of participants utilized alternating
singing and playing and an even larger 85% used singing in some form to improve their
overall trombone tone. References to the technique aiding in the acquisition of a singing
style sound were prevalent in the comments of the questionnaire. James Decker of
Texas Tech University, commented that he used this strategy to draw comparisons
between singing and playing and to “emulate the natural musicality of singing into the
playing.”58 John Marcellus, retired professor of trombone at Eastman School of Music,
recognizes the benefits of integrating performing and singing in the foreword to
Vining’s Ear Training for Trombone, commenting that the alternation of singing and
playing enables, “the student to internalize the music in his mind.” Marcellus later
writes that the internalization of intervals results in more consistent and reliable tone
and intonation.59
57
David Vining, Ear Training for Trombone (New York: Carl Fischer, 2008).
58
James Decker, Appendix C, 96.
59
John Marcellus, foreword to Ear Training for Trombone, 3.
27
Sing, Buzz, Play, and Other Variations
Similar to alternating singing and playing, several performers and teachers add
the intermediary step of buzzing between singing and playing.60 Brad Edward’s
Trombone Craft features an extensive appendix section entitled, “Flow Exercises (sing,
buzz, play),” where he explains, “By going back and forth between your instrument and
singing/buzzing, you can develop a more natural singing approach without focusing too
much on mechanics.”61 Edwards recommends applying this technique to simple
melodies. The “sing, buzz, play” word combination is not unique to Edwards however;
Frank Williams in Trombone Chops, includes the instructions to, “Sing, Buzz, Play!”62
as an exercise for the warm-up of the embouchure and ears. Dr. Bruce Faske,
Artist/Instructor of Trombone at Arkansas State University, expands on the concept of
sing, buzz, play, in a presentation entitled, “Sing your Way to Better Trombone
Playing.” Nicknamed a “Practice Circle,” Faske loops the sequence of “play, sing, buzz,
sing, play,” asserting that the approach develops the ear, a centered tone, and requires
the student to avoid using the instrument as a “pitch approximator.”63 The combination
of singing, buzzing, then playing, as well as other variations of this basic combination,
offer many of the same benefits as singing and playing.
60
While several variations of buzzing exist as outlined in the “Buzzing” chapter of this document (see
chapter 5), buzzing in this section refers, but is not restricted to standard mouthpiece buzzing.
61
Brad Edwards, Trombone Craft: A Musical Approach to Building Tone and Technique (n.p.: Brad
Edwards, 2012), 162.
62
Frank Williams, Trombone Chops: The Ultimate Guide to Building Tone, Technique and Flexibility
(New York: Carl Fischer, 2012), 11.
63
Bruce Faske, “Sing your Way to Better Trombone Playing” (clinic presented at the Arkansas Music
Conference, February 17, 2017), 2-3, accessed June 7, 2017,
http://www.faskemusic.com/uploads/1/2/3/8/12387959/singyourwaytobettertromboneplaying.pdf.
28
Flutter Tongue
Flutter tonguing is a non-traditional technique produced by rolling the tongue in
the vocal fashion of an Italian ‘R’ while playing through the trombone. Though not
typically categorized as a “vocal” technique, flutter tonguing involves adjustments to
the oral cavity similar to the other vocal techniques discussed in this chapter. Many
trombonists mention using flutter tonguing to improve tone production. Dayton
Philharmonic Orchestra trombonist Richard Begel uses flutter tonguing to enhance
airflow and tone quality. Described in detail in his book, A Modern Guide for
Trombonists and Other Musicians, Begel comments on the efficiency of flutter
tonguing as a pedagogical tool to improve tone due to the increased resistance the
technique creates.64 This resistance in turn encourages an increase in support, resulting
in better sound once the flutter tongue is removed.
Just under half the questionnaire participants from this study indicated that they
utilized flutter tonguing for the development of tone. Many commented on the
technique’s utility in stimulating air support and addressing air problems. Dr. Irvin
Wagner, of the University of Oklahoma, described the value of flutter tonguing
succinctly stating, “I frequently use this to help the student understand that one has to
keep the air going constantly when playing, and flutter tonguing is a great way to get
this across to students. It is understood that a flutter tongue will not happen unless the
air is moving, and this is a super "eye opener" for students.”65 While no specific
exercises involving flutter tonguing and tone production were provided by survey
64
Richard Begel, A Modern Guide for Trombonists and Other Musicians (Dayton: Richard
Begel/Wealthy Dog Productions, 2002).
65
Irvin Wagner, Appendix C, 97.
29
participants, logically this technique may be applied to basic warm-up exercises such as
long tones and lip slurs or similar etudes.
Chapter 4: External Devices
Mutes
Get into the habit of playing the first five minutes of your earliest daily sessions
with a mute. Your tone production will be the better for it.
—Jeff Reynolds, A Comprehensive Workbook
Designed to fit inside or around the trombone bell, mutes dampen and alter the
trombone timbre. Various types of mutes exist, each exhibiting a unique character.
Though not originally intended as a tone production aid, as the Reynolds quote at the
head of this chapter suggests, many trombonists attest to the usefulness of mutes in
refining tone quality.
In a 1992 article in the International Trombone Association Journal entitled, “A
Practical Aid to a Beautiful Sound,” retired London Symphony Orchestra trombonist,
Denis Wick, comments on the importance of playing with an open throat and describes
several mute exercises trombonists can do to achieve an open throat and open sound.
The exercises rely on the use of a mute to condition the trombonist into playing with an
30
open throat. Wick claims that over time the optimal open throat playing position can be
remembered and replicated on the trombone without the use of a mute.66
Approximately 45% of questionnaire participants who used external devices,
utilized mutes to improve their tone on the trombone. 67 Several participants commented
that using a mute aided in what they described as the expansion of their throat, or in the
opening up their sound. Trombone soloist Brett Baker makes similar remarks on his
website, advocating the use of mutes to, “open the glottis and increase sound.”68 On the
questionnaire, James Decker observed that the use of a metal practice mute resulted in
“greater resonance on the open horn.”69
Notably, the only type of mute explicitly cited for tone development was the
practice mute. A type of mute designed to drastically dampen trombone sound, practice
mutes are ideal for situations where one cannot play the instrument openly, such as a
hotel room or backstage during a performance. Interestingly, several participants noted
that a Denis Wick brand practice mute specifically was well suited for this type of
exercise.
Further research uncovered additional examples of mutes being used for sound
development. In a warm-up routine for the 2010 International Trombone Festival, Brent
Phillips of Baylor University includes a glissando long tone exercise that calls for the
use of a practice mute (see figure 7). He directs trombonists to play the exercise first
with a practice mute and then open.
66
Denis Wick, “A Practical Aid to a Beautiful Sound,” ITA Journal 20, no. 2 (Spring 1992): 36, accessed
September 23, 2014, http://www.trombone.net/members/journal/1992/april/index.cfm?.
67
This percentage was adjusted down for participants that commented that they did not use mutes
specifically for the improvement of their sound.
68
Brett Baker, “Workshop Notes/Hints,” Brett Baker, 2012, accessed June 1, 2017,
http://www.brettbaker.co.uk/practice-studio/workshop-notes-hints.
69
31
Figure 7. Practice Mute Playing. Sample of exercise, see Brent Phillips, “Daily Warm
Up and Conditioning Routine” (lecture presented at the International Trombone
Festival, 2010), 3-4, accessed June 1, 2017,
http://baylortrombones.weebly.com/uploads/1/4/5/0/14502268/daily_warm_up_and_co
nditioning_routine-2.docx.
Dr. Brad Edwards includes the practice mute in a pair of exercises entitled,
“Opening Up the Sound” in the tone and tuning appendix of his Trombone Craft. Like
Phillips, Edward’s exercises utilize glissandos and focus on developing projection
through an emphasis on the louder dynamic range (forte or louder). His instructions
explain, “The mute provides resistance. Breathe deeply and play very loudly into the
mute (metal practice mutes often get a raspy, buzzing sound at louder dynamics). Then,
remove the mute and just play big without forcing.”70 Questionnaire participants
described similar experiences regarding mutes; Dr. Irvin Wagner wrote, “This assists in
striving to get a rich, full tone because one has to blow more air when using the practice
mute.”71 Dr. Natalie Mannix, of The University of North Texas, similarly adds that a,
70
Edwards, Trombone Craft, 141.
71
Irvin Wagner, Appendix C, 92.
32
“practice mute can improve tone by making air more immediate.”72 By adding
resistance and encouraging an open throat and proper air flow, mutes are helpful in
developing trombone tone and represent the most common external device used for tone
production.
Other Apparatuses Targeting Sound
Numerous commercially available devices claim to improve sound by
strengthening and developing the embouchure. The questionnaire revealed that
approximately 12% of participants used these types of devices and only the Warburton
P.E.T.E (Personal Embouchure Trainer Exerciser) was explicitly cited as being utilized.
Accordingly, few discussions of these apparatuses appear within trombone literature.
This section describes many of the devices available and explores the exercises
associated with each.
The Warburton P.E.T.E. is a device that isometrically exercises the embouchure.
After placing the P.E.T.E. in the mouth between the lips and front teeth, the user simply
pulls on one end of the device, effectively initiating a “tug of war” between the
embouchure muscles and the force applied away from the face. The P.E.T.E. has two
different sides which reportedly exercise the embouchure muscles in slightly different
ways.73 Chop-Sticks Advance Embouchure Training System adopts a similar approach
to the P.E.T.E. and is advertised as an advanced version of Donald Reinhardt’s “pencil
routine.” 74 To use this strengthener, the player inserts the Chop-Sticks into one’s mouth
and attempts to hold the device horizontally for durations of time using only the
72
Natalie Mannix, Appendix C, 92.
73
“P.E.T.E. - Personal Embouchure Training Exerciser,” Warburton, 2013, accessed June 1, 2017.
http://www.warburton-usa.com/index.php/products/accessories/36-accessories/190-PETE.
74
Donald S. Reinhardt, Encyclopedia of the Pivot System: for All Cupped Mouthpiece Brass Instruments,
(New York: Charles Colin, 1973), A-43.
33
strength of their embouchure. Chop-Sticks utilizes a system of increasing weights to
condition the embouchure in this fashion.75
Several anti-mouthpiece pressure devices exist as well. Designed to teach
trombonists to use less force while playing, two examples include the Stratos
Embouchure Trainer Set and the Stolzel Methodic Practice Adapter.76 Both devices are
used in conjunction with the instrument and effectively work by closing off airflow to
the horn if too much mouthpiece pressure is used.
Stacctator allows wind players to practice articulation without the instrument.
The device’s creator, Chris Cigolea, further claims that using the Staccator holds the
additional benefit of improving sound production.77 The device is essentially a flat hard
piece of plastic with a bendable loop of plastic attached to it that player’s use to direct
the airstream and articulation at. If done correctly the staccato makes an audible “tap” as
it rebounds off the hard plastic.
Despite the pinwheel’s close association with childhood, this simple toy has
been cited by numerous trombonists as an effective method of improving tone. A
pinwheel is generally constructed of two parts: a thin rod typically made of plastic or
wood that serves as the handle, and a windmill or fan shaped wheel attached to the rod.
The wheel is activated and spins when air is directed at it, typically by a user blowing
into it or moving the pinwheel forcefully through the air. M. Dee Stewart of Indiana
University frequently utilizes pinwheels for instruction and development of a better
75
“How the Chop-Sticks Program Works,” Liemartech, 2001, accessed June 1, 2017,
http://www.liemartech.com/Chop-Sticks/.
76
“Stozel Methodic Practice Adapter,” Thomann, accessed May 1, 2017,
https://www.thomann.de/be/stoelzel_methodischer_uebungsadapter_pos.htm, http://www.warburton-
usa.com/index.php/accessories/344-stratos-embouchure-training-system.
77
Chris Cigolea, “About the Staccator,” Easy Choice Music, accessed May 1, 2017,
http://www.easychoicemusic.com/about/.
34
trombone tone. Stewart employs several different types of pinwheels to target different
aspects of playing. For example, he uses a multi-branched pinwheel for the teaching of
low notes that requires the user to send a larger, wider stream of air to initiate
movement on each pinwheel.
Stewart commonly asks students to stand with the trombone in the left hand and
a pinwheel in the right. In the exercise, a player holds a pinwheel while in the standard
trombone playing position, takes two full breaths on the pin wheel at arm’s length away,
then drops the pinwheel, and after a third breath sends the same type of efficient
air/breath cultivated by pinwheel usage through the trombone. As no actual notated
version of this exercise was given, figure 8 seeks to apply this approach in a systematic
way.
Figure 8. Pinwheel Exercise. Based on the exercise described by M. Dee Stewart in an

