Cool Stuff

February 3rd, 2010 by Christan Griego

So I’m at work with my Facebook page open in the background. I get an IM and check it out. I meet a trombone player from Chile and the next thing I get to see/hear is this:

Pretty cool. I love my job!

One Response to “Cool Stuff”

  1. Eric Wik Says:

    Dear Sir/Ms:

    When I was a student of Orlando Giosi, for some 10-15 years principal trombonist of the San Francisco Symphony, he often told me in an Italian accent, I suppose Milan or Rome fashion, that the important ingredients for a professional tenor trombonist was to be able to handle whatever music was handed me, whether pop, big band, or symphonic styles. My job was to convey the meaning, or emotion, of the music, depending on the preferences of the conductor. Most importantly, he would say, when he did not hear sufficient expression or interpretation in a piece I did–he would insist, “Sing, sing.” And, in a piece that called for great asseveration and beauty: “Dolce!” My intonation was to be right on; I was to play as though I had practiced six hours each day. If I made a mistake, he said, that was all right, occasionally, since not always does the body follow the dictates of the mind. He was preparing me for a career in the symphony: I knew the clefs, all keys, arpeggios, articulations, and every velocity imaginable: but my tone and intonation were the central things! I had to be able to pick up the trombone, no warm-up, and play with nonpareil beauty. That was it. He knew I could make it, and so he prepared me for the occasions and the kinds of music I needed to know (I think I memorized Arban’s Conservatory Method, some jazz books, books in other clefs). Special effects, a freak lip, those were out of the question. I suppose I was free to do that at home. The musicians in the SF Symphony, I am told, would try to ascertain the mouthpiece or mouthpieces Orlando Giosi used, and were curious about his Conn 8H. I remember that remarkable teacher with great love and respect.

    Eric Wik

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