I find it impossible to resist the temptation to include a few words directed at any conductor or potential conductors who may seek to widen their knowledge of the trombone by
browsing through this little book.
Already such a reader will have realized that there is actually more to playing the trombone than he may have thought. Let him, then, realize some of his trombonists’ special
problems, so that he can help his own performance by improving theirs.
1) Distance. Make your beat clear and distinct to the most distant players. As these will probably include the trombones, make a point of ensuring that they are not placed further away than is absolutely necessary. Never tolerate ‘late’ playing, for there is absolutely no need for it. The average distance from the conductor’s desk to the back of the orchestra can cause a time lag of approximately [insert semi quaver] in a [insert crotchet=120] allegro. If the beat is clear enough, the trombones will play on the point of it which makes for the best ensemble. If this is not so, then make sure that the moment in time when you want to hear the sound is made apparent to the heavy brass by some kind of visual indication. In other words, conduct for them, and breathe with them.
2) High register. No trombonist can be expected to play indefinitely in the upper register (above high F)
Do not insist on repetition of tiring passages. If a trombonist (or any other brass player) fluffs or splits a high note do not make your displeasure obvious. He knew before you did, and his misery is ten times greater than yours. Do not add to it.
3) Rehearsal plan. Have the courtesy to announce the order in which you intend to rehearse well in advance. If possible arrange your rehearsal order so that the greatest number of players can be used at the end of the rehearsal which suits them best. Do not keep a brass section twiddling their thumbs in movements in which they do not play, just so that you will not have to wait perhaps a minute or so when you do need them, a musicianly trombone and/or trumpet section will almost certainly do some ensemble work together or at the very least some warm-up exercises. If they are expected to sit waiting to play without the chance to do these things, results less than the best may be expected.
Conductors have often complained that the brass section is playing too strongly at a final rehearsal. What usually happens is that the strings and woodwind of a symphony
orchestra tend to “take it easy” at such a rehearsal. They have a fairly continuous effort to make and need to conserve their strength and energy. While this can also apply to the brass, they have a special need to play in exactly the same way as they do in
performance, so that phrasing, breathing, and lip-control can be arranged properly. These same conductors who complain of too much volume at the dress rehearsal also call for more and more sound at the performance.
Cherish your trombone section. They can do more to bring an audience to their feet at the end of a performance than an entire string section! Of course, they do not need much encouragement to play loudly; what they do need, however, is sympathetic consideration and help. Even a cursory knowledge of what they have to contend with – possibly gained through reading these pages – may result in better mutual respect and co-operation.
Author’s Final Note
In addition to my many playing activities, I have been privileged to teach the trombone at two of the finest establishments for musical education in the UK – the Guildhall School of Music and Drama (1967-1989) and the Royal Academy of Music (2000 to date).I should like to add some reflections based on my teaching experience. To the starry-eyed first year student, the possibility of earning money from what is probably their most pleasurable activity is an alluring one. The difference between amateur and professional standards in any field of musical activity is so vast that the spur of professional work is the best possible incentive to the years of unremitting hard practice that are required. Of course, there have always been and always will be players of such exceptional talent that they could work at a professional level at a very young age, but these are so rare as to be perhaps one or two in a generation.
Compared with the musical opportunities enjoyed by orchestral players on other wind instruments, the life of the trombone player tends to be much more of a craftsman than an artist – probably 90% craftsmanship and 10% artistry. Playing in the perfect orchestral section is perhaps analogous to being a musical cabinet-maker, where every joint has to be perfect, the proportions exactly right and the surface perfectly polished every time. From a personal point of view, I turned what might have been frustration into enjoyment at the LSO as I listened to possibly the world’s finest woodwind players, reflecting that I was being paid simply to sit back and listen! I used my rare solo occasions to try to emulate the kinds of phrasing and legato that I heard the woodwind soloists producing with such ease and facility.
Of course, there are other opportunities; I have always thought that every good trombonist should be able to play any kind of music in every conceivable style. Any budding
professional that ignores this kind of diversification is condemning himself to a very limited field of activity. Playing in a big-band, for instance, or in a symphony orchestra are by no means mutually exclusive. Each discipline can contribute to the other; a perfect legato and a fluent general technique are equally important. The days of the pure trombone ‘jazzer’, with plenty of inspiration and no discernible technique, are long gone (if they every existed).
I should perhaps mention that it is possible to make a career as a soloist, which has been proved by the Swedish trombonist Christian Lindberg, who has managed to establish himself as an international soloist. When he announced, while studying with me, that he had decided to become a soloist, my immediate reaction was to say that it was an
impossibility BUT, if he were going to succeed he would need to establish the endurance of a woodwind player, some high quality repertoire and most important, an audience. I am pleased to say that having disregarded my advice he established all three! In our
conversations since he has become established as a successful soloist worldwide, he pointed out that my most important word was “but …” There are some young players today who could possibly emulate what Christian has done, but anyone considering a solo career must realise that the musical cabinet-making will be sacrificed and that Olympian standards of athleticism will be needed.
As one gets older, the problems of maintenance and the need to devote more time to it become particularly harder for brass players – unlike the office worker sitting at a desk, there is a strong component of athleticism involved. The need to keep in good physical
condition is obviously conducive to good health generally, but is absolutely essential to remaining a professional brass instrumentalist. I personally made the decision to cease playing professionally before the maintenance effort became excessive for me, but there have been many fine players on both sides of the Atlantic who have found it worthwhile making the effort in order to maintain the highest possible standards, well beyond what might be considered a normal retirement age.
Denis Wick July 2010