Mastering the Basics: Slurs and Scales for Trombone

One topic I find myself returning to constantly with students is the importance of slurs and scales. No matter your level, these two fundamental skills are essential and always worth more of your time.

Let’s start with slurs. The trombone is built around the harmonic series—what I often call “shelves” with younger students. One common issue I notice is students not recognizing whether they’re playing the correct note—not because of accidentals or slide position errors (though that happens too), but because they haven’t internalized how notes feel and sound in relation to each other. A student might try to play a C in third position and end up on an Ab because they can’t yet distinguish the partials. Slurs help correct this. While long tones develop your sound, slurs teach you the relationships between notes. They build awareness, flexibility, and confidence. I’ve seen time and again that students who commit to slur practice make faster, more reliable progress when tackling new repertoire.

What do I mean by slurs?

There are many different variations, but the gist is this:

A slur is when you move between two notes without tonguing—just air and embouchure adjustment. On trombone, that usually means gliding between partials, or shelves, without articulating with your tongue.

At a basic level, that could mean moving from low Bb to F in first position, or Bb to D. These are “lip slurs” between notes that use the same slide position but different embouchures and air speeds. As you progress, slurs become more complex—adding wider intervals, skipping partials, applying the practice faster, and different dynamic levels.

Slurs are essential because they train your ear, your face, and your air to work together without relying on articulation to mask inconsistencies. They expose cracks in your control but also help you fix them. If you’re landing on the wrong partial—or cracking, or missing the pitch—your body is giving you useful feedback. Use it.

Done right, slurs feel smooth and connected. They make your playing feel more “centered,” and they help you build finesse, not just strength. They're one of the clearest ways to build technical fluency and develop trust in your playing.

Scales, on the other hand, are where we build the concept of movement. They train your slide coordination and reinforce note recognition before you ever play a piece. The students who read music quickly and accurately are often the ones who’ve internalized scales—not just the notes, but the feel of each key. They know where they’re going before the horn even comes up. On the flip side, students who don’t develop this habit often struggle. Even once they know a note should be B-natural, their muscle memory might still pull them to Bb. That hesitation, that subtle twitch, lingers unless addressed deliberately.

When I work with my students, I encourage them to speak each note out loud along with its slide position before playing. Make each scale its own environment. Learn how Ab major feels different from C major—not just sonically, but physically. Until you can confidently say what note you’re about to play and where it is, you haven’t fully learned the scale. That’s how you build competency and reliability in your playing.

These are just two aspects of trombone technique, but together with long tones, they could form a complete fundamentals routine. Long tones establish tone and breath control. Slurs develop flexibility and partial awareness. Scales train articulation, coordination, and fluency in reading.

To my students and others: if all you did every day were long tones, slurs, and scales—done well—you’d likely find yourself ahead of your peers. Revisit these concepts often, practice with ease and mindfulness, and the results will come.

That’s it from me today. Thanks for reading, and happy practicing!