Trombone Lessons For Beginners | Todd Porter | Skillshare

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Trombone Lessons For Beginners

teacher avatar Todd Porter, Professional Music Educator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

39 Lessons (2h 48m)
    • 1. Trombone Lessons For Beginners

      1:24
    • 2. 4 Essential Elements of Music

      4:18
    • 3. Harmony

      4:30
    • 4. Melody

      0:40
    • 5. Notes, and the musical alphabet

      1:38
    • 6. Rhythm

      2:15
    • 7. Trombone Setup and Buyers

      2:39
    • 8. You will learn how to put the trombone together, make your first sound

      12:58
    • 9. Trombone week 1 practice

      4:29
    • 10. In this lesson you will learn how to play all the notes in the G major scale

      6:58
    • 11. Trombone week 2 practice

      6:22
    • 12. Learn the first melody for music coach song

      5:15
    • 13. Trombone week 3 practice

      3:02
    • 14. Learn how to play the G major scale ascending and descending (up and down)

      7:04
    • 15. Trombone week 4 practice

      7:53
    • 16. Learn how to play the bass notes for the B section of the song

      5:41
    • 17. Trombone week 5 practice

      4:23
    • 18. Learn how to play the melody for the B section of the song

      5:41
    • 19. Trombone week 6 practice

      3:10
    • 20. Learn how to change your role during the B section from lead to accompaniment.

      5:44
    • 21. Trombone week 7 practice

      2:25
    • 22. Learn how to change your role during the entire song from lead to accompaniment.

      5:39
    • 23. Trombone week 8 practice

      4:11
    • 24. Learn how to play your first scale pattern

      5:40
    • 25. Trombone week 9 practice

      4:42
    • 26. Learn how to play your first scale pattern

      5:19
    • 27. Trombone week 10 practice

      6:03
    • 28. Learn how to play embellish the melody as part of your solo

      6:07
    • 29. Trombone week 11 practice

      3:09
    • 30. Learn how to put all the skills together, melody, solo, and accompaniment

      2:28
    • 31. Trombone week 12 practice

      4:45
    • 32. Jam Room 60bpm

      4:39
    • 33. Jam Room 80bpm

      3:30
    • 34. Jam Room 100bpm

      2:48
    • 35. 7 key steps to starting a band

      10:25
    • 36. General gear guide

      4:37
    • 37. How to create a furtile musical home

      6:46
    • 38. How to create a sucessfull practice routine

      10:10
    • 39. MC breathing Exercise

      1:50
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About This Class

This is the perfect place to start for beginner trombone players! Take all the guess work out of how and what to practice. This program comes with specially designed practice videos for each lesson.

Learn To Play The Trombone Quickly And Easily

-Learn the basics of how music works with fun easy to understand animated videos.

-Use a proven system to take all the guess work out of what to practice.

-Gain the confidence to play your trombone with others.

-Enjoy learning at a pace that is right for you.

Start Playing And Creating Music To Express Your Musical Self

You will learn everything you need to know about the trombone, from how to put it together and make your first sound, to how to play the trombone in a band! This course also focuses on how to express yourself through music by teaching beginner improvisation (soloing). The goal of The Music Coach Trombone Program is for you to fully express who you are through the instrument.

Content and Overview

I designed this program to help you begin your musical journey on the trombone in the most efficient and fun way. This program is suitable for anyone who has a desire to play and has a working trombone. There are over 2.5 hours of video lessons and practice videos.

The layout of the course uses a simple format:

-1 lesson video that explains a new concept/technique,

-1 practice video that has voice overs and graphics to help you play along with the teacher on the screen in "real time".

There are twelve sets of lessons and practice videos that help you learn melody, rhythm, harmony, and improvising. This program also contains a "Jam Room" with a virtual band that you can play along with at different speeds. As an added bonus there are also five music theory made easy animated videos that explain the basic building blocks of music.

At the end of this course you will have the confidence to play the trombone both on your own and with others in different musical situations.

Christian Overton – Trombone instructor:

If you ask jazz trombonist Christian Overton when his musical destiny unfolded, you’ll get a refreshingly simple story. Don’t wait for swooning tales about obscure jazz records with intricate trombone solos and performances that set him on the unchangeable path to becoming a musician. All that inspiration actually followed after an older brother introduced the trombone to a young Christian one day in the family room. “I thought I would be ahead of my grade six music class,” Christian confesses with charismatic honesty. From precocious schoolboy to Humber music performance graduate, Christian Overton is now one of Toronto’s leading jazz musicians and writers—who also admits “…all the saxophones were taken by the time the teacher got to the letter ‘O’.” Growing up in Sudbury, Ontario, Christian’s childhood was comic books, snow, and music appreciation for fun. His father (one of Northern Ontario’s foremost radio personalities) played all sorts of tunes for the four Overton kids to enjoy. Sessions of classical Beethoven changed to the smooth seventies rock of Chicago and then backtracked to The Beatles. The defining moment, however, of Christian’s fascination with jazz happened with a gift from his uncle—Mellow-Dy by Slide Hampton. “Slide played things on the trombone I never heard before or even dreamed were possible.” After that first trombone lesson in a house filled with music, a life all about jazz was taking shape. Christian’s formal music education became an important experience. He was fortunate to attend schools with highly regarded music programs where his abilities were encouraged and challenged. As a teenager, Christian continued to explore the giants of trombone history, listening endlessly to the sweet melodies of JJ Johnson and carefully noting Curtis Fuller’s technical mastery. “I used to listen to the records and learn the solos too,” says Christian. “I could eventually play along with them note for note.” Surrounded by these influences and dedicated teachers, Christian soon showed great promise as a trombonist, improviser, and bandleader. In fact, when he was nearly finished high school, he was already leading a working jazz trio and had professional experience in every genre from dance bands to symphony orchestras and studio work.

Leaving his Sudbury home, Christian accepted a scholarship for jazz performance at Humber College in Toronto where he excelled both in the classroom and on the college performance circuit. He studied with some of the nation’s top jazz musicians including Pat LaBarbera, John Macleod, and Alistair Kay. Christian expanded his instrumental skills into bass trombone doubling and his musical proficiency as a contemporary jazz arranger/composer for combo and big band. On the stage, his dynamic performance abilities were obvious, playing a variety of styles from jazz to Latin to R&B. Christian was also featured on seven college-produced records as a member of the prestigious Humber Studio Jazz ensemble. Now living in Toronto, Christian’s career is gaining such momentum that it’s hard to keep up! He performs in a variety of ensembles regularly including the nine-piece funk band King Sunshine, The Toronto Jazz Orchestra, and most recently, The Art of Jazz Orchestra in addition to various other pit orchestras and jobbing bands. Christian is also the featured composer and musical director for The Composers Collective Big Band, a seventeen-piece ensemble performing high-energy, contemporary works that smash the traditions of the Toronto jazz scene. Christian can also be heard on television, writing material for various productions such as School of Chef and Sun TV’s, King Kaboom.

Meet Your Teacher

Teacher Profile Image

Todd Porter

Professional Music Educator

Teacher

Multi-instrumentalist Todd Porter has been teaching music on several instruments for the past 15 years. In addition to teaching private lessons and workshops he is the horn section leader and arranger for the Bonified Truth, which backs up 2008 Toronto Blues Society winner Scott McCord (nominated for a 2010 Maple Blues Award for Best New Artist). He also leads The River Pilots, whose debut album reached the top 10 on the Canadian College radio Jazz charts in 2008 and was nominated for best World Music Song, and Best Country Music Song at the 2008 Ontario Independent music awards. The River Pilots Debut album was also featured on CBC Radio One shows, Disc Drive, Sunday Edition, and Fresh Air. Todd was a member of Toronto based Afro Funk group Mr. Something Something, where he toured Cana... See full profile

