LEGATO
My favorite musical definition of legato is from a film about “The Great Tenors” I saw a long time ago: “uninterrupted resonance.” Most other definitions refer to smooth, unseparated, playing. As to how to achieve legato on the trombone, there are basically two schools: legato tongue every note and mix "natural" slurs and tonguing; I fall in the second. There are world-class trombonists in each. This difference of opinion will not be resolved here.
The primary argument in favor of tonguing everything is slurring and legato tonguing never sound the same – true. However, to my ear, a line with slurs in it sounds more legato and perhaps, more interesting. When singers sing, there can be many different consonants, syllables, and melismas in a line that sounds perfectly legato – if resonance is uninterrupted. Another reason is, to me, a natural (lip) slur is the perfect legato; and legato tonguing should imitate slurs. The more slurs one uses, the more slurs one hears, on a daily basis, to imitate.
Care must be taken to match the tongue to the slur as closely as possible. Most folks don't legato tongue firmly enough, to my ear. The stroke of the tongue will vary with tessitura. Different players will describe it differently; I prefer "dah" (the vowel will vary with tessitura, too); but various great players say thah, lah, rah, etc. If it sounds good, it is good. See what Charlie Vernon says about tonguing. A private teacher – of either opinion – is a very good idea.
This article is good; there are many such articles – caveat emptor. I have a couple things to add.
Charlie Vernon makes a nice demonstration of what I believe regarding slurs – and slide movement. Blair Bollinger is worth checking out, too. Jim Markey illustrates good legato technique nicely. Then there’s this guy. And this guy. And this guy. And this guy. And this guy. And this gal. And . . .
Listen to and imitate great trombonists, singers, string players, etc.
NOTE: Charlie's entire 2008 masterclass at Northwestern is great! Check it out here.
The primary argument in favor of tonguing everything is slurring and legato tonguing never sound the same – true. However, to my ear, a line with slurs in it sounds more legato and perhaps, more interesting. When singers sing, there can be many different consonants, syllables, and melismas in a line that sounds perfectly legato – if resonance is uninterrupted. Another reason is, to me, a natural (lip) slur is the perfect legato; and legato tonguing should imitate slurs. The more slurs one uses, the more slurs one hears, on a daily basis, to imitate.
Care must be taken to match the tongue to the slur as closely as possible. Most folks don't legato tongue firmly enough, to my ear. The stroke of the tongue will vary with tessitura. Different players will describe it differently; I prefer "dah" (the vowel will vary with tessitura, too); but various great players say thah, lah, rah, etc. If it sounds good, it is good. See what Charlie Vernon says about tonguing. A private teacher – of either opinion – is a very good idea.
This article is good; there are many such articles – caveat emptor. I have a couple things to add.
- “There needs to be a continuous, unbroken, smooth and plentiful supply of air from the beginning of the slur to the very end of the last note.” Yes, but I would suggest focusing on uninterrupted resonance (and/or buzz). As far as air and embouchure are concerned, slurs are glissandos.
- The author recommends “smooth, fast slide motion.” I agree, with the caveat that it is possible to move the slide too fast.
- “The slide has to move just as quickly going from 1st to 6th position as it does from 1st to 2nd position.” Actually, it needs to move faster to go from 1st to 6th – distance over time – but I take the point.
Charlie Vernon makes a nice demonstration of what I believe regarding slurs – and slide movement. Blair Bollinger is worth checking out, too. Jim Markey illustrates good legato technique nicely. Then there’s this guy. And this guy. And this guy. And this guy. And this guy. And this gal. And . . .
Listen to and imitate great trombonists, singers, string players, etc.
NOTE: Charlie's entire 2008 masterclass at Northwestern is great! Check it out here.