Flashy warm-up versus solid performance. They are not
necessarily exclusive or inclusive.
Lightening 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 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. 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 of
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.”