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Transcripts

1. Trombone Lessons For Beginners: Welcome to the Music Coach Online trombone program, where you'll learn how to play the trombone from scratch. My name is Todd Porter, and I'm a professional musician and educator. Canada, where I've been teaching and performing for the last 15 music coach trombone program, is taught by my good friend and colleague Christian Overton, who is an amazing trombone player and music coach. Program has been designed to get you playing with other people as quickly as possible because the rial joy and music is being able to express yourself with other people and listen and interact. And so the whole course curriculum has been designed around this idea of teaching you how to play the instrument, but at the same time teaching you how toe have the skills you're gonna need to play. By the end of the course, you're gonna have the confidence to going up friends and family and other people who play and get a jam session, because the goal is to get you playing with other people as quickly as possible. Program starts by learning how to pick your first instrument. You need to rent it or buy. It helps you move through how to put it together, make your first sound and learn how to play some scales and rhythms and harmony so that you can interact with other musicians as quickly as possible. If you've always dreamed about playing the trombone and just not knowing where to start and you come to the right place, thank you for your interest in Music Coach online trombone program, and I hope you're as excited as I am to get started. 2. 4 Essential Elements of Music: What is music? Music is the language of the planet, spoken by every society since the beginning of time. Music is a vibrational language that allows us to convey complex ideas that spoken or written language alone cannot adequately express music gives us an almost unlimited vocabulary for communicating emotional information through sound way. Are all born musicians Theo Idea. That some of us are musicians and some of us are not is so far from the truth. It's laughable. You are made of music. Your heart is beating steadily in your body, keeping the rhythm of your life flowing. Your ears and voice are constantly working together to shape your experience through the sound you make and sounds. You hear it is all music, therefore, essential elements to be able to play music on any instrument. They are rhythm, harmony, melody and your passion for music. To explain these concepts, we're going to use the analogy of a train train itself is you. And the passion that you have for music is the boiler. Inside the train, you were born with the deep passion for music, like every other person whose ever been born and come before you and everyone who will come after you now you might be saying yourself, I have no passion for music or I can't even remember a time when I did thistles just simply because it got extinguished in you. And the good news is it could be reignited and made to burn hot and passionate again. The key to starting any good fire is to start with the right amount of fuel and a little bit of air. This is the same in music. One of the biggest problems people run into is they get overwhelmed. This is like putting too much wood down and trying to light it with one match. A roaring fire always starts out small, and it's helped, along with just the right amount of fuel at the right time and a continuous flow of air fire and the boiler of your train is the single most important part of your musical journey . Now, for a train to go anywhere it needs to go along a track. You can't just have a train in the middle of nowhere, with no track and get a fire burning hot and expected to go somewhere. A railroad track has three main elements. Railroad ties, which are the wooden beams that go along the ground. And two tracks, one on either side with trains. Wheels sit on rhythm is like the railroad ties, which are evenly spaced and allow for the stability for the train to move. Once the tracks are in place, railroad ties air spaced in a way that is even and breaks up the distance between two points so that time can be felt in a consistent way. If you put your train on top of just railroad ties, you're not gonna be going anywhere, so let's have the next piece of track. Harmony is the piece of track that runs alongside the railroad ties. It's fastened securely to them, which allows the rhythm to pass freely underneath harmonies most often expressed as cords. Cords air simply a grouping of three or more notes stacked vertically. The most common use of them, his major and minor. Most people experience major chords, is sounding happy, and minor chords is sounding sad. Almost all music that you've heard on the radio or on television and in movies is made up of major and minor courts. Melody is the piece of track on the other side. Opposite the Harmony, the melody is the most recognizable and distinctive part of any song to songs can have the same rhythmic and harmonic structure, but melodies are completely unique to the song from which they come from. When you think of a famous song in your head, most likely you're thinking about the melody. A melody is just simply a pattern of notes moving up or down involving the rhythm and interacting with the harmony that is connected to once you have these three elements of track of railroad ties, which of rhythm Harmony, which is one of the tracks in the melody, which is the other track your train can now roll along. Then all you have to do is keep adding more pieces of track your train control further and further faster and onward in your musical jury. 3. Harmony: harmony like the universe itself, is all about relationships. We're alive right now on Earth because of its relationship to everything else in our solar system. Any two notes played at the same time are considered harmony. Sound travels in waves that are measured in Hertz hurts measures how maney waves per second a note is generating a string on a guitar, for example, vibrates 440 times per second. Lower notes vibrates slower and higher. Notes vibrate faster human ears can hear in a range of approximately 31 hurts. Up to 18,000 hertz dogs, for example, can hear a much larger range. They can hear from 40 hertz all the way up to 60,000 hertz when two or more notes air played. At the same time, the sound waves interact with each other, creating two states of dissonance and continents, more commonly known as tension and release. Imagine the sound waves are like dolphins jumping in and out of the water notes that Aaron dissidents or tension never line up evenly so that the pattern of the dolphins being in and out of the water is never in complete alignment. This is a physical event and why some people experience tension in music as very uncomfortable. This technique is often used in movie soundtracks to enhance the sense of unease. Continents or release is having the dolphins come into a pattern where sometimes or all of the time they're at the top or bottom of their pattern together at the same time, much like our preference for spicy or sweet tastes, we each have a sense of how much tension and release we like in our music. And like a sense of taste, it can evolve over time, depending on what were exposed to the fact that there are no wrong notes is not just a spiritual state of mind. It's a fact. All that exists is tension and release or dissonance and continents and how much you enjoy . He is entirely up to your own sense of personal taste. Cords are organized harmony. Harmony is used most commonly to make up chords that air called triads. They're just simply cords that have three notes in them, cords are built like houses. There is a foundation which we call the route the third, which is like the main floor and the fifth, which is like the second floor of the house. The route is the note that gives Accord its name. For example, in a C chord, the route is see. The third of the note is the third note in the scale, so see is one is to and is three. The fifth is the fifth note in the scale. See is one D is to his three, Fs four and G is five. There are several different types of chords. The two most common are major chords and miners. What makes a cord major or minor is the relationship of the third to the root of the court . When it is closer to the fifth than the route, it is major, which is like moving the main floor of your house up slightly when it is closer to the basement, where the root it's minor. The way you move a note, closer or further away, is with sharps and flats to change a C poured from major to minor, you change the third, which is E. T. Flat. Most people experience major and minor chords by hearing them as happy sounds for major on and sad sounds for minor. It's always good to remember that music is a language that you were built to speak. And even when you're working on something that's a challenging concept, just know that with enough time and practice you'll be able to master it. 4. Melody: melody is the part of songs that most people identify with, since there are so many harmonic and rhythmic combinations melodious the most distinct part of any song. Close your eyes and think for a moment of your favorite piece of music. Chances are you're hearing the melody in your head. A melody is both rhythmic and harmonic, and if it is well constructed, it could be sung or played on its own and be clearly understood. Simply put, a melody is a string of notes and rests that move up and down in relation to the harmony underneath it. 5. Notes, and the musical alphabet: throughout the world. There are many different notation systems in music in Western Europe and North America. We use a 12 tone system with the musical alphabet toe. Understand the 12 tone system. We first need to understand how we measure the distance between two notes, their two main distances used in our system. They're tones and semi tones. The easiest way to see and understand tones and semi tones is on a piano. A piano is made up of white keys and Blackie's, and a tone is the distance between two white keys with a black in the middle or between two black keys with a white key in the middle. A semi tone is our smallest unit of distance, which is between a white key in a blackie or between two white keys where there is no black he in the middle. All scales and music are simply a pattern of tones and semi tones that repeats. The most common one is the major scale, which goes tone, tone, semi tone, tone, tone, tone, semi tone on a piano. If you start this pattern on, see, there's no need to use any black keys because the pattern is built right into the keyboard of tone, tone, semi tone, tone, tone, tone, semi tone. If you start the pattern on any other key, however, you need to use the Black Keys to maintain the pattern. This is why we have sharps and flats to make up the 12 different keys inside of the system . 6. Rhythm: rhythm is a word that has many meanings in music. This could be the source of unnecessary confusion for students. When they first begin. You may have heard the words time and tempo used in the same way. Let's break this down into the essential elements. Tempo is like a river. Think of a river for a moment. It usually flows at a constant pace, but it's not rigid or mechanical. When humans make music, it is a goal to be as consistent as possible with the tempo. But in reality it's alive, and it has subtle shifts, like the flow of a river Rhythm is how we interact with flow of this river. Imagine sticking your hand in the flow of the river for one second and then pulling it back out. Then imagine doing the same thing for two seconds and half a second. This is the equivalent to playing notes of different lengths. The river is constant, but how long we play the notes for is what makes it in the music. Rhythm is the most mathematical part of music education, but fear not. There is nothing more advanced than simple addition and subtraction involved. Imagine your favorite type of pie for a moment. Now, the size of the pie is constant. No matter how we slice it, the pie represents a bar of music. If you eat the whole pie yourself, it's like playing a whole note, which takes up the entire bar. If you invite a friend over and cut the pie in two, you have to half notes. If you cut it again, you have 4/4 tones. Cut it again and you have 8/8 in music. All time has to be accounted for again. Think of the pie if you have a pie and you cut it into 4/4 and you only want to eat one of the quarters. The other 3/4 still exists because the whole pie was baked. This is the same in music. So wherever there's not a note played, there has to be arrest to take his place. So each of the note values in music of whole half quarter eighths and so on all have rests that last for the same amount of time 7. Trombone Setup and Buyers: Hi. My name's Christian Overton. I played trombone. Today we're gonna be talking about the different parts of the trombone. The trombone comes in three different pieces. First of all, the Mel apiece slide and the bell. And within these three pieces, there are different parts as well. Um, first part we're gonna be talking about is the slide. This is the most recognizable part of the trombone, Of course. Part of course. Um, so when we're looking at the slide, we have the slide lock here, and we have the inner and outer slide. So when I'm going like this moves down. Okay. Now watch. There's no, um there's no stopper at the end of this light, so if I take it off, it comes off all the way. Right? So we want to make sure we're putting back on. We're putting back on carefully, but you really don't need to know more than I would have slide. It's this goal in part and the inner slide. Is this still the mouthpiece? This is the part, of course, is going on. Your lips were gonna insert that into the short part of the slide, so I'm just gonna put that in, and I'm gonna give it one little turn. Okay, so that one turn creates a bit of a seal here, so if I flip it upside down, it doesn't fall out, Okay? So when you're putting and that's all you need to do, you don't want to be hammering it in because it's gonna get stuck and you get a heck of a time gone. Get out. And then we have the bell section. The third part we're gonna be talking about today the bell section goes on the long part of the slide. So it's just a regular screw. You've seen this many times, So gonna be answering this on top, Okay. And then we're going to be screwing it in before it's totally tightened. We can move it around a little bit, depending on the size of your hand. Some people like it a little bit closer. Some people, like a little bit farther apart, but for me, I'd like it at more of a 90 degree angle. And that's something you should start with. So when you're starting on the trombone, you want to be thinking of that 90 degrees? Okay, so once I get it set up to my perfect angle. I'm gonna be tightening it up. Okay, tightening it up there now, the bell section, um, has this part as well. This is called the tuning slide. So we have the big slide down here, But we also have the tuning side for minor adjustments so we can move this up and down, right? And this is for tuning. We'll talk a little bit about tuning later, but for now, we could just know that this is the part of the trump on that affects tuning. Okay. And this part right here is the balancer, OK, it's just a wheat because the trombone, as you can see, is very long on one end and very short on one end. So to make it I feel a little bit easier on the arm. Have a balance here. There 8. You will learn how to put the trombone together, make your first sound: Hi. My name is Christian Overton. I play the trombone today. We're gonna be talking about the different parts of the trombone and on how to make it sound. So, first of all, trombone is ah is one of the best instruments you could possibly chose. Choose. So congratulations on that of the trombone comes in three different pieces. First of all, the Mel apiece slide and the belt. And within these three pieces, there are different parts as well. Um, first part we're gonna be talking about is the slide. This is the most recognizable part of the trauma. And, of course, part of course. Um, so when we're looking at the slide, we have the slide lock here, and we have the inner and outer slide. So when I'm going, like this moves down. Okay. Now watch. There's no, um there's no stopper at the end of this light, so if I take it off, it comes off all the weight. Right? So we want to make sure we're putting it back on. We're putting back on carefully. Um, but you really don't need to know more than I would have slide. It's a school in part in the inner slide is this silver bar, Okay? And we're going to be moving around the slide to try to get some notes when we talk about that later. So the mouthpiece, this is the part, of course, is going on. Your lips were gonna insert that into the short part on the slide, so I'm just gonna put that in, I'm gonna give it one little turn. OK, so that one turn creates a bit of a seal here, so if I flip it upside down, it doesn't fall out, Okay? So when you're putting and that's all you need to do, you don't want to be hammering it in because it's gonna get stuck and get about a heck of a time gonna get up, and then we have the bell section. The third part we're gonna be talking about today. The bell section goes on the long part of the slide. So it's just a regular screw. You've seen this many times, So gonna be answering us on top, Okay. And then we're going to be screwing it in before it's totally tightened. We can move it around a little bit, depending on the size of your hand. Some people like it a little bit closer. Some people like a little bit farther apart, but for me, I like it at more of a 90 degree angle. And that's something you should start with. So we're gonna talk about how to hold the trombone Now in your left hand, we're gonna be holding the bell section and the slide together at the same time. So what? I like to think of it as is double 07 Action here. So we went the thumb to be hooked around this part of the bell, and then we want the three fingers inside the square that we have here. And then if your fingers