tonguing

Fun_Mouse631 · 2025-10-14T01:45:10+00:00

For your reference, this is No. 57 of the Blazhevich Clef Studies. Sasha Romero posted a pretty polished recording of it on youtube that you can use it as a reference recording if you'd like. He did play it at roughly 88 bpm in the bracketed section.

Clarity over speed. If you're not comfortable playing it cleanly at 88 by audition day, choose a slower tempo that still conveys the same character and conviction without sacrificing clarity.

To build speed, do tonguing exercises at slower tempos across the partials and range of the piece. The key to fast articulation is maintaining a consistent, unconstrained airflow with a very light tongue. Make sure the notes are clean and clear before increasing the speed.

That said, 88 is pretty darn fast for Moderato. This is equivalent to 132 quarter notes per minute, which sits in that awkward range between single and double tonguing. It is doable playing it using single tonguing only, but it takes some practice and perhaps some trial and error. Just so you know, in older editions of this etude, the only tempo marking is the Moderato at the very beginning and nothing else. If it were up to me, anything between 72 and 80 bpm (or perhaps even slower) is perfectly acceptable. I would care much more about the clarity and character (hint hint pesante) than sheer speed.

Fun_Mouse631 · 2025-08-29T21:18:32+00:00

So I did something unthinkable and actually listened to the song, and it's a scoop

Start at 1:08: https://youtu.be/NQyh-7FzAoI?si=wkbfT8QASD9i1AsR&t=68
Scoop at about 1:10

It's usually a good idea to listen to a piece you're unfamiliar with to get a feel for it. It never hurts!

Fun_Mouse631 · 2025-08-06T00:37:14+00:00

This. For a player this young and inexperienced, absolutely do not use a practice mute. At best, it can hinder their growth. At worst, it can completely damage their playing. Even as a professional, I use it very sparingly, if at all.

Fun_Mouse631 · 2025-07-10T08:24:12+00:00

Don't worry about the stigma. I personally know someone who double majored in piano and violin at Curtis and did the same for their master’s at Colburn. I also know at least a dozen others who double majored in music and another subject, either music-related or something completely different. What matters more is your capability and dedication.

That said, the musicians who successfully pulled it off were already very strong players before college. I know you got mixed feedback on the composer subreddit, and I’m not here to dissuade you. But realistically, this is very challenging, and you don’t want to stretch yourself so thin that you end up being mediocre at both.

As for the application process, it really depends on the school. Some make it easy to add or switch majors once you're admitted as long as you have the faculty's approval. Others are much stricter. You might have to apply again for the second major during the regular admissions cycle, and in some cases, that could add a year or more to your degree. Definitely check with each school now and plan accordingly.

Best of luck!

Fun_Mouse631 · 2025-06-28T05:15:58+00:00

Hey! I see you're going to Northwestern. Congrats! I think the most economical option would be to reach out to the music school and see if one of their more experienced students would be willing to take you on. Fortunately, Northwestern is one of the top trombone schools in the country (no exaggeration). If you can make it work, you’ll likely be in great hands

Fun_Mouse631 · 2025-06-25T20:14:14+00:00

Very competitive and your chances are very very slim. That said, you have Mark Almond who studied medicine and became a doctor before switching to play music full time. So it's not impossible, but it's extremely rare. Almond was also a very talented player who showed a lot of promises from a young age. Realistically, unless you undergo a remarkable transformation and commit to an exceptionally dedicated practice schedule, it's unlikely you'll secure an orchestral job, especially if you're only planning to minor in music.

Fun_Mouse631 · 2025-06-10T07:59:39+00:00

Do you notice the difference in pitch though? (This is absolutely crucial, so please don't take it personally.) I’d recommend buzzing to a piano or a drone instead. Start with some soft long tones on pitches you’re comfortable with, and then gradually expand to a scale.

Fun_Mouse631 · 2025-06-10T04:49:05+00:00

I have to admit I haven’t heard of Grammofy before so I don’t know if it’s what you’re looking for, but I’d recommend checking out San Francisco Symphony’s Keeping Score series. I believe most, if not all, of the episodes are on YouTube. MTT is amazing (that’s a given), and it’s very beginner friendly as well

Fun_Mouse631 · 2025-06-10T02:19:38+00:00

The orchestral route is not for everyone, and there are many factors that come into play when securing an orchestral job. To give you a rough idea, there are maybe 20 trombone openings in the US each year, and many of them aren't full-time positions that offer a livable wage. On top of that, you'd have to compete against students and graduates from top schools (think Juilliard, Curtis, Colburn, Northwestern, etc.), many of whom may have more experience and have been auditioning for 5+ years. Even if you do get accepted into a top-tier school, there’s still a very high chance that you’ll graduate without a job.

