As you can see I have a F-valve so I really do not have to do this on this horn. I decided to use this horn anyway so you could compare the 'factitious-notes-pattern' and 'lipped-notes-pattern' to the normal way of using the F-valve to play fast passages like this. I'm starting on the trigger and play two normal notes Bb-B (I use T3-T2 on the trigger). Then I play the same two notes using only the seventh position. I start on a lipped Bb and then I raise a semitone to the normal B in seventh position. I dont move the slide, I only use my lips to change between these notes. After this I play a pattern of alternating Bb's and C's. Two half notes [Bb-C] followed by eight 16th notes [Bb-C-Bb-C] [Bb-C-Bb-C]. Finally I land on a sustained Bb on the first position. I'm trying to do this whole pattern at tempo 104. First time I play the pattern I only use first position. I use the trigger for the C which makes it easy. Second time i play the Bb in first and the C in sixth which is hard, and needs a fast slide. Third time I try to remove the fast slide movements with a factitious note for Bb in sixth position. Thats when I play both Bb and C in 6th position. Fourth time I start the 16th notes series with a Bb on the seventh position. That is a 'down-lipped' or bended Bb in seventh. I alternate with the regular C in sixth position. Finally I changed the pattern somewhat and played Cb instead of a C. On a straight trombone this needs fast changes between the first and the seventh position. I play the notes using only the seventh position and no trigger involved. The best result I get when I use the trigger in the beginning, but I think I do rather well on the final [Bb-Cb-Bb-Cb] combination on the seventh position.
Every time I listen to an aspiring jazz musician, I find that for many of them their rhythmic game is not at the same level as the harmonic one. This is because most of the formal jazz education system stresses the harmonic part of improvisation and neglects the rhythmic one. Jazz education tells you to. Jazzers: More advanced jazz musicians that are accustomed to changing keys on a dime, may want to invent an exercise where they play 3 or 4 measures at a time in one key signature, then continue on in a new key, and another and another.