are your hands air big enough, you can have your index finger on the top. If it's not, then you can have a tuck. Dana here. That's no problem. So left hand, I'm just gonna be holding it with the left hand right here. This is what your position should be. Now, with the right hand, we want to be holding this line. Okay? For this one, I like to think of Mr Spock's. Okay, two fingers and two fingers. Now we're going to be holding around this area of the slide. Okay. We want to be holding onto this brace right here. Um, and we want two fingers above two fingers below that Mr Spot. We're gonna hook it around the bottom part of the slide. We're gonna slide it up, and we're gonna grab it here. OK? This way. When you're moving around the slide, we don't want your risk to angled like this because you're gonna be turning it over. It's gonna be rough on your slide. I want to be able to have a good wrist action because we need to move the slide. Very. Perhaps once we got more advanced, we're gonna be moving the slide really fast all the time. One part of the trauma one that's very important, especially in the early stages, is the slide lock. This thing right here, I tend to use it automatically because I've been playing trombone a long time, but it's pretty self explanatory. When the lock is off, you can move the slide out, right? And be careful. It will slide off if you're not careful now. The bell section has this part as well. This is called the tuning slide. So we have the big slide down here. But we also have the tuning side for minor adjustments so we can move this up and down. Right? And this is for tuning. We'll talk a little bit about tuning later. But for now we could just know that this is the part of the trump on that next uni. Okay. And this part right here is the balancer, OK, it's just a wheat because the trombone, as you can see, is very long on one end and very short on one end. So to make it feel a little bit easier on the arm, have a balancer there to balance out the weight. Okay, so those are the basic parts of the trombone. We're gonna talk a little bit now about how to make sound. OK, unlike some of the other instruments we actually have Teoh make the vibrations of the notes with our actual lips. Okay, this is something that not a lot of people are very comfortable doing. So find your little quiet space and do some practicing on buzzing before you get to the drum bow. Basically, when you re doing is flapping our lips. So lesson number one try to get some motion going. Okay? We're gonna be pushing our lips to make him by bring. Okay, let's try again. Ah, Now, as you can see on my lips are vibrating very slowly. So as we're as we try to vibrate a little bit faster getting sit, some more notes happening. So I'm going to start vibrating slowly, and then I'm gonna vibrate faster. So Ah, now, when you're first starting at home, you're gonna notice that this is probably pretty difficulty to be doing all these notes at once. But for the purposes of the week one, we're just gonna be talking about some low notes in general. So these low notes we want to be thinking about, ah, something a little bit along those range. So the best thing that Aiken dio to get you to try to shape your mouth correctly, it's just to tell you to look at my face, what I'm doing. Um, and I know that most young students out there good at making funny faces. So see if you can match my face. Exactly what I'm gonna be doing is using these side muscles to try to be compressing on The buzz point is a part of my lip that's actually doing the vibrating. And I'm gonna be compressing these muscles around the outside into the bus point to try to make it vibrate faster. So let's try that. Okay, Let's try to seem to want to do one note. We're gonna breathe in and we're gonna do that. Same g, see if we can match the same note. Use your ears. See if you can match the same. Notice me. Okay. Ah, OK. How did you dio? You're shaking your head. Okay? Not think so. Well, I just get so we want to be practicing now. Trying to change notes a little bit. What am I gonna dio? I'm gonna tighten these muscles to get higher notes and loosen them to get lower. Notes were not going to do anything drastic. We're just gonna try to do some kind of change, so you get a little bit of a wave effect, OK, so still together. Ready? Ah, So what did you notice about my face when I was doing that? You notice my muscles contracting over here, especially these corner muscles, right? So you want to be looking at the video and then practicing in front of a mirror to see if we can get this kind of thing happening. Okay, so practice a little bit of that, and then we're gonna try it in the Mel api. So the same thing I'm doing in the air this buzzing we're gonna be doing with about peace now. So same known I could go. Ah, when replacing the mouthpiece on our face. We wanted to have a central location of possible, so Oh, I know it sounds pretty funny now, but want to get into the trombone? Where you gonna get a nice big sound? So now I'm gonna try the same thing, But with the Trumbo, Okay, We're gonna play G, which is the first note that we're gonna be doing to equal. Here's a G. Uh, I'm thinking in my head I'm thinking, OK, I'm seeing I'm trying to get that my muscles she contracted up so that my lips are vibrating and seeing if I can get that note. So listen to the practice video and see if you can match me. Ah, OK. How did you dio? All right, so now that was a G notice how I move the slide. I would a little bit. So that brings me to some slide positions. Were only doing three notes in week one. But we need to know three different positions for those different notes. Okay, so the 1st 1 is fourth position. We're gonna do a G with first note on fourth position. If you're looking at it here, we want the slide. You can see a ring right here. We want that just passed the Bellas fourth position. OK, so, uh all right, that was G. Now, we don't have to move our lips very much to get the next note because these notes are pretty close together. But we have to change the slide position. We're gonna change this to second position. Position number two. This is going to be the note. A Okay, second position. As I go out, I'm gonna be moving it. I would say maybe four centimeters out. Okay, Second position is a bit of a difficult one, but where you can do is play it with me and then try to move it around and see if you can match the No. Okay, So second position. Ah, Okay. so that wasn't a in second position. Now, what I was talking about is as you're moving the slide in and out where the notes changed. So, uh, so we went from a G two and a we went to G and fourth position, which we talked about, and then we will didn't use the slide to slide up to the A, which is in second position. So you're noticing that the basic physics of any brass instrument if you make the instrument longer, you're going to get lower notes if you're the instrument shorter and you're gonna get some higher notes. So there's the fun part we're going to start all the way in, and we're gonna try to go all the way down and back. Okay? So which even get a buzz happening? See if you can match the same notice me and we're gonna go all the way down and back. And I want you to feel the notes getting lower as we go farther down the slide and then hires you go back. Ready? Uh, okay. So how do we change notes? Beyond that, we have to use our lips. So for this third note, we're actually going out in the slide, which you may think would be a lower note, but because we're actually vibrating our lips a little bit faster, we're going to get a higher pitched note. Okay, so let's review the 1st 2 notes before we go into the third note. Personal being G fourth position. Remember, fourth positions just past the belt. Let Spadea. Ah. Uh, okay. Second note is a A is second position. Okay, let's see if we could find second position about four centimeters out. Ah. Uh, okay. Good. Now, the third note is a B. Now be is actually in the seventh slide position. We have seventh positions altogether. This one's the seventh. So it's all the way out. As far as you can go now, you want to be going as far as you can go without actually taking it off the the inner slide. Okay. You don't want to fall off for me. I would like to extend my arm all the way out and have it resting on my fingers Are Ah, uh, now, when you're playing along, you wanna be able to match my notes to make sure you're far enough out. Okay? again. When you're playing, you can move the slide in and out and see if you can move it out to the exact spot that I'm playing so that we can match the notes. So if you're in the same spot as me, then the notes going to sound the same, that's how you find it. Okay, so let's do that. Be one more time. Seventh position. Ah. Okay. Nice job. Let's leave it to do all three notes in a row now. So, um, we're gonna do the G fourth position. Where? Its fourth position again? Just past the bell. Ok. Hey. Ah. Uh, great. Now we're gonna do a which is second position, four centimeters out. See if we can find it. Ah, Uh, okay. Now to be seven position. OK, see if we can do. Ah. Okay. Great. That's three notes. Now, see if you can practice alone. Great job today and we'll see you in the practice video. 9. Trombone week 1 practice: We're gonna play whole notes for the 1st 3 notes of our scale. The notes are G A and B. Take a big breath in and hold a G. Ah, Now take a deep breath in and play a Ah ah! Now take a deep breath in and play be Ah! We're now going to do the same thing Using the click track, you're gonna play G for four beats, Take four beats, rest play a for four beats, take four beats rest and then play. Be for four beats. 12 Ready? Go G one Teoh rest. One, 234 a 1234 b Let's do the same thing again. 12 Ready? Go G rest. 1234 a. 1234 B Now we're going to do the same thing using half notes so g will get two beats will rest for two beats a will get two beats. Arrest for two beats and be will get two beats and rest for two beats. 12 Ready? Begin! Ah, Just to best to rest to do the same thing again. 12 Ready? Go! Okay. Just to rest too. Ah to now We're gonna do the same thing and take the rests out so each note will get two beats. 12 Ready? Begin! I tried again. 12 Ready? Begin! G Thio Thio. One more time. 12 Ready! Begin! G D Uh, Now we're gonna play quarter notes, so each note is gonna get one Beat 12 Ready? Go. 12 Ready? Go! Uh, 12 Ready? Go. 12 Ready? Go! Ah! Good room. Try going up and down. 12 Ready. Begin. Ah! Uh, Same thing again. 12 Ready? Go! Ah! Uh, it Same thing again. 12 Ready? Go! One Last time. One, two. Ready? Go! 10. In this lesson you will learn how to play all the notes in the G major scale: I Welcome back. You're back with me, Christian for re two of the music coach program trombone. So how do week one go? We got those three notes down Dr G and B. Today we're gonna talk about the rest of the scale. So on the Trumbo and we have some other positions we need to deal with, especially for this particular scale. Last time we talked about G fourth position, a second position and B seventh position. So the next note in the scale is C C. Its sixth position. So for six position, we want to be extending arm all the way, but not actually extending our fingers. So this is six position, and this is seventh position. We talked about seven position last time. So this is six position arm fully extended all the way up. I'm gonna play. See? Ah, OK. The next note of the scale is a D. So the D is a position that we already know. Fourth position. Ah, now you might be wondering. Ok, so we had fourth position Fergie and we have fourth position for de How can they be the same position, but different notes? Well, that's because we're changing what our lips air doing up here? We talked a little bit last time about ah changing notes with our lips. Meaning we're gonna be squeezing to get higher notes and losing to get lower notes. So that G is a pretty low note. So we're gonna be thinking about I'm gonna play G for you. Fourth position. Uh, okay, so that's a G. Now, how do we get up to that? D I'm gonna use my lips to actually change notes. Oh, my slides are gonna move, but my lips will. Ah, uh, so you won't be practicing that a few times TV and play the lower note, and then the upper know if it helps to do it in the air first, Theo, that will help. Okay? And think again. Think about looking at my face to see what muscles on my using to change notes. Write the letter. These corner muscles. Okay. So when we practice g d g d as much as possible, the next note in the scale is e So e is also in a position that we know second position. So last time we talked about second position, being about four centimeters out. I'm gonna play any, Um uh, Now, this one again is the same position as the A that we talked about earlier. A was in second position and is also in second division. So how do we change these notes? I guessed it correctly with the lips. Okay, So I'm gonna go from a t e now, just using my lips, sing in second position, and I'm gonna change notes with my lips. Uh, so how am I doing that? Well, I'm playing for the AM loosening up and e I'm tightening a little bit. Ah. Hey. Right. So you wanna be practicing that as well? Practicing the G, the G to the D and then a to the e just using our lips. Okay. The next know we're gonna be talking about its act sharp. Okay? So f sharp is a position that we haven't talked about yet. It's in fifth position now. Once we get past the bell, it's tough to figure out where these positions are, but we talked about seventh position being all the way out. That's pretty easy, cause we're going all the way out. Six position, arm fully extended. But my fingers aren't actually extended on. And then we also talked about fourth position, being just past the belt. So fifth position will have to be in between four and six somehow. So we're going to start in fourth position. If you could get fourth position happening, and we're gonna go a little bit farther. Fifth position, Okay? It's a little tough to see. It's tough to know without actually playing the notes. So, um, I'm gonna be playing. I'm gonna play fourth position note and then slide out to the fifth position and see if you can match me. Ah, uh, so stop on that fifth position and see if you're no matches Mine. Okay with Ah, uh OK, so that's how we find fifth position. It's one of the hardest ones on the trombone. The top note of the scale. I just got you to play. It's a G. And it's in fourth position as well. It's the third note in the scale that has fourth position. Okay, let's play G Uh, ok, G fourth position. It's not a D, and it's not a lo G. So we have to change our lips between those three notes Now. I had your practicing the low. Gee, to the to the d right where the slide is not moving, but my lips are changing. Now we're gonna have to go from the G to the D to the G, all with our lips, without moving the slot. Okay, lets try. Uh huh. OK, so that's three different speeds with your lips. This is a tough concept to think about when we're actually playing the trombone. But if you think about it in just the natural buzzing form Ah, going in the mirror and see if you can practice making your face look the same as mine were trying to make that inter buzz point vibrate at those three different speeds to get those three different notes. Okay, So when you're doing the practice video, I want you to remember all those positions that we talked about in the keys to figuring them out. We talked about fourth position, second position, seventh position, right for the B this week. We talked about six position, fourth position again, second position, fifth position, which is a tough one, and then back up to fourth position. So now that we know all the notes of the major scale. Let's go over it with the slide position numbers. OK, G four position. Ah, a second position. Ah, B seven position or Ah. See six position. Ah di, fourth position. Ah e second edition. Ah f sharp, Fifth division. Uh, and then G once again, fourth position. Uh, so make sure you're really thinking about watching the video and matching where my arm is as well. And use your ears The help. Great work this week. We'll see you in the practice. 11. Trombone week 2 practice: you're now gonna learn how to play whole tones on the next three notes of our scale. The notes are C, D and E. Take a big breath in and play. See Ah, take a big breath in and play D ah, uh, take a big breath in and play E Ah, we're going to the same thing with whole notes using the click track. Each note will get four beats and they'll before beats rest in between 12 Ready? Go! CEO rest 234 rest 234 uh. Now we're gonna do the same thing without the rest between the notes. 12 Ready? Go! Teoh tried again. 23 Go. Seen way. The final three notes that make up the G major scale. They r e f sharp and G. We're going to use the same technique, starting with a long tone on e Ah, Now a long tone on F, sir. Ah, play along Tone on the high G. Ah, Now we're gonna play them asshole Notes with four beats. Rest in between them. 12 Ready? Go! Ah, rest. 234 Rest 234 Uh, now we're gonna play them without the rests. 1234! Uh, Now let's try that again. 12 Ready? Go! Now let's play E f sharp and G as half notes with two clicks for each note and two clicks in between each note. 12 Ready? Go! Ah! Rest to rest to Ah, rest to Let's try it again. 12 Ready? Go! Ah! Rest to rest to Ah! Uh, Now let's try it without the rest in between. 12 Ready? Go! Ah! Tried again. 12 Ready? Go Now let's play E f Sharp and G as quarter notes. One click for each note. 12 Ready? Go! Ah, uh 12 Ready? Go! Ah! 12 Ready. Go. Uh, we're now gonna play the entire G major scale as whole notes. One, two ready? Go! G t 03 a 333 way. Now we're gonna play it as half notes. 12 Ready? Go! The way The notes descending as half notes. 