Wycliffe Gordon

Q— When should a pixie mute be used with the plunger? When should it NOT be used? —Larry Dwyer
A— This is completely up to the discretion of the musician or the director. Find the desired sound (with or without the mute) and do whatever is closest to that.

Q— Is a regular hardware-store plunger the best? —Larry Dwyer
A— Generally yes, but don't forget to check the size of the plunger against the bell, as a plunger too large or small would produce minimal results.

Q— Some players cut a hole in the center of the plunger. Do you recommend that? —Larry Dwyer
A— This is a matter of taste. I would suggest that a new player try both ways to find what he or she is comfortable with. Practice is the key. This takes time and the more time one spends the more one will become familiar with the many possibilities of the plunger mute. This is when we become more in tune with what is comfortable and good.

Q— Are there any other tips about plungers? —Larry Dwyer
A— Depending on the type of plunger, it may be good to cut the lip of the plunger out so that the surface is smooth on the inside. Be careful to not cut yourself when doing this, as a sharp object like a razor is most effective for a clean cut. Get three or four plungers and try different things. What works for me may be a little different for you.

Q— So many courses on improvisation focus on instruments such as the saxophone or piano. How do you advise a trombonist to develop his on improvisatory style? —John Aram (Switzerland)
A— An improvisatory style is something that the trombonist (or any instrumentalist) should concern themselves with only after attaining a certain degree of mastery on the instrument. The rudiments of trombone playing should be addressed first and foremost, as the instrument is difficult to master. A basic knowledge of music theory is important as well. Transcribing solos to develop vocabulary is also a must. Listen to the greats: JJ Johnson, Jack Teagarden, Joe "Tricky Sam" Nanton, Lawrence Brown, Buster Cooper, Al Grey, Vic Dickenson to name a few. Also try to imitate the artist by catching all of the inflections that make each trombonist individual.

Q— How does a trombonist perform on equal terms with saxes, trumpets etc ? —John Aram
A— We don't. The trumpets and saxophones are the most popular of the jazz instruments, but the trombone has a far greater range of voices that can be created. It is OK for a trombonist to develop the technique necessary to play with the agility and velocity of the other instruments, but the voice of the trombone is unique in its own right and when one finds their voice on the instrument, it is beautiful and inimitable!! Find your individual voice in TROMBONE language and you will find happiness within yourself.... There is a much simpler answer... PRACTICE, PRACTICE, PRACTICE!!!

Q— More and more trombonists are using large bore instruments in jazz. What are your thoughts about this? It does not translate very well for big band, but do you like the idea of this for small group work? —John Aram
A— Everyone has to do what they're "hearing". If one feels comfortable on large instruments, then by all means play one!!! It is easier for the smaller horns to cut through in big band settings, especially when playing parts in a tutti situation (band all playing together at once), but there is no substitute for practicing to get some music together. Hmmmmmmmmmm.... I also play a Bach 42B, but I prefer to play on the smaller horn for lead parts and soloing, etc.....

Q— How would you help a student who has had a good, thorough classical training but now wants to play jazz?
How do you go about teaching the elements of improvisation to them? —John Aram
A— Good classical training is a good start. Good "musical" training is a great start. The elements that make good all around musical training include ear training. This is the key to developing good improvisational skills, at least this is a good start. Listening to the idiom plays a major role in the all around development of jazz. Performing is also another key factor to the development of this music. One has to make practical use of the skills that he or she is trying to hone, and what better place than the bandstand to try out what is being "worked out" in the shed.

Q— Do you have any suggestions on how to achieve that really wide vibrato that I hear the Ellington trombone section use? —Scott Casagrande, John Hersey High School, Arlington Heights, IL
A— I'm not sure of which recordings you're referring to, but most of the time the vibrato is done with the embouchure and not the slide (like Dorsey). It should be practiced as a section if it is to be attempted as a section. Small things like this make a big difference in the sound of the section.

