The U.S. Army Band "Pershing's Own"
The U.S. Army Band "Pershing's Own"
The U.S. Army Band "Pershing's Own"
Army Band
“Pershing’s Own”
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Opening Selection
Listening
Transcribing
Practicing
Performing Experience
Listening
It is important to have a broad listening library. The more you listen, the more you learn.
Following is a list of several players who have influenced me. Not all of them are lead players,
but they have had a profound influence on my sound, lead style and jazz.
Transcribing
Listen for the style traits and transcribe them.
Equipment
Finding your lead sound is something that will occur over time. Most players have a sound
in their head and they journey to achieve it. There are several things you can do to acquire that
sound.
There is nothing wrong with playing a large horn on a lead book. The sound will be big and
you will have plenty of presence, but it will probably not be bright. The lead player should have
the brightest sound.
A small bore horn will give you a brighter sound. It will also cut more and be easier to play
all night.
In addition to the small bore, the mouthpiece shape is very important when trying to achieve
a certain sound. Most mouthpieces today are bowl shaped. I have found that the funnel shaped
(like a french horn) not only produce a brighter sound but also will better fit the small bore horn.
What I mean by that is that you will have more pockets for notes as you ascend. It is important
that your mouthpiece fits your horn. A small bore horn with a large mouthpiece is a totally differ-
ent sound. Also the “bumps” in the high range will peter out early and you will end up faking
the extreme upper register. However, this may be the sound that you want and there is nothing
wrong with that.
There is nothing wrong with playing a “pea shooter.” If you plan on being a commercial
player then you need to a have a commercial sound. You can achieve this with the right equip-
ment.
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Putting on your style!
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The Fall
There are basically two types of falls: the “Slide” (or air chamber) and the “Partial.”
The Scoop/Bend
Experiment with the length of your scoop or bend. Using the wrist is good technique and
will set you free! Start slow and incorporate it in to your technique -- use with vibrato too.
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The Shake
The shake is a lip slur and may be metered or unmetered.
The Flip
The flip is basically an ornamentation. It is best achieved by blowing across the grain.
Improving Accuracy
There are a few performance techniques you can use to decrease the chance of a “clam.”
The most important thing is knowing when and where to breathe. When you are playing a line
and you have a big jump or difficult rhythm, place your breath wisely. Breathing before a large
leap will more than likely upset your embrouchure and you may crack or even worse, miss it.
The slurs indicated are your breath phrases -- don’t breath in all of the holes.
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Upper Register
If you want a lead player’s range you must start thinking in that range when you pick up the
horn each day. The first note I play everyday is an “F” above the staff.
I consider this to be the middle of my range. The only way to play high is to play high. A
good exercise is to play etudes 8va. You may do this with Rochut, tunes, scales, anything!
Power
You must have command of the upper range, both with power and endurance. This exercise
will build endurance as well as power. Practice it in all keys.
Flexibility
It is important to have flexibility and one of the best ways to achieve this is to play lip
slurs. There are many books published on this topic. Being flexible will make many of the tech-
niques mentioned in this presentation almost effortless.
Vibrato
Vibrato is probably one of the most difficult things to do well on a trombone, especially for
young players. There are several ways to do vibrato. I prefer a wrist movement as opposed to the
entire arm. Start off with a slow pulse and develop it from there.
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Section Vibrato vs. Lead Vibrato
Each situation is different and sometimes you will use both of these methods.
Here’s That Rainy Day ------------------------------------------------------ Jimmy Van Heusen /Johnny Berke
original arrangement by Dee Barton
edited by Matt Niess
Forties example
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Mutes
Mutes are important and you should have them at every job. They are essential for the big
band trombonist and studio work. Have a cup, straight, bucket, Solotone, pixie and plunger.
Carry these and you will always be prepared. There are certain styles that require mutes. For
example Count Basie’s Al Grey and Ellington’s trombonists used pixies (or a trumpet straight)
with a plunger. Tommy Dorsey regularly used a Solotone mute for ballad playing.
Some players listen very carefully and blend in with the section…Some players don’t listen
to anything.
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Supporting the Lead Trumpet
You also are part of a big band. When the whole band is playing you become a section
player. You need to listen to the lead trumpet as you expect your section to listen to you.
The U.S. Army Blues Jazz Ensemble Brass & Rhythm Sections
Shenandoah-------------------------------------------------------------------------------------------------------- Traditional
arr. Tony Nalker
Being Prepared
Always over-practice for a performanc. Practice things that are much more difficult than you
have to perform. By doing so, you will decrease anxiety and will have more confidence. You may
even find yourself “lost in the moment” or “in the zone.” That is a wonderful place to be.
Know Transposition
Sometimes you may find yourself on a gig where transposition may come in handy. Learn
Bb and Eb transpositions as well as all other instruments.
Sectionals
A Sectional is the best way to find out what is happening in your section. In addition to
rehearsing your big band music, play quartets and have some fun.
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Pyramid of Sound
The inner parts need to come out. The third player is stuck with the “weird notes,” but
these are the hip notes in the chord.
Confidence
The moment you doubt yourself is when you will crack or miss a note. Always be confident
and when you do miss, get right back on it like it never happened.
Excerpt: “The most important thing is the next breath you take. Try holding your
breath...........see what I mean!”
Don’t get depressed on a bad performance. Your self worth is not based on how well or poorly
you play the trombone on a particular concert. You do need to be a good player but understand
that everyone has a bad night now and then. If it was easy everyone would be doing it.
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Jobs and Opportunities Playing Lead Trombone
American Military Big Bands
(Best jobs in the world!!)
U.S. Army Blues Jazz Ensemble
U.S. Army Jazz Ambassadors
U.S. Navy Commodores
U.S. Air Force Airmen of Note
U.S. Army Jazz Nights
U.S. Air Force Falconaires
etc…
Theme Parks
Disney
Busch Gardens
Paramount
Six Flags
etc……
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Matt Niess is the lead trombonist and Senior Producer with The U.S. Army Blues Jazz
Ensemble in Washington, D.C., where he is also the Jazz Coordinator and Co-chairman of the
Eastern Trombone Workshop. He is a former high school band director, has taught on the jazz
faculty of both Shenandoah and Towson Universities and currently serves as Director of Jazz
Studies and Trombone at West Chester University. He is a graduate of West Chester and George
Mason Universities. Niess is the founder and director of The Capitol Bones, a jazz trombone
ensemble, which has received national recognition and has performed across the country.
He has appeared as a soloist, clinician and adjudicator at jazz festivals and universities to
include North Texas, Tennessee, Texas at Arlington, Eastman, George Mason, West Chester,
Shepherd, Towson, Las Vegas, Longwood, North Carolina, Gettysburg, Shenandoah, St. Mary’s,
James Madison, and others.
He has produced three CDs with The Capitol Bones and The Capitol Bones Big Band, and
has recorded as a sideman on over 100 projects with The Washington Winds and The Studio A
Big Band, Warner Brothers Publications, FJH Music, Carl Fischer Music, Belwin Publications, Hal
Leonard Publications, FOX TV, HBO and independent projects.
He has studied trombone with Dr. Donald S. Reinhardt, Al Lube, H. Lee Southall, Dr. Paul
Shultz, Dr. Milt Stevens and Dave Steinmeyer.
[email protected]
www.thecapitolbones.com
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