12 Ready. Go 12. Learn the first melody for music coach song: Hi and welcome back to the music coach program. This is week three and you're here with Christian trombone lessons. So how we doing so far? Last week we got through the whole G major scale. This time we're gonna be talking about the melody of the song and how those line up with the positions on the Trumbo. Now, one thing you notice is that when we're playing the G major scale and you've heard me play , it doesn't sound particularly slide even. Know I'm moving around the slide. So you're not hearing, uh, how my disconnecting some of those notes I'm not doing by the air. Some people think it's going, but it's actually through the tongue. This is called articulation. So I want everyone to say Ta ta ta! Okay, now I think about what's happening in your mouth when you're saying Ta ta ta! Your tongue is going up to the roof of your mouth, right? You're creating air pressure and then it's releasing. So getting Todd talk top. Now, when we're doing it on the trombone, we want to be articulating on our teeth. So our top teeth, they're hanging down And what our tongue to be actually own art the back of our top teeth. So we're going pop pop Taw a little bit more of that action when we're doing it on the Trumbo and we're doing it with the buzzing That's gonna be the beginning of every note. So ta ta, ta! When we're buzzing and beeping and make sure I know it's a nice and long in between Ah, okay, We're gonna need to be using that tongue ing for every note that I want you to be playing for all the subsequent weeks of this program. Okay, Articulation is a very important part of the trombone because it separates the notes. So instead of going ah, uh, shining a bit like a drunken sailor, we want to be adding the articulations. We can separate these I'm going. Todd Todd, Todd, Todd! Todd on roof on the back of my teeth. Okay, so when we're adding that to the melody now, we want to be thinking of the different sections of the melody and doing them in sections. OK, the first part of the melody we're gonna be doing is called the A section in the a section of the song happens twice every time that we play it. Okay, this a malady section the first part goes, Ah, Tanta. And as I'm seeing it, you're noticing that I'm using the articulation that we talked about. I mean, the toss sounds as I'm seeing the melody because that emulates what I'm gonna be doing on the trombone. So let's find that be the first note of the song played seven. Position are OK now we're gonna have the Uh huh. OK, And see if you can match my slide as we're playing it together to, uh okay, so another we have that part down. Let's see if we can do this second section of the song. Okay, Which is gonna be G extra e. Okay, so G fourth position after our fifth and E second. Let's do that part pretty. Uh huh. So I got going. Ah, ta ta ta. All think of the articulations those tongs on every note really create. It's a nice clarity. Okay, the third part of the melody goes Takata. Okay, so we're starting on that again. We're gonna go e g f sharp. So watch the shape of the slide. Uh, okay. So when you're playing along really try to match with my slide positions are exactly I know it's tough at the beginning, but as you could practice more, especially practicing along with the practice video, you're really going to get where these positions are in the last part. Last section of this a melody The a section of the melody is a little bit faster, starts on the F sharp and it goes like this again. Ta ta ta ta ta! Getting those Todd's on every single note right? So we want to make sure that articulation is clean every single time. Let's try playing the melody all the way through now, and we're going to be articulating exactly like we talked about. What? Those tea sounds ready? Uh huh. OK, practice along with me. Practice the major scale again a bunch of times using those tea sounds on every single note . If you start hearing the are if you hear the slides in between and you know you're not doing it exactly cleanly so practice doing this. Todd's every time. Great work and we'll see you in the practice video 13. Trombone week 3 practice: you're now gonna learn the melody that makes up the a section of our song. First, you're gonna play the melody without the click track One note at a time being B C D e g e g F Sure f Shirky. Let's try that again. B E c. Sure. Ah, Now let's try it with a click. Track one two. Ready? Go. Uh, the oh ah! Let's try the same thing again. 12 Ready? Go! Ah! Uh, CEO. Now let's try playing the melody along with the track. 12 Ready? Go way. Now let's try the same thing again. 12 ready? Go. 14. Learn how to play the G major scale ascending and descending (up and down): I Welcome back. You're here for Week four of the music coach program. I'm Christian. We're back for trombone lessons. So how's it going? So far, we're talked about doing the entire major scale. But this week we're talking about going up the major scale, which we call ascending and talking about going down the major scale, which is called descending. So any time you're going up in notes, we're talking about ascending any time I'm going down and notes were doing were descending , So just give you an example. So for playing the scale ascending the so where the notes are going higher as we go, that's called ascending and descending. The notes are going lower for our particular instrument. We need to be thinking about moving the lips. Right. So lower notes way Want looser, right? We want looser muscles around here, so this is vibrating a little bit slower as it get higher notes. As we send, we're gonna be thinking about squeezing our lips a little bit more to get higher notes happening. Ah, I'm going up. I'm ascending. Ah, I'm descending. Going. Okay. So really be thinking about practicing going? Ah, it's even get that kind of control to match me. When you're doing that, I'm using my muscles here. You can see my muscles tensing and losing not very much right there only micro, Um, when microscopic amounts that I'm actually moving, Let's see if we can do that's even go up and down as we go by the whole scale. Ah, and as I'm doing that, you might think this is a really difficult thing to do when were playing into the trombone . The mouthpiece, and the instrument helps us connect some of those notes. So don't worry. If you can't play the entire major scale as your buzzy when were playing into the trombone , it'll help a little bit about peace wise. This week we're talking about not just the melody, but we're talking about doing the bass notes. So if I'm in a band, I might not be playing. If there's more than one of us, I might not be playing the melody part all the time. I might want to be playing the bass part, Um, and in this particular song, the bass part is going to be doing the entire bar, which is four beats, so each note of the base line is gonna be four beats at the time. So the four notes we're gonna be talking about today our e g c and D. Now, when you're playing the bass notes, you can choose which octaves you're going to be doing this in. Um, and we know two different genes. We know the low G and the high G. I'm gonna be playing the Heidi for these particular base now, so let's see if we can play them together. You remember second position, uh, G, we're gonna be playing the high G fourth position bra. See, we're going to be playing six position. See, right on. And then the last note is gonna be a d. Ah, and we're gonna be holding those for four beats. No, if I'm gonna be demonstrating this to you when we're switching notes on the trombone especially, um, it's a little bit tougher, So if you're picturing doing a piano, you can go from one note hitting one note to another note. The other key pops up and the other note is going on the trombone. It's a little bit more difficult if I'm gonna move my slide slowly from one note to the next you can hear it could be a little messy. Ah, uh, right. So even if I'm doing that Taw articulation that we talked about last week, I still have the problem of synchronizing the tall with the slide. So and everything's going Ah, ah, ah ah! And think about how am I moving the side of my moving at slower on moving past? Uh, even though the duration of the notes is long, right, we're holding it for four beats at a time. I'm actually moving my side as fast as I can between notes. So it doesn't matter how fast the rhythm is. We're gonna be moving our side as fast as we can all the time. So there's some things we can do to practice that even just going back and forth between two notes. If we're going back and forth between e and a. D. The two notes we've talked about Ah see if he could play it faster and faster and keep it clean at the same time. Synchronized the Toto Toto. With the slide movement, you're going to notice as you get faster. It's a lot tougher to stay clean you want avoid is having kind of sound right. We want to make it as clean as any of the other instruments can play. So think about doing that, even using that exercise from E. T. D. And going as fast as you can do it. Kareem Lee synchronizing moving the slide at the exact same time is saying the ta So ta Tom , Tom Tom, this week we're going to be talking about improvising, which is making up melodies of our own melodies that not somebody else came up with, but melodies that were coming up with improvising is, ah, very important part of music and something that ah lot of people don't really think about. But if you're playing along to any particular band, if you're playing along with the radio, even if you don't know the exact melodies that they're playing, you can improvise and make up your own music along with it. So this week we're gonna be talking about doing the major scale, but not just at ascending and descending, but also improvising on the major scale. And what do I mean by that? I mean, you get to pick which notes you're gonna play In which order? So we've talked about the G scale going G A B c. So let's try something different Now let's try going. Maybe G to see toe f. Sure. Did you eat? You can try anything you want. Um, but the key to it, especially with the trombone, is to make sure that we're not. We're using our lips to actually have the same focus on the notes that were not cac ing and doing different notes. So each note comes up properly, So I'm gonna try doing some random notes. Uh huh. Uh huh. Uh, okay. Something that I just improvised. I made it up on the trombone. We really need to be thinking about, um, what we're gonna be doing before we do it almost to be thinking about singing the melody. Okay. I want the melody to go up, OK? I need to be thinking about squeezing and then play the note. So it's Ah, it's a bit of something to practice. Try doing the scale in different ways. You're really gonna enjoy making up your own music. Keep up the great work and we'll see you in the practice video 15. Trombone week 4 practice: you're now gonna play the entire G major scale using half notes and then quarter notes with the click track. We're going to start by going ass ending, which is up starting on the low g to the high G playing half notes. 12 Ready. Go jeans. Let's try that again. 12 Ready? Go, Teoh. Great. Let's try using quarter notes. 12 ready? Go! Let's try that again. 12 Ready? Go! Now we're gonna play the G major scale descending Starting on the high G going down using half notes. 12 Ready? Go, Teoh, Let's write again. Two Ready? Go to Jeanne. Now let's try using quarter notes. 12 ready. Go! E C A g Straight again. 12 Ready? Go! Seeing a now we're gonna play the scale both ascending and descending using half notes and then quarter notes. First half notes. 12 Ready? Go! Now descending and g E o. Now we're gonna go ask Sending Andy sending using quarter notes. 12 ready? Go A scythe. Let's try that one more time. 12 Ready? Go! Chain A. You're now gonna play the notes that make up the bass part for the a section of our song. The notes are E G, C and D. They're gonna be played, asshole notes, So each will get four beats. 12 ready? Go! 233 c 23 d g 34 Let's try that again. 12 Ready? Go! Teoh. Three g een 234 Seeing Thio Thio Now you're gonna take your first steps towards improvising by playing the notes of the G major scale out of order along with the track. Simply put, move in a non sequential order, for example, You could start on G and then play See and then play f Sharp or D, for example. Just try it out. 12 Ready? Go Now let's play the melody along with the track 12 Ready? Go way! Now let's play the bass notes along with the track 12 Ready? Go! Ah! 16. Learn how to play the bass notes for the B section of the song: I am. Welcome back The Week five of the music Coach program. You're here with Christian, and I'm gonna be doing Big Five Straw Mohan lesson here with you. So this week we're talking a little bit more about baseline. But this time we're gonna be talking about doing the baseline over the B section so the baseline is an accompanying role. It's not the melody roll. It's sort of a backup role in the band, but equally as important as ability. So we're thinking of doing a backup role. We need to be thinking about playing along with each other, right? So when you're telling along with the backing tracks, when you're playing along with other instruments playing the melody, you want to really be thinking about really nailing down that time exactly with the other instruments that you were all playing together as a band, that's what that's what it's all about. And as the bass player for playing the bass notes, no matter what instrument playing, we really need to be thinking about the time, really locking in with what the drummer is doing locking in. So when the melody player is playing over top, have a really good solid foundation this week. We're changing up the rear that we're doing Some whole notes were doing some half notes and we're doing some quarter notes as well as we get more advanced, you're going to decide where you should be doing half notes where you're gonna be doing quarter notes when you're doing, uh, lower, longer values like whole notes or half notes. It doesn't have quite as much energy as if you're doing faster notes like quarter notes. So, um, think about that as you're playing along, you're playing along with the backing track you're playing along with other people. Think. OK, do we want to be a little bit more relaxed now? Maybe we'll play some whole notes. Maybe now we're building up a little bit. Maybe I'll get to some half notes. Okay, Now, this is the high energy section. I'm gonna be playing some quarter notes, okay? And we were playing this on the Trumbo, and we really need to be thinking about nailing in that Todd Todd Todd. Sound right. So if I'm playing long notes is a little bit easier, right? Uh uh. Right. But when we're playing, quarter notes were playing shorter values. We really need to be thinking about connecting these notes so it doesn't sound like, uh, first of all, you're gonna hyperventilate already getting dizzy, but thinking about doing connecting those notes. So we're playing quarter notes, but we're playing long court. Were there were there? Uh, where and that really comes about pushing the air through the instrument. I want you to be listening to the, uh, watching the breathing video. So, you know, we're talking about die from breathing in the diaphragm, using the diaphragm, breathing it on to be pushing out right now that you know a little bit about the diaphragm through the trombone. We really wanted to be thinking about pushing the air through the trauma, thinking about I always think about. If you're shooting through air through a straw, you want to be getting that air going as fast as you can at a consistent speed all the way through, Right. So making sure you're engaging these diaphragm muscles are now, if we were to unwrap the trombone Ah, and get all these bends out of it, the instrument would go pretty far to go through this entire room basically, so we need to get our air from our our diaphragm and our lungs all the way through the instrument. So anything but being a bunch of quarter notes in a row or even doing a nice, long whole note with a nice, long sound, we need to be thinking about pushing the air the whole way. So I'm gonna be playing, uh, McGee for you. Ah, uh, get a consistent sound. I want to be pushing the air all the time. Something I like to do with my students. It's actually put my hand at the other end of the bell. I'm gonna be playing a different look for you in first position this time, but I have my hand on the other end of the belt. Ah, and visualize pushing the air into my hand. Okay, so this is something to dio that's a little bit more difficult to do if you're playing by yourself. But even if you put a music stand or put something else in front of you and think about blowing into the sand, visualize about, uh, right and we can do that even with the quarter notes, I'm gonna be playing a D. This time playing 4/4 notes pushing the air through every time. Uh, no. You notice the notes are separated with the Tawes that we've been talking about earlier, but it's not way. Still have a nice long sounds, right? Nice long quarter note sounds, and we get that by pushing the air through. Okay, so that's especially for this week. I want to be thinking about doing that. Whether you're playing whole notes, whether you think playing half notes where you're playing quarter notes, we need to be pushing the air all the time all the way through the notes. Okay, really feel your diaphragm muscles working, you'll feel your abdominals really contracting will be tense when you're pushing the air out. And then, as you're taking air in your feel, your diaphragm expand. Okay, something to practice at home. You'll notice when we're looking at the basements of the B section that we're playing the exact same notes as the A section, but they're in a different order, which makes the section sound like. A contrast exception makes it sound a little bit different. So even though we're playing in G, we're playing see with E were playing a D. Now we're going to be playing them in a different order with this. Keep up the great work and we'll see you in the practice video. 17. Trombone week 5 practice: you're not gonna learn the order. The notes go in to make up the B section of our base part. The notes are G de e and C. Let's try them slowly without the click track G Ah di Ah! Now play E uh, play. See? Let's try them now, asshole. Notes with the click track 12 Ready. Go. Uh, now, let's try each note as to half notes. 12 Ready? Go. Let's try it again. Ready? Go! Teoh! Ah Ah! 2 to 10. Now let's try them. Is 4/4 notes. One to ready. Go! Ah, straight again. 