Klaus is entirely correct. Even a mediocre trombonist, such as myself,
can play the grace and the main note as two distinct notes. That said,
the composer's intent and the conductor's interpretation rule. I
recently played a piece with a passage involving grace notes, and the
conductor asked us to play them in portamento style, using slide only
between the two pitches. This made it sound a little more raucous.

Horace Brock


On Tue, 20 Apr 2004 14:21:26 +0200, you wrote:

>on 20/04/04 13:57, Colin Broom at [EMAIL PROTECTED] wrote:
>
>> I'm wondering if there are any trombone players/experts out here.  My
>> question is, how would a trombonist generally interpret a grace note with a
>> slur onto another note about a 2nd lower (in a 20th century score)?:
>> 
>> 
>> a.  Would they soft-tongue the second note?
>> 
>> b.  Would they just tongue the first note as with any other brass or wind
>> player?  If this is the case, would it generally sound like a very quick and
>> short glissando, or is there enough control even at grace note speed to make
>> it sound like two distinct notes?
>> 
>> c.  Is it just not usual or practical for grace notes to be found in 20th
>> cent. trombone parts?
>
>The 20th century has taken trombone technique quite far. If the composer
>knows the trombone, it is very well possible to write grace notes and other
>legato situations, which can be executed with a true legato.
>
>The basic rule is, that the slide shall move outwards in upwards slurs and
>inwards in downward slurs.
>
>And then trombonists generally are inn possession of a much more graduated
>tonguing technique than other brass players.
>
>Where glissando used to be a common trombone effect, trombone artistry now
>is to avoid any sort of un-planned for glissandos.
>
>Klaus
>
>SATB trombones in Bb, Eb, and G
>
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