Elmer Ronka writes “In writing my “drills”and studies-for the Trombone Baritone, and Tuba I have endeavoured to employ only the essential material necessary to acquire, and maintain, a high standard of daily performance and skill, I feel certain that the daily use of these “drills” will greatly aid all brass players in developing a fine embouchure, tone, technic, and attack, and will build up great endurance, ease, and confidence.”
“In the opening (sustained tone) exercises, it will be observed that after each “long” tone, there is a pause; and is immediately followed by a series of slurred notes. (Exclusive sustained tone practice has a tendency to tire the lips; but with the slurred groups “sandwiched” in between, the embouchure is relieved or “massaged” of its stiffness)”
“The staccato work, that follows the sustained tone work, is very beneficial; and the two exercises combined (with a few minutes rest before playing the staccato) constitute a “sharpening of ones tools for the day.” A sort of answer to what, and how much, to
practice in order to “shape-up” the lips for the day.”
“The double and triple tonguing; the Scales, and the Intervals, are all essential and necessary forms of practice.”
“The Legato exercises are to be played in two modes of slurring; i.e., “WITH” and “WITHOUT” use of the tongue. This “soft tonguing” is indispensable in smooth legato playing, and is a means of developing a fine attack and control in pianissimos. This form of practice is often neglected_ whereas it should be given a great amount of attention. The balance of the method is all self-explanatory.”
A classic text and a must have for any serious player. Check out some samples to the left then grab an immediate PDF download above.