12 Ready? Go! Ah ah ah! Now we're gonna mix up the rhythm by playing G is a whole note de as to half notes E as 4/4 notes and see is 4/4 notes. 12 ready? Go, Geo! Strike again Two. Ready? Go! Aw, Now you're gonna try the bass notes section with the backing track as whole notes. - Ah , Now let's try it with 2/2 notes for each base note. Go way 18. Learn how to play the melody for the B section of the song: Welcome back, everyone. A week six of the music coach program. You're here with Christian and another trombone lessons. So this week we're gonna be talking about the b section melody on the B section. Melody starts a little bit differently than we're used to with the a section melody Now the a section melody started on beat one So we're thinking about how music works We think of the strong beat as one one But this particular melody starts on what we call a pickup beat So it starts before beat one. So this one goes, Well, uh, you can see that, like, particular conducting pattern, it actually starts before one. So I counted 123 But but, uh Right, So the melody actually starts on beat for, um of the previous section, which is a little bit difficult to think about. But when recounting in, you'll see in the practice video. When we're counting it in, we'll give you a full bar start. 1234123 and then you're gonna be in on the next beat. So 12341 do three Bob, but, uh, and then where that snap is that's actually one. So be careful that this is called a pickup beat on, and it's something that happens in music a lot. But it just means that the malady particular melody starts before meet one next door. So in this particular melody we don't have any particular new notes to talk about. So I wanted to talk about some sound things. Now you might be practicing at home, practicing the die from stuff we talked about practicing the articulation Tawes that we've talked about everything of the path of the air that's coming from our diaphragm down here, the biggest part of our lungs going up into the instrument after the diaphragm, it passes through our throat right and throw. It's not something you really think about when we're thinking about all the slide positions and that kind of stuff, but it has a really important factor in trombone sound. So one thing I want you to practice is blowing cold air into your hands. A blow to cold, this area again. Okay, Then blow the warmest air that you possibly can. Okay, now we're gonna blow from cool air to warm air. Someone you think about what happened in your throat when you do that. Okay, one more time. What happened to your throat was that it opened up a lot, right? When thinking about doing warm air, we're thinking about really open throat. When we think about doing cold, everything more of a constricted, the one we're playing trombone. We want to get the most amount of air from our diagram into the instruments were going to be thinking about having the most open possible throat, which means we're going to be using warm air, warm air. So what? I'm thinking about using cold air on the trombone versus warm earlier here. The difference in the sound. So I'm gonna be playing a G, but I'm gonna playing the cold. It's possible air. Uh, in here. It's a really squeezed off sound. Okay, Now I'm gonna go cool to warm, and I'm gonna be opening up my throat as I go. Ah, uh uh. So what did you notice? First of all, the volume got a lot louder, right? I wasn't working harder, but the volume actually got a lot louder, which is great. And also the sound opened up a lot. We didn't have strong Well, Flynn. We had a nice open sound, right? I always think of it as rather than thinking of If you're sinking of the speech, we want to be using the most open possible sound. So thinking about how if you were watching the daytime TV of those guys with the big boys right there opening up their throat as much as possible, we want the same kind of thing on the drama playing the melody. If I was to play the B section Melody Uh, right. That doesn't sound very good. Amusing, squeezed off sound. And you're probably noticing at home that you don't sound exactly like I do. Well, first of all, that has a lot to do with this open sound and we're talking about. So see if you can match my sound as you're playing along, we're gonna be playing the first fat phrase of this being section melody using the open sound. No. Ah, right. So notice the sound got a lot better. So we're combining using the diaphragm with using the open throat and usually articulations that we've talked about. Then you're really getting somewhere. As far as that sounds. Now, we're gonna be talking about the B section melody. The first notes go the f sharp g like this. Ah, Uh, okay, second part GF shop, which is 4th 4th 5th position wise. Ah, Okay. The third part was back up to the G, down to the F sharp and then to the east. So G f therapy, which is 452 positions. Bra. Barbara in the last part has two D's and E's a 44434442 Uh, okay, when you're practicing this malady section, you want to be doing it in chunks first, getting all those little chunks together and then playing at all Here's what it's gonna sound like altogether. Ah, uh uh uh uh. Keep up the great work and we'll see you in the practice. 19. Trombone week 6 practice: We're now gonna learn the notes that make up the B section of our melody First, let's try them without the click track E f g g f Sure e Try that one more time. E g g g f sure e d D Yeah. Now, the second melody could be difficult to enter because it begins on the third beat of the bar. So, for example, we're gonna count four beats and then three more and then begin the melody like this. 1234123 Uh, let's try that one more time. So one bar. 1234123 Thank you. Now let's try playing our whole melody with the count in 1234123 a ah! Now we're gonna enter with just the three beats in the pickup bar along with the track 123 - Now let's try it one more time. 12 20. Learn how to change your role during the B section from lead to accompaniment.: Welcome back. This is Week seven of the music coach program, and you're here with Christian. We're gonna be doing talking a little bit about form today. So basically, form is where different parts of the song go together. Today we're gonna be talking about the B section, which we worked on a little bit in the past. But this time we're gonna be talking about, um, playing the melody part, and then we're gonna rest and then replaying some of the baseline part and then we're gonna rest. But eventually we want to be able to do these sections. Do you? That is gonna be a section which goes right into the B section. And then the B section goes right back into the A section. So when we're thinking about form, we want to be thinking about the whole shape of the song. What's gonna be first? What's going to be last in the shape of the song kind of depends on what we're gonna be playing as well. So this particular B section, we might be playing it a little bit louder than the A section. We're going in a little bit differently. The baseline that we talked about before. We might be doing that a little bit differently, depending on where in the song that it happens. So we're gonna be doing that a little bit today. Um, also, we're gonna be trying to take away the melody. So far, you've been playing the melody along with me or along with the backing track. Um, And when you're playing with the practice video this time we're gonna take it away for a section and you're gonna have to play by yourself. So, um, playing by yourself is a really big part. It's an important part of being a musician because you're not always playing the exact same thing. Is the person beside you? I need to be confident you need to be playing by yourself. A lot of that in trombone world become comes Ah, lot from the air power that were using. We talked about breathing from the diaphragm last week. We talked a little bit about pushing the air through the instrument and using the open throat as well. So when we're talking about doing all those things to have more confidence, we need to make sure we're pushing that air all the time. this I give you to speak if you're gonna speak. And no one's really gonna think that you're confident. Right? But if you're doing a speech in front of a big crowd and you're speaking loudly your enunciating properly using a lot of air and people are going to believe what you're saying , it's gonna sound a lot more convincing, right? And when were playing melodies we want to be convincing as well. So when we're playing that think about if I'm gonna play the melody on the trombone B section Melody 000 no. I played all the right notes but it didn't sound very convincing, right? Didn't sound like I actually knew what I was talking about. Didn't sound like I knew the melody, right? Even if it was playing all the right notes in the right places. So now this is me playing with confidence, pushing the air through the instrument, failing up the sound, playing with a strong melody as if I were the soloist Ah, Uh huh, Uh huh. So if you're an audience member listening to me play, you would think, Wow, that guy actually really knows this melody really well he's confident about where it's coming in and when we're playing for an audience, that's what we want to convey. That same kind of confidence. This is where the melody is. I might not be with my friend who is beside me, but this is exactly where the melody is. Another thing we wanted to talk about with the in the trombone world is another lesson on sound. So we last time we talked a little about the throat. We want to open up the throw to get a bigger sound. Well, we're thinking of following the air path from our diaphragm through our throat and into the instrument it needs also passed through our mouth cavity right and needs to pass through our tongue. So ah, lot of the time. Um, we don't really think about what our tongues doing because we're thinking Look, I need to squeeze that lips. I mean to get these vibrations happening, but the tongue actually has a lot to do with sound. So think about saying he okay, what happened your time when you're saying either time goes way up Nothing about saying, Ah, Now where's your 10 is at the bottom of your mouth. Right. So now go E Ah, yeah. So what happens to that is that your tongue is going down. So we're thinking about the air coming up from our diagram. You have a nice, big open throw. It's going into our mouth cavity. If we're thinking about our tongues really up. We're seeing any sound. That air has stops, right? It's got to go past around to try to get into the instruments, closed off everything about using an aw sound. Now our tongue is down in the air, can go straight through. And that's what we want the most amount of air that we can get into the instrument as possible. So I'm just gonna demonstrate using the e to ah, sound for thing of saying that I am gonna play a G for you with the saying the e celo. Oh, uh, right. I played the right note, but you could tell it wasn't quite as rich of a sound as I have normally. So now I'm gonna play e playing the G note, but I'm gonna say e ah in my mouth. So I'm gonna go, Uh, right. So you can really hear the difference when my tongue Is that between me? Ah ah So we need to be thinking about how that aw sound all the time and combined with that articulation. And we talked about the Taw If we think about singing the melody Ta ta ta Ah ta ta ta! Alright, I'm combining the articulation and we talked about with the big Aw sound. So when I'm singing melodies as if I were to play them on Trump when I really think about getting that open sound. Okay, so I'm putting them together. Uh huh. Uh huh. Right in thinking about pushing the air through the instrument. Something about warm air. And I'm thinking about getting the tongue down that Aw, give up the very work and we'll see you in the practice video. 21. Trombone week 7 practice: we're now gonna work on doing different things over the form of the song. We're going to start by playing the melody for the B section of the song, followed by the bass notes for the B section of the song. And then the melody for the B section again at the end. 12 Ready. - Uh , now you're gonna play the bass notes for the B section of the song. - Now you're going to try playing the melody for the B section on your own theme. 22. Learn how to change your role during the entire song from lead to accompaniment.: I Welcome back to week eight off the weather coming I Welcome back. We're here Week eight of Music Coach Program. You're here with Christian for trombone lessons. And Week eight, we're gonna be talking about foreign. We're gonna be talking about this time doing a section and doing the B section, doing melody on the A section and doing the cords on the A section and improvising on the A section and the B section doing all those things, and we're gonna be mixing it up a swell. So one of the things about playing music, um, has a lot to do with composing music and writing music as well. So think about we want the melody part to be the most important part. We want the cords to be backing up the melody, and we want the improvisation to be kind of an expansion of the melody. So if we listen to a lot of ah lot of music you might hear on the radio, you're going to hear the melodies at the beginning. It's a part of the song that you remember. And then, ah, you're going to be hearing the improvising part later on the solo part. You know, the improvising part. Is it being more of a development part of the song? So you usually find that later in the song and the cords, Well, they're going to be backing up the melody and you hear the cords underneath the improvising as well. So we really need to be thinking, OK, what part of my playing okay, if I'm playing the court part, I want to be backing up the melody. So I want probably playing a little bit quieter Still confident, Are still being quiet and thinking about the melody. Okay, If I'm playing the melody part, what do I want to be doing? Well, I want to be playing loudly because I'm the most important part. I want people to be remembering when I'm playing right. And if we're feeling the improvising part This is a time for you to shine this assignment. Do you think about Okay. How does this melody? How does this song make me feel? How does this song How am I gonna make up my own melody based on the same kind of feeling that the song gives me So think about what part of my doing what What am I doing at that exact spot and how I should play with the other people in the band? You really need to know your roles as well. If I'm playing the bass line, I need to be listening to the melody even though I'm not playing the melody to know where my apart bits in Because we don't wanna have the melody being off from the courts at same time. When you're improvising, you need to be thinking about OK, Am I playing in time with the people that will be playing the baseline and the drums in the backup band as well? So we really be thinking about all those kind of things. Form lives. Am I in a second? Okay, I'm hearing these chords. That means them in the eight section. I'm hearing these chords. That means, I mean, the B section. So thinking about not getting lost as well as a tough part if you haven't played that much music before, um, thinking about listening to the radio, think about okay, this is one section, and then this alternate section sounds a little bit different. Maybe that was what they were calling to be. Section and listen to the radio and think OK, well, I know where these different sections air happening. I can understand the form of the song that I'm listening to and then try to apply that to what we've been learning. And of course, um, so we're gonna be talking about doing the melody section of doing the baseline on improvising on all the parts. As far as the trombone is concerned, we like to talk a little bit about tuning something we haven't really talked about, like something that you've been doing and thinking about without even knowing it. So on the trombone, especially with really big slide instrument. So if I'm gonna play G and fourth position, uh, if I'm slightly off from that position, uh, doesn't sound exactly like a G anymore. It's what we call being out of tune. So the trombone is, ah, unique instrument in that we can change the tuning on the fly. So if someone beside us is playing in a slightly different tune, we can actually move it. For now, I want you to be thinking about playing your exact positions as well as you possibly can and changing the tunings live we talked about the tuning, citing weak one. What? It waas and, um, in the week one. We also talked about making the instrument longer. Makes the notes lower, right? So when tuning, we're talking about being sharp and being flat and being, of course, right on Iranian too. So if we're right in tune and we go a little too high, it's called being sure. So your notice a little too hot now we're right in tune and we go down. We're going to be flat, OK? Which means a little too low. And how do we just that on here? What? We're gonna move the slide in and out. So if pulling the slide out means the sound is getting lower and pushing the slide in means the sound is getting higher and we need to know what we're gonna do. A sharpened flat. So if you're too sharp, that means you're too high. So we need to bring the instrument lower. Okay, so we're gonna pull the tuning slide out a bit. And if you're too flat, that means you need to make the instrument higher. So we're gonna make the instrument a little shorter. We're gonna put your tuning slide in a little bit. Now, how do you know if you're playing by yourself, whether you're in tune or not? Well, you can either get a tuner from the store or tuned to, of course, listen with the track is playing and try to play those notes that we talked about and see if they sound right. If you're too sharp or two flat, if you too high or too low and then you can make adjustments accordingly. All right, um, and you can also, if you have a piano that's in tune to your house sometimes before your practice session, you can go over and try some of your nose at the piano. Maybe the instrument needs to go in and out. Or maybe you don't have the exact position on the Trumbo. Okay, so that's something to think about. The tuning slide is your set up for all your notes, and then we can individually adjust them with this. All right, keep up the great work. We'll see you in the practices 23. Trombone week 8 practice: you're now gonna practice playing the melody, the bass notes and taking a solo all the same time with the backing track. The first form you gonna play is the a melody once than the a section cords than the B section melody once than the B section melody courts 12 Ready? Go way Now you're gonna play the A melody twice the B melody twice and then improvise over a B B 12 Ready? Go way - No way. . 