instruction video entitled, “Pinwheel Pedagogy: Introduction.” M. Dee Stewart,
“Pinwheel Pedagogy: Introduction,” (video), accessed May 1, 2017,
http://www.banddirector.com/videodirect/m-dee-stewart/pinwheel-pedagogy-
introduction/.
In an interview with NPR reporter Annie Corrigan, Stewart commented on the
importance of mental preparation in successful trombone performance, reflecting that
35
players often get carried away, causing problems and overcomplicating the simple
process of breathing and blowing.78 In this way, the effectiveness of using a pinwheel
lies in its simplicity. Stewart describes the process as almost tricking the user into
breathing and blowing without thinking about it. With an overarching aim at efficient
tone production, Stewart, describes the pinwheel phenomenon:
The amount of air we use on the pinwheel is more than what we use on the
trombone. But what I want you to carry over from the pinwheel to the trombone
is that ease and that flow going without any resistance…and that’s the way I
want to play the trombone. The horn is an open tube and air goes right through
it. I know horns respond differently, but in terms of holding back the air, it
doesn’t really hold back the air. So if we can play with that same free blowing,
then the embouchure has a chance to vibrate. If you’re getting that air to flow
through the lips freely, then they’ve really got a chance to vibrate efficiently,
and that’s where your resonance comes from.79
A true testament to Stewart’s impact within the trombone community, a
surprising 34.48% of participants that utilized external devices used a pinwheel as a
teaching tool or for personal development. Pinwheels were selected here over other
breathing devices such as spirometers, because they are primarily used for sound
production rather than lung capacity. As previously discussed, tone is a complex
amalgam of many factors that merge to form a finished product. Breathing and the
development of a “good” breath is certainly an important aspect of tone production, and
is discussed in countless resources. While the quality of a player’s inhalation no doubt
impacts exhalation, and therefore sound production, the many breathing devices and
stretching routines available extend beyond the scope of this document.
78
M. Dee Stewart, interview by Annie Corrigan, “Dee Stewart: Sports, Pinwheels, and Bass Trombone,”
Indiana Public Media, July 27, 2010, accessed May 1, 2017, http://indianapublicmedia.org/arts/dee-
stewart-sports-pinwheels-bass-trombone/.
79
This statement comes from a 2011 lesson that was recorded as part of a treatise on the pedagogy of
Stewart. M. Dee Stewart, as recorded by Graydon McGrannahan, “The Pedagogical Contributions of M.
Dee Stewart to the Study of Trombone,” (DM treatise, Florida State University, 2011), 32.
36
Chapter 5: Buzzing
The quickest way to a golden tone is through mouthpiece buzzing.
—Mike Roylance, The Brass Player’s Cookbook
There are myriad ways to buzz your lips. Many are radically different from
anything you'd want to do to play a brass instrument, so your first task is to be
sure that what you're doing functions with the mouthpiece and with the horn.
—Sam Burtis, The American Trombone
Buzzing is a generalized term that, in the trombone idiom, refers to the act of
buzzing or vibrating one’s lips on a mouthpiece while the mouthpiece is detached from
the instrument. By removing the distraction of the instrument and practicing the
mouthpiece solitarily, players and teachers are often able to detect and remedy
fundamental performance issues with greater ease.80 However, buzzing is not without its
critics; the debate over buzzing is perhaps the most embroiled topic of disagreement
among trombonists. While some express concerns for the potential harm this technique
may cause, others swear by its effectiveness.
This study’s questionnaire revealed that 89.47% of participants buzzed their
mouthpiece in some compacity. Dr. David Begnoche of Texas Christian University
commented that he uses buzzing but also recognizes the importance of moderation,
writing: “I use mouthpiece buzzing myself and with my students regularly but sparingly
(in specifically targeted ways) ‘all things in moderation’. Indeed, even healthy things
done to excess or used/performed improperly can be problematic…”81 Oklahoma State
University professor Paul Compton, similarly called for moderation and addressed the
80
This concept is mentioned and expanded on in at chapter entitled, “Mouthpiece Practice,” in Edward
Kleinhammer’s monumental text, The Art of Trombone Playing. Kleinhammer, The Art of Trombone
Playing, 31.
81
David Begnoche, Appendix C, 85.
37
debate more directly expressing, “I think the recent battles between those who buzz and
those who don't is excessive. Moderation is the key.”82 The argument over to buzz or
not to buzz aside, if this questionnaire is any indication, mouthpiece buzzing is quite
prevalent among the top performers and pedagogues in the field and warrants further
discussion and exploration.
As the quote from Mike Roylance at the head of this chapter suggests,
mouthpiece buzzing is frequently regarded as the foundation of creating a beautiful
sound on a brass instrument. Predictably, numerous resources reference buzzing, to the
extent that it could be the sole topic of a major research project. This section begins
with a brief overview of buzzing theory and presents some of the more traditional
exercises associated with mouthpiece buzzing such as embouchure solfege, glissando
sirens, and removing/reinserting the mouthpiece while playing. Rather than focusing on
the most basic and traditional manner of buzzing, this chapter continues with lesser
known alternative methods of buzzing, including: variations on mouthpiece buzzing
(the use of cut out mouthpieces/visualizers, and rim buzzing), resistance added by finger
and hand, buzzing/playing the inner slide tube of the trombone, and free buzzing.
Finally, buzzing with the supplementation of external devices will be surveyed,
including the use of plastic tubing and other commercially available products.
82
Paul Compton, Appendix C, 101.
38
Mouthpiece Buzzing
The buzz is to brass players what vocal cords are to singers, so mouthpiece
practice requires thinking in tune. It also creates a vibration for every note, just
as a singer has a syllable for every note. For these reasons, buzzing usually
results in a richer more resonant sound, better accuracy, and better intonation.
—Richard Begel, A Modern Guide for Trombonists and Other Musicians
Mouthpiece buzzing in the most traditional sense is simply buzzing using the
mouthpiece alone apart from the instrument. This method is the most frequently cited
manner of buzzing and appears in many warm-up routines. Many of the questionnaire
participants described the benefit of buzzing as its ability to connect the mind, to the
lips, to the trombone. Peter Ellefson underscored this idea, noting: “Buzzing connects
the brain and the vibrating tissue...the chops,” he goes on to add, “Merely buzzing
doesn't necessarily help. Buzzing with attention to pitch and air enhances both sound
and accuracy.”83 Dr. Natalie Mannix describes a similar benefit:
Buzzing aids in connecting the pitch in the brain to the trombone, ensuring a
centered tone. Buzzing also ensures the air is projecting well past the
embouchure. I also find that people have a better, more correct embouchure
when they buzz. This helps train the embouchure to be efficient when playing. It
can also address bad mouthpiece pressure habits.84
Begnoche articulates this same idea in a slightly different way stating, “To me the
greatest benefit is the increased relationship between the ear and embouchure and
reinforcing our imagination process to produce an optimum tone. It should be an artistic
event focused on the beauty and vibrancy/resonance of the sound you aspire to
produce.”85 These statements support the use of buzzing particularly in acquiring a
singing style sound as described in Chapter 2. It stands to reason that buzzing practice
83
Peter Ellefson, Appendix C, 86.
84
Natalie Mannix, Appendix C, 86.
85
David Begnoche, Appendix C, 85.
39
exists at a critical junction point in connecting the inner voice or song in one’s head
(audiation) to one’s embouchure, before continuing through the instrument.
Much of the debate around buzzing relates to the idea that buzzing the
mouthpiece is a different activity then actually playing the instrument. Ralph Sauer,
retired principal trombonist of the Los Angeles Philharmonic, makes this argument in
the opening statement of an article in the International Trombone Journal stating,
“My biggest objection to mouthpiece practice is that the lips don’t seem to work in the
same way as when playing. Placing the finger partially over the end of the mouthpiece
helps somewhat, but the low register never seems to respond unless I drastically change
the way I would normally play.”86 San Diego Symphony trombonist Logan Chopyk,
also commented on this disconnect via this study’s questionnaire:
People who buzz are under the impression that the instrument is an amplifier of
a buzz. It is in fact not the case. Air inside a long tube is resonated. The lips
must be present, but an actively manufactured buzz is not required. I'm much
more interested in moving air through the tube than I am with buzzing the lips.
Buzzing does require the player to audiate pitch, etc. so I admit it has use.
However, this usefulness does not exceed that of singing.87
Questionnaire participant Martin Schippers, of the Royal Concertgebouw
Orchestra, further addressed this concept in his response, writing: “Of course buzzing
isn't exactly the same as playing the trombone but it helps a lot to find the focus and the
precision of the buzz.”88 Like many trombonists, Schippers recognizes the differences
between buzzing and playing the instrument, but contends that the benefits outweigh the
risks.
86
Ralph Sauer, “Make Your Own Practice Pipe,” International Trombone Journal 16 no. 4 (Fall 1988):
37.
87
Logan Chopyk, Appendix C, 86.
88
Martin Schippers, Appendix C, 84.
40
Many mouthpiece buzzing exercises exist; one standard exercise requires the
player to accurately pick out notes, striving for perfect intonation, or what Edward
Kleinhammer labels, “embouchure solfege.”89 Denis Wick describes similar exercises
and aims of buzzing in his Trombone Technique, writing, “Many trombonists play in
somewhat inefficient ways and often tend to ‘buzz’ with the embouchure a slightly
different pitch from the one which the slide position would give.” Wick continues by
giving the advice that, “By practicing the exact pitches on the mouthpiece, the
‘centering’ of the sounds on the instrument can be very much improved.”90 Participants
in this study’s questionnaire also mentioned this idea of “centering the sound.” Edward
Zadrozny indicated he used buzzing, enthusiastically reflecting, “Absolutely! I have
found that a good sound is obtained by blowing through the "core" of the note. Buzzing
high or low on a given pitch not only will affect intonation, but it will also affect tone
quality.”91 “Embouchure solfege” represents just one type of standard buzzing exercise,
yet clearly is valued by many trombonists.
Another common type of mouthpiece buzzing exercise, glissando “sirens,” were
cited by several participants. Stephen Lange of the Boston Symphony incorporates
several of these style exercises in his daily routine/warm-up (see figure 9), which he
describes as a “buzz stretch.”
89
Kleinhammer, The Art of Trombone Playing, 31.
90
Denis Wick, Trombone Technique, (London: Oxford University Press, 1975), 28.
91
Edward Zadrozny, Appendix C, 86.
41
Figure 9. Buzz Stretch. Sample of exercise, see Stephen Lange, “Daily Routine/Warm-
Up,” Stephen Lange, accessed May 1, 2017, http://www.langebone.com/downloads/.
Similar to Lange’s buzz stretches, many participants of the questionnaire mentioned
buzzing simple melodies and scales or arpeggios, remarking that they glissed between
all notes. Participants noted that after buzzing a melody they often repeated the melody
on the instrument in an effort to solidify the connection between buzzing and playing.
Dijk blurs the barrier between playing and buzzing even further in his,
“mouthpiece exercise in first position.” An excerpt is shown in figure 10.
Figure 10. Mouthpiece Exercise in First Position. Sample of exercise, see Dijk, Ben’s
Basics, 22, exercise no. 4.
Dijk instructs the player to begin by playing a B-flat; while holding the note, the player
removes the mouthpiece, but continues to buzz and slowly glissandos up to an f. The
player then reinserts the mouthpiece, activating the trombone—keeping the sound going
throughout. The exercise continues upward in this manner to b-flat1.
Dijk encourages players to experiment and invent similar exercises in this vein
of practice, and variations on this basic exercise most likely exist. Note that many of the
42
exercises described in this standard mouthpiece buzzing section can and are utilized
while buzzing in the alternative methods described in the subsequent sections.
Finger Resistance
Perhaps the most obvious variation of traditional mouthpiece buzzing is the
addition of finger or hand resistance. This additional resistance makes the technique
more accessible for inexperienced buzzers; even so, experienced players utilize finger
resistance as well.92 Buzzing with added finger resistance may also be helpful in
reaching lower range notes.93 In example, Dijk, in Ben’s Basics, states, “If you have to
study something in the low register you can either put your finger halfway over the
small end of the mouthpiece or use a garden hose to get a bit of resistance which will
make the low notes speak better.”94
Hand Buzzing
Atlanta Symphony Orchestra bass trombonist, Brian Hecht, expands on finger
resistance by using a cupping technique he calls hand buzzing. In a masterclass at the
2015 American Trombone Workshop, Hecht related his frustrations with buzzing early
on, communicating that, as a younger player, he found it difficult to actually produce a
buzz.95 He developed hand buzzing as a solution—essentially cupping both hand around
the end of the mouthpiece creating a resonant chamber.
92
Approximately 30% of questionnaire participants indicated that they utilized finger or hand resistance
while buzzing. For data statistics see Appendix C, 88.
93
This idea was articulated on the questionnaire by Swedish trombonist Svenne Larsson. Svenne Larsson,
Appendix C, 90.
94
95
Brian Hecht, “Brian Hecht Masterclass” (video of masterclass, American Trombone Workshop 2015,
The United States Army Band “Pershing’s Own,” March 20, 2015), accessed December 14, 2016,
https://www.youtube.com/watch?v=7fqcqn6CHxw.
43
“Cut Out” Mouthpiece/Visualizer
Another variation on buzzing, the “cut out” mouthpiece, is a mouthpiece that has
had part of the cup removed. Just under 40% of participants that buzzed indicated they
utilized this type of tool, many of which specifically noted using the “cut out”
mouthpiece to check mouthpiece placement and aperture size for students. The “cut
out” mouthpiece typically uses the same standard buzzing exercises as described in the
“mouthpiece buzzing” section. In example, Brent Phillips in his “Daily Warm Up and
Conditioning Routine” requests that players use the “cut away” mouthpiece (or a rim) to
buzz a simple two line Jaroslav Cimera melody.96 Scott Hartman, of Yale University,
also mentions using a “cut out” mouthpiece in a 2007 handout on buzzing.97 Both
participants and Hartman point out that buzzing with a “cut out” mouthpiece in the horn
and practicing scales or technical exercises can reveal how the motion of the slide may
impact the buzz. This awareness can help the performer adjust their technique to
minimize embouchure disruption, resulting in a better overall sound.
Rim Buzzing
Yet another method of buzzing—rim buzzing—consists of buzzing a
mouthpiece rim without a cup or shank attached. Boston Symphony Orchestra principal
trombonist Toby Oft recently posted several YouTube videos advocating rim buzzing.
In a 2016 livestream entitled, “Rim Buzzing Techniques,” Oft describes how he came to
use and prefer rim buzzing over traditional mouthpiece buzzing, suggesting that it’s
96
Brent Phillips, “Daily Warm Up and Conditioning Routine” (lecture presented at the International
Trombone Festival, 2010), 1, accessed June 1, 2017,
http://baylortrombones.weebly.com/uploads/1/4/5/0/14502268/daily_warm_up_and_conditioning_routine
-2.docx1.
97
Scott Hartman, “Buzzing,” Scott Hartman, August 2007, 2-3, accessed June 1, 2017,
http://www.slushpump.com/wordpressInstall/wp-content/uploads/2014/02/BUZZING.pdf.
44
easier to hear quality of sound while rim buzzing.98 Oft demonstrates the use of rim
buzzing by buzzing and playing legato phrases in alternation, a technique very
traditional for standard mouthpiece buzzing as well.
Free Buzzing
Free buzzing is the technique of buzzing one’s lips without a mouthpiece. Just
under 40% of the participants in this study’s questionnaire indicated that they utilized
free buzzing to improve their tone. New York City freelancer and free buzzing
advocate, Sam Burtis, discusses the technique in great detail in his method, The
American Trombone. He reports the following benefits gained uniquely from free
buzzing, “Free buzzing has the added properties of building the musculature of the
embouchure without reliance on what is essentially the artificial musculature and
support of the mouthpiece rim…”99 Scott Hartman reports similar benefits, first
qualifying that “the embouchure is symmetrical in terms of muscle structure – though
not necessarily tooth structure, to be most efficient, it should work symmetrically.” He
then continues, with an inference similar to Burtis’s, “If we remove the external
framework of our embouchure – the mouthpiece – we can teach the muscles to work
more efficiently.”100 Hartman provides descriptions of an exercise very similar in
concept to that of Dijk’s, “mouthpiece exercise in first position,” wherein the performer
plays a note, slowly pulls the entire instrument away from the face while keeping the
free buzz going, glisses to a new pitch, and then brings the instrument back to the lips,
all the while maintaining a constant lip buzz.
98
Toby Oft, “Rim Buzzing Techniques – LIVE STREAM” (video), posted October 26, 2016, accessed
June 1, 2017, https://www.youtube.com/watch?v=FMUVCh2L-4g.
99
Sam Burtis, The American Trombone (New York?: Sam Burtis, 2001), 89.
100
Hartman, “Buzzing,” 4.
45
Free buzzing, however, is not without its opponents. Several participants
observed that many players and teachers avoid free buzzing since they view the act as
too far removed from playing the instrument. Burtis himself, gives several warnings
regarding the dangers of free buzzing stating,
Free buzzing also offers this added danger…the player who free buzzes without
making sure that what he is doing will work on the mouthpiece and the horn can
form an embouchure that doesn’t function well when coupled with the
mouthpiece rim. Extensive free buzzing, if not done carefully, can seriously
harm a brass musician’s playing embouchure.101
Similar warnings can and do exist for all other types of buzzing though. In fact, the
great Reginald Fink concludes the mouthpiece buzzing chapter of The Trombonist’s
Handbook with the defending comments for free buzzing:
This method of building the embouchure has been criticized by those who only
buzz using the mouthpiece. They contend that the work is unnatural and doesn’t
give the lips the feeling of the mouthpiece. Though their criticisms may be valid,
I must repeat that the system works. In moderation, the practice will build a
secure middle and upper register.102
While free buzzing may be hotly debated amongst players, it’s clear that some
trombonists have found it beneficial in improving tone. Moderation seems to be an
important theme that consistently resurfaces amongst brass player advice.
Buzzing/Playing the Inner Slide
Buzzing through the inner trombone slide is a technique whereby a player with a
fully assembled instrument removes the outer slide of the trombone and proceeds to
play/buzz through the mouthpiece and first section of inner slide tubing. While not truly
buzzing in the same manner as buzzing the mouthpiece, playing the inner slide is most
commonly referred to by trombonists as such. Further, the technique gives a similar
sensation to that of buzzing and can be viewed as bridging the gap between buzzing and
101
Burtis, The American Trombone, 87.
102
Fink, The Trombonist’s Handbook, 72.
46
playing. Questionnaire participant Logan Chopyk commented on this aspect, citing that
inner slide buzzing, “…provides a long enough tube to easily create a standing wave
without forcing the lips to buzz and is a good tool to prove to students and myself that
the lips do not need to be actively buzzed to create tone.”103
While the origins of this technique are unclear, inner slide buzzing appears in
several professional trombonists’ warm-up routines. Brent Phillip’s exercise labeled
“slide tube buzzing” consists of glissed descending major scales, starting d-flat and
chromatically descending as low as possible.104 Likewise, Dr. Jonathan Whitaker, of the
University of Alabama includes a buzzing through the inner slide exercise based on
descending major scales in a 2012 revision of his “Daily Concepts and Fundamentals of
Trombone Playing.”105 In a presentation handout for the 2014 Big XII Trombone
Conference, Dr. Bruce Faske, of Arkansas State University, describes the benefits of
inner slide buzzing, noting that the process, “relaxes the entire sound producing
system.” He concludes with the confirmation, “You cannot play this way with a tense,
tight airstream.”106
Participants of the questionnaire noted this technique’s utility in improving,
centering, and reinforcing the lower “trigger” range sound, however, a relatively low
percentage of participants—23.68%—indicated that they utilized the technique. As no
notated examples were provided by the participants, a representation of slide buzzing
based on their descriptions has been provided in figure 11.

