Brad Edwards

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Lip Slur Melodies

A melodic approach to building
tone and technique with lip slurs

© 2013, Brad Edwards, All rights reserved

Free sample pages- Lip Slur Melodies

Foreword
I love playing these because they are beautifully melodic and every note is
coming from or going to a natural slur. This promotes sustaining and blowing
through the notes. I have been playing and teaching this way all my career and it is
wonderful to find a book that covers the basics of teaching the "one note followed by
another with nothing in between " concept.
I think you have really hit the essence of Arnold Jacobs’ teaching. This makes
it easy: just blow air and move your lips and slide with the rhythm.
Thank you, Brad Edwards!!
Charlie Vernon
Bass Trombone, Chicago Symphony Orchestra
Depaul University

Introduction

Most trombonists use lip slurs in their daily routines. These exercises help with
embouchure control and strength. By removing the tongue from the equation,
players are forced to rely on their air to generate the notes.
A few years ago I published another book, Lip Slurs (Ensemble Publications), to
add some variety to the daily “lip slur diet.” I finished that book with 20 lip slur
melodies. Over the years, I’ve received wonderful feedback about that book,
including requests that I write more of these lip slur melodies.
Well, here you go! This book has over 100 etudes and 33 duets relying
exclusively on the natural slurs of a trombone. They are designed for the common
F-attachment tenor trombone, although one section is meant exclusively for the
double-valve bass trombone. They progress from easy to quite challenging.
I would like to thank Dr. Justin Isenhour for helping me proofread this book.
Enjoy!

Free sample pages- Lip Slur Melodies

Table of Contents:
Part 1: Getting Started ..................................................................... 1
Easier tunes that introduce the concept of lip slur melodies.
Introduces common alternate positions and trigger
notes. (17 etudes)

Part 2: Moving Along...................................................................... 10

The challenge gradually increases as does the harmonic variety.
(13 etudes)

Part 3: Soaring Higher.................................................................... 19

Helps to build the high range by gradually introducing higher
“target notes” starting with high G and extending up to C. Tenor clef
makes an appearance. (17 etudes)

Part 4: Plunging Lower .................................................................. 33

Explores lower notes, especially those in the trigger range from F
down to C. A few pedal notes are thrown in. (12 etudes)

Part 5: Raising the Bar ................................................................... 45

Mastery of these pieces will help you develop mastery over your
instrument. Start them slowly and work them up. (14 etudes)

Part 6: Soaring Even Higher .......................................................... 60

Picks up where Part 3 left off, starting with high D-flat and sailing all
the way up to high F. Take your time building up to these notes.
(11 etudes)

Part 7: Plunging Even Lower ......................................................... 68

Intended for the double-valve bass trombone (but brave tenors are
welcome to give it a shot). Ranges all the way down to a double pedal
C-flat. Don’t pass out! (11 etudes)

Part 8: Taking a Bow ...................................................................... 76

These “finishing” etudes require virtuoso technique to polish.
Nail these and you can definitely take a bow! (8 etudes)

Part 9: Playing Together ................................................................ 85

33 duets starting off fairly easy and ranging all the way to
“What was this guy thinking?”

Free sample pages- Lip Slur Melodies

1

p Slur Melodies
Lip M s
Parrt 1: Gettting Sta
arted
On
n trombone,, our legato playing can n involve a mixture off legato tong
guing and
natural slurs. Natural
N slurrs occur bettween any ttwo notes wwith a naturral break in
the overtone
o serries.

Heree are some examples:

e

As you changee pitches, it isn’t necesssary to use the tonguee since these notes
jumpp between partials
p of thhe overtonee series. Th here is a sch
hool of thou
ught that
one should
s lega
ato tongue every
e note for
f the sakee of consisteency but maany fine
playeers employ natural lip slurs to avo oid breakin
ng the air sttream in leg
gato music.

This example reequires som

me legato tonguing:

But, evenn here, it is possible to

o employ so
ome naturall slurs (at th
he spots
mark
ked with a tilde
t (~) symmbol.)

Tips
s for Impr
rovement::
• Keeep your airr stream steeady and m move the slid de preciselyy. Masterin
ng
th
hese pieces will
w greatlyy improve yo our slide sp
peed and acccuracy.
• Keeep your emmbouchure corners steeady. The ccenter of th he
em
mbouchure should be more m relaxeed so it cann vibrate. TThe corners
sh
hould be firm (no air pockets)
p witth minimal movementt.
• Keeep the throoat relaxed and the airrway open. Listen to tthe sound o of
yo
our breath. If you hearr a high gassping sound d when breathing in,
yo
our throat may
m be too tense.
t The breath sho ould make a soft, low
so
ound.
• Liisten carefu
ully to pitch
h. Especiallly when you u begin to uuse alternate
po
ositions andd trigger nootes, it is eaasy to mispllace the slid
de. This willl
also hurt youur tone. As a tromboniist, you can n never stopp listening
or pitch!
fo

Free sample pages- Lip Slur Melodies

 2
Part 1: Getting Started

˙. œ œ œ œ ˙
? b b 44 œ œ œ œ œ œ œ œ ˙.
Moderato

1.1 Œ Œ œ Œ
F
œ
? b b œ œ œ œ ˙. Œœ œ œ œ ˙. Œ œ œ œ œ œ œ œ Œ œ œ œ
P f
. œ œ œ ˙. œ œ ˙.
? bb ˙ Œ œ Œ œ œ œ œ ˙ œ Œ œ œ Œ
P
œ œ ˙ œ œ ˙
Moderato

? 4 œ ˙. œ œ œ ˙.
1.2 b
bb 4œ œ œ Œ œ Œ
P cresc. F

? b b œ œ œ œ œ ˙. œ œ . œ
b Œ œ œ ˙ Œ œ œ œ ˙. Œ
P
˙ œ œ ˙ œœ ˙
? bb œ Œ œ œ œ œ ˙ Œ œ œ ˙. Œ
œ w
b
F P
œ
Allegretto
œ ˙ œ œ ˙. œ œ œ œœ
? 3 œ œ œ œ
1.3 bbbb 4 ˙. œ Œ œŒ
P
œ œ œœ œ ˙
? bb b œ œ œ œœœ ˙ œ œ œ œ œ œ œ œ
b Œ ˙ œ Œ ˙ œ
F
œ ˙ œ œ œ ˙ . œ œ œ œ
? bb œœ œ œ
rit.

