Light touch

[tbdana]

I am of the belief that many Trombone players pound too hard on everything they play. Power is their go-to or default approach. And especially anything difficult, they power through.

To my way of thinking, this is exactly the opposite of what we should be doing. We should practice and play everything with the lightest possible touch we can muster. That is especially true with difficult passages. Even loud passages. Loud passages should be played with as much finesse and as light a touch as possible. We should approach everything with the goal of being as efficient as possible, and playing with as little effort and motion as possible. We should work to make everything we play as smooth and uniform sounding as possible.

We should not be playing “bully Trombone.”

Do you disagree?

[harrisonreed]

I don't disagree but I'm so tired of hearing classical trombone players with the most diffuse (they think that it's dark...) sound and the most "thwah-thwah" articulations (I don't know what they think that is, but it's a choice...).

I think that people do that thinking they are playing tastefully and light, but it just sounds sloppy and diffuse.

[tbdana]

Yeah, I agree, but I don’t see those as connected. A light, efficient, finessed touch doesn’t do any of those things. It forces you to focus in and play correctly.

[harrisonreed]

Ah you beat my edit. Yeah I agree they aren't actually connected. But I've heard players who think they are playing light and tastefully and it's as I describe above. So I think that the execution of a light touch can be the hang up.

People should just play "good" I guess

[tbdana]

Ah you beat my edit…

People should just play "good" I guess

Yeah, I guess I should have just said that.

[harrisonreed]

As a follow up, are you talking about mostly the slide efficiency, or the tongue efficiency, or the articulations, or volume, or how much air is being pushed? All of the above?

Cuz if it's all of the above ... Yeah you could just say "everyone should just learn the damn secret of playing brass instruments, like I did.".

It's no easy task! I'm somewhere deep in the woods on the path trying to seek that.

[EriKon]

The problem I have with this kind of posts is that it suggests that there's only this or that. Black or White. There are so many nuances in between.

And there are for sure trombone parts out there that are written to be aggressive/heavy/loud/even bulky if needed. And there are also trombone parts that sound best when played as delicate and light as possible.

So my advice would be to stop think like something is only light or bulky and there are just those two options. Those are poles the end of each section.

[AndrewMeronek]

I don't think I agree completely - there is a time and place for "powerful" playing. But yes, we need to be able to turn it off.

What we DO NOT EVER turn off: our ears. Too often, I see people crank on the aggressiveness and stop listening.

[AndrewMeronek]

That is especially true with difficult passages.

Yes!!!

I definitely agree here. Difficult passages should be approached with clarity, good time, good pitch, etc. - not physically trying to muscle it out.

[tbdana]

The problem I have with this kind of posts is that it suggests that there's only this or that. Black or White. There are so many nuances in between.

And there are for sure trombone parts out there that are written to be aggressive/heavy/loud/even bulky if needed. And there are also trombone parts that sound best when played as delicate and light as possible.

So my advice would be to stop think like something is only light or bulky and there are just those two options. Those are poles the end of each section.

I mean, I kind of agree, but I reject your notion that I'm talking in absolutes or that we shouldn't strive to be as efficient as possible. After all, I did say,

Loud passages should be played with as much finesse and as light a touch as possible. We should approach everything with the goal of being as efficient as possible, and playing with as little effort and motion as possible.

I didn't say we should never play anything loud. Or aggressive, or whatever. What I said was that we should bring as much efficiency and finesse to it as possible. Loud, but under tight control. Aggressive, but as little effort and motion as possible. See what I mean? I never intended to say that everything should be played soft.

People often use effort and aggressiveness as a substitute for playing ability. And that is as bad as it gets. It's a huge problem that holds people back, yet no one ever talks about it.

Holding myself out a good example is something I try to avoid, but man, I can play super aggressive, yet by watching you'd never know. No matter what's coming out the end of my bell I always look the same: no pressure, no huffing and puffing, no veins popping out, no unnecessary movement, no tension in my body. Always relaxed, always efficient, and always looking like I'm just taking a stroll in the park, even when I'm playing fff or high F or 16th notes. It's all about being relaxed and efficient. Musicians will sometimes say to me, "You make it seem so effortless." And, to me, that's the best compliment. That's what success looks like.