103
104
Phillips, “Daily Warm Up and Conditioning Routine,” 2.
105
Jonathan Whitaker, “Daily Concepts and Fundamentals of Trombone Playing,” The
University of Alabama Trombone Studio, last modified July 2013, accessed October 1, 2014,
http://www.rollslide.com/assets/whitaker-warmup-f13.pdf.
106
Bruce Faske, “The Importance of the Tenor Trombonist’s Low Register,” (lecture presented at the Big
XII Trombone Conference, Texas Tech University, February 1, 2014), 6, accessed June 1, 2017,
http://www.faskemusic.com/uploads/1/2/3/8/12387959/big_xii_low_register_lecture_-_revised.pdf.
47
Figure 11. Inner Slide Buzz
Mouthpiece Buzzing with an External Device
This portion of the document covers the use of external devices while buzzing;
rather than categorizing these devices in the previous external device chapter, they
appear here since they are only used in the context of buzzing. Many commercial
buzzing products exist to facilitate buzzing – a short list includes: the Berp, the
Buzzard, the BuzzzMaster, the Brass Short Cut, the Buzz-R, the UpSound, the K&G
Mouthpiece Buzzer and the Ape. Several of these devices share similar characteristics,
including shape, material and claims.
48
The Berp consists of a short plastic tube that ends with a screw dial to adjust
resistance; it is clamped onto the receiver of the instrument, allowing for slide practice
while buzzing. Designed by Terry Warburton, The Buzzard: Buzz Enhancer for Brass
Players, consists of a plastic tube shaped like a chess piece and claims to replicate a
resistance similar to the instrument while promoting the proper playing angle.107 The
BuzzzMaster by David O’Neill is a metallic device available in different alloys that
claims to simulate the exact resistance of the instrument.108 Advertised as an
embouchure builder, the Jo-Ral Brass Short Cut is a device constructed of a short
copper tube with two holes ending in a small bell flair.109 The Marcus Arnold Buzz-R
and the Bernd Hoffman Embouchure Builder are two buzzing devices made of wood,
both equipped with mechanisms to adjust resistance to replicate that of an instrument.110
The UpSound is a buzzing aid produced by Stomvi USA, that claims to create a buzzing
chamber that, “simulates the backpressure of the instrument.”111 The Kurun and Gilbert
(K&G) mouthpiece company offers a mouthpiece buzzer of their own namesake as
well. The K&G mouthpiece buzzer fits inside leadpipe of an instrument, allowing users
to buzz in the normal playing position.112 The Warburton Ape, an acronym for Anti-
Pressure Exerciser, was designed by Dean Psarakis as a buzzing device that teaches the
107
“The Buzzard, Buzz Enhancer for Brass Players,” Warburton, accessed May 1, 2017,
http://www.warburton-usa.com/index.php/the-buzzard.
108
David O’Neill, “Buzzzmaster Tutorial,” David O’Neill, accessed May 1, 2017,
http://www.buzzzmaster.com/.
109
“3510 Trumpet Brass Short Cut,” Jo-Ral, accessed May 1, 2017. http://jo-ral.com/mute/jo-ral-3510-
trumpet-brass-short-cut-standard/.
110
The Buzz-R is equipped with two holes while the Embouchure Builder has an adjustable screw dial.
Markus Arnold, “Buzz-R,” accessed May 1, 2017, http://wp1009782.server-he.de/mawp/wp-
content/uploads/2016/04/FlyerA6-Ru%CC%88ckseite.jpg., “Bernd Hoffmann Embouchure Builder,”
accessed May 1, 2017,
https://www.thomannmusic.com/bernd_hoffmann_ansatztrainer_fuer_posaune_3.htm.
111
“UpSound,” Stomvi-USA, accessed May 1, 2017, http://stomvi-usa.com/shop/upsound/.
112
“K&G Accessories,” Kurun and Gilbert Mouthpieces, accessed May 1, 2017,
http://kandgmouthpieces.com/products-page/mouthpieces/kg-accessories/.
49
user to buzz using as little pressure as possible.113 Designed to cease working if the
player uses too much pressure, this device shares similarities with the anti-pressure
devices mentioned in the external device chapter of this document.
While a comprehensive list of buzzing devices exceeds the scope and purpose of
this research, the devices selected for discussion within this section are representative of
the types of tools on the market today. Unfortunately, there is little written about most
of these devices, so it is difficult to assess their relevance and impact within modern
performance and pedagogy. 31.58 % of participants in this study’s questionnaire
indicated that they utilized a “Berp or similar device” to buzz, yet no participants
specified any other device other than the Berp.
The Berp is one of the few devices mentioned in documents other than
marketing materials. An acronym for Buzz Extension Resistance Piece, trumpeter
Mario Guarneri created the Berp in 1986.114 The Berp creator offers the following
explanation of the benefits on the Berp’s product website FAQ:
Buzzing the mouthpiece exposes what you’re doing or not doing with your air
and embouchure. A good buzz on the berp translates into a great sound on the
instrument. The berp makes buzzing efficient and relevant by recreating the
resistance of the instrument and allowing you to finger the valves or move the
slide to the pitch you’re buzzing. The berp exposes sound production problems
before the sound is amplified by the mouthpiece and instrument.115
Similar to using “cut-out” mouthpieces, the Berp reveals how slide motion can disturb
the embouchure setup. In a handout on buzzing, Scott Hartman, highlights this
similarity, but concludes, “The B.E.R.P. causes the trombone to be held in a slightly
113
“A.P.E. - Anti Pressure Exerciser” Warburton, accessed May 1, 2017, http://www.warburton-
usa.com/index.php/ape.
114
Mario Guarneri, “Birth of the BERP,” Berp and Company, accessed February 1, 2017,
https://berp.com/product/berp/.
115
“FAQ’s about Berping,” Berp and Company, accessed February 1, 2017,
https://berp.com/shop/faqs/#faqsberping.
50
different position than normal. For this reason, I prefer using a cutaway mouthpiece.”116
The Berp can be utilized for all standard mouthpiece buzzing exercises, and is
mentioned by name in several method books.117 Further, the manufacturer also sells an
instructional CD and manual entitled, Brass Basics and the Berp.118
While many commercial external devices are available to aid in buzzing, a
relatively small percentage of participants utilized commercially purchased external
buzzing devices and instead favored a simple homemade device cut from plastic tubing
known as a F.A.R.T., an acronym for Forced Air Resistance Tube. 31.58% of
participants indicated they use a Berp-like device versus 47.37% noted that they buzzed
with a plastic tube. Buzzing the mouthpiece with a length of tubing attached to the
shank is explored in several sources, including Edward Kleinhammer and Douglas
Yeo’s Mastering the Trombone, Jeff Reynold’s A Comprehensive Workbook for Bass
Trombone and Tenor Trombone with F-attachment, Ben van Dijk’s Ben’s Basics, and a
journal article by Ralph Sauer entitled, “Make Your Own Practice Pipe.”
The unpolished term, F.A.R.T., has an interesting history shrouded in some
mystery, that recently had some light shed upon it. In a 2004 essay, retired tubist Roger
Bobo of the Los Angeles Philharmonic explained how the name originated:
Once in Los Angeles when we were very unoccupied and needed a creative
outlet, the back row created an evil prank. One of our trumpet players had
developed a wonderful practice product called the B.E.R.P. (Buzzing Extension
and Resistance Piece), which enabled brass players to buzz on the mouthpiece
while it was in the horn. It works, and many of my students use it. But the
combination of creativity and free time the back row led to the low brass
running an ad in the international trombone magazine for a F.A.R.T. (forced air
resistance tube)! Everyone found this quite humorous… apart from the producer
116
Hartman, “Buzzing,” 3.
117
These include but are not limited to Klaus Bruschke’s Trombone Fundamentals: Breathing –
Embouchure – Technique, and Frank T. William’s Trombone Chops
118
“Brass Basics,” Berp and Company, accessed February 1, 2017, https://berp.com/product/brass-basics/.
51
of the B.E.R.P., who made it very clear to us that we were never to make that
joke again, so that was the end of it!119
It appears this story has truth to it; after some searching, an article in a 1987 issue of the
International Trombone Journal was discovered entitled, “Make your own Practice
Pipe,” by Sauer. In the article, Sauer gives instructions regarding the making of the
F.A.R.T.: “Materials needed are 10 inches of plastic tubing (half-inch inside diameter),
a sharp knife, and an electric drill. One inch from one end of the pipe, drill a 1/8-inch
hole through ONE side of the tube. THAT’S IT!”120 He also provides a schematic of the
F.A.R.T. as seen in figure 12.
Figure 12. Practice Pipe (a.k.a. F.A.R.T.) Schematic. Sauer, “Make Your Own Practice
Pipe,” 37.
Sauer explains that the F.A.R.T. was designed to work for buzzing both the low
range and the high range. The longer length of tubing is fully engaged when a player
plugs the hole drilled in the tubing with a finger, yet, the higher range is accessible by
releasing the hole. Sauer explains that with this configuration, “The lips now ‘see’ the
long tube when playing the low notes. For the upper notes, they “see” only the length of
119
Roger Bobo, “A View from the Back Row,” Roger Bobo, October 17, 2004, accessed February 1,
2017, http://www.rogerbobo.com/narratives/a_view_from_the_back_row.shtml.
120
Sauer, “Make Your Own Practice Pipe,” 37.
52
the mouthpiece.”121 Sauer suggests experimenting with different lengths of tubing to
find the optimal balance between high and low buzzing.
Kleinhammer and Yeo as well as Reynolds also provide construction
instructions for the buzzing device. Mastering the Trombone instructs that the tube
should be approximately eight inches of one-half inch diameter plastic tubing and
acknowledges the device’s nickname, attributing Ralph Sauer.122 Reynolds labels the
device a “Tube Extension,” and gives even more detailed specifications:
For horn, trombone, euphonium and tuba players, it’s best to fit your
mouthpiece with a plastic hose, maybe with a reducer hose inside, to create a
smaller bore size than your mouthpiece bore…Trombonists can use ½” or 7/16
inch hose with a reducer inside, about 4 inches long, to make the bore at some
point smaller than the bore on your mouthpiece.123
He notes that shorter tubes are better because they do not create their own overtone
series. Additionally, Reynolds warns against buzzing the mouthpiece without a tube,
explaining, “Your embouchure tends to sphincter toward the center of your aperture to
find support against the lack of back pressure on the air column. You wind up with
muscle bound chops that are difficult to move easily or supply any kind of acceptable
tone.”124 Reynolds advocates the buzzing of medium to low register melodies at softer
dynamics (mezzo piano and softer) and for no longer than three minutes. He affirms that
buzzing in this fashion increases the “vibrating potential” of an embouchure.125
As evidenced by the variation of techniques highlighted in this chapter, there are
countless ways to buzz the mouthpiece. There will be defenders and critics of every
121
Sauer, “Make Your Own Practice Pipe,” 37.
122
Edward Kleinhammer and Douglas Yeo, Mastering the Trombone, 2nd ed. (Hayward, WI: EMKO
Publications, 2000), 33.
123
Jeff Reynolds, A Comprehensive Workbook for Bass Trombone and Tenor Trombone with F-
attachment (Vancouver: Cherry Classics Music, 2013), 2.
124
Ibid.
125
Reynolds, A Comprehensive Workbook, 2.
53
tactic, but as suggested by the quote by Sam Burtis at the beginning of this chapter, it’s
important that each individual find what works for him or herself.
Chapter 6: False Tones and Pitch Bends
False tones and pitch bends are two intimately related techniques, whereby the
performer primarily relies on their lips to raise or lower the pitch of a note rather than
the slide. False tones consequently could be labeled a static pitch bend of sorts.
54
False Tones
False tones are referred to by many names including fake notes, false positions,
pitches outside the natural range, half overtones, and missing notes. In his text, The
Trombone, Giancarlo Schiaffini explains that false tones can be produced by, “forcing
the air vibrations,” and that, “to do this, the body movement used in breath emission
must be exaggerated, pushing the jaw down and forcing the air into the lower part of the
mouthpiece. This involves acting, so to speak “against” the instrument…”126 Ben van
Dijk gives a similar explanation of the production of false tones in his method, Ben’s
Basics, “Fake-notes are notes played in a wrong position and more a less forced by your
embouchure to sound in the desired pitch.”
While most associated with the lower range of trombone (from E-flat to BB),
false tones can be produced across the range of the instrument. This “missing range”
lacks true harmonics on a standard B-flat trombone without an f-attachment engaged.
As mentioned in the opening paragraph, false tones are typically produced by altering
the lip buzz, and playing in a slightly different position than normal, though the latter is
not necessarily required. The notes from E-flat to BB are typically played in the same
position they would fall in if the f-attachment were engaged, however this is only a
rough estimate. Variations between instruments and individual production methods
requires experimentation to find the optimal resonating position for each false tone.127
Paul Tanner, in Practice with the Experts: Twenty-Five Favorite Exercises for
Trombone, explains, “The lips must be loosened, but not as much as for pedal tones,
and the slide should be placed one position lower than is normal for the particular
126
Schiaffini, The Trombone, 15.
127
Sam Burtis notes this phenomenon, see Burtis, The American Trombone, 211.
55
note.”128 Bill Watrous and Alan Raph’s method Trombonisms also offers a diagram of
false tone positions (figure 13) that indicates an approximate tuning/position guide for
finding false tones in relation to standard positions. Watrous and Raph advocate playing
false tones in the same position as f-attachment positions.
Figure 13. False Tone Position Diagram. Bill Watrous and Alan Raph, Trombonisms:
An Extension of Standard Trombone Techniques and an Introduction to Some New
Ones (New York: Carl Fischer, 2002) 32, example 118.
Of important interest to this study, several sources report that the practice of
false tones can improve sound across the range of the instrument. In the first volume of
the Contemporary Techniques for the Trombone series, Jazz trombonist David Baker
notes, “It is the author’s experience that with diligent practice those missing notes are as
practical and accessible as they would be on bass trombone. In addition, the flexibility
and relaxation gained from playing in this register strengthens the middle and top
128
Tanner, Practice with the Experts, 2.
56
register of the tenor trombone.”129 Baker gives three full pages of intensive false tone
exercises, several of which bridge the gap between false tones and pitch bending.
As previously discussed this chapter Tanner’s Practice with the Experts,
discusses false tones numerous times throughout the text. In the notes from the editor he
upholds, “Practicing these tones (which will feel like false notes at first) will facilitate
the production of the more frequently used tones.”130 Later, he reaffirms, “Keep in mind
that if a good logical tone can be produced on these notes, the lips will be stronger and
the more ordinarily used notes will be ever so much easier.”131 In a supplement to
Practice with the Experts, he underscores this idea, adding, “I take this opportunity to
work in the tones from low E on down. If these are new to you, let me point out that
work in this range area not only strengthens the embouchure but makes a good open
sound much easier in the more normal registers.”132 In a testament to his confidence in
the utility and effectiveness of false tones on playing and improving sound, Tanner
provides an “Editor’s Special Exercise,” (a sample seen in figure 14) which is
representative of a very standard false tone etude.
Figure 14. False Tone Exercise. Sample of exercise, see Tanner, Practice with the
Experts, 7.
129
Baker, Contemporary Techniques, 17.
130
Tanner, Practice with the Experts, 2.
131
Ibid., 7.
132
Paul Tanner, How to Practice with the Experts (New York: Leeds Music, 1962) 4.
57
Comparing false tones, and by extension, pitch bends, to an athletic stretch, Ed
Neumeister’s Trombone Technique “through Music” asserts the importance of these
exercises for tone development. He proposes that by stretching and loosening the
embouchure muscles through these techniques, a performer can, “expedite the building
and strengthening process, building stamina, while helping to avoid injury.”133
Nuemeister expands the arpeggiated approach of Tanner’s “Special Exercise” into a two
page “Athletic Stretch” complete with helpful reminders; Neumeister instructs,
“Remember fake all trigger notes, do not use the trigger. Make it sound as if you are
using the trigger. This will make your trigger notes stronger and more centered if you
use one.”134 Several other methods share Neumeister’s specific instructions to avoid the
f-attachment use in these types of sound exercises. Guy Destanque in Warm-Up for
Trombone Players provides several false tone exercises, advising:
“In the low register you will have to use false slide positions even if, and
especially if the instrument has one or more valves. This technique is difficult at
first but it is the key to opening up the sound, thanks to the lip, facial muscle and
throat positions that it forces you to adopt. You will find the use and sound of
the normal positions better and easier and your technique more complete.”135
Renown soloist Branamir Slokar in his Warm-Ups and Technical Routines incorporates
a variation of false tone exercises in which there is no slide adjustment for the lower
false tones (see figure 15). He explains:
This exercise makes the lips flexible, strengthens the zygomaticus muscles and
demands diaphragm control. It is very important here that the note be exactly in
tune; this is obtained by the lip position (lower lip slightly advanced). I would
like to stress that it is very important to keep to the given positions, not to move
the slide and not to use the F valve.136
133
Ed Neumeister, Trombone Technique “Through Music,” (Hilversum, The Netherlands: Dannison
Music, 2002), 53.
134
Ibid.
135
Guy Destanque, Warm-Up for Trombone Players (Bulle, Switzerland: Editions Bim, 1987), 6.
136
Branimir Slokar, Warm-Ups and Technical Routines: Trombone, 5th ed. (Vuarmarens, Switzerland:
Editions Bim, 1998), 6.
58
Figure 15. False Tone Exercise with No Slide Adjustment. These are the first two lines
of Slokar’s “Exercise 1 with the Instrument.” Branimir Slokar, Warm-Ups and
Technical Routines: Trombone, 5th ed. (Vuarmarens, Switzerland: Editions Bim, 1998),
6.
Pitch Bends
Stuart Dempster provides an excellent definition of a bent tone, and by
extension pitch bends, in The Modern Trombone: “A bent tone is the result of a player
taking a given pitch and, while retaining the same length of pipe (not moving the slide),
lowering or raising the pitch simply by making the lip buzz lower or higher than the
pipe will comfortably resonate.” Dempster also mentions that, “There is some
sympathetic action of the throat as well.” 137
Questionnaire results indicate that many performers employ pitch bends to
improve tone, with approximately 60% of participants indicating they use this type of
exercise.138 Many participants described using pitch bends to “center” notes. James
Decker of Texas Tech University provided additional details, commenting, “I have
students bend below the intended pitch and come back to the sound, but not return all
the way to their original tone. I do this to help develop and encourage more of a
137
Dempster, The Modern Trombone, 19.
138
This statistic was adjusted based on comments from participants that utilized pitch bends but did not
consider them beneficial for the improvement sound production.
59
'fundamental' or core to their sound.”139 From comments such as this, it is logical to
infer that pitch bend exercises are helpful in improving sound in that they require a
trombonist to precisely control where the pitch of each note is located, rather than
depending on the instrument to ‘slot’ each note to the correct pitch. Put in other words,
pitch bends effectively teach the embouchure to control the instrument’s pitch, rather
than allowing the instrument to, reinforcing the concept that an ideal sound stems from
the acoustic properties of the air column being in phase with the pitch to be performed.
Several participants also mentioned doing pitch bend exercises specifically from
Jeff Reynold’s A Comprehensive Workbook. Reynolds devotes an entire section of the
book to the technique, aptly titling it, “Bone on a Bender.” He includes a brief but
helpful analysis/reasoning for practicing pitch bends preceding the bending exercises:
Lip benders are exercises in which you ‘bend’ the pitch of the note, or ‘lip
down’ a half-step (or greater interval), lower than the center of the harmonic
allows. The purpose is to increase the ‘centering’ character of your normal
notes, and as a basic embouchure relaxant. Make the best sound you can on the
bent notes by dropping the jaw, vibrating your lip mucous membranes, and
keeping the best resonance on the bent note as you can.140
An example of one of the many pitch bending exercises Reynolds includes is shown in
figure 16.
Figure 16. String of Benders. Sample of exercise, see Reynolds, A Comprehensive