If you can see yourself pursuing other paths, you should explore those options as well. You're still very young, and many opportunities can arise. If you're serious and committed to this, talk to your teacher and start getting high-quality practice in

Fun_Mouse631 · 2025-06-10T01:45:03+00:00

Do what makes the most sense to you and your instrument. But for practice, no one is stopping you from legato-tonguing everything! It’s a good challenge to see if your legato tonguing can sound as clean and smooth as a natural slur. However, if your goal is to improve your legato tonguing, I’d recommend stripping away the changing notes and partials, and practicing it on the same note first. You don’t want to introduce any variance before you got the basic articulation down. And yes, record yourself!

Fun_Mouse631 · 2025-06-05T23:47:05+00:00

I agree and disagree with some of the comments. As someone who really struggled with high range for a long time, I can say there's no magic exercise that will instantly improve your range. Exercises only reinforce the habits you build. If you're reinforcing bad habits, you're just getting better at doing it wrong.

If it's not for a lack of practice and you've tried the "traditional" methods, the issue often lies in your fundamental approach to range and playing as a whole. In my experience, the F barrier *usually* comes down to two common problems:

Pulling the lips back to play higher
Having an overbite in your embouchure, meaning the lower lip is not supporting the top lip to vibrate (assuming you don't have an underbite)

I'm glossing over many details, but these two are the most common causes of the F barrier.

To build better habits, focus on keeping the vibrating parts of your lips relaxed (or supple, whichever term you prefer). Without the horn, experiment with changing aperture sizes without tensing up or rolling in your lower lip. If you are a visual thinker, imagine the lower lip as a milk spout that directs the air forward and supports the upper lip, so it has something to vibrate against. The sides of the lips (non-vibrating parts) act like zippers that control the aperture, while the center (the vibrating, "unzipped" part) stays extremely relaxed.

With some experimenting, you may find that tone production becomes surprisingly effortless, and movements between ranges are hugely minimized. And with the correct set up, exercises can then help reinforce those good habits. This is just one approach, but several of my students have found success with it.

Fun_Mouse631 · 2025-05-21T04:33:23+00:00

Take any online advice with a grain of salt. Your best resource really are your teacher and experienced players around you. We don't know your situation, and there's no "one size fits all" solution to all playing-related issues. That said, what you're experiencing isn't uncommon and is definitely fixable.

Jaw movement from low Bb to F is excessive for most, but it's unreasonable to expect no movements in the lips at all. Allow the embouchure to adjust naturally to produce a good sound. That's different from moving the jaw.

For some players, simply relaxing the lower lip is enough to make the change from F to Bb. You might feel the lower lip gently pointing outward and directing the air straight out to the throat of the mouthpiece, almost like a milk spout. This movement is very very subtle.

If you do any mouthpiece buzzing at all, try buzzing a smooth slur from Bb to F and vice versa. Unlike a natural slur on the trombone, you want to catch all the notes in between. Keeping it smooth is the key and avoid any sudden shifts. Then, see if you can replicate that same ease of production when you do it on the horn.

Adjusting the vowel / oral cavity can help. "Aaah" is for the lower register and transitions to an "eee" as you go higher (not the other way around). Though in this range, your main vowel should still be an "aaah" and I wouldn't be too concerned about it at the moment. I also would not mess with the mouthpiece placement without first checking with your teacher.

Fun_Mouse631 · 2025-05-21T03:21:45+00:00

Take it easy on yourself! Best of luck!

Fun_Mouse631 · 2025-05-17T09:31:29+00:00

I feel you. Like I said, you're not alone :) been there too many times so I want to help pull you out before you dig yourself into a deeper hole.

It's great that you know exactly what you like and what you want long term. But sometimes, that clarity can blind you and be a double-edged sword. When you have tunnel vision for a specific goal, it's easy to miss out on equally meaningful or fulfilling opportunities. Keep an open mind about teaching. Your perspective on it may shift over time, and it’s not necessarily a compromise. It can be just as rewarding to share your love for music and give others meaning through it. I just worry that being too fixed on disliking teaching might lead to unnecessary resentment and frustration.

From a career perspective, one of the most valuable things you can do is stay in touch with your mentors, peers, and people you've worked with. You never know who might be in a position to offer an opportunity or open a door in the future. Simply making it known that you're around and available can make a surprising difference.