24. Learn how to play your first scale pattern: Welcome back to Music Coach program. This is week nine for trombone. You heard with Christian this week? We're gonna be talking about doing this major scale in thirds. Now you I'm sure you're wondering why do I have to do the scale in thirds? I know what up. I know it down, but you don't know it all around. And this is kind of the beginning of learning the scale, Um, so that you can improvise with the scale. We only know the scale going up and down if we're trying to improvise, just going up and just going down that really leaves is limited in our options of what we can do with scale using the same information, the same notes. What? We're trying them in a bit of a different way so that we can actually use them to improvise a little bit later, making up our own melodies on and scales or something that I practice every single day all the time. I think, uh, when I'm starting to practice, I'll do maybe some of my long tones like we were practicing at the beginning in week one, and then I'll go on to thinking of maybe a song that I'd like to practice. And in that song, what are some scales that I would like to use? And depending on what the cords are, I would choose different scales. In this case, we're gonna be using that G major scale. So I'll be thinking okay with that j major scale. I want to be learning it really well. So that whatever melodies I want to be coming up with that scale, I could play on my instrument. So I want to be using may be thinking of doing it up and down like we have and then thinking of doing it in thirds. What are 3rd 3rd are actually taken starting a one note and skipping the next note and going back down. It's keeping the next time going back down. I'm just gonna damage right here. So we're starting a G, like we're used to start rather than going GTO A. I'm gonna skip a and go to be and then back down to eighth. Um, uh, I'm gonna skip and go back. Get and go back way. Uh uh, wait. I want to get this up to a good speed and it becomes a little easier way right? And I start to hear the melody. Conto are a little bit more than just thinking. OK, skip this. Don't go back, right. We start to hear what the melody sounds like. Bom bom bom bom Paul Bump on that When we're improvising on it, we can think of some of those melodies and they'll come to us a little bit easier. The better. You know, your scales that easier. It's gonna be to come up with ideas to improvise. So keep practicing your scales back to some in different kind of ways you can now, one thing I wanted to talk about this week with the trombone is something called lip slurs . Now something we talked about earlier on. But I want to practice doing it with some exercises. So at the moment we talked about being low notes you wanna be buzzing on then with higher notes, you want to be squeezing your lips to bust higher Theo just like that, right? So when we're practicing during our buzzing, we were talking about doing some sine waves right way. When I do that under the trombone, what happens? I'm gonna go from G d d saying for position or ah, uh, so this time when I'm switching notes, I'm just using the lips. I'm not using that t that tall articulation that we talked about before. I'm just using the lips ago. Ah, and this really builds a lot of control you tending to think about, Okay, when my muscles doing. I need to squeeze exactly this much to get this next. No doubt I need to loosen this exact amount to get the lower, no doubt. So when you're practicing at home, I want you to practice the lips. There's really slowly no tongue ing and then get them up a little bit faster so we can use that gdd Ah, uh, I've been playing trombone a long time, so they come with a little bit easier for me. But at the beginning, I want you to use the use the metro newme Use the click track to see if you can get up slowly a little bit faster and faster. Okay. And if you practice on a daily basis, eventually you're gonna be able to do you can faster. After doing two notes, we can go toe three notes. There's three notes We know in fourth position in the low GI. We know that middle D and we know high G as well. So we could get to these notes are doing the same kind of slurring. So if I was just do it buzzing thing, Okay, I'm gonna do it on the trombone energy or ah, uh, again, I'm not using the t articulation like we talked about last time. I'm just using my lips again. We're thinking about control. How much do I need to squeeze to get up to these higher notes? How much joining just to loosen up to get to these low notes. So we're gonna do that The renewed exercise a little bit faster. Uh, you want to be slowly building it up. This is something that all brass players practice every single day. We need to get that muscle memory of what it feels like and our muscles to get those higher notes and those lower notes. And if we practice it on a regular basis, then our muscles are going to remember what it feels like. It feel those notes. Okay, So good luck with everything. Good job this week, and we'll see you in the practice 25. Trombone week 9 practice: we're now gonna play the G major scale ass ending in thirds using half notes. 12 Ready. Go. Uh, seen being. Ah. Now we're gonna try the same thing using quarter notes. 12 ready? Go! Ah! Let's try the same thing again. No. 12 Ready? Go! Ah! Now we're gonna play the G major scale descending in thirds using half notes. 12 Ready? Go! Ah ah ah Ah! Uh, seeing uh huh. Okay. Uh a, uh Ah. Now let's try it. Using quarter notes. 12 Ready? Go! Ah! Hey! Stride again. 12 Ready? Go! Ah! Ah! Now let's weigh the scales. Ascending and descending using half notes. 12 Ready? Go, G! Uh huh. Uh, seen, uh, see, uh uh uh uh A Ah. Now let's try it. Ass ending in descending using quarter notes. 12 Ready. Go! C g g 26. Learn how to play your first scale pattern: I welcome the week 10 of the music coach program You here with Christian and we're talking trombone once again. This time we're talking about a different scale pattern. Last week we talked a little bit about doing the scale in thirds, right, Changing it up a little bit. On this week, we're doing a different scale pattern bomb, bomb, bomb, bomb, bomb, bomb, bomb, bomb, bomb, bomb pop It sounds a little bit different. We're using the same information that we used in the major scale and we learned. But now we're doing it in a different way. A lot of the reason why we use different scale patterns is to practice being able to improvise now, improvising like we talked about last time coming up with our own melody, our own version of what we would play over those particular courts using that particular harmonic information just like the G major scale is a harmonic information. So thing about using that to make your own melodies right? So if we know the scale going up and down, we can use that. If you know the scale in thirds, we can use some of that information. And now, with this new scale pattern. It gives us even more information to use, right? So when I'm thinking about improvising, I'm thinking, not necessarily. Ah, about trying to be amazing right away. I'm thinking about doing things a little simpler. So what? I'm thinking about doing things simply, I think about using information I already know. Maybe I will play the scale up a little bit and see how that feels. Maybe we'll play it down a little bit. Maybe I'll try practicing some of the things that we had done in the practice video. Like the 3rd may be using this scale practice video of the scale practice pattern that we're gonna be talking about and using that in my improvising. So actually copying information that I already know and using it in different places to start my improvising. So don't feel like when improvising have to start from scratch. You can start with using information that you know either from the scales or come listen to other songs, either melodies or other people's improvisations and start there to get you inspired Aziz going. Here's what this week's scale pattern is going to sound like way. It doesn't sound exactly like the thirds, but it's a little bit different even though we're using the same information. Here it is. Here it is descending. We're way. So this is the same pattern. But this time we're descending. We're going down. Okay, Um and what do you have? These patterns together you have the third down yet the scale ascending and descending down you. This pattern, ascending and descending come up with some of your own scale patterns using the same scale to come up with their own different ways of weaving in and out of them. That way, it's it's ah, it's a stepping stone to actually making up your own maladies improvising over the court jeans. Now, this week, I want to talk a little bit more about our muscles in the trombone world. So once you're playing through this particular exercise with the practice video, you're gonna find that it's very long and your muscles might be getting tired, right? First of all, if you're finding your muscles aren't getting tired, then that means that you might not be using your muscles at all A lot of the time with trombone. We were getting high notes. We end up pushing the trombone into our face to get more of a seal happening right, and you'll notice that over time you won't actually be building up your muscles, and you could actually do some damage to your face. So make sure you can have a little bit of pressure here. But make sure you're really using the muscles we talked about using these corner muscles. And as I play, these are the muscles that get the most tired. We use a lot of muscles in her face, but those, especially these corner muscles, are the ones that are going to get the most tired. So as we're playing through this, you might notice yourself getting really, really tired enough that you actually can't even play through the whole exercise. So when that happens, just, you know, put the video on pause. Some people like to do a little bit of face massage, even though it looks funny just getting the blood it back into the face. Make sure you take a little bit of a break in that press pause and continue again. Um, don't try to hurt yourself, right? The muscles. Make sure that when you're starting your day practicing started with some with those week one exercises where we're doing the scale really slowly Ease on into getting your muscles warmed up. Just like of an athlete making sure they're doing some stretches, some warming up before they go in and do whatever race they're playing to do the same holds true for us. We're using these unique muscles. Um, not for athletics, but we're using them for playing Trumbo. So when you're doing it you want don't want to overdo it. You want to make sure you have some kind of warm up and don't play until you're absolutely exhausted, On the other hand, refuting to build up strength over time. So you need to build up to a certain extent until your muscles are tired. Take a break, play a little bit again so that you build up muscles, drink over time. If you're doing that every single day, you're gonna find that these exercises becoming easy and you'll be able to get through them . No problem. Keep up the great work and we'll see you in the practice video 27. Trombone week 10 practice: We're now gonna play the second scale pattern. We're going to begin by playing it ass ending as half notes. 12 Ready? Go, Be See. See, Dean being see Dean. Now we're going to try the same pattern again. Using quarter notes. 12 ready. Go! We're now going to try the scale Descending. Starting on the high G using half notes. 12 Ready. Go! Ah ah! Ah! Uh! See D C. Seen G. Uh, Jeanne, uh, we're now gonna play the notes descending as quarter notes. 12 ready? Go The Now we're gonna play the notes ass ending and descending as half notes. 12 Ready? Go! Uh huh. I c e be seeing Dean. Uh, - so Dean seen so seeing the, uh ah. Uh, Now we're gonna play ascending and descending as quarter notes. 12 ready. Go, gene thing 28. Learn how to play embellish the melody as part of your solo : Theo program Christian here with you again for another trombone lessons this week. We're talking about improvising based on the melody. Last time we talked about doing some transcribing, we talked about maybe lifting some melodies, meaning, um, copying some other melodies and also using some information that we know either the scale going up and down or using the third's up and down or the other scale pattern that we practice and making up your own melodies based on that. But when the first improvising started, it was actually based on melodies of the song originally. So that's what we're going to start this week. We're going to think about How does this our improvisations, the late to the melody? And we're gonna start doing that by embellishing the melody? What I mean by that is changing it a little bit, making the melody our own without unnecessarily just changing all the notes to what we decide to do. So, um, at the beginning, we were doing Uh huh, that's the melody that we know. But what if I try embellishing the melody? I'll play the melody, but I'll play around with it a little bit. Uh huh Uh, huh? So I added some extra ideas of my own, that word in the melody to make it sound a little bit more of my own. And as we embellish further, it sounds a little bit more like improvising and a little bit less like the original melody . Where way? Right? So he has the same melody fragments that I used earlier, but now I'm embellishing them even more. And now I can go one step further and using those particular notes and making up my own improvisation our way, right? So I'm using the same information but making up my own melody. So that's the transition that we want toe get you into doing so when you're playing along with the practice video this week, when you be thinking about the melody and think about just changing it slightly, maybe adding some notes off the scale or maybe taking away some notes. Um, maybe adding some of the scale patterns that we talked about and making the improvisation a little bit more, you making melody more you and then eventually we're going to get a little farther away from the melody into purely your own improvisation. But remember, we're always using the scale notes that we know already backing them for a bunch of weeks sound, the major scale. And the more that we practiced the scale and those patterns, then the easier it is for us to come up with ideas to improvise. If you think that it's really hard to come up with an idea, how about you start with the melody, start your solo with the melody and then continue, Um, adding to that or think about if the band maybe doesn't know where they are if things were lost, Oh, maybe I should play a little bit more of the melody in the solo so everybody knows where it is. Where the song is, right, even as a soloist as an improviser kind of helped lead the band in that direction. And as we get more advanced with improvising, Ah, lot of these ideas they're going to come to a lot faster. You'll start thinking of your own patterns and you'll get away from some of the scale pattern. So don't be afraid to use the basic knowledge that you know now, because as you get more advanced, you're gonna be using a lot of your more of yourself and a little less of the stuff that you've learned this week in the trombone world. I'd like to talk a little bit more about articulation and how to get your tongue speed a little bit faster. So right now we talked about we've already talked about using the taw articulation. So Kakata talk with our melody right now, if we want to be able to play faster, we need to actually practice, um, using this time articulating faster. So if we have one particular note, let's take a d. And I'm just gonna play for D quarter notes with the Tottenham. Ah, uh, no, that's all fine. But if we're doing more advanced, if we're if we're doing a faster tempo, then we need to be thinking about taking a little bit faster. So what I like to do is actually take the Metrodome and see if I can scratch Julie, Speed it up. So I'm going to be playing this four nights in a row. Well, uh, maybe I'll play a few bars of that. So maybe I'll play eight or 10 notes and then I'll try to boost up the mention of a little faster. Well, uh, well, take my medicine home and go up maybe four or five notches, but then I go up even further. What I want you to do is really push yourself to go as fast as you possibly can. So eventually you're going. Oh, right. And see if you can keep a consistent sound and wherever you're actually you're breaking up . You're not playing all those exact notes. That's how you know you're at your maximum speed when I like to do is actually write that number down. So that next time when I'm practicing, either the next day or the next time I like to practice these articulations I can actually start where knowing that number is ah is the maximum that I can go and try to boost that number up day after day. So eventually, as you're practicing, you're gonna get faster and faster. And then when we add that to the scales way to get to the other harmonic knowledge that we're talking about. Um, that way, when you're improvising, you don't just have to stick to those quarter notes and half notes and slower values, but you can actually play faster. Keep up the great work, and we'll see in the practice video 29. Trombone week 11 practice: you're now going to improvise off the main melodies to start with. Play the A melody regularly once and then the second time through improvised around the main melody. One two Ready? Go Now you're going to do the same thing with the B section of our melody. Play the melody once normally, and then improvise around the melody the second time. - Now try improvising freely over both sections, choosing to either use some of the melody or make up your own part completely. 