Workbook, 31.
139
140
Reynolds, A Comprehensive Workbook, 30.
60
Brad Edwards also includes an example of pitch bends in his Lip Slurs, under
the heading, “Opening Up the Sound in the Lower Register.”141 Edwards combines a
standard lip slur, (an exercise often associated with improving and opening up the
sound) but suggests adding a half step lip bend at the end. Dijk also includes pitch
bends his method book; like other authors, he mentions using pitch bends as a “cool
down” or “warm-down” exercise—exercises intended for lip recovery and loosening the
embouchure after heavy playing. Dijk comments on pitch bends in general, stating that
they, “focus the setting of your embouchure and will make your sound more centered
and pure.”142
It is very possible to combine pitch bends with false tones, as false tones can be
understood as static pitch bends, and both Reynolds and Dijk include exercises that do
so. Dijk discusses this idea in the instructions included for his first pitch bend exercise
(a sample is shown in figure 17), “The exercises also make use of ‘Fake-notes’; again
make the repeated note, in its correct position, as centered and vibrating as possible and
relax.”143
Figure 17. Pitch Bend and False Tone Exercise. Sample of exercise, see Dijk, Ben’s
Basics, 63, exercise no. 16a.
In figure 17, Dijk articulates that once the player has bent the pitch down a half step and
holds it, it becomes a false tone. By bending the pitch down to the false tone, and then
141
Edwards, Lip Slurs, 8.
142
143
61
repeating the note in the proper position, Dijk reaffirms the concept that by resonating
the exact note “on the lips” in addition to having the slide in the right position the best
possible tone is produced.
Chapter 7: Conclusion
Summary of Findings
Survey results confirmed the prevalence of non-traditional techniques for
improving tone, to varying degrees, in each of the categories researched. Most typically,
trombonists incorporate these techniques into their daily warm-up routine. Additionally,
data suggests that non-traditional techniques are primarily used in tandem with
traditional exercises like long tones and lip slurs, and are often based on, or use these
classic exercises as a model for variation and expansion. Many of the non-traditional
exercises discussed can serve as valuable tools in developing a singing style of
sound/playing.
62
Ninety-eight professional trombonists received invitations to participate in this
study; forty trombonists took the questionnaire, yielding an overall response rate of just
over 40%. Noted in the applicable sections, the questionnaire produced informative data
statistics that ultimately guided the direction of this research. Appendix C shows raw
data from the questionnaire. Participant comments, also presented in Appendix C,
complement and enhance these statistics by providing additional detail and substance to
the study’s quantitative findings.
Without question, the majority of professional trombone performers and
pedagogues utilize at least some form of non-traditional technique to develop sound for
either themselves or their students. In response to the question, “Do you feel non-
traditional or extended techniques are useful as pedagogical tools for tone development?
Why or why not? Please explain,” an overwhelming 82.86% of respondents answered
yes, and while the participant pool represents only a small population, it is appropriate
to infer they are representative of an average cross section of trombonists.
Data and performer comments also suggest that most participants utilized and
viewed these techniques as alternative methods rather than a primary choice for
developing sound. Several participants admitted that they tended to gravitate towards
traditional methods, while also communicating an attitude of flexibility and a
willingness to try new techniques. Retired Boston Symphony Orchestra bass trombonist
Douglas Yeo, matter-of-factly commented on this aspect stating, “A person who does
not utilize a variety of methods to improve playing is foolish.”144 Gerry Pagano, St.
Louis Symphony Bass Trombonist expanded on this idea, advising:
144
Douglas Yeo, Appendix C, 105.
63
Sometimes you need to approach an issue from many different directions. Any
and all ideas should be considered, at least once, until and unless they should
prove detrimental. You never know if something is helpful if you don't try it.
But as with anything radically different, it should be done with caution, very
thoughtfully, and discarded immediately if it proves either not helpful, or
actually hurtful.145
Several participants also mentioned the utility of non-traditional techniques in
approaching issues from alternative angles and/or bypassing mental obstacles standing
in the way of progress. Logan Chopyk, commented on this aspect, providing a nice
explanation:
Everyone hits walls in their development on the trombone. Many times it's due
to unawareness of the subtle tensions that are preventing success. Or if there is
awareness, many are unable to overcome those limitations by intellect alone.
Non-traditional techniques can teach the body to do an action that the trombone
cannot. Once one gets the feeling of moving air freely through a tube, the body
can apply that to the trombone. Our trombone playing tends to be loaded with
tons of a baggage. We rely on it for income, social prestige, career success, self-
worth, etc. So, taking the risk of playing so easily that you are willing to let the
tone fail is not an easy task. But it is easy if you blow through a straw or at a
pinwheel. Those things have zero baggage.146
A smaller percentage of participants viewed non-traditional techniques as more
of an entirely different soundscape, but still expressed a positive regard toward non-
traditional sound development. Jen Baker, author of Hooked on Multiphonics explained:
Non traditional techniques increase the envelope of possible sounds. When a

person knows more sounds, they have more points of reference for what an
optimal sound is in any given situation, be it tone, dynamics, phrasing, etc. Non
traditional techniques also provide the opportunity to study what the
mouth/embouchure/air does differently, and allows one to create a wider
spectrum of comparison between…traditional and non-traditional styles.147
As Baker alludes, non-traditional techniques reveal the influence the vocal tract
holds within the production of sound. Exercises like shifting between vowels, singing
and playing in unison, and multiphonics highlight the influence of oral cavity alterations
145
Gerry Pagano, Appendix C, 103.
146
147
Jen Baker, Appendix C, 104.
64
on efficient production of sound. Additionally, these techniques enhance appreciation
and awareness of the composition of trombone tone and the balance of fundamental
core to overtones that ultimately comprise the idealized sound.
65
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Schlossberg, Max. Daily Drills and Technical Studies for Trombone. New York: M.
Baron, 1965.
Slokar, Branimir. Warm-Ups and Technical Routines: Trombone. 5th ed. Vuarmarens,
Switzerland: Editions Bim, 1998.
Sluchin, Benny. Practical Introduction to Contemporary Trombone Techniques: 20th

