[Trombone-l] Free-buzzing opinions

[zemry1]

Great post/analysis, Sam!

-----Original Message-----
From: trombone-l-bounces at maillists.samford.edu
[mailto:trombone-l-bounces at maillists.samford.edu] On Behalf Of sabutin
Sent: Wednesday, February 07, 2007 6:27 PM
To: TROMBONE-L at server5.SAMFORD.EDU
Subject: Re: [Trombone-l] Free-buzzing opinions

Regarding players who are already somewhat accomplished on the 
horn...not necessarily world-class virtuosi, just people who can make 
some music on a brass instrument...free buzzing "works" for those who:

1- Approach it in a positive spirit of experimentation.

2-Are willing to modify their ongoing "grasping a life preserver" 
attitude towards how they have played up until the time that they try 
it.

3-Are not obsessive/compulsive about making it a NEW life preserver.

It's just a tool that makes things maybe 10% or 15% easier if used
correctly.

Not even an ESSENTIAL tool.

Try everything. Preferably under the guidance of someone who knows 
how to use the particular tools that you are trying. Remember...a 
power screwdriver is great until you set it for the wrong direction 
when you are trying to take a screw out. Then it can ruin the whole 
job.

Try everything, and use what works.

If it doesn't work for you oreven  if you do not THINK that it will 
work...fine.

That J.J. track with which so many people helped here helped me 
yesterday? Played in his absolute prime?

He plays with this INCREDIBLY large sound and with well controlled 
but very strong, rhythmic attacks from G above middle C up to D in 
this solo. The sound and attack capabilities tail off appreciably 
from there on down, although they are still more than just passable. 
He plays a long C an octave below middle C  after a couple of 
choruses of burning blues, and he barely manages to hang onto it. 
Having tried to play his m'pce (King M21) on equivalent 3B-ish horns 
I understand how that might happen, although I will admit that I do 
NOT understand how he got so much air through such a restrictive 
backbore/throat system. He had a great balance on that equipment in 
his own version of the "money" register. Had he wished to do so...and 
why would he, considering how successfully he was making great music 
using his own approach...but HAD he wished to do so, he could have 
learned how to buzz around and through that low C , connect with his 
higher setting and he would have had another octave or more of that 
great J. J. sound.

But why?

His whole art lay in compromise.

After playing the solo several times and talking about the formal 
musical aspects of it to some degree, I air-tromboned the positions 
for the non-trombone playing class. They were amazed. He only uses 
1st, 2nd and 3rd positions for about 98% of the solo. He SURRENDERED 
to the horn, and in that surrender he made great art.

But that was his nature.

If you are more of a Sir Edmund Hilary type...

====================

Q-"Why did you climb Mt. Everest, sir?"

A-"Because it's there."

====================

then feel free to experiment with the unknown.

You WILL get the equivalent of frostbite on occasion.

But you will also find new worlds.

Your choice.

(The choice of your genetic structure, really...)

Have fun...

S.



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