Also, I do believe that when it comes to mastering the trombone, less is more. Less effort, less wasted motion, less movement of the embouchure, etc. It should all be done with mindfulness, efficiency and finesse IMHO. Even Mahler. Even funk. Even rock 'n roll. It's about being under control and using no more movement/muscles/effort than is necessary. "As efficient as possible," as I said multiple times. We should never use any more effort, movement, or whatever than is absolutely necessary to play the music.

I'm guessing we really don't disagree. Maybe we do. But I suspect I just made it seem like I was saying everything in the world should be played mezzo piano, and that's not at all what I meant. We have to play the music. The music is everthing. But we should play it like a master. Effortless. Not like a teenager in marching band.

[EriKon]

The problem I have with this kind of posts is that it suggests that there's only this or that. Black or White. There are so many nuances in between.

And there are for sure trombone parts out there that are written to be aggressive/heavy/loud/even bulky if needed. And there are also trombone parts that sound best when played as delicate and light as possible.

So my advice would be to stop think like something is only light or bulky and there are just those two options. Those are poles the end of each section.

I mean, I kind of agree, but I reject your notion that I'm talking in absolutes or that we shouldn't strive to be as efficient as possible. After all, I did say,

Loud passages should be played with as much finesse and as light a touch as possible. We should approach everything with the goal of being as efficient as possible, and playing with as little effort and motion as possible.

I didn't say we should never play anything loud. Or aggressive, or whatever. What I said was that we should bring as much efficiency and finesse to it as possible. Loud, but under tight control. Aggressive, but as little effort and motion as possible. See what I mean? I never intended to say that everything should be played soft.

People often use effort and aggressiveness as a substitute for playing ability. And that is as bad as it gets. It's a huge problem that holds people back, yet no one ever talks about it.

Holding myself out a good example is something I try to avoid, but man, I can play super aggressive, yet by watching you'd never know. No matter what's coming out the end of my bell I always look the same: no pressure, no huffing and puffing, no veins popping out, no unnecessary movement, no tension in my body. Always relaxed, always efficient, and always looking like I'm just taking a stroll in the park, even when I'm playing fff or high F or 16th notes. It's all about being relaxed and efficient. Musicians will sometimes say to me, "You make it seem so effortless." And, to me, that's the best compliment. That's what success looks like.

Also, I do believe that when it comes to mastering the trombone, less is more. Less effort, less wasted motion, less movement of the embouchure, etc. It should all be done with mindfulness, efficiency and finesse IMHO. Even Mahler. Even funk. Even rock 'n roll. It's about being under control and using no more movement/muscles/effort than is necessary. "As efficient as possible," as I said multiple times. We should never use any more effort, movement, or whatever than is absolutely necessary to play the music.

I'm guessing we really don't disagree. Maybe we do. But I suspect I just made it seem like I was saying everything in the world should be played mezzo piano, and that's not at all what I meant. We have to play the music. The music is everthing. But we should play it like a master. Effortless. Not like a teenager in marching band.

Definitely much more agreeable and I know what you mean and initially meant. I agree with some points and still it is too restricted for me.

What I don't agree with: As a teacher for jazz trombone in an academic setting, I basically never/very rarely see people using too much aggressiveness or effort as a substitute for playing abilities. The opposite is what I observe on a regular basis. People play controlled at all costs which leads to no dynamics being used, no extended range being used, no risk is taken in a solo or melody section. That's for sure one way to go, but that's the opposite of what I like and enjoy in most cases.

Another problem I see with talking about using as little effort: people do misunderstand and use as little effort as possible on the wrong end. Especially in terms of air support and in terms of slide work which leads to no projection in sound and wonky pitch due too "relaxed" slide movement. That is what I observe in my teaching more than the opposite. And for sure this may differ somewhere else.

I definitely agree about some points and in general being efficient in playing is a great thing and very much what everyone should aim for, not only in difficult passages but especially there. All agreed. I really find it impressive watching players like Jimmy Cleveland, JJ, Frank, Carl who stood like a block of stone and played the greatest things which makes it look as efficient as it gets. But I also love watching players like Freddie Hubbard (not trombone but first one that I can think of) where you can see that they're using every percentage of their energy and skill to make it happen. And for sure he's still efficient, otherwise he couldn't play what he played, but you can tell it takes effort what he didband that doesn't make it worse. At least for me.

[timothy42b]

All agreed. I really find it impressive watching players like Jimmy Cleveland, JJ, Frank, Carl who stood like a block of stone and played the greatest things which makes it look as efficient as it gets.

Block of stone vs apple on head:

https://www.facebook.com/share/p/12J9YofuSKW/