Century Excerpts. Paris: Editions Musicales Européennes, 1995.
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Sprott, Weston. “How Tongue Placement Relates to Range.” Weston Sprott –
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for Trombone. New York: Leeds Music Corp, 1960.
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Wick, Denis. "A Practical Aid to a Beautiful Sound." ITA Journal 20, no. 2 (Spring
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Appendix A: Questionnaire
Explanation of Study
TONE DEVELOPMENT THROUGH NON-TRADITIONAL TECHNIQUES
The purpose of this study is to identify, assemble, and catalog non-traditional exercises
focused on tone development into a pedagogical resource for trombonists. Most
trombonists are familiar with traditional methods of tone development such as long
tones and lip slurs, and while these familiar methods will always remain at the
foundation of playing the trombone, this study seeks to discover innovative new tactics
currently used by trombonists.
Many of the non-traditional tone exercises covered in this study utilize extended
techniques. Non-traditional or extended techniques are generally accepted as techniques
that require a performer to use their instrument in a fashion outside of conventional
norms. For the purposes of this study, the incorporation of external devices or tools,
used either in tandem with the instrument or solitarily, will also be considered non-
traditional. Traditional tone exercises are defined as exercises performed on a fully
assembled trombone (without any external devices or attachments) and with a
traditional tone (no multiphonics, flutter tongue, false tones, etc.).
The sound one creates is not a singular entity but a complex combination of factors
adding up to a final product; this research recognizes that many exercises within this
study could also develop other aspects of playing, such as intonation, legato, breathing,
etc. If you don’t use a technique mentioned particularly for tone development, please
comment on the question to clarify how you use the said technique.
Each question may be answered with a “yes” or “no” response, but additional
comments/explanation are encouraged and can be submitted in the accompanying text
box for each question. If you have examples of your exercises written out (either
sketched or fully notated), please attach a copy in the appropriate section or at the end
of the questionnaire.
The following questions address specific techniques and their application to developing
tone on the trombone. If you don’t use a technique mentioned particularly for tone
development, please comment on the question to clarify how you use the said
technique.
72
Buzzing
Do you buzz your mouthpiece? Please describe the experiences or insights that
prompted you to either buzz or avoid buzzing.
○Yes
○No
Which of the following techniques, if any, do you utilize to improve your overall tone
on the trombone? Please click on all that apply and describe applicable exercises in the
accompanying text box.
○Buzz Mouthpiece
○Buzz Mouthpiece with Finger or Hand Resistance
○Buzz Mouthpiece Rim (no cup or shank attached)
○Buzz through the Inner Slide (with the outer slide removed)
○Buzz a Visualizer or "Cut Out" Mouthpiece
○Buzz Mouthpiece with a Plastic Tube Attached to Shank (aka F.A.R.T.)
○Buzz Mouthpiece using a B.E.R.P. or Similar Device
○Free Buzz (buzz lips without a mouthpiece)
○Buzz Mouthpiece in a Manner not Listed
If available, please upload copies of exercises involving buzzing. Most file types are
accepted (.pdf, .docx, etc.).
Files may also be uploaded at the end of this survey.
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External Devices
Which of the following devices/techniques, if any, do you utilize to improve your

overall tone on the trombone? Please click on all that apply and describe applicable
exercises in the accompanying text box.
○Mutes (straight, practice, etc.)
○Inserting a Paperclip, Straw, or Similar Object into the Leadpipe (creating an air leak)
○Toy Pinwheel
○Spirometer or Similar Breathing Device
○Embouchure Strengthening Device (such as P.E.T.E., Chop-Sticks, etc.)
○Another Device not Mentioned here
If available, please upload copies of exercises involving external devices. Most file
types are accepted (.pdf, .docx, etc.).
74
Vocal Techniques
○Singing
○Alternating Singing then Playing
○Multiphonics (singing and playing two different notes)*
○Singing Along while Students Play (to improve student's sound)
○Singing and Playing in Unison (singing the same pitch that is being played in unison
or octave)
○Flutter Tonguing
If available, please upload copies of exercises involving vocal techniques. Most file
types are accepted (.pdf, .docx, etc.).

*Though many definitions/types of multiphonics exist, this study defines multiphonics in its more
generally accepted term within the trombone community: simply
singing and playing two different pitches.
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False Tones / Pitch Bends
○False Tones
○Pitch Bends
If available, please upload copies of your exercises involving false tones or pitch bends.
Most file types are accepted (.pdf, .docx, etc.).
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Concluding Questions
Are there any other non-traditional methods of tone development that you utilize that
have not been mentioned in this questionnaire? If so, please describe.
○Yes
○No
Do you feel there are any negative stigmas toward practicing non-traditional or
extended techniques for tone development or other purposes? Please describe.
○Yes
○No
If you have any thoughts or theories on why non-traditional techniques as a whole are
effective or not effective for the development of tone please describe them here:
Do you feel non-traditional or extended techniques are useful as pedagogical tools for
tone development? Why or why not? Please explain.
○Yes
○No
If you have any other comments you would like to make regarding the use of non-
traditional techniques to develop tone please do so here:
Were there any questions or topics that you feel should have been asked or covered in
this questionnaire that were not? If so, please describe.
○Yes
○No
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Are you aware of any trombonists who frequently use non-traditional techniques to
develop sound/tone? If so, please list.
○Yes
○No
If available, please upload examples of tone exercises you use that incorporate non-
traditional techniques. Most file types accepted (.pdf, .docx, etc.).
TAKE NOTE: THIS IS THE LAST PAGE OF THE QUESTIONNAIRE. IF YOU

MOVE FORWARD FROM THIS POINT YOU WILL NOT BE ABLE TO RETURN
TO THE PREVIOUS QUESTIONS.
Powered by Qualtrics
78
Thanks
Thank you for your time, consideration, and participation in this questionnaire.
Your input is greatly appreciated. This study would not be possible without your
involvement.
79
Appendix B: Proposed Questionnaire Participants
First Name Last Name Professional Affiliation

Joseph Alessi New York Philharmonic
John Allen Oklahoma City Philharmonic
Donald Appert Clark College
Thomas Ashworth University of Minnesota
Jen Baker NYC Freelance Trombonist
Tony Baker University of North Texas
Buddy Baker University of Northern Colorado
Michel Becquet Conservatoire de Lyon
David Begnoche Texas Christian University
David Binder Detroit Symphony
Norman Bolter Boston Symphony Orchestra
Zachary Bond Malaysian Philharmonic Orchestra
Ian Bousfield Vienna Philharmonic
Nathaniel Brickens University of Texas at Austin
Mark Broschinsky The Guidonian Hand
George Butler Estonia Trombonist
Ruben Carughi Organizer of Trombonanza
Stanley Chen Hong Kong Trombone Organizer
James Chesebrough Keene State College
Logan Chopyk San Diego Symphony
Paul Compton Oklahoma State University
Terry Cravens University of Southern California
Michael Davidson University of Kansas
JoDee Davis University of Missouri Kansas City
Simone de Haan Australian Avant Guard Professional
Michael Dease Michigan State University
James Decker Texas Tech University
Stuart Dempster University of Washington
John Drew Florida State University
Joseph Duchi The Ohio State University
Brad Edwards Arizona State University
Peter Ellefson Indiana University
Micah Everett University of Mississippi
Pablo Fenoglio Buenos Aires Professional
Kirk Ferguson Milwaukee Symphony
Stephen Fissel Seattle Symphony
Jay Friedman Chicago Symphony Orchestra
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David Gier University of Iowa
Dick Griffin Wesleyan University
Randall Hawes Detroit Symphony
Brian Hecht Atlanta Symphony Orchestra
Mark Hetzler University of Wisconsin
Tim Higgins San Francisco Symphony
Timothy Howe University of Missouri
John Kenny Guildhall School of Music
John Kitzman Dallas Symphony Orchestra
Massimo La Rosa Cleveland Symphony Orchestra
William Lang Guidonian Hand
Svenne Larsson Swedish Radio Symphony Orchestra
Mark Lawrence San Francisco Symphony
Carl Lenthe Indiana University
Achilles Liamakopoulos Canadian Brass
Don Lucas Boston University
Natalie Mannix University of North Texas
John Marcellus Eastman School of Music
James Markey Boston Symphony Orchestra
Steve Menard University of North Texas
Michael Mulcahy Chicago Symphony Orchestra
Toby Oft Boston Symphony Orchestra
Gerry Pagano St. Louis Symphony
Peter Palinkas Hungarian Trombone Quartet
Sarah Paradis Boise State University
Brent Phillips Baylor University
Brian Plitnik West Virginia University
Denson Paul Pollard Metropolitan Opera
Dave Rey Swiss Brass
Jemmie Robertson Eastern Illinois University
Ralph Sauer Los Angelas Philharmonic
Giovanni Scarpetti Colombian Feelance Player
Martin Schippers Royal Concertgebouw Orchestra
Stefan Schulz Berlin Philharmonic
Deb Scott Stephen F. Austin State University
Joey Sellers Jazz Artist
Tim Smith Buffalo Philharmonic
Weston Sprott Metropolitan Opera
Dee Stewart Indiana University
David Stuart Iowa State University
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David Stuart Iowa State University
Jason Sulliman University of North Alabama
Stolarczyk Tomasz Polish Professional and Teacher
Ben van Dijk Rotterdam Philharmonic
Jörgen van Rijen Royal Concertgebouw Orchestra
Sebastian Vera Pittsburg Opera
Charles Vernon Chicago Symphony Orchestra
David Vining Northern Arizona University
Irvin Wagner University of Oklahoma
John Wasson Dallas Freelance and Composer
Jonathan Whitaker University of Alabama
Denis Wick London Symphony Orchestra
Ronald Wilkins NYC Freelance Trombonist
Jamie Williams Berlin Opera
Phil Wilson Berklee College of Music
Jeremy Wilson Vanderbilt University
Doug Yeo Boston Symphony Orchestra
Edward Zadrozny University of Akron
Larry Zalkind Eastman School of Music
Appendix C: Questionnaire Data
I agree to participate in the research study. I understand the purpose and nature
of this study and I am participating voluntarily. I understand that I can withdraw
from the study at any time, without any penalty or consequences. I grant
permission for the data generated from this questionnaire to be used in the
researcher's publications on this topic.
# Answer % Count
1 Yes, I agree to participate. 100.00% 40
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2 No, I do not want to participate. 0.00% 0
Total 100% 40
Do you buzz your mouthpiece? Please describe the experiences or insights that
prompted you to either buzz or avoid buzzing.
# Answer % Count
1 Yes 89.47% 34
2 No 10.53% 4
Total 100% 38
Answered Yes Comments:

Martin Schippers: Of course buzzing isn't exactly the same as playing the trombone
but it helps a lot to find the focus and the precision of the buzz. Should never be done
too loud, always with glissando exercises and in combination with playing the
trombone. Has great benefits!
Stephen Fissel: Buzzing is an indicator of the connection between the musical
thought, the action of buzzing, and the product.
Deb Scott: I use buzzing in a limited way. It is definitely not the focus of my
practice. I find it helpful to create a steady airstream and find the center of the pitch. I
recommend that teachers use the term "mouthpiece sounds" to beginning students so
as not to create too much tension in the sound.
Doug Yeo: I only buzz on my mouthpiece while driving in the car, as a preliminary
warm up. I do not use buzzing as a regular part of my daily routine.
Paul Compton: I think brief periods of buzzing can help focus the embouchure and it
is an excellent ear training exercise.
David Stuart: Sometimes alone, sometimes in conjunction with a 6 or 8 inch length
of garden hose attached.
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Randall Hawes: My early teachers showed me that buzzing can clean and clarify the
sound; any garbage in the mp buzzing sound is just amplified by the instrument.
Gerry Pagano: Yes
David Begnoche: I believe buzzing the mouthpiece (when done correctly) can be a
very useful tool for developing tone production as it is directly related to aural skills
and the accuracy of the embouchure. This practice was used by numerous past
teachers of mine including Steven Norrell (Met Opera Orch.), Michael Mulcahy
(Chicago Sym.), and Norman Bolter (Boston Sym.). I use mouthpiece buzzing myself
and with my students regularly but sparingly (in specifically targeted ways) "all
things in moderation". Indeed, even healthy things done to excess or used/performed
improperly can be problematic and in some cases mouthpiece buzzing may not be
ideal for students working through injury. To me the greatest benefit is the increased
relationship between the ear and embouchure and reinforcing our imagination process
to produce an optimum tone. It should be an artistic event focused on the beauty and
vibrancy/resonance of the sound you aspire to produce. I mostly use melodies when
buzzing and rarely more than a phrase at a time on the mouthpiece alone before
returning to the instrument. Although the practice of buzzing in glissandos is widely
used and may have occasional benefit in working through an uneven range for
vibration, I feel it can build inefficiency if used to excess. In fact, I often have
students tongue while buzzing to assure they are accurate with intonation. Although
this takes a lyrical passage temporarily out of context consistently the ease and beauty
and evenness and smoothness of their legato once back on the trombone.
David Binder: Large part of my practice. I always go back to achieving a good sound
and complete sustain buzz sound while glissing between pitches. I then try to match
the sensation of glissando buzzing while playing
Don Lucas: Yes
Simone de Haan: Better tone
Tim Smith: Internal pitch development, pitch centering, independence from
trombone for pitch; I've only experienced benefit, no detriment
James Decker: When I realized that my tone became more focused and resonant after
initially buzzing, I added buzzing to my 'toolbox' and explored other ramifications.
Stuart Dempster: Sometimes is more accurate.
Natalie Mannix: Buzzing aids in connecting the pitch in the brain to the trombone,
ensuring a centered tone. Buzzing also ensures the air is projecting well past the
embouchure. I also find that people have a better, more correct embouchure when
they buzz. This helps train the embouchure to be efficient when playing. It can also
address bad mouthpiece pressure habits.
Svenne Larsson: Not very much, sometimes it’s is a good way to get the music in the
head. It sometimes makes students use too much lip compression though. Actually,
pretty often.
Joey Sellers: Roy Main...
Jen Baker: I buzz every day before I warm up on the instrument. The focus of sound
is more instant when I prime my lips with buzzing. It also gives me a chance to check
84
in with pitch accuracy, not only at the beginning of the day, but at any time during
practice. In the latter case, I use buzzing to smooth out any impure attacks or pitches.
Sarah Paradis: I find that when I buzz a phrase, my resulting playing on the horn
tends to have a richer tone with better focus and pitch
Ed Zadrozny: Absolutely! I have found that a good sound is obtained by blowing
through the "core" of the note. Buzzing high or low on a given pitch not only will
affect intonation, but it will also affect tone quality.
Peter Ellefson: Buzzing connects the brain and the vibrating tissue...the chops.
Merely buzzing doesn't necessarily help. Buzzing with attention to pitch and air
enhances both sound and accuracy.
Answered No Comments:
William Lang: http://www.williamlang.org/blog.php