12 ready go. 30. Learn how to put all the skills together, melody, solo, and accompaniment: Welcome to Week 12 of the music coach. Program your back with Christian and we're talking trombone. Once again, congratulations on getting this far in the programming A great job. And I just wanted to talk a little bit about wrapping up some of the skills that we've talked about and how you're going to use them. Maybe when you're playing with the band, maybe you're just jamming with some friends family function. We talked a lot about the different parts of music, right? We talked about playing together. We talked about playing different parts, playing the melody, playing the bass notes, and we talked a lot about improvising as well. So making music your own. Now that you've done this program, you can go out into the world and make some of your own music. You have some of the skills to go and jam with different bands, so you're at a jam session. You go to a local bar with a ah band that's playing. Hey guys, let's play something in G Major now that you have the skills you can go up in jam with, um, if you don't know the melody you some of the improvising techniques that we've talked about on and try to make up something that goes along with what they're playing, Uh, some of their you'll find that the more that you practice, the more that you're gonna enjoy playing. The more that you know about music, then where you gonna enjoy playing it? Um, I find the key of being a musician is to always be curious. I always be thinking about it. What's that bass player playing? I should learn what he's playing. Looks like Guitar player learning. I should learn what he's doing and see if I can apply it to the trombone so that when I'm making up my own melodies, if I'm writing my own music, I can use a lot of these things that we talked about with form different parts of music playing together and put them the putting into my own songs as well. So now that you're in Week 12 we're going to be playing along with the practice video, making up some of your own arrangements were gonna bring everything that you've talked about together, playing the melody, blending the baseline and improvising, and then we're gonna let you loose and let you make up your own arrangement of the song. Maybe you want to play the baseline first and then go into the melody. Maybe you want to play the melody first, and then you want to go into the baseline. Maybe one improvised at the start and then have the milady coming later. It's really up to you. Try jamming with the virtual band in the jam room. It's a really great way to use some of the skills we talked about and hold them in your perfection. Thanks so much for listening to the whole program. I wish you all the best. Keep playing trombone and Christian Overton. 31. Trombone week 12 practice: Now we're gonna try putting together all of the pieces we have playing the melodies, playing the bass note patterns and improvising To begin with, I want you to play the melody in the first a section, followed by the bass notes In the second, a section in the B section We're going to use the same pattern. We're gonna play the melody on the first B and the court notes On the second Be 12 Ready. Go. Now you're gonna work on building your solo by thinking about starting low and ending high and starting with a quiet sound and ending with a loud sound. Try this out with the practice video and see if you can build your solo across the whole form. 12 ready. Go finally. See if you can make up your own arrangement of how to play along with the track. 12 Ready, Go 32. Jam Room 60bpm: 33. Jam Room 80bpm: 34. Jam Room 100bpm: 35. 7 key steps to starting a band: I'm Todd, the music coach. And right now we're going to talk about how to start a band with either your friends or family. Playing music with other people is truly the richest experience you can have in music. So it's a great goal when you're just starting to learn an instrument to try and bring more people in. It's the same. If you play a sport you're gonna wanna do with your friends, you're gonna wanna do with your family and social time, a way to really express yourself. So unfortunately, for a lot of people they have no experience with how to put a band together, how to make it function properly. In a way, a bands no matter who's in it, is like a little mini tribe. And there are dynamics between people and how people communicate to each other that are important. There's also some accountability which is great to learn in terms of if you're deciding on some goals, like we're gonna learn the songs, everybody has to go out on their own and learn their own thing and come back and be accountable to the group that they're in. The first step is to choose what instruments and what kind of banded is you'd like to have. Some big decisions that you're going to want to make right away is, what do you want to have a drum kit, for example, depending on the style you want to play. Now, a drum kit is an amazing instrument, but you may not have the physical space or the ability in terms of volume to play music that loud. And a full drum kit also influences. For example, if you're gonna play an acoustic guitar with a drum kit, it's very limited how loud you can play on the drum kit without having to have the guitar amp through a guitar, through an amplifier. So that's sort of 1 first big decision you have to make. Then beyond that, you might want to think about what kind of style of music you're moved by and what kind of instruments maybe are already in that style of music. So if your favorite band is made up of, you know, electric guitars and bass and drums. And it's big and it's allowed us raucous, and that's what you wanna do. Then you probably want to organize yourself in a way where those instruments are part of the picture. But if on the other hand, you're like, I really like, you know, classical woodwind instruments. You know, I like flute and clarinet and oboe. And so those are things to think about and finding friends and family who can share a common vision of what kind of music you want to do is your first step. Once you're into choosing instruments, it's important to make sure that they're divided up in a way that will allow you to make good music and have everybody's voice be clearly heard. So you may find out that you've got two people who really want to play guitar and you might be able to make that work. What has to happen then is you have to adjust what parts everybody's playing so you can hear each other properly. But you may decide that, you know, somebody else really wants to play the guitar and I kinda wanna play the guitar, but I've always thought about playing the bass or I've always thought about playing the saxophone. And it's a chance to challenge yourself and move into new instruments. The great thing about learning second, third instruments, if you already know one, is that all of the musical knowledge that you've gained on the first instrument comes with you to the second one. So it's never really like starting over. And the more instruments you learn, the easier they get to learn, because you're just taking more and more information with you to the next experience. Just like with your own personal practice habits. Having goals as a band is really important. And every band has different goals, even professional ones. So if you may have a goal where you say, I really want to be able to play at a talent show at my school in a year. Like we, that's our, that's our goal, that's what we wanna do. Or I want to be able to play at this fundraiser or maybe the goal is I just want us to be able to once a month get together and perform just for ourselves and the songs that we really, really like. Or we want to be able to play together on holidays. Or there's certain colony music we really want to be able to play whatever those goals are. It's important to just have them be clear and have everyone understand what they are so that everyone can draw their focus and attention towards getting yourself to those goals. It's also important to make time to reset your goals when you get to where you wanna go, don't just stop. Go. Well, now that we're here, where do we wanna go next? Whether you're in an amateur band or professional band, it doesn't really matter. Scheduling time for your own practice is equally important as scheduling time for the bands practice. One of my teachers has a great saying that I love. He always told me, said, a rehearsal is not where you go to learn your part. It's where you go to learn everyone else's part. So in that sense, when you come into a rehearsal, you should already know the parts that you're going to play, at least to a general level so that you can see how they plug in and go together. And for that to happen, you'll need to schedule time on your own to practice. And generally speaking, the ratio of rehearsal time to practice time is somewhere around two to one. So if you're planning on having a half an hour rehearsal, you're probably going to need a half an hour to an hour of total practice time to make yourself ready for that rehearsal. And change a little bit depending on, you know, you might choose a song that you actually really know. So you don't really need to do too much to get ready. But as a general rule, you want to keep that in mind. Scheduling time for the band to rehearse, and also picking a place for that to happen is the next key step. The location is really important because you're going to want to be in a place where you can make the amount of noise that your band is going to be making comfortably so that you're not disturbing your neighbors or other people who aren't involved in your musical project. So a couple options are, you've heard of the classic ones. You know, garages can be great if you have one because it's usually a separate from the house enough that you can make a little more noise of the bothering people. Basements tend to be pretty good for the same reason because most of it is underground. If you are in an urban area, it can be very challenging because so many apartments and buildings are close together. But there are rehearsal rooms that you can rent by the hour, and they often have everything you need in them to play. They'll have a full drum kit. They'll have guitar amps, base amps, they'll have keyboards, even they'll have a sound system with microphones if you want to sing. And you pay by the hour. So you sometimes pay about $15 an hour and you just walk in and you play as loud as you want. They're usually soundproofed and made in a way that you can play as loud as you want. So it's a good option. And if you have three or four people together, if everybody chips in a little bit of money and you're doing it once a week or once every two weeks. It's not that expensive and it's a nice option. Scheduling the time for rehearsal is similar to scheduling your own practice time. You're going to want to check in with everybody about what their schedules are and when ideal times r. And depending on what stage of life you're in, this is going to have a huge difference if you're planning on starting a band with a bunch of 16 year-olds like year 16 and all your friends are that age. You have different schedules than somebody who's in their forties or fifties. So you want to think about when it's going to make the most sense for everybody and when it can be convenient, where everybody can be present and focused and enjoy the process and not be waking up too early, going to bed too late, trying to rush there in a real hurry. Inevitably, in any kind of tribal situation or band situation, there are gonna be conflicts. People have strong opinions about music and about their own parts, and about how the music should go and should fit together. So it's good to have a plan in place for how to resolve those conflicts. And when he combined this plan with a general sense of an agreement between people about how to communicate in conflict, this can alleviate a lot of unnecessary tension. A really simple example I'll give you is, if you're playing a part that I don't like and I communicate to you in a way that implies that I'm also not liking you at the same time. You're going to feel defensive as soon as I talk, even if my eyes, even if you agree with the idea, you're probably going to defend yourself because you're like, Hey, you're telling me you don't like me. And this is just primal human to human stuff. So learning how to talk about the music without talking about the person is a really important skill. And if you think about the language you're using, you can really become skilled at this and say, I'm feeling like the part that you're playing isn't fitting together with this other part over here. As opposed to, I don't like what you're playing because it's not working with this. So I'm talking about the same thing, but you can probably feel even through the video, there's a different energy to it. And how everyone communicates has to be carefully negotiated so that everyone feels safe and they can really express themselves clearly. Because ultimately you got to remember that making music together as a very vulnerable experience. And people need to feel like they can take chances and that it's safe. And one last thing, also, remember to take the time to really cheer each other on, makes a huge difference if somebody speaks up about something that you're doing in a positive way, this doesn't have to be manufactured or phony. But if you hear someone playing something and you're really digging in and it's like you're feeling it may start to tell them like that's a great, you're like you're playing that amazing and like what you came up with his sounds great. And I'm really digging in. This kind of positive real reinforcement just creates this sense of everybody is rowing the boat together in the same direction, which is part of what makes playing in a band feel so amazing. You feel like you're part of a team and everybody's working together towards the same goal. So learning how to do that is also important. You may come from a cultural background or a family background where there just wasn't a lot of encouragement. So I know you have to use something that sometimes you have to cultivate and learn how to do. But it's really important and it makes a huge difference in the sense of togetherness that you have in a band. 36. General gear guide: Music coach. And this is a bonus feature where I'm going to talk about some general tools that every instrumentalist should have with them. They're not very expensive, but they're gonna make a huge difference to the quality of your practice. And also if you're rehearsing with other musicians, the things I got in front of me are two different music stands and a tuner and a metronome. So first, let's talk about the music stands. There are two basic types. This one is a solid music stand. It does fold up. They're a little bit more expensive, but there are a lot more practical to use, especially if they're just going to live at your house. I'd recommend spending a little more money getting something that's a little more durable. Because the other option are these wire foldable stands, which are great for traveling with. But because they're not solid, things can fall through the screws and everything on them are usually a little bit cheap and it'll sometimes bend easily. So the difference in price, these wire ones are going to be sort of 20 to $30. These are going to be closer to a $100. But in the long run, I recommend getting a good solid music stand. If you're going to be in one location. A chromatic tuner. If you're playing an instrument where pitch is going to be an issue, which is almost every single instrument, with the exception of the drum kit and the piano. You're gonna need to know whether you're playing sharp or flat and how to make adjustments. And the only real way to do that is with a chromatic tuner. These will cost you around $30 and they have basic functionality. They take a AAA battery. One nice thing that's happened in the last few years is most apps stores for smart phones have some kind of a free tuner. And even for like a dollar or two, you can buy a more advanced version. So if you don't feel like having a physical one, I have owned these for a long time, so I've got them. You can download something to your smart phone and make sure to use it to be constantly checking in to see where you're at or you playing sharp or flat and certain registers. And a note for guitar players, you might think that a guitar tuner, which is something that's sold in stores, would be the right thing for a guitar or bass. And in fact, the guitar tuner isn't really useful at all because it's always checking to see what string you're on. It's trying to figure out, are you on the sixth string, on the fourth string. And we actually want us to be able to know is that string I'm playing, playing the right note. The other reason this is important is if your guitar gets really at a tune, a guitar tuner won't really give you a relative sense of where you are. You'll have to get a close before it's even usable. So I don't even recommend ever even buying a guitar tuner. Metronomes track time. And this one looks like the same as the chromatic tuner, but it basically is set, you can set it to how many beats per minute. Which a simple way to think of it as 60 beats per minute is like the second hand on a clock, because it's 60 clicks in a minute. And if you had a 120 beats per minute, you'd have two clicks for every second. A good metronome, we'll have a couple of important features. You want to make sure you get one that has the ability to plug headphones into it. Especially if you're a drummer, because the speaker on this is never going to be loud enough for you to hear it while you're playing drums or even to be honest, playing most instruments. So you want something with a headphone adapter and you also wanna make sure that you have something where you can easily change the tempo. So they all have the ability to change the tempo, but some of them will go up in increments of three or four. Just make sure it's something that you can adjust the tempo evenly. And last but not least, it's important to have one that you can clearly, visually see as well, that it's easy to see the display because sometimes when you're playing, you're going to want to just check and check on visually where you're at in terms of the time. And much like the tuner, you can download these off of most apps stores, there's almost always a free one. Sometimes they're not great. But for a dollar or two, you can upgrade and get a more advanced metronome, which will work great. And this is going to cost you about $30. So a dollar or two on an app store to upgrade the free version is often what I recommend for my students. 