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A lip trill is a rapid oscillation between neighboring harmonics - used primarily for whole-step trills from second-line G up approximately an octave. Lip trills are possible both lower and higher, but much lower than E and the harmonics are too far apart for a whole step, and much higher and harmonics are too narrow.
A cadential trill is a trill associated with each cadence. A groppo or gruppo is a specific type of cadential trill which alternates with the auxiliary note directly above it and ends with a musical turn as additional ornamentation. [3] [4] A trill provides rhythmic interest, melodic interest, and—through dissonance—harmonic interest. [5]
In addition to Leopold Mozart and Wagenseil, Michael Haydn's Serenade in D (1764) with its extended range, trills, technique, and endurance demands contributes to this idea that there was perhaps a golden age of the alto trombone between 1756 and 1780 and was this piece was also most likely written for Thomas Gschladt. The Serenade joins these ...
For example, a trill on B ♭ 3 /C 4 is virtually impossible as the slide must move two positions (either 1st-to-3rd or 5th-to-3rd), however at an octave higher (B ♭ 4 /C 5) the notes can both be achieved in 1st position as a lip trill. Thus, the most convincing trills tend to be above the first octave and a half of the tenor's range. [36]
Lip-trill or shake: Also known as "lip-slurs". By rapidly varying air speed, but not changing the depressed valves, the pitch can vary quickly between adjacent harmonic partials. Shakes and lip-trills can vary in speed, and in the distance between the partials. However, lip-trills and shakes usually involve the next partial up from the written ...
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With James's childhood spent as a musician in a traveling circus, he picked up a flamboyant style that utilized such techniques as heavy vibrato, half valve and lip glissandi, valve and lip trills, and valve tremolos. These techniques were popular at the time in what was known as "hot" jazz, epitomized by James's idol Louis Armstrong, but ...
The technique of producing multiphonics with the voice is called overtone singing (typically with secondary resonant structure) or throat singing (typically with additional tones from throat trills). There is another technique done in whistling, where whistlers hum in their throats while whistling with the front parts of their mouths.