Irvin Wagner: I have to answer "no" thought I use buzzing to illustrate how to do lips
slurs for those having trouble with this issue. I try to have the student get the feel of
continuous movement in the lip slur with the buzzing of the mouthpiece. This is a
valuable tool, but I do not prolong the exercise. Using buzzing for me is different
than actually playing the trombone, and that is why I only use the process for the
illustration of concepts. I also use buzzing to assist in the development of high range
because the students as well as myself get lost as to what actual pitch is being playing
and "trick" themselves into achieving higher notes. I let students utilize buzzing if
they find it helpful for other reasons, but generally I feel that buzzing and playing the
trombone are two different things. I love the subject, however.
Ralph Sauer: My teachers--Emory Remington and Robert Harper never advocated
buzzing. I don't even like the word.
Logan Chopyk: People who buzz are under the impression that the instrument is an
amplifier of a buzz. It is in fact not the case. Air inside a long tube is resonated. The
lips must be present, but an actively manufactured buzz is not required. I'm much
more interested in moving air through the tube than I am with buzzing the lips.
Buzzing does require the player to audiate pitch, etc. so I admit it has use. However,
this usefulness does not exceed that of singing.
Which of the following techniques, if any, do you utilize to improve your overall
tone on the trombone? Please click on all that apply and describe applicable
85
# Answer % Count
1 Buzz Mouthpiece 81.58% 31

2 Buzz Mouthpiece Rim (no cup or shank attached) 18.42% 7
3 Buzz a Visualizer or "Cut Out" Mouthpiece 39.47% 15
4 Buzz Mouthpiece using a B.E.R.P. or Similar Device 31.58% 12
5 Buzz Mouthpiece in a Manner not Listed 21.05% 8
6 Buzz Mouthpiece with Finger or Hand Resistance 31.58% 12
7 Buzz through the Inner Slide (with the outer slide removed) 23.68% 9
Buzz Mouthpiece with a Plastic Tube Attached to Shank (aka
8 47.37% 18
F.A.R.T.)
86
9 Free Buzz (buzz lips without a mouthpiece) 39.47% 15
Total 100% 38
Buzz Mouthpiece
Randall Hawes: Not every day, and often with a lead pipe or a short, 6 to 8 inch
piece of tubing.
Don Lucas: Yes
James Decker: Detached and slurred exercises as well as buzzing songs and solos
Natalie Mannix: soft scales and slurs at the start of the day
Svenne Larsson: sometimes
Joey Sellers: Roy's two basic routines and Rochut every now and again
Brad Edwards: glisses, simple tunes
Jen Baker: I make up a short phrase, about 8 beats long, and do the same phrase
chromatically ascending, and sometimes descending, much like the way a vocalist
might do a warm up. I buzz for about 3-5 minutes.
Sarah Paradis: for warm up and also when I am having trouble with a phrase
Edward Zadrozny: The most basic of the mouthpiece buzzing techniques. It works.
Peter Ellefson: Melodies, first sounds of the day.
Buzz Mouthpiece Rim (No Cup or Shank Attached)
David Binder: Focus on making an attractive sound and not over using the tongue
Don Lucas: yes
James Decker: Detached and slurred exercises as well as buzzing songs and solos
Natalie Mannix: for cleaning up a passage that "sticks"
Svenne Larsson: sometimes it works sometimes not
Buzz a Visualizer or "Cut Out" Mouthpiece
Deb Scott: I only use this with students to get a better idea of mouthpiece placement.
Don Lucas: no
James Decker: Lyrical etudes and exercises
Natalie Mannix: To check a student's aperture
87
David Vining: Cut away in horn to buzz in combo with slide motion
Sarah Paradis: very occasionally
Edward Zadrozny: I like to monitor how the lips are functioning (size of aperture),
visually.
Buzz Mouthpiece using a B.E.R.P. or Similar Device
Don Lucas: no
James Decker: All types of music
Natalie Mannix: to link buzzing with actual playing
Svenne Larsson: Used to. not anymore.
Logan Chopyk: I don't use this nowadays, but it can be useful for exposing strange
physical tension that arises automatically when playing the trombone. For instance,
moving into sixth position may cause young players to do some extraneous motion
that has nothing to do with successfully playing the trombone, and they may be
unaware of it until they buzz while having the sensation of playing the trombone.
Peter Ellefson: The most valuable as it also allows slide involvement
Buzz Mouthpiece in a Manner not Listed

Ruben Carughi: We always put the free hand to 10cm of the shank to make sure the
air is flowing
David Stuart: see above
Brian Hecht: Using lead pipe attached
Don Lucas: no
Tim Smith: I also buzz trumpet and tuba mouthpieces
Svenne Larsson: Very airy, very little compression. Good airflow.
Logan Chopyk: Brian Hecht talks a lot about buzzing his mouthpiece through a
leadpipe while listening to pop music so loud that he can't hear himself. The nice
thing about the leadpipe is that it does add a good deal of resistance that can help
achieve an unforced buzz. It may be worth reaching out to him about it. He's very
original in this method.
Joey Sellers: Dragon/Sellers Buzz through several feet of plastic tubing as part of
shtick for show
Buzz Mouthpiece with Finger or Hand Resistance
Randall Hawes: often used.
88
Don Lucas: no
Irvin Wagner: When I buzz I always put either my finger or hand over the shank end
of the mouthpiece to get some resistance.
Svenne Larsson: sometimes to get the low range
Buzz through the Inner Slide (with the Outer Slide Removed)
Don Lucas: no
James Decker: Downward scales and arpeggios through the second partial for tone
reinforacement
Natalie Mannix: for centering and improving the trigger register
Svenne Larsson: very seldom
Logan Chopyk: This provides a long enough tube to easily create a standing wave
without forcing the lips to buzz and is a good tool to prove to students and myself that
the lips do not need to be actively buzzed to create tone
Buzz Mouthpiece with a Plastic Tube Attached to Shank (aka F.A.R.T.)

Martin Schippers: I myself use a lead pipe for buzzing low notes. Especially with
bass trombone.
Doug Yeo: I use a 7 inch plastic tube when buzzing; I never buzz on the mouthpiece
alone. I buzz scales, arpeggios, etudes and melodies.
Randall Hawes: I use a 6-8 inch hose...I prefer a "soaker" type hose, often with a
short piece of quarter inch fuel line tube inside for added resistance.
David Binder: Mouthpiece in tube with the ping pong ball. Visualize the air being
consistent by keeping the ball up
Don Lucas: no
Svenne Larsson: sometimes
Joey Sellers: not for buzzing, but for show with Dragon/Sellers band
Edward Zadrozny: In addition to making the buzzing experience seem more lifelike,
the attachment facilitates in the playing of notes in the low register.
Peter Ellefson: In the car to keep the drips off of my lap
Free Buzz (Buzz Lips without a Mouthpiece)
Randall Hawes: sometimes, but not often.

David Binder: Focusing on no tension
Don Lucas: yes
James Decker: Articulate music to stimulate immediacy of sound
89
Stuart Dempster: Mostly use this tech, sometimes using isometric on jaw, both front
and under jaw
Svenne Larsson: Sometimes, very often student can not do it a good way.
Joey Sellers: mostly while sitting in traffic
Jen Baker: During practice, if a note does not respond with a pure attack, I do a quick
free buzz of that note. Free buzzing is usually 20 seconds or less.
Which of the following devices/techniques, if any, do you utilize to improve your

overall tone on the trombone? Please click on all that apply and describe
applicable exercises in the accompanying text box.
# Answer % Count
1 Mutes (straight, practice, etc.) 51.72% 15
2 Toy Pinwheel 34.48% 10
Embouchure Strengthening Device (such as P.E.T.E.,
3 17.24% 5
Chop-Sticks, etc.)
Inserting a Paperclip, Straw, or Similar Object into the
4 6.90% 2
Leadpipe (creating an air leak)
5 Spirometer or Similar Breathing Device 68.97% 20
6 Another Device not Mentioned here 24.14% 7
Total 100% 29
90
Mutes (straight, practice, etc.)
Deb Scott: Occasionally a practice mute is used for throat expansion.

Doug Yeo: I practice using various mutes but not specifically to improve tone; I
do so in order to become expert in understanding how my mutes respond.
Michael Davidson: I use this sparingly
Don Lucas: Denis Wick (only) Practice Mute, because it has the right resistance,
not too tight or loose.
James Decker: Create enhanced vibration on the metal practice mute for greater
resonance on the open horn
Irvin Wagner: I do perhaps half of my playing with a Practice Mute. This assists
in striving to get a rich, full tone because one has to blow more air when using the
Practice Mute. Denis Wick taught me that long ago, and it is extremely useful.
Stuart Dempster: practice mute for improving emb during loud playing. A wine
bottle cork in Wa-wa mute works well in lieu of practice mute
Ralph Sauer: Practice mute occasionally.
Natalie Mannix: practice mute can improve tone by making air more immediate
John Drew: Occasionally use a practice mute (played loudly to help open the
sound)
Joey Sellers: kazoo, balloon mute -- not necessarily to improve tone but for
amusement -- also valuable
Brad Edwards: play loudly into Wick mute (3 reps) then remove
Toy Pinwheel
Randall Hawes: For demonstration purposes.

Don Lucas: Occasionally
Natalie Mannix: for air projection
Svenne Larsson: Used to.
Peter Ellefson: To visualize flow
Embouchure Strengthening Device (Such as P.E.T.E., Chop-Sticks, etc.)
Brian Hecht: PETE

Don Lucas: Seldom
Svenne Larsson: Used it for a short while. do not like.
91
Inserting a Paperclip, Straw, or Similar Object into the Leadpipe
Don Lucas: No
Svenne Larsson: Used to years ago, not any more.
Spirometer or Similar Breathing Device
Deb Scott: Occasionally a spirometer is used to keep track of lung capacity.

Randall Hawes: Sometimes.
Don Lucas: yes
James Decker: Expand upon breathing range, slow down air for pianissimo playing,
and insert a mouthpiece into the tube leading into the device for articulation
immediacy and tone support
Natalie Mannix: incentive spirometer for air projection and smoothness in legato
Svenne Larsson: Used to.
Peter Ellefson: To become aware of capacity and encourage greater use of capacity
Another Device not Mentioned here
Martin Schippers: Your imagination!

Stephen Fissel: At various times (when I feel the need) I will use a technique that I
think of as a "destabilizing" method. For several minutes I will play with absolute
minimum mouthpiece pressure, with leaks and unsteady tone occurring, to shift the
emphasis of the tone creation onto the embouchure and airstream. Very easy passages
from a Bordogni study or a medium speed flexibility exercise.
David Stuart: Breath Builder--not manufactured any more, but i still have my old one
from about 20 years ago
Don Lucas: none
Logan Chopyk: plastic straw. This is similar in a way to the pinwheel. The pinwheel
reacts visually when you blow on it whereas the straw gives aural feedback. The idea
is to practice the efficient function of moving air through a tube. I taught a 6th grade
student to double tongue in thirty minutes using a straw. And it improved his tone and
single tongue as well.
Joey Sellers: balloon mute with party favor or extra long balloon
Jen Baker: No devices, just the trombone and varying air flow to control the tone.
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# Answer % Count
1 Singing 87.18% 34
2 Multiphonics (singing and playing two different notes)* 20.51% 8
Singing and Playing in Unison (singing the same pitch that is
3 35.90% 14
being played in unison or octave)
4 Alternating Singing then Playing 74.36% 29
5 Singing Along while Students Play (to improve student's sound) 53.85% 21
6 Flutter Tonguing 48.72% 19
Total 100% 39
Singing
Deb Scott: I find singing infinitely helpful in developing tone and accuracy of pitch
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among other things.
Doug Yeo: I sing in my church choir, a fine group
Randall Hawes: Mostly singing phrases of music.
David Binder: Yes, always trying to be naturally cantabile on trombone
Don Lucas: Absolutely yes
James Decker: Singing of scales, arpeggios, intervals and music to be played
Irvin Wagner: Singing is an extremely important aspect of playing the trombone.
There are several avenues I take: One is to sing a passage or entire piece, then strive
to play it. One can accomplish so much with overall musicianship, expressiveness,
and accuracy when going back to the trombone. A second aspect is achieving a more
musical approach to a piece of music by singing it first, and then try to emulate the
same musicianship on the trombone.
Stuart Dempster: singing as separate practice component
John Drew: Encouraged for the student, but not personally applied on a regular basis
Svenne Larsson: Very much.
Joey Sellers: a must
Jen Baker: Not as much now as when I was a student, but I do use singing a passage
I'm practicing to improve phrasing and tone.
Edward Zadrozny: I sing, but not in the traditional sense. My singing is all done
internally. I merely want my performance to be a mirror of what I am singing
internally.
Multiphonics (singing and playing two different notes)
William Lang: i use this technique but not to make my trombone sound better.
James Decker: Have students sing and play simultaneously to form embouchure and
to create a greater center of tone in the basic playing
Irvin Wagner: A very useful tool for the development of musicianship and pitch.
Good for the mind also in doing more than one task at a time.
Stuart Dempster: resonant fifths and tenths can work well work particularly well in
relaxing throat
Svenne Larsson: Sometimes.
Joey Sellers: several etudes to develop independent lines
Jen Baker: Infrequent, but occasionally it helps reset the embouchure to its normal
(traditional) place.
Singing and Playing in Unison
Don Lucas: No
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Joey Sellers: trombone quartet #2 uses this for sonic affect
Alternating Singing then Playing
David Binder: Hear it sing it play it

Don Lucas: yes
James Decker: Compare playing with singing to emulate the natural musicality of
singing into the playing
Irvin Wagner: I do not do this often, but sometimes I alternate just to get to the heart
of the music.
Svenne Larsson: Very much.
Joey Sellers: when transcribing
Jen Baker: same as singing
Singing Along while Students Play

David Stuart: Sometimes so they'll have to play louder and fuller to cover my
abysmal singing voice.
Irvin Wagner: This I almost always do. This is an old Remington Technic and a
GREAT one. Singing along with the students helps all the technical aspects of the
student including sound, but perhaps more important is the musicianship and
expressiveness that can be achieved. In my own case studying with Remington, I
soon found out that my best playing was while he was singing, and the rest of the
time I was trying to achieve the same results on my own.
Svenne Larsson: Very much
Joey Sellers: always
Edward Zadrozny: I have found this to be extremely beneficial for my students. As I
understand it, this was a common practice in lessons with the legendary Emory
Remington.
Peter Ellefson: This is more for enhancing musicality which can also lead to a better
sound. Also to show timbres and how to pursue a more appropriate sound
Flutter Tonguing
David Binder: Occasionally for faster loud articulate music (Hungarian, William tell
e.g.) keeping the air up at all times
Don Lucas: yes
James Decker: Used to stimulate and intensify air support
Irvin Wagner: I frequently use this to help the student understand that one has to
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keep the air going constantly when playing, and flutter tonguing is a great way to get
this across to student. It is understood that a flutter tongue will not happen unless the
air is moving, and this is a super "eye opener" for students.
Ralph Sauer: Occasionally to correct air problems.
Joey Sellers: transcription and trombone quartet #2
Jen Baker: Just a breath length of flutter tongue here and there.
# Answer % Count
1 False Tones 67.86% 19