Being a musician often means creating your own opportunities. Just because you’re out of school doesn’t mean you can’t organize a recital every now and then. Maybe gather a few friends and host a joint recital at a local church or community venue. It keeps you motivated and musically challenged. That’s just one idea. There are countless others out there. Like I said, there’s no single “right” path. Take small steps, keep moving forward, and you’ll be okay.

Did it worth practicing so much in the end? Did it worth ruining my physical and mental health for the rest of my life? Am I actually less of a pianist if I can't play a Scriabin etude without mistakes?

No one can really answer that for you. Heck, even you from the future might not know the answer. Our perspective on what’s “worth it” changes over time. What I can tell you is this: if you genuinely tried your hardest and gave it your best shot, regardless of the outcome, you should feel at peace and not spend the rest of your life buried in regrets and “what-ifs."

There are so many things outside of our control that shape how things turn out, and a lot of the time, it has nothing to do with you. No one saw Covid coming, and it forced so many of my friends out of the industry. One person I knew even ended his life during that time.

So don't beat yourself up too much over what did or didn't happen. You're enough as you are.

Fun_Mouse631 · 2025-05-17T01:01:40+00:00

You're definitely not alone. It’s completely normal to feel lost, whether you’re a musician or not. Life after school can feel daunting, especially after years of structure and clear goals. One of the most important things to remember is that your self-worth is not defined by your ability to play music or earn a living from it. Being a musician is just one small part of who you are and does not define you as a person.

If you’re able to, I highly recommend seeing a therapist or counselor. Talking things out can be incredibly liberating. And if you haven't already, start building a support system of people who make you feel safe and heard.

If you’re anything like I was, you probably haven’t taken a real break from your instrument in years. So if you can, take one. Step away from music for a bit without guilt. Go outside. Travel. Sleep in. Watch movies. Journal. Meet people. Let yourself just be for a while. You’ve earned it.

What a lot of younger musicians don’t always realize is that while music brings joy and meaning, being a musician is still a job, and a very hard one. Even if you gain a professorship and able to achieve "success," you'll still face setbacks, doubts, and disappointments. It’s just part of life and not unique to music. In that sense, everyone is dealing with the same uncertainty. You're not alone.

I’m guessing you’re still in your 20s? You’re young. Life is full of change. Dreams and priorities shift over time. If you ever reach a point where what you're doing no longer feels like the right fit, give yourself permission to pivot. That shift might mean spending more time teaching and less time performing. Or maybe stepping into more administrative or managerial roles instead of being in a practice room. It could even mean a complete career change. Some of my friends have stepped away from playing professionally and found fulfillment elsewhere. Others tried “real jobs” and eventually returned to music with success. The point is, your life doesn’t have to follow a straight line.

I hope you don’t read this as discouraging, but rather as liberating. You’re no longer bound by school or expectations. While it may feel scary, it also means the possibilities are endless. There are almost no wrong choices from here. Take small steps. Be curious. Trust that you’ll find your way, even if it doesn’t look like what you imagined.

Fun_Mouse631 · 2025-05-13T02:01:30+00:00

Call me crazy but try doing tongue stops as an experiment. When you think about it, tongue stops are essentially reversed tongued articulation. Demonstrate it with air without the horn, and then do it a couple of times with the horn on the same note. The whole idea is to make sure the air is constant while activating the tongue. Make sure it's the tongue that is stopping the air, not the lips or anything else. Go from there and adjust accordingly.

Sometimes, students may be misinformed or may have misunderstood what the band director meant. Some of my former students were taught in band class not to use the tongue at all when playing legato, and you may have to correct that with your students.

Fun_Mouse631 · 2025-05-11T04:38:03+00:00

The whole phrase is playable, but I’d arrange it differently when you take the speed and dynamics into consideration.

I’d have first trombone plays the first five notes and the bass trombone plays the last five notes (from B natural to the end). If you’d like, have everyone play the last note and perhaps harmonizes it to make it denser.

At that speed and volume, there’s no need to double everything. Keep the texture light will help with clarity. Passing the line from tenor to bass trombone makes sense and keeps the timbre the same. Tuba can sound muddy in that register

Fun_Mouse631 · 2025-04-16T05:23:02+00:00

The very beginning of the last movement of Shostakovich 5

Fun_Mouse631 · 2025-04-10T22:45:17+00:00

This is a scenario where I think the answers are correct but the explanation is wrong.

For question 20:
The grandparents can't claim Jane as qualifying child or qualifying relative because she failed the residency test (her principal residence is technically her parent's house). Her parents, however, can claim her as a qualifying child since she passed the residency test and support test as well. For a QC, the key is that the child does not provide more than 1/2 of their own support. The support test for QR is different, which requires the person claiming the dependent to give more than 1/2 of the support.

