I use equivalent positions into my warm-ups and scale routines. I believe this is like Joseph Alessi’s “tone cloning”: making every note you play sound exactly like the note you just played. But actively using them to make them sound the same is the only way to develop facility with equivalent positions. Yes, the tone quality to the player will be slightly different, and the horn’s feedback is different. I approach equivalent positions by listening for tone quality and intonation. I don’t have Buddy Baker’s book or Tom Malone’s book. I was fortunate that one of my teachers stressed learning and using them, but also not to think of them as “alternates,” but as equivalent positions. I believe one of the difficulties with “alternate” positions is that they are taught as alternates, almost like second class citizens. I really would have like to have seen Willie Dennis in action, for instance, as I can't think of a way to do his stuff without all the positions. Some parts of the horn have a remarkable performance envelope, others not much. It is interesting how much can be done without many alt positions. Things sometimes don't work well down 5 or up 4 so finding new things of the same sense (inversions with other modifications) can make it happen in the same neighborhood. It may be that a little chromatic thing can make the move in an interesting way. Things to try include working a pattern in one tonality, like dominant, and then end on some part of tonic somehow. And then stuff like 53 42 is subject to endless variation. Others, like 1357 2468 kind of things not so much. Some things work almost everywhere, like turns. So I try to capture the "sense" of it with position/note/rhythm modifications. Some stuff just does not work in some places. In addition, as I work patterns, usually scalewise, I will be flexible with their interpretation at different places on the horn. It's a great way to get your ear in tune with them. Really low bar alt practice is to use them in bands on the easy parts. I’d say practice and learn using alternate positions as part of your regular practice routine to improve your ability to use them “on demand” Over time, you can default to alternate position more naturally as using them becomes “second nature”. If I am sight reading I seem to default to whatever I have been able to ingrain for scales etc. I will be more analytical / strategic as to which positions facilitate music expression if I am working on a piece of music I am learning and have the luxury of time to practice it. Use a tuner to double check the positions for each note.I typically practice improvised patterns using alternate positions such as some arpeggios and broken scales that lend themselves to “fretting” using muscle memory and a different starting point for the pattern. Is yours? If so, every position on that partial should be played slightly longer than usual. Many are slightly sharp on the 5 th partial.
Learn the characteristics of your trombone. To play in tune, a player must listen to every note and make micro adjustments while playing. Learning where a position should be is just a starting point. Find the slide position by listening Exercise: The best way to determine the exact slide position for any note is to listen. The use of the trigger will change the slide positions. The sky is the limit.īass trombones and some tenor trombones have an additional “trigger” or valve. There are as many partials on a trombone as a player can buzz.
The high Ab in 1 st position is not usable for this reason. high G is played in a short 2 nd position).
Tip: Notes on the 6 th partial (starting with Ab in 1 st position) are naturally flat so all positions on that partial need to be shorter than usual (e.g.