2 Pitch Bends 89.29% 25
Total 100% 28
False Tones
Stephen Fissel: Jeff Reynolds exercises

Randall Hawes: Mostly low B natural, below the staff.
David Begnoche: I use some Slokar exercises that pitch bend to false tones for warm
down only.
Don Lucas: yes
James Decker: Used in the second partial area to solidify embouchure control in and
through the trigger register
Irvin Wagner: False tones are great. This teaches the students to produce a pitch that
is not acoustically on the horn which develops the ear and well as the air needed to
produce a good tone.
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Stuart Dempster: false tones in low range w/o trigger(s) can brighten tone when
going back to trigger(s)
John Drew: Use in a variety of contexts--to loosen up, warm down and interspersed
with the Caruso exercises
Svenne Larsson: Yes, but only the "one position down"
Joey Sellers: roy main again, and octave and minor 9
Jen Baker: usually F through B, especially B (not on the horn). Maybe once or twice
I'll do this in a session, and then play its octave or true tone to compare air flow and
tone.
Peter Ellefson: Enhances the valve register
Pitch Bends
Martin Schippers: Can help improving low or high range but has nothing to do with
improving tone quality in my view.
Stephen Fissel: Jeff Reynolds exercises
Randall Hawes: Sometimes, while working in Jeff Reynolds book.
David Begnoche: I do use pitch bend but sparingly.
Don Lucas: yes
James Decker: I have students bend below the intended pitch and come back to the
sound, but not return all the way to their original tone. I do this to help develop and
encourage more of a 'fundamental' or core to their sound.
Irvin Wagner: I do not use this often, but on occasion to teach student to get correct
pitches.
Natalie Mannix: Low Bb-A-Bb, Bb-A-Ab-A-Bb in first position, if a student has a
pinched sound: bending everything 10c flat.
Svenne Larsson: Well, only certain tones. "under privileged tones."
Joey Sellers: I use as a recovery technique following day after hard blow
Jen Baker: Occasionally I'll do a half step down and back up. Helps with response
and centered tone.
Peter Ellefson: Helps to center to pitch
Are there any other non-traditional methods of tone development that you utilize
that have not been mentioned in this questionnaire? If so, please describe.
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# Answer % Count
1 Yes 47.06% 16
2 No 52.94% 18
Total 100% 34
Yes
Martin Schippers: Above all methods it's important to have an image in your head of
how you want to sound. Also focus on practicing with as less as possible unnecessary
tension in your body as possible. Every little bit of tension in your neck, shoulders,
arms, chest, back etc. will affect your breathing apparatus and your tone quality.
Deb Scott: I work with students to slowly drop their jaw until the note "gives out",
then we practice stopping the jaw movement right before the note "gives out". This
immediately fixes poor tone quality problems particularly with younger students.
Paul Compton: This may fall under the category of traditional but I think listening to
recordings of great players with great sounds is a vital part of tone improvement at all
levels. I have gone so far as to extract single notes or phrases from recordings and
used them for modeling and as drones. I believe that drone work, in particular using
the cello drones that are available has a significant impact on tone. I also use a
method attributed to Tommy Dorsey involving a drinking glass with water and a
straw, blowing bubbles of various sizes and amounts. This improves breath control
and air movment ultimately improving tone.
Randall Hawes: With young students, I demonstrate an awful, tight, pinched tone,
then explain and demonstrate that I will do the opposite to achieve a beautiful open
sound.
Brian Hecht: Practicing with ear buds in and getting my sound to vibrate over the
music, not with volume but maximizing resonance
Don Lucas: NO
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Irvin Wagner: Maybe jogging or physical exercise of any sort. Another aspect
towards becoming a better player is listening to other play or recordings.
Carl Lenthe: Extreme dynamics and range
Stuart Dempster: Vowel sounds are special because it brings attention to mouth
shape; one can gain increasing sensitivity to mouth shapes working with vowels.
Natalie Mannix: Long note swells: pp-ff-pp
Mark Lawrence: Listening to recordings
John Drew: Use of long tones---cresc--decrescendo
Logan Chopyk: Straw. Moving air through the shank of the mouthpiece.
Joey Sellers: playing poems and/or "reciting" poems on trombone
David Vining: low playing
Brad Edwards: Precede phrase with a 'breath cycle' - full breath in and then blow out
through instrument, then breathe normally to play
Do you feel there are any negative stigmas toward practicing non-traditional or
extended techniques for tone development or other purposes? Please describe.
# Answer % Count
1 Yes 40.00% 14
2 No 60.00% 21
99
Total 100% 35
Yes
Stephen Fissel: I've not had too much success with starting these sorts of exercises
with young or avocational players. The reason is that they are not playing the
trombone enough to have the perspective in their playing for it to be effectively
utilized. One exception is in teaching the attachment range where I have found false
and bent notes to be helpful in getting the student to understand what they need to do
to get a resonant tone in that range.
Paul Compton: Obviously there will always be a person that thinks exactly opposite
anything that exists. I think the recent battles between those who buzz and those who
don't is excessive. Moderation is the key.
Brian Hecht: Some techniques such as using a practice mute, if done in excess can
cause damage to the players sound
Gerry Pagano: with anything that is different, there can be a back lash against it
Don Lucas: yes, some teachers object to Mouthpiece Buzzing or free buzzing.
Stuart Dempster: When first practicing multiphonics and/or vowels in can hurt
traditional emb until one gets use to it. After that period one's sensitivity to mouth
shape is very keen.
Natalie Mannix: people think that buzzing causes too much tension and/or focal
dystonia. I disagree.
Svenne Larsson: Yes the problem is that many musicians warn against techniques
they don’t know.
Jen Baker: The primary stigma I run up against is the misnomer that contemporary
music is somehow easier than traditional music, so trombonists who play
contemporary rep do it because they can't play traditional rep at a high enough level. I
do both professionally and get different types of enjoyment from each. In traditional
playing, it is a relaxing experience - this music is normally a lot easier for me so I
don't have to work hard to sound good. With contemporary music, I get the
satisfaction of learning new skill sets and applying them to music, which often
requires much more focus and practice prep time.
Sarah Paradis: I feel there is a negative stigma towards free buzzing. I think some
people believe it is too different from actually playing the instrument to benefit the
player. I've also heard of negative stigmas around embouchure strengthening
exercises for similar reasons.
Peter Ellefson: The most important ingredient in sound production is concept. If a
concept is poor, traditional or non-traditional techniques will not help.
No
Randall Hawes: Whatever works.

David Begnoche: extended technique for the instrument are simply required
techniques to be able to play all of our repertoire. Personally I do not see them as
100
extraneous but simply part of our competency/mastery of the instrument. "there's
beauty in ugliness" and sometime its necessary so you must have the skills to
properly play what the music demands.
Irvin Wagner: As long as they are used within reason and in order to accomplish a
specific technique.
John Drew: Not necessarily---although I don't think everything works equally for
everyone
Joey Sellers: Do what we do and let the others wither
If you have any thoughts or theories on why non-traditional techniques as a whole

are effective or not effective for the development of tone please describe them here:
Stephen Fissel: For the development of the quality of the sound, there is no substitute
for regular long tone practice. That isn't to say that performing nontraditional
techniques isn't a tone builder; it clearly is. But I had a good sound on the trombone
before I ever practiced non-traditional techniques. As I use them now, non-traditional
techniques help me evaluate the condition of my chops, help my chops "get active"
when they feel tired or unresponsive, or help hasten a quick warm-up and get the
vibrancy of my chops going, thereby producing a better sound, faster.
Deb Scott: My preference is to use non-traditional techniques sparingly, as
supplements to traditional practice. I find that it is more important for a player to have
the sound of what they want to emulate in their concept by listening to advanced
players. However, it is very important to have many different tools to use to be an
effective teacher or student.
Randall Hawes: I believe a player/teacher has to utilize teaching techniques that fit
the particular student. One size does not fit all; we are all so different physically and
mentally. And, we learn and absorb information differently.
Gerry Pagano: Sometimes you need to approach an issue from many different
directions. Any and all ideas should be considered, at least once, until and unless they
should prove detrimental. You never know if something is helpful if you don't try it.
But as with anything radically different, it should be done with caution, very
thoughtfully, and discarded immediately if it proves either not helpful, or actually
hurtful.
David Binder: I wouldn't oppose someone using it if they think it helps, but I can't
imagine doing something vastly different than your normal playing is going to
improve your playing more than just traditional techniques.
Don Lucas: Depends on the individual student's needs.
William Lang: to me, non-traditional techniques are their own sound world, and not
tools to make the traditional classical trombone sound "better." if I'm speaking
honestly this questionnaire seems poorly worded. the development of tone happens
through playing, and the development of "non-traditional" techniques occupy their
own space and tone colors.
Irvin Wagner: They can be very useful for some students, as well as for my own
playing, as reminders of proper playing techniques. We all need fundamentals
101
constantly, and some of these techniques are very helpful. I have found that at times,
some of these techniques are useful mental exercises.
Stuart Dempster: As alluded to above, various new techniques can assist in
developing tone quality. I mention multiphonics and vowels in particular but there are
other less important techniques that are nevertheless useful such as certain mute use
(wa-wa) and the various vibrati. Please consult my book The Modern Trombone,
available from Accura Music for more details. If you use small quotes from TMT
please cite author (Stuart Dempster). For more extensive quotes, please obtain
permission from publisher: Accura Music
Natalie Mannix: Students learn in many different ways. What works for one, may not
hit home for another. Casting a wide net, by trying many different approaches, will
ensure that something will hit home. Really it is all about air projection, embouchure
and internal sound concept/pitch. Finding the right exercise or approach for each
student is important.
Logan Chopyk: Everyone hits walls in their development on the trombone. Many
times it's due to unawareness of the subtle tensions that are preventing success. Or if
there is awareness, many are unable to overcome those limitations by intellect alone.
Non-traditional techniques can teach the body to do an action that the trombone
cannot. Once one gets the feeling of moving air freely through a tube, the body can
apply that to the trombone. Our trombone playing tends to be loaded with tons of a
baggage. We rely on it for income, social prestige, career success, self-worth, etc. So,
taking the risk of playing so easily that you are willing to let the tone fail is not an
easy task. But it is easy if you blow through a straw or at a pinwheel. those things
have zero baggage.
Joey Sellers: Anything that deals with sound and creativity is valuable
Brad Edwards: Some students can't flutter tongue.
Jen Baker: Non traditional techniques increase the envelope of possible sounds.
When a person knows more sounds, they have more points of reference for what an
optimal sound is in any given situation, be it tone, dynamics, phrasing, etc. Non
traditional techniques also provide the opportunity to study what the
mouth/embouchure/air does differently, and allows one to create a wider spectrum of
comparison between traditional styles, non-traditional styles, and between traditional
and non-traditional styles.
Sarah Paradis: I think it's useful to approach a problem from various angles, and I
think non-traditional techniques can help enrich this process.
Edward Zadrozny: Be judicious as to what techniques you choose to employ.
Personally, I tend to gravitate to things that seem logical and natural in their
approach. If you are doing things that seem unnatural or, worse yet, painful, there is a
good chance that those techniques will be detrimental to you or what you are trying to
achieve.
Peter Ellefson: I guess the end justifies the means. If one's sound is improved by
using such techniques, then go for it. How is it quantifiable that the same
development could not have been achieved by traditional means?
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Do you feel non-traditional or extended techniques are useful as pedagogical tools
for tone development? Why or why not? Please explain.
# Answer % Count
1 Yes 82.86% 29
2 No 17.14% 6
Total 100% 35
Yes
Martin Schippers: Any technique that helps someone to improve is useful. But I
believe in making the playing as simple as possible, which is often one of the most
difficult things to do :-). Good basic position, no unnecessary tension, tone image in
your head and a direct connection between what you have in your head and what
comes out of the instrument.
Stephen Fissel: Of course, if introduced to the student who has the motivation and
time to use and appreciate the methods.
Ruben Carughi: The student should investigate what is best for him / her. We are all
different and I do not believe that the same exercise can serve everyone equally.
Doug Yeo: A person who does not utilize a variety of methods to improve playing is
foolish.
Randall Hawes: Read answer above.
Don Lucas: yes
James Decker: Any time that one creates a pattern interruption or unfamiliarity this
presents the opportunity for new directions that could help break down obstacles for
improvement
Irvin Wagner: Even people like me who basically do not get involved in these non-
traditional techniques, we use them without thinking at times. And this proves to be
very beneficial.
Stuart Dempster: I have addressed this earlier
103
Ralph Sauer: Yes, if they produced the desired results.
Natalie Mannix: I find all of the above as helpful in improving tone. They all help
improve air projection, embouchure development or internal sound concept.
John Drew: Depends on the person
Svenne Larsson: Makes you listen carefully, get more aware of what you can do.
Logan Chopyk: Students freak out about trombone playing. They have deep beliefs
about what they HAVE to do to accomplish playing a tone. Usually, those ideas are
wrong. Non-traditional techniques can trick the body into playing in a better way so
that a student can veer towards healthy, easy, air-based, playing
Joey Sellers: Opens the mind
Brad Edwards: Whatever works.
Jen Baker: Repeating myself a bit but here goes: All sounds are valid, but some
should be practiced more than others. It is important to find a balance for optimal
flexibility in the embouchure. The more sounds a person knows and plays, the more
reference points a person has with regard to where the tongue is, the pressure of the
mouthpiece, the action of the embouchure, etc. In traditional playing, these things are
supposed to be static, but once you introduce non-trad playing to the equation, these
technical things become dynamic.
Sarah Paradis: see above response
Edward Zadrozny: It depends. Please see last response.
No
David Binder: The best sound is one created in the easiest manner. Adding extra stuff
into the mix would likely not get you to the easiest, most efficient sound production.
This doesn't include what I'd consider not-non traditional, like mouthpiece buzzing.
William Lang: i believe they are separate tone worlds and should not be treated as
supplemental activities
Peter Ellefson: I am a fan of the same old school approach that produced the finest
players of today. Non-traditional or extended techniques can be valuable to certain
players pursuing a specific type of playing. I guess I need to know what "tone" is in
tone development.
If you have any other comments you would like to make regarding the use of non-
traditional techniques to develop tone please do so here:
Joey Sellers: Thanks and good luck.