Œ Œ œ Œ Œœ Œ Œ Œ œ ˙.
bb
P F P
Free sample pages- Lip Slur Melodies
 7

Introducing Some Useful Alternate Positions

w
b4
? Remember that, like the E-flat next to it, this note is on the 6th
partial (or "F partial") of the overtone series. That partial is
usually sharp. Listen carefully and correct as needed.

b4 simile
Allegretto
j ˙ œ œ œ œ. œ œ œ œ
? # 34 œ œ ˙ Œ œ . œ œ œ Œ œ. J œ J œœœ ˙ Œ
1.13
œ. œ J
F
. œ œ œ
? # œ œ œ œ œ œ œ J œJ ‰ œ œ œ œ œ œ . J Jœ ‰ œ œ œ œ œ œ œ œ œ j ‰ œ œ œ œ
œ œ œ
P
œ œ œ U
? # ˙. Œ œ œ
œ œ Œœ œ œ œ
œ œ œ ‰ œj œ œ œ œ œ œ œ ‰ Jœ œ œ ˙ .
rit.

f F
Flowing
b4
œœ œœœ ˙ œœœœ
simile
œœœœœ
1

œ œ
? 44 œ œœœœ ‰ jœ œ œ œ ‰ J œœ
1.14
˙ œ
P F
b4 b4
œ œ œœœœ˙
1

? ‰ œJ œ œ œ ‰ œJ œ œ œ œ œœœ Œ œ œœœ
Œ
œ
b4 p
œ œ #œ œ œ œœœ œ
1

œ œ œ œ # œ # œ œœœ œ œ œ œ
?ΠJ
Œ ‰ ‰ J œ ‰Jœœœœ
f P
b4
œ œ #œ œ ˙ œ U
˙ œœœœœœœœ œœ œ˙ ‰ j œœœœ
a tempo

œ
rit.

? œ nœ
œ œ œœ
F P
b4
œ œ ˙ œœœœœœ œ œ œ œœ œ˙
1 rit.

? œ œ œœ b œ œ
‰œœœ ‰ Jœ
F J
P p
Free sample pages- Lip Slur Melodies
 10

p Slur Melodies
Lip M s
Parrt 2: Mo
oving Allong
Now it’s time to add a bitt more com
mplexity to th
these meloddies. Remember, it
isn’t necessary to
t legato tongue within n any slur. You will prrobably wan
nt to use
on at the beeginning of a slur, how
somee articulatio wever.

Tips
s for Impr
rovement::
• Watch
W or tension – Tension iss the enemyy. We often do not
out fo
nootice how teense we aree as we work k to masterr tougher mmaterial.
• Acccurate slidde – As thesse melodiess get more ccomplex, it is all too
ea
asy to play with
w a slopp py, inaccuraate slide. B
Be very preccise in yourr
sliide placemeent!
• Prractice slowwly – Most people
p don’’t slow thin
ngs down ennough and
do
on’t invest enough
e pra
actice time p
playing thin ngs slowly. Be patientt!
Here’s an exa ample from
m the upcom ming section n:

Bee sure to sp
pend enough h time workking out thaat 16th notee passage
wiith some sloow practicee. Perhaps something like this:

Sllow practicee is your “seecret weapo

on” to efforrtless playin
ng!

• Pllay with dirrection – Most musicall lines havee a feeling o

of motion
to
owards or aw way from a “target notte.” Just ass you wouldd avoid
drrinking staggnant waterr, you shoulld avoid plaaying stagnnant notes.
Here’s an exa ample:

Be
B sure to play
p that su
ustained C w
with a feelin
ng of directtion to the
fo
ollowing 8 notes. Thiis isn’t quitee the same as a crescendo but it
th

ceertainly shoouldn’t be a diminuenddo.

Free sample pages- Lip Slur Melodies

 12
The next section, "Soaring Higher," gives more practice slurring up to the G.

œ
œ . œj œ œ ˙ . œ œ œ . J œ œ œ ˙ . œ œ . œ œJ œ Jœ œ œ œ œ œ . œ
Moderato
? b b 44 J
2.3 b œ J
F b4
œ . œœœ œ. œ œ
1

? b b œ œ . œ œ ˙. œ
œ œ œ œ ˙. œ œ œ n œ ˙. œ J œ. J
V

b œ J œ .J J
P f
œ œ œ œ œ. œ œ œ nœ œ ˙ œ œ œ œœœ
1

? bb j œ ˙ . œ
b ‰ œ œ Œ œ œ. œ œ œ œœ
P
œ œ œ. œ œ. œ œ œ
˙
? b b ˙. œ
œ œ n Jœ œ . b œJ œ œ ˙ . n œ
œ œ ˙
. Œ
b J
f P
b4
b4
œ œ œ œ œ œ ˙. œ . Jœ œ œ # œ . œJ ˙
Flowing 1

? # C œ œ œ œ œ œ ˙. œ
œ. J
2.4
œ. J
P p cresc.

œ œ œ. œ œ œ œ œ ˙ œ œ œ œ ˙ j œ œ œ œ ˙ œ #œ
?# Œ J ‰ œ . Œ œ. œ œ œ œ j
# œ. œ œ œ
f P
œ. œ
rit.
œœœ œœ œ #œ œ œ œ œ œ œ nœ œU
a tempo

?# J˙ œ˙ œœ
˙ œJ J ˙ œœœœ œœ
œ
cresc. F P
b4

œœœœ œ œ œœœœ˙ ˙ œ œ œ
b4 1

œ œ
?# œ œœœ œ œ œ ˙ ‰œœ
‰ œ w
cresc.
P

Free sample pages- Lip Slur Melodies

 17 Expect to start seeing some harmonic "curve balls" every now and then. This next one floats
between C major and C minor.
b4 b4
œ œ n œ œ œ œ œ b œ œ3 œ œ œ n œ œ
Andante