37. How to create a furtile musical home: I'm Todd, the music coach, and welcome to this video where we're going to talk about how to create a fertile ground for a musical home to grow. I'm sure that you've had the experience of walking into someone else's house for a party or a holiday. And it seems like everyone is musical, like people picking up guitars and sitting at pianos and singing along. And it just seems like it's all natural and it's happening and it's really beautiful. And you may have wondered like, how does that happen? How do those homes happen? And unfortunately, you might think, well, those people are, that's a musical family. And their, their musical, and I'm not, and that's the reason why we don't have that. And that's a complete and total lie. The truth behind it is that those people found a way to create a fertile ground for people to feel safe and express themselves and challenge themselves and set goals so that they could play music together. And they probably did all of this without even really knowing that that's what they were doing. So I'm going to lay it out free, explain how this actually happens. So in my family home, there were no musicians. My parents loved music, but they didn't play. I didn't grow up watching people play. And both my brother and I ended up being professional musicians. So you might go, How did that happen? And there were a lot of things that my parents did that I think they didn't even realize that they were doing. One really simple thing is we listened to music and we talked about what we liked about it. And hearing them share that with me was really invaluable. And we took long car rides. We would listen to, I know that my parents, there was an oldies stations that they really liked, which was like fifties and sixties rock. And we had dialogues about like who is that artists and when did you first hear that? And they would share stories with me about where they were when they heard that song or what kind of meaning it had to them. So a great way to set this up for yourself is in your own home, you can initiate it. And a great way to do it is to allow everyone a chance, even if you've got little people in your life to share a piece of music that they feel moved by. And feeling moved by music can be all sorts of different feelings. It doesn't have to just make B the song makes me feel happy. It can be this song makes me feel sad or the song makes me feel like agitated, or it's just what you're looking for, something that makes you feel something. And a good forum for that is to go to the living room and decide that we're going to we're going to spend a half an hour doing this and everybody gets to pick one song. You might wanna set some ground rules where, you know there's not gonna be any songs with any swearing editor inappropriate, whatever for your family, you feel as appropriate. And then while you put your song on, everybody agrees to be in silence and really listening. And this just developed so much good ability, not just for music, but just the ability to sit for three to five minutes at a time and really listen to what's going on around you is such an important life skill that will really have a huge impact on everyone. And you might want to set some other very simple ground rules, which is, it's like the everything I learned, I learned in kindergarten, which is if you don't have anything nice to say, you don't have to say anything. It's better not to say something really negative. Because. People are sharing something that means something to them. And learning how to have that dialogue is important to be able to say, it's not to my taste, instead of it's socks or I don't like that song or it's the same way that we teach each other how someone prepares a beautiful meal for you and it's something you don't like to eat. You can talk to them about that in a way that's not going to hurt their feelings in music is the same way. You can then expand on this game by adding in some other artistic elements. One really fun one that I like to do is do the same thing, put on a piece of music. Everyone gets to bring something that they feel moved by. And everybody just takes a piece of paper and during that time, they just draw or sketch something that they feel is connected to their experience of that music. And then everybody can share that with each other and talk about, well, I shaded this thing this way because it made me feel good to think of a cloud, or it made me think of a tree, or it made me think of this or that. And again, it's, it's an exercise in not being critical. It's just expressing yourself through art while listening at the same time. And another variation of it can be to do the same thing of having a listening circle and have everyone write down an idea for a short story. Something that they either through the lyrics, if it has that kind of thing in it or if it's instrumental, just talk about ice. You know, I'm seeing a story about somebody walking their dog in the woods when I hear this. And again, as long as no one is being harsh with each other about it, it's a really neat window into how we all experience music differently. Making time to watch movies that are about famous musicians are famous music is also another great way to help get a really fertile ground for music going in your own home. There are tons of great documentaries about all sorts of things, about the backup musicians in Motown or you know, even about famous composers like Mozart and Johnny Cash and Ray Charles. You can watch and discuss and talk about what their music, the music of that artist, or what the story of that musician, how it, what you thought about it and what it meant to you. The more you share your own experience with other people about how music moves you, the more it grows inside of you and more passion that you have for it with all of us traveling and car so much these days. Another great musical fertilization that you can do is to plan on having music on car trips and really having people listen for a lot of us. Actually, the best stereo that you're going to own is going to be in your car. Car stereos are usually quite high-quality, So it's a great way to experience music. One thing that's happened, unfortunately, as we've gotten into more individual devices of smartphones and mean it started with Walkmans and CD players and things like that is we tend to experience music isolated. Each person will have earphones in and be in their own world experiencing music, which in a way is great. It's nice to have some personal time with music. But one of the things we've really lost is the connection and the sharing of our joy with each other. So trying to set that up on, on travel, times together with your family can be great or with your friends and just talking about and sharing it and letting everybody have a turn with the stereo and okay. 38. How to create a sucessfull practice routine: Hi, I'm Todd, the music coach. And in this video, I'm going to be talking about how to set yourself up for long-term success when you're practicing music and learning an instrument. The biggest challenge I've found, not only for me personally, but for most of my students. It's not the technical requirements of whatever instrument they are playing, or even how much innate ability that they have when they start. The biggest challenge people have with consistently making progress in music has to do with their practice habits. And for most of us, we have a negative reaction to that idea. Even practice habits, discipline these things. We feel like we get tense about it. And adjusting your relationship to those ideas will open you up to being able to fully embrace all of your abilities and really take giant leaps forward in your playing. I know for me personally, I realized early on I had to change my relationship to what I thought practicing meant, how it worked, what I thought discipline meant. And I had to really re-frame in my mind what it meant to play an instrument. This has a lot to do with where the way we're, we're perceive learning a musical instrument and society unfortunately is largely negative. You've probably seen this mostly what you get fed in the outer surroundings is that some people have talent and some people don't have talent. And when you go to a concert and you watch someone play, you think, well, they're just have it. And that's why they sound amazing. And this doesn't in any way reflect reality. It may be that they had some natural ability, but there's thousands of hours that went into what you're seeing when you see someone performing in a professional context. Then the question becomes, well, how did they get from not playing it all to having the discipline and the patients and learning the right things to get all the way through that process. And although musicians will give you a variety of different answers, I think the best way to do it is to find a healthy way that's realistic and is repeatable. So what first key to having real success in your practicing is to set goals. Because like anything else in life, if you have an idea of where you wanna go, It's a lot easier to tell where you are in that journey. Rather than just a loose idea of like, I want to learn how to play this instrument. And if you have that thought and it just sort of dissipates out into the air. When things get difficult, you're more likely to quit because it's like, where am I in the middle of that journey? As opposed to you could say, my goal is I want to, for example, I want to play the piano and I want to learn how to play these three songs in the next year. And he may have no idea how you're gonna do it, but even just having that goal is going to help propel you along. And when you hit rough patches, you can check in with yourself and your goals and you go, Am I doing the things that I need to get to my goal? A good goal to think about when you're playing a musical instrument is how to get to a place where you can make music with other people. Music throughout human history has always been a community event. It's only in the last few 100 years that it's sort of moved into conservatories and into school settings. And we've isolated from each other. And somehow we've lost the idea that the point of it is that you can actually make music with another real life human being. So my suggestion, if you're not quite sure what goal to set, I'd pick a goal that involves eventually playing with other people. Whether that's joining a band or just playing with a friend and going like my friend also plays the guitar and I want to be able to play the same song so we can play together. Another really big key to long-term success with practicing is finding a consistent time of day that you're the best frame of mind and being to practice in. And this is different for everybody and which is why there is no one answer of everyone should practice like at five o'clock or I mean, that's not helpful for anybody. We all have different lives and different schedules and commitments. I suggest you experiment around with it a bit. I found for me personally, I feel the best practicing early in the morning. And for me it's just I find my mind is very clear and relaxed and I haven't been sort of inundated with emails and phone calls and other commitments. And I set aside a small amount of time, not every day of the week, but four or five days a week. Because I'm a professional musician, I have to work on a lot of things, but for you it might be one or two times a week and I block off that time and when I'm there, I'm as present as I can be and I'm working on my goals to get me closer to where I wanna go next. Some things to think about, about when the time of day is going to be, when you're gonna practice, are make sure you have had enough sleep. So waking up too early if you're going to bed too late is not going to be ideal. Make sure that you've had something to eat. If you're really hungry, like if you get home from work or school and you're starving, it's not going to be ideal for your nervous system in your body to be in a calm place. So make sure that you've had something to eat. But you also may find you don't want to play right after you eat something because you might feel a bit full. So these are things to think about about where in your day you're going to plan to have your practice time. When it comes to practicing, quality is so much more important than quantity. Unfortunately, you may have even already heard from other music teachers that you gotta practice for an hour every day or half an hour every day or so many hours per week. And this information isn't really helpful because the quality of the time you're putting in is what's really important. If you were to take the same approach to eating food and say, well, the way you get nourishment and your body is you sit at the dinner table for 45 minutes. It's missing so much of the point. There are so many other factors. Are you eating too much or you are not eating healthy foods? Are united eating at all? Are you just sitting there and practicing music is the same. You can sit down with your instrument for an hour and not only make no progress, you can actually regress because if you're reinforcing bad habits, then you're not actually you actually making your playing worse. So what I like to tell my students is focus on the quality. Five minutes of really focused practice can change your life forever. I know for me it's that way. I had this. I had to start out by getting the routine working first rather than trying to figure out what I was going to even practice. So picking a small thing and being consistent with it. And when you're there, challenging yourself to do a little more of it each time is the best way to go. Now in life, things are gonna come up. You're gonna get sick. You're going to have to travel places. You're going to have holidays, all of these things. And it's important to be flexible with your practice routine and to think a little bit into the future. And so for me, for example, when I'm planning, when I'm going to be practicing, i'm taking into account some of those factors, the ones that I can control anyway. So like if I know that I've got family coming to visit and I'm going to be busy entertaining people and doing things. I will suddenly is put my practice routine on hold to give my full attention to that. Knowing that when the time is right, I'm going to come back and be fully focused rather than trying to ram in practice time when you're distracted with other things. The same can be true of getting sick, having a cold and flu, something like that. I would say it's good to have a break from things. And always when you're practicing, you want to be in a good frame of mind and being. Because you're not just practicing musical information, you're training your body to have a relationship with the gaining of musical language. And if your body is in a frenetic state, every time you do that, when you go to touch your instrument, it literally will reset your brain to feel anxious and upset. Now the other side of that is that if you can train yourself to be calm and presence every time you're with your instrument. Pretty soon after a while, you'll just go over and pick it up and your body will come into a calm place. Before I practice, I like to take a moment and before I even touched the instrument or put it together and just see if I can get myself. I sometimes close my eyes and take a few deep breaths and try and get myself into a very calm place because I want to reinforce that with everything that I'm learning. If you don't have any experience with meditation, I highly recommend that through whatever form you can find, you find a good practice that's small and to the point where you can get yourself into a calm and relaxed place before you start. Another key element to actually getting towards your goals is to make sure to always be challenging yourself. There's this fine line when you're learning new things between going over what you already know and challenging yourself to do something new. And the balance, you might think, well, once I learned how to do a few things, I'm only just going to ever wanna do those things over and over again. But what will happen is you'll start to get bored with what you can already do. And a good thing I like to tell my students is you should always be feeling a little bit uncomfortable when you're practicing. And I don't mean like nervous and agitated, but you should be doing things where you're not getting it right all the time. Because you want to be that's a sign that you are actually working on something that's making you better. It's the whole point of practicing in the first place. I work on things on my own so that when I go play with other people, I can have more things that I can express. Not so that I can just repeat the same things that I already know how to do over and over again. 39. MC breathing Exercise: We're now going to do a reading exercise. You're going to inhale to the count of four, hold to the count of eight, and exhale to the count of eight. And we're gonna do it four times. 12. Ready? Begin, inhale 1234, hold 12345678, exhale 12345678, inhale 1234 hold 12345678, exhale 12345678, inhale 1234 hold 12345678, exhale 12345678, inhale one, 234 hold 12345678, exhale 12345678.