Don Lucas: None.
Irvin Wagner: Thanks for doing this study. It is very interesting and timely. We
live in an era where these non-traditional techniques are more prominent, and it is
104
wise to learn about them to utilize them as well as be cautious of students might be
overdoing some of them.
Doug Yeo: I have this comment about this survey: your questions are all devised
with the assumption that a player does or does not use non-traditional techniques in
order to develop tone. But I would say that the non-traditional techniques I use are not
mainly used to develop tone. They are used to either warm up, or develop better
facility on the trombone in a variety of ways. To develop tone, I practice the
trombone. I have found that mouthpiece buzzing itself has some limited benefits but
those benefits are not related to tone improvement.
Jen Baker: Improvisation has by far been my most beneficial non-traditional
technique. I turn off the critical part of the brain and play anything, with any
technique. I've gone deep into sound places that some might consider an ugly sound,
or poor technique. Besides the artistic satisfaction I get from improvising freely
(which is 99% the reason I do it), I also have the opportunity to deconstruct those
sounds later, and to discover ever more efficient ways to return to a solid traditional
sound/techniques. So free improvisation, as indirect as it may seem, is a gigantic aid
in describing the difference in, for example, the mouth feel between traditional and
non traditional playing and serves me pedagogically on a regular basis when I teach.
Edward Zadrozny: Keep it relaxed and natural. If you find yourself contorting,
straining, etc., it's probably wrong. Be especially aware of tension in the
embouchure, throat, and thoracic cavity. Sing, breathe and blow, FREELY!
Peter Ellefson: Is the consumption of Martinson's candy considered non-traditional
for tone development? If so, I highly endorse the non-traditional approach.
Were there any questions or topics that you feel should have been asked or covered
in this questionnaire that were not? If so, please describe.
# Answer % Count
1 Yes 18.52% 5
2 No 81.48% 22
105
Total 100% 27
Yes
Gerry Pagano: it comes under traditional techniques, but how much someone listens
to music is an aspect that may be worth some discussion
David Begnoche: I think it is helpful to experiment with sound, to explore how we
can manipulate the color of our tone in a larger room. If one listens to how their
sound fills the space it can help redefine ones perception of tone. For example
observing the resonance and vibrancy of ones tone behind where you are standing or
experimenting in making ones tone more compact without loosing depth or bigger
without becoming defuse. I would not call this non-traditional in anyway but there
was not a question that allowed for this discussion. The more one experiments with
tone the greater their skills will be to produce the sound they want/need for a given
piece of music. I often give students a "simple orchestration" assignment with
Bordogni just asking them to mark each phrase (or portion of the phrase) with the
instrument or combination of instruments that would sound "best" playing that
passage. Can they match the style and sound and ease of those instruments on the
trombone? Can they manipulate their articulation and vibrato and phrasing tendencies
to replicate the tone and style of those instruments? As trombonists we are often
performing with others and need to have the flexibility to blend and match tone with a
myriad of instruments so this is directly related to the topic.
David Binder: Yes
Stuart Dempster: Using a reverberant space or a pedal-blocked piano can teach good
tonal center and intonation. Conversely seek out the practice room that everyone
hates and learn to create one's own resonance
Peter Ellefson: The description of "tone." It is a subjective and highly variable
subject.
No
Don Lucas: no
Joey Sellers: good job
Are you aware of any trombonists who frequently use non-traditional techniques
to develop sound/tone? If so, please list.
106
# Answer % Count
1 Yes 48.39% 15
2 No 51.61% 16
Total 100% 31
Yes
Stephen Fissel: Yes, but not many.

Paul Compton: I think traditional techniques work for a majority, but it is always
important to have more options for those who can't arrive at great tone the typical
way. I think everyone teaching trombone probably has some variant on how to get
there.
Brian Hecht: I do
Gerry Pagano: Very long list that I choose not to go into, but yes lots of folks do at
least one thing that could be considered non-traditional
Don Lucas: yes, the ones I have mentioned
William Lang: the list is too long to put here - almost every professional trombonist
knows some of these sounds
Irvin Wagner: I will think about this
Stuart Dempster: Jen Baker's new book "Hooked on Multiphonics" brings up a lot of
wonderful considerations (Jen will present at ITF17)
Natalie Mannix: All trombonists I know use something on this list. In my mind, they
are rather traditional.
Svenne Larsson: My self, Jörgen Johansson, Stuart Dempster and more.
Logan Chopyk: Brian Hecht, Jan Kagarice, Paul Pollard
Joey Sellers: Ryan Dragon
107
Jen Baker: I know many, but I can't remember offhand who they are. Flutter tongue
seems to be the most common technique.
Edward Zadrozny: Almost anyone influenced by the teaching of Arnold Jacobs.
Appendix D: Institutional Review Board Approval
Institutional Review Board for the Protection of Human Subjects

Approval of Initial Submission – Exempt from IRB Review – AP01
Date: March 28, 2017 IRB#: 7765

Principal Approval Date: 03/28/2017
Investigator: Philip Mitchell Martinson
Exempt Category: 2
Study Title: Tone Development through Non-traditional Techniques:

A Pedagogical Resource for Trombonists
On behalf of the Institutional Review Board (IRB), I have reviewed the above-
referenced research study and determined that it meets the criteria for exemption from
IRB review. To view the documents approved for this submission, open this study from
the My Studies option, go to Submission History, go to Completed Submissions tab and
then click the Details icon.
As principal investigator of this research study, you are responsible to:
• Conduct the research study in a manner consistent with the requirements of the
IRB and federal regulations 45 CFR 46.
• Request approval from the IRB prior to implementing any/all modifications as
changes could affect the exempt status determination.
108
• Maintain accurate and complete study records for evaluation by the HRPP
Quality Improvement Program and, if applicable, inspection by regulatory
agencies and/or the study sponsor.
• Notify the IRB at the completion of the project.
If you have questions about this notification or using iRIS, contact the IRB @ 405-325-
8110 or irb@ou.edu.
Cordially,
Ioana Cionea, PhD

Vice Chair, Institutional Review Board
Appendix E: Consent Form
Consent to Participate in Research Form

Hello my name is Philip Martinson, I am a doctoral student at the University of
Oklahoma and I invite you to participate in my research project entitled Tone
Development through Nontraditional Techniques. You were selected as a possible
participant because you are recognized as a qualified expert trombone
performer/pedagogue. You must be at least 18 years of age to participate in this study.
Please read this form and contact me if you have any questions BEFORE agreeing
to take part in my research.
What is the purpose of this study? The purpose of this study is to identify, assemble,
and catalog non-traditional exercises focused on tone development into a pedagogical
resource for trombonists.
How many participants will be in this study? Approximately 100 trombonists will
take part in this research.
What will I be asked to do? If you agree to be in this study, you will complete the
questionnaire following this consent form. The questionnaire is made up of several “yes
or no” questions along with several “check all that at apply” questions regarding the
topic of this study. If necessary, the researcher may send a follow-up questionnaire for
clarification of your responses on the initial questionnaire. Responding to the follow-up
questionnaire is optional.
How long will this take? Your participation will take approximately 10 minutes. If
necessary, the follow-up questionnaire will take approximately 5 minutes.
What are the risks and/or benefits if I participate? No risks, nor benefits,
accompany participation in this study.
109
Will I be compensated for participating? You will not be reimbursed for your time
and participation in this research.
Who will see my information? Research records will be stored securely and only
approved researchers and the OU Institutional Review Board will have access to the
records.
Do I have to participate? No. If you do not participate, you will not be penalized or
lose benefits or services unrelated to the research. If you decide to participate, you may
skip questions and/or stop participating at any time.
Waiver of Elements of Confidentiality:
The researcher requests your consent for participation in this study entitled Tone
Development through Non-traditional Techniques. This consent form asks you to allow
the researcher to record and view the questionnaire and to use your comments to
enhance understanding of the topic. This consent form asks for permission to allow the
researcher to name you and your position and to quote you directly. This form also asks
your permission to use related documents, images or descriptions of exercises shared by
you or generated from this questionnaire (researcher will acknowledge submitter and
materials). Participation in this study is completely voluntary. If you decide not to
participate there will not be any negative consequences. Please be aware that if you
decide to participate, you may stop participating at any time and you may decide not to
answer any specific question. By submitting this form you are indicating that you
have read the description of the study, are over the age of 18, and that you agree to the
terms as described.
IRB NUMBER: 7765

IRB APPROVAL DATE: 03/28/2017
If you have any questions, or would like a copy of this consent form, please contact me
at philip.martinson@ou.edu, (406) 697-4659, or my advisor, Dr. Irvin Wagner:
iwagner@ou.edu, (405) 325-5344. You can also contact the University of Oklahoma –
Norman Campus Institutional Review Board (OU-NC IRB) at (405) 325-8110 or
irb@ou.edu if you have questions about your rights as a research participant, concerns,
or complaints about the research and wish to talk to someone other than the researcher
or if you cannot reach the researcher.
Thank you in advance for your participation!
I agree to participate in the research study. I understand the purpose and nature
of this study and I am participating voluntarily. I understand that I can withdraw
from the study at any time, without any penalty or consequences. I grant
permission for the data generated from this questionnaire to be used in the
researcher's publications on this topic.
○ Yes, I agree to participate.

○ No, I do not want to participate.
This research has been approved by the University of Oklahoma, Norman Campus IRB.
IRB Number: 7765 Approval date: 03/28/2017
110
Appendix F: Recruitment Email
Dear Prospective Participant,
Hello my name is Philip Martinson, I am a doctoral student at the University of

Oklahoma and am emailing you to invite you to participate in my research project
entitled, “Tone Development through Non-traditional Techniques: A Pedagogical
Resource for Trombonists.” You were selected as a possible participant because you are
recognized as an expert professional trombone performer/pedagogue.
The purpose of this study is to identify, assemble, and catalog non-traditional exercises
focused on tone development into a pedagogical resource for trombonists. Most
trombonists are familiar with traditional methods of tone development such as long
tones and lip slurs, and while these familiar methods will always remain at the
foundation of playing the trombone, this study seeks to discover innovative new tactics
currently used by trombonists.
If you agree to be in this study, you will simply complete a questionnaire made up of
several “yes or no” questions along with several “check all that at apply” questions
regarding the topic of this study. If necessary, the researcher may send a follow-up
questionnaire for clarification of your responses on the initial questionnaire.
Responding to the follow-up questionnaire is optional. Your participation will take
approximately 10 minutes. If necessary, the follow-up questionnaire will take
approximately 5 minutes.
I sincerely hope you’ll consider participating in this study. Please click on the following
link to access the questionnaire:
https://ousurvey.qualtrics.com/SE/?SID=SV_9BUcDZbCmBDtqfj
111
Thanks for considering,
Philip Martinson
Second Trombone
Oklahoma City Philharmonic
www.PhilipMartinson.com
(406) 697-4659
The University of Oklahoma is an equal opportunity institution.

IRB NUMBER: 7765
IRB APPROVAL DATE: 03/28/2017
112

Trombone Techenique

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UNIVERSITY OF OKLAHOMA

TONE DEVELOPMENT THROUGH NON-TRADITIONAL TECHNIQUES:

A PEDAGOGICAL RESOURCE FOR TROMBONISTS

SUBMITTED TO THE GRADUATE FACULTY

in partial fulfillment of the requirements for the

Doctor of Musical Arts

PHILIP MITCHELL MARTINSON

A Document APPROVED FOR THE

Need for the Study.......................................................................................................3

Scope and Limitations.................................................................................................4

Chapter 2: Concept of Tone..............................................................................................8

Chapter 3: Vocal Techniques..........................................................................................17

Throat Tuning and Vocal Tract Resonance.........................................................21

Singing and Playing in Unison..................................................................................22

Alternating between Singing and Playing.................................................................27

Sing, Buzz, Play, and Other Variations...............................................................28

Chapter 4: External Devices............................................................................................31

Other Apparatuses Targeting Sound.........................................................................34

“Cut Out” Mouthpiece/Visualizer.......................................................................45

Buzzing/Playing the Inner Slide..........................................................................47

Mouthpiece Buzzing with an External Device..........................................................49

Chapter 6: False Tones and Pitch Bends.........................................................................56

False Tones / Pitch Bends.........................................................................................77

Appendix B: Proposed Questionnaire Participants.........................................................81

Appendix C: Questionnaire Data....................................................................................84

Appendix D: Institutional Review Board Approval......................................................110

Appendix E: Consent Form...........................................................................................111

Appendix F: Recruitment Email....................................................................................113

Figure 1. Tone Construction..............................................................................................9

Figure 2. Anatomy of a Trombone Tone – Quality Variation.........................................14

Figure 3. Vowel Exercise................................................................................................18

Figure 4. Sing and Play in Unison Long Tone Exercise.................................................23

Figure 5. Multiphonic Long Tone Exercise, Perfect Fifth..............................................25

Figure 6. Multiphonic Long Tone Exercise, Major Tenth..............................................25

Figure 7. Practice Mute Playing......................................................................................33

Figure 8. Pinwheel Exercise............................................................................................36

Figure 9. Buzz Stretch.....................................................................................................43

Figure 10. Mouthpiece Exercise in First Position...........................................................43

Figure 11. Inner Slide Buzz.............................................................................................49

Figure 12. Practice Pipe (a.k.a. F.A.R.T.) Schematic.....................................................53

Figure 13. False Tone Position Diagram.........................................................................57

Figure 14. False Tone Exercise.......................................................................................59

Figure 15. False Tone Exercise with No Slide Adjustment............................................60

Figure 16. String of Benders...........................................................................................62

Figure 17. Pitch Bend and False Tone Exercise..............................................................63

Sound development is arguably the most important aspect of trombone

specifically focused on improving sound; however, certain exercises straying from

traditional trombone performance—which are referred to as non-traditional in this

document—have become or are becoming an important part of pedagogy. This study

prevalence of their use within the trombone community.

studies and exploring their intended benefits to tone development. Trombone

aspects of playing to students; non-traditional techniques may potentially add a new

branch of resources to the low brass pedagogical toolbox.

Traditional technique cannot be ignored, since it is mandatory in order to learn

—Stuart Dempster, The Modern Trombone

Traditional techniques of developing tone on the trombone are firmly rooted in

slurs advocated by the preeminent pedagogues of the twentieth-century will always

While non-traditional or extended techniques elude succinct definition from

even standard music resources3—the generally accepted definition articulates that

the performance of a trombone fully assembled, using a traditional tone—no