![]() The embouchure is the way in which the player uses their lips, tongue, and mouth to produce sound. Once in the second slide position, the player must adjust their embouchure to compensate for the slightly lower pitch of the notes produced. However, some players may find it more comfortable to use a visual or tactile cue to find the correct position. This can be done by measuring the distance from the end of the slide to the bell of the instrument, which should be around 2.5 to 3 inches. To play in the trombone second slide position, the player must extend the slide to the appropriate length. ![]() This means that the notes produced in the second slide position will be slightly lower in pitch than those produced in the first slide position but slightly higher than those produced in the third. The second slide position falls between the first and third slide positions, making it longer than the first position but shorter than the third. The first slide position on a trombone is the shortest position and each subsequent position increases in length. As the slide moves, it changes the length of the tubing inside the instrument, which alters the pitch of the sound produced. The player adjusts the pitch of the sound by moving the trombone slide back and forth. The trombone is a brass instrument that produces sound by vibrating the player’s lips against a cup-shaped mouthpiece. The distance that the trombone slide should be extended to reach the second slide position is approximately 2.5 to 3 inches from the instrument’s body. It is a position located between the first and third slide positions and is used to produce notes that are slightly lower in pitch than those played in the first slide position. The 2nd slide position trombone is a crucial aspect of playing the instrument. When mf is feeling good, then try putting on some gas for forte.The second slide position is between 2.5″ & 3″ out. I might rarely use in performance, but good to have depending on the figure, and the C and B will feel easy in comparison. As you work the C and B, do try to get the double trigger 7th position BBb, and alternate with the 1st position BBb. So the short passages helped me not to try to play on an empty tank. Part of the challenge for me was getting the air volume and speed matched to the low range on bbone. If you can get a note to speak clearly pp, then you're really getting that range down. And eventually moving in 5ths and octave jumps because so common. Then into more arpeggiated figures G E C D G. Starting in a comfortable range and moving the same figure down chromatically. When just starting on bass bone, I liked short slow digital exercises mezzo volume, like 5 notes of a descending scale G F E D C or some movement in 3rds E C E C E. Oft mentioned Doug Yeo shared others' slide charts, the first of which might help you envision the location of those notes. Do play with a tuner to check, and with octave above, and you may find you want to adjust your valve tuning once you get stronger. It is much in the bass tuba range, rather than contra, so for a bass trombone, in many of the etudes, the tessitura bridges the tenor and trigger range nicely. I would add the Walter Sear v1 book for Tuba. Good list of method books on this suggest link. I especially like the part about not blowing past the note.
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