For those of you who aspire to become professional trombonists, this recent article may be of some interest. I posted it to a trombone discussion list and the response was overwhelmingly positive. Apparently, many of us need to be reminded about what it is that separates the very good players from the great players. This is what I observed:

July 25, 2002:

I've had a strange week and some revelations have occurred. Normally, I might
keep such revelations to myself (I hear you cheering), but a conversation
with a good friend made me reconsider. Some things I've witnessed might be of
value to some listers....then again, some may wish to delete it. But I'm
sayin it anyhow:
In the span of 3 days, I've played with my beloved community brass band, done
a 4-hour session in a network recording studio, and peformed/rehearsed with a
truly world-class symphony orchestra. I won't tell you which was most
musically gratifying:-) And I certainly don't say this to brag. I say it
because I've seen some eye-opening stuff. The players I've worked with this
week have run the gamut, much like this list: from weekend warrior that works
a 60-hour "real gig", to 6-figure symphonic specialist and everything in
between (aspiring student, commercial stud, nothing-better-to-do voyeur,
struggling freelancer.....) It's exciting really, to spend a week this way.
Most of my adult life, no ALL of it, has been a matter of me supporting
myself by playing trombone. I simply could not afford to do a free community
ensemble. I'm sure many of you know what I mean. Inevitably, you're gonna get
called to do a pay gig the day of the community band's concert......and you
MUST take it. You gotta eat. This just builds resentment amongst your friends
in the band and never really works to anyone's advantage. Or so I
thought.....doing this Brass Band is simply one of the best musical
experiences of my life. The rep is just too fun, the history and tradition of
brass bands is fascinating and infectious, and you may never see an Eb horn
again in your life! (Well, we can dream:-) If you're a gigger and think you
cannot afford to do free gigs, I strongly encourage you to reconsider. The
social bonds will only make you a better musician and the peripheral gigs
might make it time well spent. And despite all that, it reminds you of why
you do what you're doing in the first place! It's fun as heck. If you don't
have a local brass band and can in no way afford to start one, (even if you
hit up family members for a loan), there are equally compelling ensembles out
there...kind of:-) No, really, join a community orchestra or band, or
trombone choir. Start one if you have to....this list would probably love to
assist in getting your bone choir up and running. That was one revelation:
join a group for the FUN of it, and disregard the pay.
The second revelation (and I only had 2, promise) was this: SOUND and TIME
are the elements that separate the great from the good. There are folks in
the community band that could give the symphony guys a run for their money
when it comes to "chops". I've heard computer analysts with Steinmeyerlike
range and 4-star chefs with Dizzylike fingers. I've also seen symphony
players get worked up over solos that the weekend warrior rips off in his
sleep. It's a thin line of separation. BUT, the folks in the orchestra and
the ones in the studio NEVER allow technique to interfere with their SOUND.
Everything they do is arrived at through the filter of SOUND. It is of
primary concern at all times: high, low, loud, soft, fast, slow. Always with
the best possible sound. I don't believe that all the folks in the brass band
are incapable of doing this. Indeed, I know for a fact that many can. They
simply DON'T; either by choice (doubtful) or by mere forgetfulness. Perhaps
the technique is all-consuming and sound quality just doesn't find cranial
space. But when reminded, they respond almost without exception. Perplexing
and frustrating that can be. Very often, these players will gripe about
so-and-so in town and "why do they get more gigs than me", etc. We've all
been there. But sometimes I feel like telling them: "it's all about SOUND.
Never forget that and you'll work plenty. But you must NEVER forget it. Not
even for one gig, or even one piece, or phrase, or note. Never. Never ever.
This what the great players are doing every time the horn hits the face. And
you can do it, too. You just don't, or aren't, or have forgotten. Don't
forget!" Once that becomes your modus operandi, find the groove. Beethoven
has a groove, Bernstein has a groove, Eric Ball has a groove, Bordogni, Basie
oozes groove. Whole notes have groove, and scales, and isolated eighth-note
hits. All musical events have groove, even silence. Find it and let it
define everything: your dynamics, your articulation, your aggressiveness,
your intensity, your quiet. Don't tap your foot. That ain't the groove. If
the foot taps itself, cool. It probably has the groove. But if the foot's
tapping you, you are not finding the groove. The best part of this task is
the fact that you can find the groove by surrendering yourself to it. You
needn't, and probably shouldn't, work to find it. You should allow the groove
to find you, then just hop inside and enjoy the ride. This is what the great
players are doing. Even when these guys are warming up, I feel groove. And I
hear good sound. Weekend warriors, students listen up: you can do it just as
well and just as easily. It's innate in every human willing to surrender to
it. It has been my experience this week that the great players surrender and
the others do not. They inexplicably often seem to FIGHT the groove. Again,
I doubt very much whether this is by choice. We just sometimes forget, right?
WRONG. You can't forget. Ever. Never ever (see above). The horn leaves the
case and this happens: you get lost in your sound and let the groove come
find you. You'll work plenty. And have fun.

Dr. Tom Gibson
Brass Dept. Coordinator
Georgia State University
TboneGib@aol.com
(404) 651-1740
trombonelessons.com