? 44 œ œ œ œ œ œ
2.11
œ œ œ œ œ bœ œ
#5
P
( 6)
œ œ œ œ bœ œ œ œ nœ œ
? bœ œ bœ œ œ n œ œ ˙.
3
Œ J J J J ˙
bœ
f
œ œ œ
? J œ œ œ b œ œ œ œ n œ ˙. œ bœ œ œ œ œ œ nœ œ Œ
J œ œ œ
P cresc.
#5
bœ œ nœ œ œ œ œ œ œ #œ œ #œ #œ #œ nœ
?‰ J œ œ ‰ bœ œ nœ ˙
# œ œ n œ œJ ‰
J
F π p
bœ œ nœ œ U̇
œ
V

? œ œ œ œ #œ #œ œ œ #œ œ ‰ ‰ J œ ‰bœ œ nœ
rit.

n œ œ J
#œ #œ œ œ J
3 F p #
5 #6

œ œ œ œ œ œ b œb œ œn œ b œn œ b œ œ
œ œ œ
Allegro scherzando
? # # 68 œ œ œ ‰ œ œ œ ‰ ‰ ‰ œ œ ‰
2.12 œ
P
œ œ
1
. œ œ œœ œ œ . œ œ
œ
? # # œ œ œ # œ J œ œ. œ ‰ œ. J œ œ J
œ ‰
F
œ œ œ
b4
œ œ œ . œ œ œ œœ œœœ œ œ œ œœœœ œœœ œ
? ## J J J J J ‰ #œ œ
f F
b4

œ œ œ œ œœ œ œ œ
? ## œ ‰ œ # œ œ J jœœœ ‰ œœœœ ‰ œœœ ‰
œ œ œ
P
Free sample pages- Lip Slur Melodies
19

Lip
p Slur Melodie
M es
Parrt 3: So
oaring Higher
H r
Now it’s time to build up to some hiigher notes.. This next section meethodically
workks to ascend
ding “targett notes” starrting with G and endin ng with C. Each targett
note has two paages of mateerial devoteed to it. Pattient work w
with these eetudes will
help you build strength
s in the high raange. Don’t be discouraaged if yourr high rangge
doesn’t developp as quickly as this boook progressees. These eetudes shouuld
supp
plement oth her strategiees for building high raange.

Tips
s for Imp
proveme
ent:

• Stay relaxed
r – Many
M brass players tennse up too m much for hig gh notes.
This is
i especiallyy true in tw
wo areas: the throat an nd mouthpieece pressurre.
Tensiion is the ennemy.
• Use faast air – Hiigh notes reequire cooleer, faster aiir under greeater
pressure.
• Noticce your orall cavity and embouchu ure – For lo ow notes, th
hink of the
“ah” vowel.
v For higher notes, an “ee” might help p. For mostt players,
rollin
ng in the low
wer lip sligh
htly also hellps. This caauses the aiir stream too
pointt down.
Keeep those emmbouchure corners
c firm
m! Avoid tu urning the ccorners up
into a “smile” for higher no otes. For mmost players, this weakeens the ton ne
by spreading thee upper lip too
t thin.
• Glissees are helpfful – Play a glissando iin from a loong position n to a
shorter one. Likee this:

• Patiennce is helpfful – In factt, patience iis critical. IIt takes as llong as it

takes! Work at it i a little bitt each day. However, iif you’re tirred, give
your lips
l some tiime to rest.. This allow ws the musccles to rebu uild and
strenggthen.
• Low notes
n are heelpful – There’s an old d saying, “T The low sup pports the
high.”” Learningg to play low w notes with h easy warm m air seemss to help thee
high range.
r

In fact,
f you ma
ay want to try
t alternatiing these higher etudees with the
lowerr etudes of the
t next secction, “Plun
nging Loweer.”

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 21
Part 3: Soaring Higher
Extending up to G
Occasionally, you will see longer slurs suggested with a dotted line.

˙ œ ˙ œ œ œ. œ ˙. œœœ œœ
? bb C ˙ œ œ J
3.1 Œ Œ

œ œ ˙ œ œ œ œ œ ˙ œ ˙
? bb œ œ œ ˙. Œ œ
œ
f
œ œ œ œ œ. œ œ œ œ œ ˙ œ œœ˙ œ #œ
1

œ œ œ œ œ
? bb J Œ œœœ ‰ ‰
P
˙ œ U
œ œ n ˙ œ ˙ œœ œ ˙
rit.
œ œ œ
a tempo

? bb Œ œ œ
œ œ œ œ ‰
œœ ˙ œœœ œœ œœœœœœœ œœœœœœ ˙
? bb ‰ œ ‰ œ ‰ œ
˙

œ œ œ œ œ œ. œ œ
Cantabile
œ œ.
1

? # 6 j j œ œ J J J . j œ œ
3.2 8œ œ œ œ œ œ
P
œ œ œ œ. œ œ œ œ
?# œ œ J ‰ J œ œ œ. Œ. œ œ œ œ œ œ œ.
J œ
p
b
œ .
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ
b4 4 1

?# œ œœ œœ œ
œ ‰ ‰ ‰ œ
F P cresc.
œ
(1)
œ œ œ œœœ œ
# œ
1

?# œ
œ œ ‰ œ œ œ œ œ œ J œ . œ œ. J Œ
œ œ
Free sample pages- Lip Slur Melodies
 25

Extending to A

œ œ œ .
Singing fully
œ œ œ œ œ3 œ œ œ. œ œ œ œ œ œ .
b4 ( b 4)
œ œ j œ. ?
B # 4 œ
1

# 4 J œ œ
3.7
J J
F P
œ œ œ œ œ œ. œ œ œ œ œ œ œ œ ˙ ? œ œ œ.
1

? ## œ œ œ œ
3
œ ‰ B œ œ
3
œ œ 3

‰
œ
f P
˙
œ œ œ3 œ œ . œ . œ
œ œ3 œ œ œ œ
? # # œ œ œ. ‰ œ œ œ
3

‰ œœ œ ‰ œ œ œ ŒB
œ cresc.
œ 3
3

œ œ œ œ œ œ œ œ œ3
œ œ
B ## œ œ œ œ œ ‰ œ œ
3
œ ? ‰ jœ œ œ œ œœ ˙
J ‰
3

J œ œ
P cresc. F
Flowing
œ œ œ œ œ. œ. œ œ œ œœœœ
œ œ œ
b œ œ œ# œn œ œ œ
? 68 œ j œ œ œj œ œ œ ‰ ‰ œ
3.8 œ œœ œ J
P b4
œ œ œ
œ œ œ œ .œ œ œ œ œ .
œ. œ œ œ. œ œ œ œ œ œ.
? œ ‰ ‰ ‰ œ ‰ œ#œ œ œ œ œ œ œ œ œ Œ.
#œ .
f P
. œ
œ œ œ œ œ ˙. œœœœ U̇ œœ
rit. a tempo
œ œ
con moto

