Flash

Flash.

Flashy warm-up versus solid performance. They are not necessarily exclusive or inclusive, so why?

Lightning-fast lip flexibilities. High notes that bring dogs running. Blazing fast double tonguing. Rock splitting fortissimos.

Call me grumpy but I am not impressed.

A great rule of thumb for the mature musician:

“Only have enough chops for the gig.”

I once read a list of “dos and don’ts” for the studio musician. Gary Grant, one of the elite trumpet-playing musicians/producers in the LA studios assembled the great list. Find it.

If you have ever been to an audition, you will know what I am talking about: A room full of dogs trying to pee highest on the tree. One thing is almost assured: the eventual winner is not in that group. The winner has already warmed up and is resting somewhere. 

Think about it. Who do you want to impress, the other people auditioning or the committee?

On a related note, here is a personal story:

Many years ago I was engaged to play Trombone II on the Stravinsky Octet---I won’t reveal where. Rehearsals had been fine and easy. I felt very comfortable on the part. The performance went well. The person playing Trombone I had a couple of minor scrapes…nothing serious or too noticeable to many. A few days after the performance I had occasion to see the person again, who was an older, more experienced musician than I. He offered to me that I needed to develop a flashier routine to impress people when I was warming up. My warm-up the night of the Stravinsky consisted of long tones to refine my sound and slow scales, slow slurs, and some exercises to hone clear articulation. I was rather speechless and responded, “I figured the purpose of a warm-up was to prepare me for the performance, which was at a high level, with no errors.” 

What I wanted to say was, “You mean flashy like you, and have troubles on the concert?”

Of course, I was young and hadn’t yet earned the right for such honesty.

But…..

It did get me thinking. Why do trombonists practice all this extra stuff that is never required in the actual music? Yes, lip flexibility and sound technique is important, but at the expense of solidity of performance? No. I am lazy…why do all the extended stuff…especially when the basic sound is second-rate? My advice…work on the stuff that matters.

I can assure you that the very best players possess both sets of skills. During my experiences with the Chicago Symphony and the New York Philharmonic I hear all sorts of great playing…as you can imagine. Their warm-up routines are models of great brass playing. One beautiful note after the other with a sound that is full, rich, and appropriate for the orchestra.  One great breath after the other. One in-tune note after the other. Are there virtuosic flexibility exercises going on? Occasionally, but the over riding attitude is one of:

“Prepare for the day’s work, not to be the next Arthur Pryor.”

Or….

“Only have enough chops for the gig.”