[Trombone-l] "Sound in Motion" by David McGill

[ALEX ILES]

I just posted this over at the tromboneforum and thought I'd share it  
here too...

Best,

LX
==========================================

Hi all,

Wasn't sure the best place to put this topic. Thought I'd start here.

I just finished reading this book and found it very interesting.  
David McGill is principal bassoonist with the Chicago Symphony--not  
just some "ivory tower academic"!

The book's sub-title is, "A Performer's Guide to Greater Musical  
Expression". In a thoughtful and well-written book, he has tackled a  
challenging and, some might say, controversial subject.

Using the teachings of the highly influential oboist and legendary  
musical pedagogue, Marcel Tabuteau as a foundation, he lays out a  
well structured out and logical approach to shaping one's musical  
choices. Lots of food for thought. My first impression before diving  
into this book was, "How can anyone really TEACH this kind of  
stuff?", but after reading Mr McGill's thoughts on the subject, I  
think there are lots of valuable ideas to explore,  He also shares  
his own insights and experiences about developing one's musicianship  
in general.  Even if you are uncomfortable with the very idea of a  
"system of expression", there are still some interesting ideas here  
to play around with in your own playing.

Without going into too much detail here, I should say that the  
essence of David's message is that when you hear a great perfomance,  
it is no accident or based solely on a player's "inspiration in that  
moment". Great PROFESSIONAL players prepare themselves to play great  
and THINK about how they are going to communicate every note and  
every phrase they play.

In an early chapter, David shares one of many great Tabuteau one  
liners...

[from a masterclass]

"If you think beautifully, you play beautiful [sic]. I believe to  
play as you think more than to play as you feel because how about the  
day you are not feeling so well?"

David writes in a conversational, concise and at times, very humorous  
way too. With almost every point he makes, he uses excellent musical  
examples too. Just reading his "bassoonist's" take on "The Ride" and  
"Bolero" will be worth the price of the book to most trombonists.

I highly recommend this book if you are looking for interesting,  
thought-provoking and fun summer reading.

Anyone else familiar with this book or Tabuteau's teachings?

I am curious to hear other views on this book, Tabuteau's teaching  
approach, or other thoughts about musical expression in general!!

Best wishes,

LX