![]() For more details and clarification as to James Markey’s approach, check out this video. This method doesn’t have a step-by-step “do this, and then do this, and then this will work right” set of requirements, so it can be daunting, but it is the most natural way that we learn, and ultimately the best way to resonate the instrument rather than fight it (and since you’re made of flesh and the instrument is made of metal, the instrument will always win in a fight). Of course, there is a difference so ultimately your playing will differ a little bit, but Markey suggests avoiding thinking too much about consciously changing how you play, and just letting the body learn how to play it and adjust over time. He discovered that in regards to the difference in size, the bass trombone is not as different as some would have us to believe. ![]() Arnold Jacobs is perhaps the greatest and most respected pedagogue in the history of brass playing he had immense technical knowledge for how everything worked and sought to back up his ideas (and put others to the test) with science. In a recent video uploaded to YouTube, James Markey (bass trombonist with the Boston Symphony Orchestra – one of the best in the world) goes over some evidence found by the late Arnold Jacobs. The general pedagogy of brass playing that goes back decades and decades has shaped the idea that bass trombone and tenor trombone are two completely different instruments that require different conscious efforts and setups to play. ![]() Making the switch from tenor trombone to bass trombone may seem like a giant step.
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