Chords for NEW Nils Wogram "Jazz Trombone Technique & Improvisation" Master Class - Trailer
Tempo:
112.15 bpm
Chords used:
F
G
Abm
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
And I teach in Luzern, and so sometimes we invite people for workshops.
So what I'm trying to do is get the idea of all the great teachers
for trombone technique, including breathing,
which is a really, really important aspect,
and just put it on top of each other and see what are the differences
and what are the similarities.
And I have to say, in a way, everybody says the same.
First, you have to stand right.
So it's very important how you stand.
I can show you what a lot of people do.
One is this, or even more extreme like this, when you play.
This is wrong.
Another thing, you should be loose in your knees, so here,
and maybe a little bit more like to the front, not like this,
not falling over, but just like this.
So when you relax like this, and you can relax this part,
you can inhale easily.
Or a good exercise is to pretend to be disappointed.
Then you can inhale easily because you're relaxed here.
Not this again.
So that's easy to inhale, and then when you play,
you need your muscles.
That's the whole principle.
[G]
[Abm] [Am] [N] I think the most important aspect in brass playing is breathing
and the tonguing.
That's very important.
So if you have difficulties with playing high notes,
it's probably because of your tongue.
Because the thing is, to produce a high note,
you have to learn how to make the air fast.
To make the air fast, you just lift your tongue,
and then if you take the same amount of air through a tube
like this big, you have a low note, and this big,
you have a high note.
So there's also another exercise by Malte Bober
where you train to use the vocals.
Like, aaaayyyyy.
But I don't want to steal his show, you know, it's his show.
Anyway, but that's very important.
I think if you have problems with the high register
or tonguing or something, you should work on your tongue.
And about playing fast or getting all the technical aspects
of a jazz trombonist together,
what I worked a lot on is doodle tonguing.
And I practiced the doodle tonguing the same way
all the classical musicians practice double tonguing,
like just repeating notes with scales
and then taking away notes like, you start like this,
[F]
So if you can't do this, you have to work on one note [N] first, you know,
so to get the attack of the doodle.
[F] I'm [N] exaggerating now, you know, but just to show you
what the difference is.
Instead of
That's not enough, you know.
You really need a good articulation with the doodle tonguing,
otherwise it sounds like
And you can't, you know, it's anyway difficult on the trombone
to really play precisely and make each note in a fast tempo audible.
So anyway, that's very important.
And then once you get that done,
you work on less note repetition, like maybe four.
And then two notes.
And one note.
Something like that.
So what I'm trying to do is get the idea of all the great teachers
for trombone technique, including breathing,
which is a really, really important aspect,
and just put it on top of each other and see what are the differences
and what are the similarities.
And I have to say, in a way, everybody says the same.
First, you have to stand right.
So it's very important how you stand.
I can show you what a lot of people do.
One is this, or even more extreme like this, when you play.
This is wrong.
Another thing, you should be loose in your knees, so here,
and maybe a little bit more like to the front, not like this,
not falling over, but just like this.
So when you relax like this, and you can relax this part,
you can inhale easily.
Or a good exercise is to pretend to be disappointed.
Then you can inhale easily because you're relaxed here.
Not this again.
So that's easy to inhale, and then when you play,
you need your muscles.
That's the whole principle.
[G]
[Abm] [Am] [N] I think the most important aspect in brass playing is breathing
and the tonguing.
That's very important.
So if you have difficulties with playing high notes,
it's probably because of your tongue.
Because the thing is, to produce a high note,
you have to learn how to make the air fast.
To make the air fast, you just lift your tongue,
and then if you take the same amount of air through a tube
like this big, you have a low note, and this big,
you have a high note.
So there's also another exercise by Malte Bober
where you train to use the vocals.
Like, aaaayyyyy.
But I don't want to steal his show, you know, it's his show.
Anyway, but that's very important.
I think if you have problems with the high register
or tonguing or something, you should work on your tongue.
And about playing fast or getting all the technical aspects
of a jazz trombonist together,
what I worked a lot on is doodle tonguing.
And I practiced the doodle tonguing the same way
all the classical musicians practice double tonguing,
like just repeating notes with scales
and then taking away notes like, you start like this,
[F]
So if you can't do this, you have to work on one note [N] first, you know,
so to get the attack of the doodle.
[F] I'm [N] exaggerating now, you know, but just to show you
what the difference is.
Instead of
That's not enough, you know.
You really need a good articulation with the doodle tonguing,
otherwise it sounds like
And you can't, you know, it's anyway difficult on the trombone
to really play precisely and make each note in a fast tempo audible.
So anyway, that's very important.
And then once you get that done,
you work on less note repetition, like maybe four.
And then two notes.
And one note.
Something like that.
Key:
F
G
Abm
Am
F
G
Abm
Am
_ _ _ _ _ _ _ _
_ _ And I teach in Luzern, and so sometimes we invite people for workshops.
So what I'm trying to do is get the idea of all the great teachers
for trombone technique, including breathing,
which is a really, really important aspect,
and just put it on top of each other and see what are the differences
and what are the similarities.
And I have to say, in a way, everybody says the same.
First, you have to stand right.
_ _ So it's very important how you stand.
_ _ I can show you what a lot of people do.
