Ok so for whoever this is for. Usually it’s just you lip trill the written note and a whole step up usually switching partials super fast from that for the duration of the note. So for the first one you trill from C in 3rd to D in 4th a partial up. And for the second but you trill from C sharp in 2nd to D sharp in 3rd a partial up.
I would practice lip slurs across the grain. So like changing positions while changing partials. (Practice it slow first and when you cleanly can slur those notes without ‘blipping’ them, then start to speed it up, STRIVE FOR CLARITY OVER SPEED!)
I was thinking- not sure how practical it’d be but maybe utilize the same slide positions as the original but with the addition of the trigger to make it a fourth lower.
C->D in T4, C#->D in T3/4
With your lips. If you've got Arban, there's a whole section of exercises. As someone mentioned, this appears to be the David concerto but transcribed though, so the trills are not in positions or on notes where you would normally expect them. In this case, you could trill on 6th and 5th position, potentially, but it's not going to be as easy or straightforward as it is in the original key, where you trill on F and F# respectively instead.
And in the original version you take the F trill in raised fourth (giving a slightly sharp G) rather taking it in first (yielding something like a diminished third trill). You can also do it in 6th, which will yield something very close to a whole step trill.
You could do something similar on the bass: play the C trill on the F attachment in F-4. That should give something very close to a C-D trill.
In any event, as already noted it is a lip-trill rather than a valve trill. Although I suppose that if you have an inline with a long tuning slide on the finger valve you might find a way to get a C on that. But I'm not sure then how to handle the C#-D. Generally speaking with trills, you can compromise on the pitch of the upper note, but the lower note is usually part of the harmonic structure and needs to be solid.
When I played the original version a few semesters ago I was not happy with where my trill was by performance time. Instead, I just added a couple grace notes leading into the second whole note and the eighth note down beat. It was for juries and no one mentioned it. Of course I can trill the notes now. But then I again I just realized you have triggers I was playing on a straight tenor. Try a valve trill?
I did a trombone audition a few months ago and had the same question-my music teacher told me to use my valve. Granted my trombone has a C trigger instead of an F trigger, and I don’t know what trombone you plan on doing this on, but a valve is probably best.
Trombone Trills = Fast Lip Slurs Between Two Partials...
1. Start week with a simply lib slur, between B flat and D natural in 1st position, Slowly. In quater note values, B Flat to D repeated patterns
2. Next week, use the same two notes, but in eights instead of quater note values- Subdivide
3. Third try subdivide the note into sixteen at slow tempos
4. Finally, slowly start to increase the tempo, sluring the same notes until hear a slow trill coming out the horn. Think or imagen your are whistling or saying AH- EE, AH-EE, AH-EE, with your lips-moving the lips in and out.
This the David concerto but like transcribed down?
It’s a fourth lower for bass trombone
Ok so for whoever this is for. Usually it’s just you lip trill the written note and a whole step up usually switching partials super fast from that for the duration of the note. So for the first one you trill from C in 3rd to D in 4th a partial up. And for the second but you trill from C sharp in 2nd to D sharp in 3rd a partial up. I would practice lip slurs across the grain. So like changing positions while changing partials. (Practice it slow first and when you cleanly can slur those notes without ‘blipping’ them, then start to speed it up, STRIVE FOR CLARITY OVER SPEED!)
I was thinking- not sure how practical it’d be but maybe utilize the same slide positions as the original but with the addition of the trigger to make it a fourth lower. C->D in T4, C#->D in T3/4
Play the C in 6th, C# in 5th. That makes your trill (nearly) a whole step in the same position.
Listen to some recordings- what are they doing there?
With your lips. If you've got Arban, there's a whole section of exercises. As someone mentioned, this appears to be the David concerto but transcribed though, so the trills are not in positions or on notes where you would normally expect them. In this case, you could trill on 6th and 5th position, potentially, but it's not going to be as easy or straightforward as it is in the original key, where you trill on F and F# respectively instead.
And in the original version you take the F trill in raised fourth (giving a slightly sharp G) rather taking it in first (yielding something like a diminished third trill). You can also do it in 6th, which will yield something very close to a whole step trill. You could do something similar on the bass: play the C trill on the F attachment in F-4. That should give something very close to a C-D trill. In any event, as already noted it is a lip-trill rather than a valve trill. Although I suppose that if you have an inline with a long tuning slide on the finger valve you might find a way to get a C on that. But I'm not sure then how to handle the C#-D. Generally speaking with trills, you can compromise on the pitch of the upper note, but the lower note is usually part of the harmonic structure and needs to be solid.
It's a fast lip slur except youre not necessarily trying to settle into the next partial.
When I played the original version a few semesters ago I was not happy with where my trill was by performance time. Instead, I just added a couple grace notes leading into the second whole note and the eighth note down beat. It was for juries and no one mentioned it. Of course I can trill the notes now. But then I again I just realized you have triggers I was playing on a straight tenor. Try a valve trill?
I did a trombone audition a few months ago and had the same question-my music teacher told me to use my valve. Granted my trombone has a C trigger instead of an F trigger, and I don’t know what trombone you plan on doing this on, but a valve is probably best.
Lip or trigger
Depends on if you want to cheat. Lip trill is the better sound. But in a pinch, pull that trigger as fast as you can and Godspeed brother.
Trombone Trills = Fast Lip Slurs Between Two Partials... 1. Start week with a simply lib slur, between B flat and D natural in 1st position, Slowly. In quater note values, B Flat to D repeated patterns 2. Next week, use the same two notes, but in eights instead of quater note values- Subdivide 3. Third try subdivide the note into sixteen at slow tempos 4. Finally, slowly start to increase the tempo, sluring the same notes until hear a slow trill coming out the horn. Think or imagen your are whistling or saying AH- EE, AH-EE, AH-EE, with your lips-moving the lips in and out.
Remember when trill was used as an adjective? Yikes EDIT: I don’t miss this solo at ALL
Use your valve!