for the YouTube Symphony Orchestra.

My name's Katie Jones,

and I'm the co-principal trombone

of the London Symphony Orchestra.

The first excerpt we're going to talk about today

is Wagner's "Ride of the Valkyries,"

taken from his opera "Die Walkure."

This has been set for auditions for me personally,

from school age right through to my professional career.

He's one of the earlier composers to use the trombone

in a melodic context

and not just in a scared or choral fashion.

Here are some thoughts on how to approach the excerpt.

Listen to a few recordings if possible.

Work out how the trombone

fits into the overall orchestration.

The strings have a lot of running semiquaver passages

during this music,

so there's no room for maneuver

or any vibrato in our tune.

Keep a good, full sound

without getting brittle or hard,

and articulate that lower semiquaver well,

because it won't come across over the orchestration.

[Ride of the Valkyries]

And if you're wondering how you can possibly try

and improve on the way you're playing it

or, indeed, the way I've been playing it,

try subdividing the rhythm.

Try playing it all in semiquavers.

For instance...

[playing semiquavers]

So that the rhythm-- you're making sure

you move your slide really quickly

between the dotted quaver and the semiquaver.

Also, you can try this tune in 3/4 time signature.

[playing Ride of the Valkyries in 3/4 time]

And that puts an emphasis

on a different note in the phrase,

which means you can really hear how the tuning is settling.

If you've got trouble coordinating your slide

and your tongue, try it really slowly

just with air attack with the instrument,

or you can try singing it through.

For instance... [rhythmic puffing]

That makes sure you're using air

right at the start of the notes,

and the tongue is absolutely right on the button.

The next excerpt I'm going to talk about

is Berlioz' "Hungarian March" from "The Damnation of Faust."

Apparently, Berlioz had already written

this "Hungarian March"

previous to writing "The Damnation of Faust,"

which is why "The Damnation of Faust"

is set in Hungary from the start.

Now, Berlioz would have been used to using

smaller trombones in France at the time of his composition

than in Germany,

and probably than you're playing on now.

Sometimes it can be good to play Berlioz

on a small instrument.

I did this with "Symphonie Fantastique"

earlier in the summer.

Though Berlioz apparently

was not really a fan of the alto trombone,

saying that actually most competent players

could get the notes on a tenor,

and he much preferred the sound of the tenor.

This excerpt is all about subdivision.

Not being late off the tight notes

and really looking after the tuning,

the difference between the semitones

and the whole tones.

[Hungarian March]

You can, again, take this piece,

as same as we talked about with the Wagner,

out of rhythmic context.

This really shines a light on, as I was saying,

the difference between the semitones

and the whole tones.

For instance, try playing it in this rhythm.

[slower rhythm]

Two semiquavers, then a quaver.

And you can reverse that rhythm exactly the same--

quaver, then two semiquavers--

or play it all in a triplet fashion.

And this is just to shine a light

on your--on any poor tuning that's happening.

I've certainly used this in my practice

for this performance today.

You must also really hear the rest of the orchestra

during your bars rest.

Playing an excerpt with bars rest is always tricky.

Really keep that pulse going in your head.

I'd just like to say a few words

about the Ferdinand David.

Many editions exist of this piece,

and the rhythms are somewhat controversial.

Please state on your video which edition you are using

just so that we know.

This piece is your chance to shine musically,

say something interesting.

Remember, all music is either going to somewhere

or coming away.

Really hear the accompaniment in your head,

because you won't have an accompanist, I'm sure.

And don't just keep playing this piece through

when you're practicing it.

Take the harder bars out of context

and practice them in isolation,

perhaps changing the rhythms

to trick yourself into hearing things in a different way.

Now, the final excerpt we're going to talk about today

is Schumann's Third Symphony.

I always prefer to play this on the alto trombone,

but if you don't have one, you will not be penalized

for playing it on a tenor.

Schumann was apparently inspired by scenes

right along the Rhine River

when he was writing his Third Symphony,

and the fourth movement in particular

is said to depict the beautiful Cologne Cathedral.

This would be very apt, because in the 1800s,

trombones were very much used to depict sacred music

and in a choral fashion.

All of the individual parts of the trombone section

are more or less within a vocal range,

and the prevailing harmony

is contained within the trombone section.

Obviously, you have to look after your individual pitch,

but once you get into the orchestra,

you really have to listen to the rest of the section as well

and where your note lies within the chord.

Play this excerpt as smoothly as you possibly can.

Keep notes right to their full length

before moving the slide.

And try not to focus on the top E flat.

It's not the climax of the phrase.

[Schumann's Symphony Number Three]

When I'm going to be playing this piece,

or the Tuba Mirum from Mozart's "Requiem,"

I always try and practice them

even slower than you think

you're going to have to play them

and even quieter than you know

you're going to have to play them in the orchestra.

This takes you out of your comfort zone,

and so once you get into the orchestra,

hopefully, it feels easier.

Thanks for watching this master class

for the YouTube Symphony Orchestra.

I hope you found even one small part of what I've said

of used to you in preparing your auditions.

I'm really looking forward to seeing the videos

in the near future,

so good luck in your application.