? œ œ nœ œ œ œ œ J J œ
jœ œ œœ J J œ . œœ œ œ
J œœ œ
F P
b 4# 5
œ œ œ œ œ œ œ œœ U
.
? œœ œ œ œ # œ œ. œ œ œ # œ. œ œ œ œ ˙.
3 rit.

œ œ ‰ œ. œ ‰ # œ

Free sample pages- Lip Slur Melodies

33

Lip
p Slur Melodie
M es
Parrt 4: Pllunging
g Lower
It’ss importantt to balancee all those high
h notes w
with some rrich, dark lo
ow notes.
In fa
act, I have always found d that a goood low rangge helps myy high rangee.

Tips
s for Imp
proveme
ent:

• Slow,, Warm Air – Have you u ever used

d your breatth to fog up p a window??
Remeember how you took a deep breatth and used d slow, warm m air? Havve
you ever
e blown air
a across a jug to mak ke it vibratee? If a jug isn’t handy,
you might
m want to use a strraight mutee. Same ideea: slow air will yield
more vibration than
t fast airr. Low notees usually ssound betteer if you
blow this way.
• Open n Up – Open n your oral cavity by mmoving awaay from an ““ee” sound
and to owards an “aw” sound d. Notice ho ow your ton ngue dropss down. Alsso,
separrate your teeth a bit mo ore.
• Roll Out
O – I find d my low no otes come oout better iff I allow myy lower lip to
roll out a bit. Thhis naturallyy causes thhe air stream
m to angle u upwards
more.
• Moutthpiece posiition? – As you roll ou ut your loweer lip and oopen up you ur
teeth,, you may find
fi that you ur mouthpiiece moves down sligh htly and
even tilts up a biit more. Ass long as thiis improvess your soun nd and can
be doone within a slur it sho ould be fine .
• Don’tt Force – With
W low nottes, you’re rreally searcching for thaat “sweet
spot” in partnersship with yo our instrum
ment. Don’t try to playy too loudlyy
at firsst. Seek ressonance!

Justt in case you need a qu uick refresh

her on the F
F-attachmen
nt slide
positiions, here’ss a guide:

I tune my F-atttachment so s the 1st po sition C is iin tune. Th

his causes
the trrigger to be a little flat.. Others tu
une to the F instead.

Free sample pages- Lip Slur Melodies

 34

Part 4: Plunging Lower

4th ...
#5
6th ...
Unhurried

? 44 œ œ œ œ œ ˙ Œ
2

‰ ‰ œ
V V

4.1 œ œ œ œ œ. œ œ œ œ œ. œ œ œ
P
b7
œ œ œ # œ œ œ œ3 œ œ
? œ ‰ œ ‰ œ ‰ œ ‰ œ œœœ ˙
V 6

œ œ œ. œ œ œ J œ. œ
. œ œœœ œ
F
œ œ œœ 3 œ #œ
? œ œ
3

œ œ ˙ ‰ ‰ œ J‰
œ œ œ œ œ œ œ. œ œ œ . œ œ
œ œ œ

? œ U . U
6

œ œ œ
œ œ œ . ‰ œ œ œ. ‰ œœœ ‰
˙ œ œ œ œ œ œ œ
F P œ ˙
Noble #5
? b b b 44 œ
6

nœ œ b˙
V 6 V

bb œ ˙ œ œ œ œ ˙ nœ œ b˙
4.2

F P
œ œ
( 3)
? bb b œ œ œ n œ œ . œ J ‰ œ j‰
œ
bb œ œ œ œ J ‰ œ œ ‰ œ œ œ ‰
cresc. F œ œ.

? bb œ n œ b œ œ j‰ j‰
bbb œ œ œ
6 6

œ nœ bœ œ nœ œ œ nœ œ b œ
œ œ œ
P
? bb b ˙ œ œ œ œ ˙ nœ œ œ œ b˙
6

bb œ œ œ
nœ œ œ b˙ œ
F P
œ œ œ
? bb œ œ œ œ Œ
bbb œ œ
nœ œ b˙ ˙
f Fœ
Free sample pages- Lip Slur Melodies
 38

From here on, you will often see a valve marking without a slide position indicated.

œ œœœœ
Somber V

? # # # 44 œ œ
6

œ œ #œ nœ ˙ œ #œ œ œ ˙
4.6 œ
œ œ œ œ
P
#6
Fine
#6 b5
œ ˙ œ nœ œ œ
V 2nd time..ritard

? ### œ œ œ œ #œ ˙
2

œ œ œ œ #œ nœ œ œ
œ œ œ œ
#6 b5

# ˙ œ œ3 œ
#6
? ## # œ œ ˙ œ˙
# œ . œj œ Œ œ
œ ˙.
˙
˙ œœ
f
#œ œ œ œ œ 6 j‰ œ œ œ U
? ## # # œ œ
œ
œ œ
œ œœ œ Œ œ ˙ bbbbbb
P #œ nœ œ œ ˙
Waltz (in three)
F
#5
˙2 œ œ œ œ
? b b b b 34 œ . Jœ œ ˙
(1)
œ . Jœ œ
6

bb Œ Œ œ œ
#
œ
Accurate slide!