Q— Do you think that it is important for students to imitate that Ellington trombone section wide vibrato in performances, particularly on the Essentially Ellington audition tapes? —Scott Casagrande
A— I think that the trombonist should imitate the tapes only if they are comfortable doing so. The thing to remember is that the musicians on the tape were playing what was comfortable for them. This is what will be helpful when attempting to execute the music for the competition. If the students desire to imitate the style on the recording, be sure to study it thoroughly to give a good presentation of the original.

Q— My son is going into jazz performance how many hours should he be practicing a day?
—Billy Callaway, Baltimore Lutheran, Baltimore, MD
A— This is dependent upon the hours that are available for him to practice. Naturally the more he can practice, the better he will become as a trombonist. The most important thing is to practice consistently and preferably about the same time every day. Work on the basics and address weaknesses.

Q— When you want to get a smoother attack where should the tongue contact the mouth? —Billy Callaway
A— I think that it is very important to sing the desired attack then attempt to play what is sung into the horn. The type of attack will depend on several things like tempo, register, desired effect, etc., so if one sings what he or she is trying to play, playing will become less difficult. Try placing the tongue in different places when working this out. Our oral cavities differ from individual and what works best for me may be a little different for you.

Q— Do different mouthpieces help with higher jazz improvisation? —Billy Callaway
A— Practice helps with everything. Only after many hours of practice should one be concerned with mouthpieces. Most students start with the Bach 12C and move on to a 6.5 AL.

Q— What is the deal with the smaller trombones like the one Slide Hampton plays? —Billy Callaway
A— Smaller trombones tend to cut through a little more when playing lead parts in a section and also for soloing they're little easier to work with, but once again this is the preference of the individual. Robin Eubanks plays a large horn and sounds great.

Q— Is there a good technique book on working on natural slurs and how to use them in jazz soloing? —Billy Callaway
A— There are many good method books for general trombone playing such as the Arban's Method, Rochut, Tyrell, etc. I think that it is very important for the young trombone player that is interested in developing as a jazz player study with a working jazz musician (trombonist), even if it is not on a recurring basis. We are very nice people and are happy to pass on the knowledge.

Q— First off, I want Wycliffe to know how much I enjoyed his classes and performances at the 2001 EE Band Director Academy in Snowmass. His plunger work was especially impressive and it prompted me to purchase Al Grey's book, "Plunger Techniques". My first question is, How closely do you adhere to Grey's recommendations regarding the trimming of the cork on the Pixie mute? —Joe Gill, Paris High School, Paris, IL
A— I believe that the pixie mute should be trimmed if necessary, and this depends on the size of the trombone bell. Generally, a 7.5 to 8 inch bell would require some trimming on the standard pixie straight mute, but larger bells such as the Bach 42 B trombone may require little, if any at all. The pixie should overlap the bell by a little and most importantly there should be space enough for air to go around the mute itself (do not trim the mute so much that it completely consumes the space inside of the bell). When trimming the mute, be sure to check the horn by blowing into it with no plunger and then with the plunger closed (1st position according to Grey). There should be pressure, but not too much (about as much as you would have with a regular straight mute). This is a good start.

Q— At the BDA Terell Stafford recommended cutting a small hole in the center of the plunger in order to improve
intonation, yet Al Grey discourages this practice. —Joe Gill
A— This is simply a matter of taste and choice. Only after playing plunger for a while will one be able to determine their preference. It's like finding the right mouthpiece. There is no one mouthpiece that's the best. Only after many hours of practicing and playing the plunger mute will the individual begin to find something that's most suitable for them. I happen to have a hole in my plunger and I like it best, but that is for me. Some like hard plungers, I like mine soft. It's sort of a "you say tomato, I say tomatoe, you say potato I say potatoe" kind of thing.

Q— Do you have any practice suggestions for individuals who want to learn or improve plunger technique? —Joe Gill
A— I think that it is best to practice the plunger the same way you'd practice on any other mute. Play the horn with the plunger in first position (tight against the bell) playing scales, arpeggios, lines, slurs, parts, etc. This is so that the student can get used to the pressure created when playing closed plunger on the bell ( this creates a need to make adjustments with intonation in different registers on the horn) . This will also encourage the student to concentrate on playing in tune all of the time. Play open horn, closed horn, then experiment with the in between.