Graham Ashton Master Class

November 14, 2004

Notes by Robert Walliczek

 

-Trombone Trio-

***First Piece***

• Selection: Written by Ray Charles, who played with Ashton in the Philip Jones Brass Ensemble in England.

• Ashton tells them to move closer together on stage, and to make a connection between each other.

• Says they need to play together, in the same style; good as soloists, play better together.

• Make “the upbeat part of the music” (breathe together).

• Tells the trio to sing their parts; “put some joy into the music” as well (swells, etc.)

• “3 equal voices” – same technique used in playing

• Make a connection between what is in your mind and what you play.

• Has the bass trombone player alternate between singing and playing a problematic part.

• Take more risks within the ensemble – it builds confidence.

            -For example, vary dynamics greatly; big difference between ff and f.

• Sometimes it is necessary to “let the music breathe” between phrases.

• Move trombone slide fast or slow? Fast, but stay relaxed.

• When you sing a passage, sing it “like it’s the most beautiful thing”.

• Keep your throat open (play like you sing) when you play – otherwise, the diaphragm doesn’t work; it fights against your throat.

• “Did anyone ever tell you that playing a brass instrument was going to be easy? They were lying.”

• If you’re going to take a bigger breath, “make it part of the music”.

• “Be confident. The Bb will speak.” (low Bb on trombone)

***Second Piece***

• Is there any imagery when playing? Any emotions?

• The most important thing about a note is the production. How you should produce it is “dependent upon the emotion” of the music. the production gives the note its character. In a study, a music teacher once removed the beginnings of various notes played in a hall. It was hard to distinguish between those created by a voice and those by a trombone.

• Works with dynamics in the group: individual dynamics can vary, but everything else should stay the same between players (breath, articulation, etc.); remember to listen for everything in the group when changing dynamics.

• Tells them to sing their parts, again. Make it sound “really lyrical and beautiful”.

• When you’re playing high notes, don’t make them sound like they are high.

 

-Phil: C Trumpet; Dan: narrator-

• Selection: 5 poems by Emily Dickinson

• Think about the theater of the piece.

            -trumpet is only supporting the voice; people want to hear the words-

            -Dan stands closer to the audience, a little off to the right.

            -Phil is farther back on stage, off to the right.

***PAGE 1***

Ashton (to audience): “Anyone got a better bucket mute?”

Dan (to Ashton): Everyone’s got a better bucket mute!”

Ashton: “...You give comedy lessons?”

• “The bottom notes can be as exciting as the higher ones.”

• “Think of the breath as being part of the music.”

• Sometimes, vary brightness of notes, i.e. when jumping to a higher note.

• Bucket mute may make certain notes out-of-tune, i.e. low A on C trumpet.

• Shape notes based on how you want them to be shaped; you can practice this on the mouthpiece.

• Buzzing on the mouthpiece: “If it sounds beautiful here, it will sound beautiful out of the bell.”

• “The quieter you get, the more support you have to use.”

• Ab on C trumpet is flat; when playing C to Ab, bring both notes up in pitch a bit.

• When playing softly: slow air, not less air.

• The concept of blowing warm air on your hand is to “open your throat”.

• What effect does resistance have on the air?

            Techniques to get rid of the resistance:

1.     Blow through the leadpipe after removing mouthpiece (and tuning slide).

2.     Play through the music this way.

-       It is less of a problem for trombone than for horn and trumpet.

-       You can replicate the feeling when playing (same as #2 above).

• Rethink the corks on the mutes; these affect intonation. Perhaps adjust how far it goes into the bell.

• Regarding repeated musical patterns: make sure the beginnings – or notes which fall on the downbeat – are rhythmically accurate, lying directly on/off the beat. Emphasize these first notes of repeated phrases (thus exaggerating the idea that it is repeated).

• When you are uncertain while playing, things can more easily go wrong.

• The lifestyle of a musician has greatly changed. There is more competition. Young players need to think about what makes them a “musician”. It is not just playing; it is also discussing/talking about it, teaching, writing about it, etc.

• “Figure out what you need to do to get out on stage and feel totally relaxed.”

• Get an idea of what a stage feels like; walk out there 20 times (like you will at the performance) in order to become familiar.

• Choose a piece to perform because you really like it – even so much that you can play it from memory.

• “It’s very liberating,” playing from memory.

“Lifting the music off the page is really quite a journey.”

• What was the composer thinking? Give the audience your interpretation.

• “Really relax, enjoy your playing; keep your shoulders down.”

 

-Brass Quintet: 2 tpts, horn, tbn, tuba-

• Seating (from left to right): Trumpet, Horn, Tuba, Trombone, Trumpet.

• Selections: 4^th movement of the John Cheetham “Brass Menagerie”.

• Ashton says there are challenges regarding balance within a brass quintet.

-Tuba and horn are conically-bored and have softer sounds.

-Trumpets and trombone are cylindrically-bored

-Therefore, substituting alto trombone for horn and bass trombone for tuba might be desired.

• Ashton repositions them to an alternate seating.

            -From left to right: Trombone, Horn, Tuba, Trumpet, Trumpet.

• Similar interpretations of phrasing within the group.

• Has the two trumpets sing their parts to unify the balance and phrasing ideas in a homo-rhythmic passage (the opening section).

• Bring out the horn part, often a dynamic stronger than you like. (Horn plays homo-rhythmic part with 2 tpts.)

• What is your approach to intonation in a chamber ensemble?

            -Don’t rely on the instrument to be in tune.

-Keep trying to play a note in-tune, and it will eventually get there; don’t just keep sitting low on it.

• Singing helps with intonation and balance.

• For tuba, try using alternate fingerings instead of constantly adjusting the slide.

• Be conscious of rhythmic accuracy, especially in homo-rhythmic sections.

• When you’re double-tonguing, the diaphragm should support even more.

***Questions***

• Is it alright to switch to another seating between pieces?

-“Sure!...Anything that...gives you the sounds you’re looking for... (also, remember to) go with the composer’s wishes.”

 

-Brent: C trumpet-

• Selection: Kennant “Intrada”.

• Getting different colors out of the horn: experiment!

            - Play a C.

            - Play it a little low in intonation.

            - Play it pp.

            - Play it with “warm air” – it should sound darker. The more open the cavity, the darker the sound.

            - “The trumpet doesn’t play you – you play the trumpet.”