œ œ œ œ œ
5

? bb b b Œ œ œ œ œ œ œ ‰ œœœ œ œ
bb œ ˙. J œ
6

˙
? bb b b ˙ œ œ œ œ œ œ œ œ j‰ œ œ œ œ œ œ .
V

Œ
V

bb œ œ œ
#5 b5 b5 #6
œ œ ### œ œ œ œ œ œ œ
U
rit. D.C. al Fine

? b b b œ. J ∫ ˙.
bbb
˙

Free sample pages- Lip Slur Melodies

45

Lip
p Slur Melodie
M es
Parrt 5: Ra
aising the
t Barr

I kn
now what you’re
y thinkking, “I’m bored with aall these eassier pieces. Give me
someething I can
n really sink
k my teeth into.”
i Fearr not, thingss will get triickier.

Tips
s for Imp
proveme
ent:

• Slow it down n! : Yes, this actually works.

w Do iit.
• Really
R hear the
t intervalls: There arre some uneexpected paatterns in h here. If you
u
sttruggle withh somethin ng, isolate th
he trouble sspot and maake sure yo
ou really
hear
h the inteervals at wo
ork.

Here’s an example:
e Thhere isn’t a clear tonall center in tthis pattern
n. It uses a
position seq
“p quence” insstead. If yoou “decode”” the accidentals, you w will find a
seeries of min
nor triads in
n inversionn…

Keepp that slide accurate: As

A you playy through th
hese “position sequencces” it’s easyy
to losse slide acccuracy. Don
n’t.

Free sample pages- Lip Slur Melodies

 50

(b 4)
œ œ œ œœœ
2
Unhurried

œ œ œ œ œœ
? # # 34 œ‰Jœ
œ Œ œ‰ Jœ Œ œ‰ jœ œ œ œ œj ‰
œ œ œ œ
5.5

P (b 4 )
œœœ œ œ œ œœ œ œ œ œœœ
? ## ‰ J œ œ Œ œ œ‰Jœ œ Œ œ ‰ jœ œ
œ ‰J œ Œ
œ œ œ
F P
œ œ œœœ œœ œœ
? ## œ œ J ‰ B ‰ J œ œ ˙ Œ ?
œ œ œ
œ œ œ ‰ œ œ J ‰ œ œ J‰ B œ Œ ?
œ œ J œ
œ œ œ œ œ œ œ
cresc.
( ) ( )
˙
V 1

? # # œ œ J ‰ œ œ œJ ‰ ‰ œj œ œ œ œ ‰ Œ œ j‰ Œ œ
œœ œ Œ
J œ œœ
F
Agitato
b4 b4
œ œ œ œ
? # # 68 œ ‰ œ œ œ # œ ‰ œ œ œ œ ‰ œ œ œ #œ œ
5th ... 5th ...

Œ ‰ œœ‰ œœ
œ
p
# œ œ nœ œ œ
? # # œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ n œ œ œj ‰ # œ œ n œ œ œj ‰ J‰
U
œ. œ.
tempo primo
œ #œ œ œ œ œ œ b4
œ œ œ œ
rit.

? ## œœœ 34 œ ‰ J œ œ œ J‰ J
œ œ‰ œ
P
œ œ œ œ œ œ
œ œ œ œ ˙
? ## œ
œ J ‰ œ ‰ jœ œ œ œ œ Œ
œ œ œ œ
œ œ œ œ œ œ
? ## œ œ œ œ
‰ J œ ‰ J
œ ‰ œ
jœ œ
˙
Free sample pages- Lip Slur Melodies
 60

Lip
p Slur Melodie
M es
Parrt 6: So
oaring Even
E Higher
H
Buiilding a stro
ong high ra
ange takes patience.
p W
Work at it stteadily. Do
oing a little
at a time,
t for a long
l time, yields
y nice results.
r

Tips
s for Imp
proveme
ent:

• Watch ou ut for moutthpiece presssure! Push hing in thatt mouthpiecce cuts off
the blood
d flow. No blood
b mean ns no oxygeen for thosee muscles. Y You’ll get
tired soo
oner and, ov ver time, ru
un the risk oof injury.
• Keep thoose corners firm: Allow wing the mo outh cornerrs to turn up p spreads
the uppeer lip thin. It
I may work k at first bu
ut won’t payy off in the llong run.

Thee etudes in this section

n build up gradually.
g Y
You will seee section tittles like,
“Exteending to G.”
G The etudes in this little
l sectioon work up tto the G bu ut no higherr.
If you
u struggle with
w a new “target note,” give it tiime, work o on some oth her sectionss
of the book.

Glissandos can n be helpfu ul to help yo

ou build up your high rrange. Try a sequencee
of gliisses from 6th to 1st. Something
S like
l this:

Note: at timess you will seee treble cleef in this secction. Wheen the notess get this
high,, it makes sense
s to usee treble. (I decided
d to avoid our ffriend, Mr. A
Alto Clef.)

Free sample pages- Lip Slur Melodies

 61

Part 6: Soaring Even Higher

Extending to D-flat (C-sharp)
Relaxed and lyrical
œ œ œ. ˙. œœœœ˙
? bb b C œ œ œ œ œ œ ˙ œ œ
6.1 bb œ Œ B J Œ
F
(# 4 )
œ œ œ
b1
˙ œ œ œ ˙ œ œ
˙
B bbbbb œ œ œ œ œ œ œ œ ˙. Œ
F b3 #4
œ œ.
#4
˙ œœ œœœœ
b
Bb b bb œ œ ˙ œ œ œ œ œ
J ˙ Œ œ Œ
œ
œ œ œ nœ œ œ
b
Bb b bb œ . ˙ n
œ œ œ œ b œ œ B ‰ nœ œ œ
œ ? ‰
n œ œ ‰ œ
J
P cresc.

b œ ˙ œ œ ˙ œ U
B bbbbb ‰ œ œ œ œ ˙ n œ
rit.

‰ ‰ œ ‰ œ œ œ
?
œ nœ œ ‰ bœ œ
f dim.
˙
Joyfully
œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œœœ
6.2
? # # # 68 œ œ. Œ. œ. Œ. B J J
F f
( b 4) b1
œ œ œ œ œ œ. œ œ. œ œ œ œ œ #œ œ œ
B ### J .Œ œ
œ œ J œ Œ . J ‰‰
P (# 4 )
œ œœ œ œ œ œ # œ œ œ n œ.
œ . œ
B ### ‰ J ‰ J‰‰ œ. ? ‰ œ œ œ ‰ ‰ œ œ
F
œ œ œ. œ
œ œ œ œ œ œ œ
? ### J .Œ B œ œ?‰œœ œœ
˙.
f Free sample pages- Lip Slur Melodies
 66

Extending to E
Mournful waltz
B # 34 œj œ ˙ Œ & œj œ ˙ Œ œ œ œœ ˙ Œ B œœœœœ ˙ Œ ?
6.9 œ. œ.
P p

œ. # œ œ œ œ œ œ œ œ ˙. œœœœœ œ œœœœœœ ˙ œ Ó
Fine

?#
V
B
œ . n
œ œ J
F
Hopefully 4th ...

B 44 œ œ œ œ œ œœ B œ œ
& œœœœ œœœ œ˙ œœœ œ˙
? œ
Œ œ œ œœ œ ‰œœœ œ œ
œ
U̇
D.C. al Fine
œ œ .
œœ œ #œ œ œ nœ œ œ
#œ œ œ #œ
rit.

B ˙. Œ Œ œœ Œ #œ œ Œ nœ œ Œ œ #œ J

œ
Relaxed

B # 4 œ œ œ œ ‰ œ œ œ œ ‰ œ J ‰ Œ œ œ . œ œ ‰ œj B
# 4# œ J & œ J œ ˙
6.10
f
F
˙ œ ˙
b4
B ### ‰ œ œ œ œ Œ ‰ œ œ œ # œ
œ œ Œ ‰ œ œ
œ ‰ #œ œ
P cresc. f
b4

B ## ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ ˙
# & œ œ œ œ œ Œ
P
### j œ U
& œ œ œ œ ‰ Jœ œ œ œ œ œ ‰ œ œ B œ œ œ ‰ œ œ ˙. Œ ? Œ
œ
F ˙.

Free sample pages- Lip Slur Melodies

 68

Lip
p Slur Melodie
M es
Parrt 7: Plu
unging
g Even Lower
Thiss section was created with
w the do ouble-valve bass tromb bone in min
nd. Becausee
of diffferent valv
ve configuraations and tuning
t syst ems, few m
markings aree included.
Tenoor tromboniists are wellcome to tryy these but they will fin
nd some intervals thatt
aren’t natural sllurs on a sin
ngle-valve tenor.
t

Tips
s for Imp
proveme
ent:

• Don’t forrce the air: Lower notees require sllower, warm mer air. Yo
ou can’t
a advanceed player plaaying loud low notes,
force theese notes. Iff you hear an
you migh ht mistaken nly assume that
t they arre being forrceful with the air. Yo
ou
might bee surprised at how littlee effort it taakes to prod
duce a big ssound.

• Listen caarefully to pitch:

p The extreme
e rannges can eassily go out o
of tune.
Sometim mes we are so s proud of popping ou ut these low
w notes with h a big
sound thhat we disreegard the in ntonation. P
Play things up an octavve and
listen carrefully to th
he intervals.

Here’s an examplee: The first line shows a note sequ uence fromm one of the
etudes. The
T second line is that same sequ uence up an n octave. If pitch is
unclear, start in tha
at upper octtave and reaally lock in the intervaals. This wiill
help yourr ear when playing in the
t lower ooctave.

Free sample pages- Lip Slur Melodies

 71

Plodding steadily

? # # 45 œ œ œ œ œ
‰ ‰ œ œœœœ ‰
7.4
œ œ ˙ œ œ. œ œ. œ.
F œ œ œ œ œ # œ
b4
œ œœ œ
? ## œ ‰ œœ œ œ ‰ Œ œ œœ œœœœœœ
œ œœœœ œ # œ œ. œ œ ˙ ˙
œ. œ P
f
◊
? ## Œ œ œ œ œ Œ ˙ Œ œ Œ
œ œœ œœœœœœ˙ œ œ œ ˙ œ œ œ œœ
F œ
cresc.
b4

? ## ˙ œ œ œ œ œ œ Œ
œ œ œ Œ œ
œ #œ
f ˙ ˙
Dancing gracefully

? # 34 œ . œ œ ‰ j b˙ œ ‰ j
n œ œ œ œ ‰ œj
7.5
J œ œ œ œ œ œ
P œ

?# Œ œ . œj Œ œ. j Œ
œ œ œ œ œ œ œ œ œ œ
˙ F
b4

?# œ . b œ Jœ n œ œ œ œ œ j‰
œ œ œ ‰ œœ œ
œ œ J œ œ œ œ bœ
˙ œ P

?# Œ Œ œœ
nœ
œ œbœ œ œ ˙ œ bœ œ œ œœ
˙ ˙.
f P
Free sample pages- Lip Slur Melodies
 73
Light and playful
œ #œ
? # C ‰
# œ œ #œ œ œ ‰ œ ‰ ‰ Œ ‰ œ ‰ œ ‰œœ‰Œ ‰ ‰
7.8
œ œ œœ œ œ œœ œ
P œ œ œ
◊
cresc.

? ## ‰ ‰ Œ ‰ ‰ œ ‰ ‰ Ó œ œ œ œ ‰ œ œ œ œ ‰bœ Œ
œœ œœ œ œœ bœ œ
œ œ œ F P
◊
œœ
? ## ‰ ‰ œ œœ ‰ ‰ nœ #œ
œ œ œ œ œ
œ œ œ œ œ œ œ bœ bœ œ œ
œ œ œ
F œ ˙
? ## ‰ Œ ‰ œ œ ‰ œ #œ ‰ œ ‰ Œ ‰ œ œ ‰ œ #œ ‰
œœœœ œœ œ œ ˙
œ œ œ œœ
P
œ œ ◊
? ## ‰ œ œ œ œ
œ œ œ œ ‰ œ œ ‰
œ œ
Œ
œ œ œ bœ œ œ œ œ
F
Flowing
œ œ ˙ œ œ œœ œ
? b 43 ˙ Œ œ ˙ Œ Œ Œ œ
œ œ
œ œ #œ œ
˙ œ
7.9

P œ ˙ F
œœ
œ œ œœ #œ œ œœ œ œ
? œ Œ œ œ #œ Œ œ j ‰ ‰ J œ œ #œ œ
b œ œ œ œ œ œ
œ œ œ œœœ œ ˙ œ
œ œœœ
?b œ Œ #œ œ œ Œ œœ œ j‰
œ #œ œ œ œ œ œ œ œ œ œ #œ ˙ Œ
œ #œ œ œ œ #œ
◊ œ œœœœ ◊
?b ‰ œ ‰ Œ œ# œ œ œ ‰J œ Œ œ Œ
œ œ. ˙ œ
œ. œ œ œ œ œ œ #œ œ œ œ p ˙
P œ F
Free sample pages- Lip Slur Melodies
 76

Lip
p Slur Melodie
M es
Parrt 8: Ta
aking a Bow
Theese last eigh
ht pieces prrovide a greeater challeenge. Howeever, they aren’t
impoossibly diffiicult. The musical
m stattement shou uld always be more immportant
than the techniccal challengge. With ca areful practiice, they caan be masteered. Once
you can
c nail theem, take a bow.
b You’vee really acccomplished something g!

Tips
s for Imp
proveme
ent:

• Work theem up over time: Pick one piece aand live witth it for a w
while.
Patiently
y work on sm
mall section
ns, repeatin
ng them slo
owly until th hey are
more commfortable.

• Use patieent repetitio

on: Recent research h as revealed d the body’ss ability to
add layerrs of myelin
n insulationn to nerves. As a sequeence is praccticed, the
myelin iss added, maaking this skkill automaatic. Think about typin ng, texting
or some newer
n form
m of data enntry. At firsst, one movees slowly an
nd
somewha at clumsily.. With repeetition (the adding of m
myelin), thee body
learns to rapidly exeecute action
ns that prevviously seem
med imposssible.

• Watch ou ut for tensio on: It is a natural

n hum
man reaction n to tense u
up when
faced witth a challennging task. As you tack kle these piieces, don’t allow
excessivee tension to o creep into your playinng. Pause ffrequently aand take a
few deepp breaths, alllowing the tension to leave your body.
f tension tto sneak in “under thee radar.”
Believee me, it is alll too easy for
Many of us play with higher tension levelss than we rrealize. Beco ome more
aware off this tension and find waysw to app
proach touggher materiial in a
relaxed manner.
m It may be harrder at firstt, but it willl pay great d
dividends
down thee road.

Here iss a little rela

axing sequeence you can
n play if yo
ou find yourrself
becoming too tense…

Free sample pages- Lip Slur Melodies

 79
( b 3)
#5
œ œ
œ œ œ œœ
Flowing
œ bœ œ œ b œ n œ #œ œ
œ
? b b 68 œ œ œ œ œ œ œ ‰ B b œ œ œ nœ #œ œ
8.3 b œ œ
F
œ œ œ œ bœ œ œ œ œ
b4
5th ...

# œ œ œ b œ œ bœ œ
1

Bb bb n œ œ œ n œ œ nœ œ ? 9 nœ bœ b œ œ
nœ 8 bœ

#5 #2 #5

nœ #œ nœ bœ bœ
( V)
? b b 68 j n œ b œ œ n œ #œ bœ nœ bœ B n œ
b nœ J nœ n œ nœ #œ nœ bœ œ
p cresc.
f
1
#5
# œ n œ b œ n œ œ œ œ œ
#5
U
B bbb #œ nœ nœ bœ œœœ œœ œœ?œ
Fine

nœ œ J œ œ.
dim.
#
6
œ bœ œ œ œ œ
œ œ bœ œ œ œ bœ œ œœ œ œœœ
œ
5

? bb œ œ bœ œ œ œ œ ‰ B œ bœ œ
b œ œ
P b4 F
#5
B bbb #œ #œ œ nœ #œ œ nœ #œ nœ œ œ nœ nœ œ œ œ œ nœ œ œ œ œ œ œ œ œ ‰ ?
œ b œ œ bœ
#5

œœ œ
#5
œ œ œ œ bœ œ œ œn œ# œ# œ
? b œ œ ‰ œ ‰bœ œ Œ. œ œ b œ œ œ
bb œ b œ œ. œn œ œ œn œ œ œ# œ
P #5
cresc.

œ œ œ œ #œ nœ œ
? bb nœ œ œ œ œ œ œ œ œ nœ bœ œ œ œ œ B b œ œ œ œ œ œ œœ nœ nœ
b œ nœ
#2
œ œœ œ œ œ œœœ œ œ U
D.C. al Fine
#5 #5
b n œ b œ œ œ œ œ œ
Bb b œ b œ
bœœœ œ œ œ œ œœœœœœ b œ œ ? œ
˙.
Free sample pages- Lip Slur Melodies
 80

œ
Driving
œ œ œ œ # œ n œ
? # 78 œ œ œ œ œ Œ œ œ œ œ œ Œ œœ
V

œ Œ
8.4
œ J œ J œ œ œ J
F
œ œ #œ œ nœ œ œ œ œ œ œœ œœ
?# J œ Œ ‰ œ œ œ #œ œ œ œ œ œ #œ œ
œ œ
Pœ œ
œ œ œ œ #œ œ
?# œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ
œ ‰œJ‰ œ œ #œ ‰ j‰
œ œ
œ œ œ œ œ œ#œ
œ œ œ # œ n œ œ œ
? # œ œœœ œœ Œ œ œœœ œ Œ œ œ œ œ œœ Œ ‰J
œ œ œ
F f
œ œ œ #œ œ
Fine

? # ‰J œ ‰ œJ œ œ # œ œ œ œ œ œ ‰ œ œ ‰ œ ‰ œ j ‰ ‰ # Jœ œ œ n œ œ œ œ œ U Œ
J œœ œ œ.
P
U U
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn˙
cadenza

œœ # œ œ œ œ œ œ
œœ B œ œ œ œ œ œ œ œ #˙ œ œ œ
?# œ œ
˙ œ ˙ œ
œ. œ œ œ #œ œ œ U̇ œ œ #œ œ #œ U
B œ
J œ œ œ œ œ
œ œ œ œ œ #˙
# œ

œ 5œ œ 5œ œ 5œ ,
B n œ œ œ œ # œ œ œ œ5 œ œ œ œ œ5 œ œ ˙ , œ œ œ œ œ œ œ œ œ # ˙
accel. accel.

?
#
5

U
D.C. al Fine

? # ‰ œ œ œ œ œ #œ œ œ nœ œ œ .
rit.

˙ ‰ j
œ œ œ œ œ # œ œ n œ œ ˙.
J œ œ
P
Free sample pages- Lip Slur Melodies
85

Lip
p Slur Melodie
M es
Parrt 9: Pllaying Togeth
T her
As I was writiing this boo urprised at tthe level of interest shown in the
ok, I was su
fact that
t it woulld contain duets.
d Giveen this appaarent level oof interest, I wanted to
o
makee sure that I didn’t shoortchange inn the duet ddepartmentt. To that eend, here
are 30
3 duets ran nging from fairly easy to rather ddifficult. Ennjoy!

Tips
s for Imp
proveme
ent:
• Have Fun n: Sometimmes we get so s caught up p in “workiing” to be a better
player th
hat we lose sight
s of wha at made us fall in lovee with musicc in the firsst
place. Whether
W throough these duets or th hough otherr material, ffind time
each dayy to simply enjoy
e playinng your insttrument!
• Listen to
o each otherr: Some peo ople put on blinders ass they play. Don’t justt
be two in
ndividuals playing
p indeependent n notes at morre or less th
he same
time. Bleend your soounds into one
o finishe d product. Be very aw ware of yourr
partner and
a listen fo or the nuan nces in theirr playing. OOpen up yo our ears!
• Tune, tunne, tune: Most
M of the cadences
c in
n this sectio
on use octavves or third ds.
Make surre these nottes lock-in to each oth her. If you hhear “beats” of discord d
between two notes, try that spo ot again and d see if you
u can line th
hings up.
Rememb ber that, esp
pecially with h 3rds and 6ths, smalll adjustmen nts away
from “in tune with the
t tuner” can c really im mprove thee interval. E Electronic
tuners usse equal tem
mperamentt, a compro mise system m in which all keys aree
the samee but none are
a ideally in i tune. Th hose small aadjustments, so easy
on a trom
mbone slidee, can return n intervals to their nattural state o
of pure
ratios. Here’s
H an exxample:

In this example, thhe top voicee will need to lower th he E of the laast measure
by 14/100 of a half step
s (also known
k as 14
4 cents) in o
order achievve the puree
5:4 ratio of a real major
m third (if
( the botto om note is iin tune!). WWhat makess
this trick
kier on the trombone
t iss that this E is usuallyy sharp to beegin with.
You migh ht be surpriised just ho
ow much yo ou need to llower this n
note for it to
o
lock into place.

Here’s a simple wayy to rememb ber the mosst commonn adjustmen

nts:
Majo or 3rds andd 6ths - topp note dow
wn a bit
Minnor 3rds an nd 6ths - to
op note upp a bit
Here’s an
n even shorrter version
n:
Major r down, m minor up

Free sample pages- Lip Slur Melodies

 86
Part 9: Playing Together

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Free sample pages- Lip Slur Melodies
 94

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Free sample pages- Lip Slur Melodies
This is a free sample of a book by Brad Edwards (I sure hope you didn’t pay for it!).

Mostly likely it was copied from ​TromboneZone.org​ or ​HornbonePress.com

At any rate, if you like the sample and would like to purchase the book, you can link to
either website to make a purchase.

And, also, please don’t make complete illegal copies of books. I work hard on these and
somehow, it just feels wrong that someone else should just offer up a pdf copy after all
the time and effort I’ve put in.

Thanks.

- Brad Edwards
TromboneZone.org
HornBonePress.com
Books by Brad Edwards

The Intermediate Trombonist​ ​(132 pages)

Building blocks for Tone and Technique

Simply Singing for Winds​ ​(114 pages)

A wellspring of simple melodies to sing, buzz, play.

Trombone Craft​ ​(169 pages)​ / ​Bass Trombone Craft​ ​(185 pages)

A musical approach to building tone and technique.

Lip Slurs​ ​(84 pages)

In three sections: slow slurs, fast slurs and lip slur melodies.

Lip Slur Melodies​ ​(132 pages)

Lyrical melodies and duets, using just natural slurs.

Patterns and Snippets​ (180 pages)

A musical approach to scales and arpeggios.

Tuning Drone Melodies​ (134 pages)

Music to be played over tuning drones; for one or more instruments.

Introductory Studies in Tenor and Alto Clef ​(56 pages)

A good first clef book to precede the Blazhevich Clef Studies.
 New!
24 Concert Pieces by Brad Edwards
● A collection of solos starting at the intermediate level and progressing in difficulty.
● Currently available for tenor trombone, bass trombone, tuba and horn (and maybe even
trumpet someday)
● Each piece has a reasonable piano part.
● Each piece presents a variety of musical styles.
● Useful for solo and ensemble festivals.
● Free samples available on the TromboneZone.org and HornbonePress.com websites.
Volume One
[approximate timings shown in brackets]
#1 Andante con moto [3:30]
#2 Allegretto - Andante - Allegro giocoso [3:40]
#3 Noble - Lyrical [4:00]
#4 March [3:20]
#5 Alla Tango [3:40]
#6 Singing - Driving – Dancing [4:10]
#7 Scherzando – Tranquillo [3:30]
#8 Mysterioso – Giocoso [3:40]
#9 Piacevole – Vigoroso [3:40]
#10 With Confidence – With Yearning [4:20]
#11 Expansive – Carefree [3:40]
#12 Wistful – Playful – Joyful [3:30]

Volume Two
#13 Scherzando - Cantabile [3:30]
#14 Espressivo - Dramatico [4:10]
#15 Floating – Dancing [4:15]
#16 Relentless - Wistful – Impish [4:30]
#17 Impetuoso – Serioso [3:50]
#18 Grooving – Haunting [4:00]
#19 Pesante - Scherzando – Waltz [4:00]
#20 Dream Scene - Chase Scene [4:15]
#21 Spirited gallop - Woeful lament (Ironic Waltz) [5:10]
#22 Insistently – Tenderly [4:45]
#23 Funebre – Imponente [4:45]
#24 Driving – Dreaming [5:15]

Keep an eye out for recordings and videos of these pieces (including the piano part alone). On
Youtube, search for Hornbone Press.