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. (A private teacher – of either opinion – is a very good idea.)
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 overall and, perhaps, more interesting. When singers sing, there can be many different consonants, syllables, and melismas in a line that sounds perfectly legato. 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 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. See what Charlie Vernon says about tonguing: "It sounds like it's a heavy tongue, but it's not really." Notice the constant resonance and the way his tongue matches his slurs. Listen to Roger Bobo play Air on the G String on tenor tuba. Yeah, it's not a trombone, but notice a couple things: the uninterrupted resonance and the "pop" in his slurs – the definition! I prefer to let slurs "pop" a little and legato tongue firmly enough to match the "pop." I detest mushy legato!
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, even nah, etc. If it sounds good, it is good. The lower you play, the lower and more forward you tongue; again, notice what Charlie says about this.
This article is good; there are many such articles – caveat emptor. I have a few things to add:
Ben van Dijk teaches a pretty good lesson on legato. And, in a 2013 interview with David Brubeck, Ben said:
“I noticed more jazz trombonists, of different levels were able to play a nice legato tune than classical ones! Why? First, the typical jazz trombone player is not afraid of a gliss! He or she can even use the gliss to make the tune more jazzy and juicy! This is, in general, not done in classical music. Secondly, the jazz trombonist uses a different vibrato than the classical player uses, the slide-vibrato. To be able to make a nice, easy, quick slide-vibrato it has to come from, (here comes my secret), 'a flexible controlled wrist-movement' and not a fixed one that makes the slide movement jerky!” (See Slide Technique.)
Jay Friedman has written Legato and the Arms Race.
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. – Steal.
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 overall and, perhaps, more interesting. When singers sing, there can be many different consonants, syllables, and melismas in a line that sounds perfectly legato. 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 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. See what Charlie Vernon says about tonguing: "It sounds like it's a heavy tongue, but it's not really." Notice the constant resonance and the way his tongue matches his slurs. Listen to Roger Bobo play Air on the G String on tenor tuba. Yeah, it's not a trombone, but notice a couple things: the uninterrupted resonance and the "pop" in his slurs – the definition! I prefer to let slurs "pop" a little and legato tongue firmly enough to match the "pop." I detest mushy legato!
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, even nah, etc. If it sounds good, it is good. The lower you play, the lower and more forward you tongue; again, notice what Charlie says about this.
This article is good; there are many such articles – caveat emptor. I have a few 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 vibrating lips are concerned, slurs are glissandos.
- The author recommends “smooth, fast slide motion.” I agree, but 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.
Ben van Dijk teaches a pretty good lesson on legato. And, in a 2013 interview with David Brubeck, Ben said:
“I noticed more jazz trombonists, of different levels were able to play a nice legato tune than classical ones! Why? First, the typical jazz trombone player is not afraid of a gliss! He or she can even use the gliss to make the tune more jazzy and juicy! This is, in general, not done in classical music. Secondly, the jazz trombonist uses a different vibrato than the classical player uses, the slide-vibrato. To be able to make a nice, easy, quick slide-vibrato it has to come from, (here comes my secret), 'a flexible controlled wrist-movement' and not a fixed one that makes the slide movement jerky!” (See Slide Technique.)
Jay Friedman has written Legato and the Arms Race.
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. – Steal.
NOTE: Charlie's entire 2008 masterclass at Northwestern is great! Check it out here.