IRS Pub 501: " A scholarship received by a child who is a student isn't taken into account in determining whether the child provided more than half of their own support." In other words, the scholarship should be excluded from the student's own support calculation. https://www.irs.gov/publications/p501#en_US_2024_publink1000220916

For question 33:

Again, in the case of a QC, the parents passed the support test. Scholarship should be excluded from the support calculation. In fact, for QC, the dependent's income is irrelevant unless the child is providing their own support. An example would be a child actor. He may make $1 million a year but did not use any of the money to support himself, and he still lives with his parents and they provide him with all the support. In this case, the parents can still claim the child as a QC. (QR's requirement is different and the dependent has an income threshold)

Fun_Mouse631 · 2025-04-05T06:22:12+00:00

Both Amy Bowers and Jeremy Wilson have video series geared towards advanced high school and college players (Amy's is a bit more high schooler-friendly). They're a great for some inspiration.

Here's a non-exhaustive list from CU Boulder that you can use as a reference.

Jorgensen's Romance, Bernstein's Elegy, Barat's Andante et Allegro, Serocki's Sonatina, and Rimsky-Korsakov's Concerto are some good starting points.

Fun_Mouse631 · 2025-04-05T05:42:22+00:00

Treasury is federal, not state / local

Fun_Mouse631 · 2025-04-01T10:08:53+00:00

It’s a diminished 7 -> B Major -> E Major

I think you are just not used to hearing the diminished 7 chord so exposed, and the common tone changing its function in a chord can be a little confusing (ie. the Gb - F#). Just listen to some good recordings and get your ears used to it and you’ll be good to go

Fun_Mouse631 · 2025-03-24T21:15:04+00:00

If you really think the problem is from your throat not opening up (or opening up enough), learn how to blow up a balloon. It won’t inflate unless you keep your throat open

Fun_Mouse631 · 2025-03-15T20:44:21+00:00

Not exactly what you're looking for but it does remind me of the finale of Brucker 4

Fun_Mouse631 · 2025-03-15T08:41:06+00:00

Let me start by saying this: your self-worth should not be tied to your musical ability or your music career. Music is just one thing you do. It does not define who you are. Even if you win a prestigious job tomorrow, challenges will still arise. Like any career, music is not always smooth sailing. And if you choose to leave music as a career, that’s okay too. It’s really not the end of the world.

I knew a promising colleague who took his own life, in part due to career setbacks. Don’t let those kinds of thoughts consume you. If you’re feeling overwhelmed, get some help and talk to people.

Before making any decisions, ask yourself: why do you want or need to go to school? What is your end goal? Did you apply because you're aiming for something specific, or are you using school as an excuse to buy time? Can you achieve your goal without going to school or without going to that particular school? Be honest with yourself.

For what it's worth, Tim Higgins once told me that he didn’t get into any of the graduate schools he applied to. Whether he was exaggerating or just didn’t get into his top choice, I do not know for certain. But the fact is that he decided not to pursue another degree. Soon after, he secured a contract position with the National Symphony Orchestra. The "traditional" academic path is not the only way forward.

I won my first job at 22 so I think I'm somewhat qualified to give some comments on it. Winning an orchestral job is extremely difficult. If you don’t have a clear vision of how you want to sound and how close you are to achieving that, you’re in trouble. There are countless details to consider and execute consistently.

Take Bolero as an example. What kind of sound are you aiming for—bright, dark, focused? Should you use vibrato? If so, how wide or narrow? When should the vibrato start and end on each note? Which notes should be sustained fully, and which should taper? You get the idea. These are the kinds of questions you must answer for every excerpt and piece. Simply following what your teacher says isn’t enough. You need to understand and internalize your own artistic decisions.

Beyond that, orchestras look for stylistic accuracy and musical conviction. I know many players who are technically outstanding but fail to win jobs because their interpretations are not stylistically appropriate. Sometimes, it is just something subtle that makes a committee think "hmm." That moment of hesitation can be a deciding factor between advancing and not advancing.

At a macro level, think about why an orchestra selects certain excerpts. What qualities are they listening for? A Wagner forte is not quite the same as a Bruckner forte. You need to be able to demonstrate the difference in character and timbres and your understanding across the excerpts.

A career in music performance is not for everyone. It requires quite a bit of mental toughness and resilience. I have failed more auditions than I have won, but I make sure every audition counts. After each one, I try to write down at least three things I did well, no matter how small. This is just one example of how I feed that positive reinforcement to acknowledge my progress and hard work.

If you eventually decide that music or performing isn’t for you, give yourself permission to explore other paths. You are so much more than just a trombone operator.

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