TMEA All-State Etude No. 2 (tenor trombone) 2025, Brent Phillips

Описание: This etude is a favorite of mine. I have played out of the Blazhevich Book for most of my career. I would encourage serious students to work out of the original 1939 Studies In Clefs edition published by International Music and edited by Ostrander.

There is a very good reprint (Blazhevich, Vladislav (Kharlamov/Deryugin/Stare) School for Trombone in Clefs [Clef Studies]) that contains editorial comments from Ward Stare. You might also consider purchasing the Blazhevich Sequences book to complement your etude work. In addition to a immersive study in clefs, the Sequences book is a challenging rhythmic study, containing long sequences that help you improve on phrasing and articulation consistency and rhythmic stability.

A few notes about this etude:
Pick primary and secondary phrasing points.
Consider making much longer phrasing (options are illustrated in parenthesis).
There is a difference between using a fluid/flexible tempo with careful rubato, and not having steady time.
Allow the "con moto" section to move ahead naturally and understand the difference between "a tempo" and Tempo I.

The articulation in the Fink book is highly edited, which makes following every musical gesture cumbersome, potentially sounding contrived. Use the musical markings as a guide for style and play these etudes in a way that makes musical sense. If you use every articulation, accent, slur, hair pin, and dynamic marking as an attempt to illustrate you can follow musical instructions, the etude will begin to sound cartoonish. Instead, find a way to blend these musical instructions in such a way as to create a cogent and structured performance.

Try to create a mood, or story. Step back from your performance (listen to a recording of your playing) and see if you have created an aesthetic that makes sense. Is there flow in your performance? Does it sound easy? Is there energy and is there anything compelling in what you are doing?

There are opportunities to play intimately and with nuance, but never with forced drama. Try to elongate every note before a breath at cadences.

I noticed I am pumping the slide, after breaths, on notes that start in the same position. This is a bad habit. Keep your slide still, and controlled. I'm not really sure why I do this, but to me, it looks nervous.

See if your breathing can be more quiet than mine.

Alternate positions - not too many are needed. Remember to use alternates sparingly, and for artistic and musical reasons, rather than just out of connivence.

Slide noise/glissandi/smearing - I noticed in a few places, my slide was a bit lazy. While I strive to play with true connection, making a linear phrase, be sure your not getting slide noise or smears between any notes.

Courtesy of the Abilene Civic Center during a run with the Abilene Philharmonic. (Bernstein - Jeremiah Symphony, Candide, Symphonic Dances and Slava!)