One is this, _ or even more extreme like this, when you play. _ _ _
_ _ This is wrong. _ _ _
Another thing, _ you should be loose in your knees, so here,
and maybe a little bit more like to the front, not like this,
not falling over, but just like this.
So when you relax like this, _ and you can relax this part,
you can inhale easily.
_ Or a good exercise is to pretend to be disappointed.
_ _ _ _ _ _ _
Then you can inhale easily because you're relaxed here.
_ Not this again.
_ _ So that's easy to inhale, and then when you play,
you need your muscles. _
_ _ _ _ _ _ _ _
_ _ _ _ That's the whole principle.
_ _ _ [G] _ _ _ _ _
[Abm] _ [Am] _ [N] _ _ _ _ I think the most important aspect in brass playing is breathing _
and the tonguing.
That's very important.
_ So if you have difficulties _ with playing high notes,
it's probably because of your tongue.
Because the thing is, to produce a high note,
_ _ _ you have to learn how to make the air fast. _ _ _
To make the air fast, you just _ _ _ _ lift your tongue,
and then if you take the same amount of air through a tube
like this big, you have a low note, and this big,
you have a _ _ high note.
_ So there's also another exercise by Malte Bober
where you _ _ train to use the vocals.
Like, _ _ _ aaaayyyyy.
But I don't want to steal his show, you know, it's his show.
_ Anyway, but that's very important.
I think if you have problems with the high register
or tonguing or something, you should work on your tongue.
_ _ _ And about playing fast or getting all the technical aspects
of a jazz trombonist _ together,
what I worked a lot on is doodle tonguing.
And I practiced the doodle tonguing the same way
all the classical musicians practice double tonguing,
like just repeating notes with scales
and then taking away notes like, you start like this,
_ [F] _ _ _
_ _ So if you can't do this, you have to work on one note [N] first, you know,
so to get the attack of the doodle.
_ _ _ [F] _ _ _ I'm _ _ [N] exaggerating now, you know, but just to show you
what the difference is.
Instead _ _ _ _ of_
_ _ That's not enough, you know.
You really need a good articulation with the doodle tonguing,
otherwise it sounds _ like_
And you can't, you know, it's anyway difficult on the trombone
to really play precisely and make each note in a fast tempo audible.
So anyway, that's very important.
And then once you get that done,
you work on _ less note repetition, like maybe four.
_ _ _ _ _ _ _ _
_ And then two notes. _ _ _
And one note. _ _ _ _ _ _
_ _ _ _ _ Something like that.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ And I teach in Luzern, and so sometimes we invite people for workshops.
So what I'm trying to do is get the idea of all the great teachers
for trombone technique, including breathing,
which is a really, really important aspect,
and just put it on top of each other and see what are the differences
and what are the similarities.
And I have to say, in a way, everybody says the same.
First, you have to stand right.
_ _ So it's very important how you stand.
_ _ I can show you what a lot of people do.
One is this, _ or even more extreme like this, when you play. _ _ _
_ _ This is wrong. _ _ _
Another thing, _ you should be loose in your knees, so here,
and maybe a little bit more like to the front, not like this,
not falling over, but just like this.
So when you relax like this, _ and you can relax this part,
you can inhale easily.
_ Or a good exercise is to pretend to be disappointed.
_ _ _ _ _ _ _
Then you can inhale easily because you're relaxed here.
_ Not this again.
_ _ So that's easy to inhale, and then when you play,
you need your muscles. _
_ _ _ _ _ _ _ _
_ _ _ _ That's the whole principle.
_ _ _ [G] _ _ _ _ _
[Abm] _ [Am] _ [N] _ _ _ _ I think the most important aspect in brass playing is breathing _
and the tonguing.
That's very important.
_ So if you have difficulties _ with playing high notes,
it's probably because of your tongue.
Because the thing is, to produce a high note,
_ _ _ you have to learn how to make the air fast. _ _ _
To make the air fast, you just _ _ _ _ lift your tongue,
and then if you take the same amount of air through a tube
like this big, you have a low note, and this big,
you have a _ _ high note.
_ So there's also another exercise by Malte Bober
where you _ _ train to use the vocals.
Like, _ _ _ aaaayyyyy.
But I don't want to steal his show, you know, it's his show.
_ Anyway, but that's very important.
I think if you have problems with the high register
or tonguing or something, you should work on your tongue.
_ _ _ And about playing fast or getting all the technical aspects
of a jazz trombonist _ together,
what I worked a lot on is doodle tonguing.
And I practiced the doodle tonguing the same way
all the classical musicians practice double tonguing,
like just repeating notes with scales
and then taking away notes like, you start like this,
_ [F] _ _ _
_ _ So if you can't do this, you have to work on one note [N] first, you know,
so to get the attack of the doodle.
_ _ _ [F] _ _ _ I'm _ _ [N] exaggerating now, you know, but just to show you
what the difference is.
Instead _ _ _ _ of_
_ _ That's not enough, you know.
You really need a good articulation with the doodle tonguing,
otherwise it sounds _ like_
And you can't, you know, it's anyway difficult on the trombone
to really play precisely and make each note in a fast tempo audible.
So anyway, that's very important.
And then once you get that done,
you work on _ less note repetition, like maybe four.
_ _ _ _ _ _ _ _
_ And then two notes. _ _ _
And one note. _ _ _ _ _ _
_ _ _ _ _ Something like that.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _