![]() (note: a C-scale keeps repeating, one octave above another, so the 8th note of a C-scale is C, the same as its first note but an octave higher, which I've written as "8th/1st" similarly, the 2nd and 9th notes are both D, separated by an octave, "9th/2nd")Ībove, the diagram for C-major has 5 rows & 7 columns. The key of C-major has three main chords (C, F, and G, built on the 1st, 4th, and 5th notes of the C-scale) and the notes in each chord are shown: the three notes of a C-major chord (the 1st, 3rd, and 5th notes of the C-major scale) are outlined in red the three notes of an F-major chord (the 1st, 3rd, and 5th notes of an F-scale, which are the 4th, 6th, and 8th/1st notes of the C-major scale) are highlighted in yellow and the three notes of a major G-major chord (the 1st, 3rd, and 5th notes of a G-scale, which are the 5th, 7th, and 9th/2nd notes of C-scale) are outlined in blue. (note: Trombonists with good technique can play notes higher than the top row shown here, and those using a "bass trombone" can play notes that are one row lower than the bottom row shown here.) Notice that some notes (those in gray font) are duplicated, because they can be played in two different positions. If you "read it backwards" beginning on the bottom-right and moving lefward in each row, moving upward (this is the opposite of how we read in English) the notes increase in order, " 3 4 5 6, 7 1 2 3 4, 3 4 5 6, 6 7 1 2 7 1 2 3 4". The lowest notes are in the bottom row, and highest notes are in the top row. Scales and Chord-Arpegios: When playing trombone, sometimes I visually imagine “spatial patterns” for notes and their combinations, especially for arpegios that are made by playing the 1st, 3rd, and 5th notes of a scale in some kind of sequence.īelow, the left-side diagram shows the slide positions for a C-scale first position is in the left column (with 4,2,4), second position is in the second column, and so on, out to the 7th column (with 7,3,7,3) for 7th position. If you don't already understand these principles, they are explained in my page about Musical Improvisation - Making Music by using Creativity & Music Theory. This page uses the logical principles of Music Theory - keys, scales, chords, and arpegios. This diagram ( source) shows the 7 positions, after describing them.Įach slide-position corresponds to one semi-tone: moving the slide from 1st position to 2nd position lowers the pitch by one semi-tone, and so does moving from 2nd to 3rd position, and so on. For example, if you are buzzing an A (with frequency = 440 cycles/second) and your slide is in a “2nd position” at the exact location that gives your trombone a resonant frequency of 440 cycles/second, this “matching” will help you produce your best tone. To produce the best possible musical tone, you want the buzzing pitch and slide position to be perfectly matched. When the slide is pushed outward, the trombone gets longer and the note-pitch becomes lower. When playing a trombone, the pitch of a note is determined by a combination of the buzzing pitch and slide position. Visual Thinking for Slide Trombone (by Craig Rusbult, Ph.D.)
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