Tenha uma uma tarde abençoada e maravilhosa🌼. . .para você que esta vendo esse vídeo Que Deus te abençoe.🌼 . . .o segredo do suseso esta na perseverança. . .nunca desista dos seus sonhos 🌼. . . .Boa tarde!!
Talented and successful as a trombonist' yes, but that is a low bar! As is the case with 99% of trombonists, the music fails to manifest for being too much buried (and excused) under conspicuous sonic evidence of the musical accommodation 'thought' to be obligated by the instrument's awkward mechanics. To claim that this piece is harder on trombone than any other instrument is untrue, and its an excuse only another trombone player would accept for failing to make music, which is why the trombone as an instrument has never risen to the standard expected of a solo instrument. The problem is with the instrument's performance paradigm. Trombonists 'accept' as obligated the signature of their technical challenges instead of overcoming them. The only way that will change is if trombonists start studying with 'non' trombonists, who care about the music and don't care about the challenges, to stop excusing the current state of unmusical play. No 'non' trombonist' would commend or choose to listen to 'this' performance. Therefore, currently the trombone is only musically suitable for the orchestral parts that were written for them, in conscious accommodation, by composers disinclined to invest in them, for having low expectation, and seeing little sign of evolution. To prove it 'can' be done, here are two different trombonist whose state of play routinely defeats the instruments challenges, such as a 'non' trombonist might be inclined to entertain a general report of the instrument's ambition, claim and aspiration to musicianship. The goal is that there be more music than trombone in the performance: ruclips.net/video/GimI1xoV_ys/видео.htmlsi=ezqp3VutkvhXpjsZ ruclips.net/video/0TrgtuSglLc/видео.htmlsi=nxZ7pdMmH9MGMTNA
@@neilbassett6718 Hi Neil! I agree, but if RUclips has taught us anything, its that technically proficiency and virtuosity are cheap commodities possessed by amateurs and hobbyists too. But 'musicianship',, now that's rare...especially amongst trombonists who use the mechanics of their instrument to explain and excuse a clumsiness and awkwardness that 'no other' instrument harbors; their performance 'bar' should 'become' ours too by evolution of...'expectation'; that's the performance paradigm that needs to change. The method necessary to it will follow just as soon as it is adopted as being 'required' to music! As for injury, there is none except the offence that can be avoided by not listening to 99% of trombonists. 'Some' jazz trombonist (you know their names) developed technique to win that musical facility I'm talking about and evolved, but their ability is dismissed as a 'necessary' method and lauded instead as 'unobtainable virtuosity' (to excuse their fear that what is expected of 'all other' proficient instrumentalists may come to challenge them) rather than a thing required by technical convention. See: ruclips.net/video/56AKl4uHKjA/видео.htmlsi=fCEiNw4kvqRs62IB&t=15
This is one of the more impressive performances I have listened to. Killer musicianship... I learned a lot just by listening
That stance tho
One of the hardest things to play well on the trombone. Brilliant performance!!!
Wow, I'm speechless. The energy is so special, I love it thank you !
Brilliant as always.
Beautiful
Bravo maestro
Wow, bravo!
너무 멋진 연주 잘 보았습니다 👍
This guy is heavily slept on.
Ha that’s funny but I don’t even know why
Bre dem soft notes! How???? 👏👏👏👏👏
Tenha uma uma tarde abençoada e maravilhosa🌼. . .para você que esta vendo esse vídeo Que Deus te abençoe.🌼 . . .o segredo do suseso esta na perseverança. . .nunca desista dos seus sonhos 🌼. . . .Boa tarde!!
🔥Amazing Michael! Have you heard of Sessions? I think you will kill it there!
Is that in Amsterdam??
Talented and successful as a trombonist' yes, but that is a low bar! As is the case with 99% of trombonists, the music fails to manifest for being too much buried (and excused) under conspicuous sonic evidence of the musical accommodation 'thought' to be obligated by the instrument's awkward mechanics.
To claim that this piece is harder on trombone than any other instrument is untrue, and its an excuse only another trombone player would accept for failing to make music, which is why the trombone as an instrument has never risen to the standard expected of a solo instrument. The problem is with the instrument's performance paradigm.
Trombonists 'accept' as obligated the signature of their technical challenges instead of overcoming them. The only way that will change is if trombonists start studying with 'non' trombonists, who care about the music and don't care about the challenges, to stop excusing the current state of unmusical play.
No 'non' trombonist' would commend or choose to listen to 'this' performance. Therefore, currently the trombone is only musically suitable for the orchestral parts that were written for them, in conscious accommodation, by composers disinclined to invest in them, for having low expectation, and seeing little sign of evolution.
To prove it 'can' be done, here are two different trombonist whose state of play routinely defeats the instruments challenges, such as a 'non' trombonist might be inclined to entertain a general report of the instrument's ambition, claim and aspiration to musicianship. The goal is that there be more music than trombone in the performance:
ruclips.net/video/GimI1xoV_ys/видео.htmlsi=ezqp3VutkvhXpjsZ
ruclips.net/video/0TrgtuSglLc/видео.htmlsi=nxZ7pdMmH9MGMTNA
op looks like we found the music police everyone🚨
Which trombone player hurt you? What a load of nonsense. There's plenty of extremely virtuosic and musical trombone players out there.
@@neilbassett6718 Hi Neil! I agree, but if RUclips has taught us anything, its that technically proficiency and virtuosity are cheap commodities possessed by amateurs and hobbyists too. But 'musicianship',, now that's rare...especially amongst trombonists who use the mechanics of their instrument to explain and excuse a clumsiness and awkwardness that 'no other' instrument harbors; their performance 'bar' should 'become' ours too by evolution of...'expectation'; that's the performance paradigm that needs to change.
The method necessary to it will follow just as soon as it is adopted as being 'required' to music! As for injury, there is none except the offence that can be avoided by not listening to 99% of trombonists. 'Some' jazz trombonist (you know their names) developed technique to win that musical facility I'm talking about and evolved, but their ability is dismissed as a 'necessary' method and lauded instead as 'unobtainable virtuosity' (to excuse their fear that what is expected of 'all other' proficient instrumentalists may come to challenge them) rather than a thing required by technical convention. See:
ruclips.net/video/56AKl4uHKjA/видео.htmlsi=fCEiNw4kvqRs62IB&t=15
What is bro Yapping about
@@hunterlocke04 I'm just now trying to work out if he's using AI to post his replies or if he actually believes his own word salad. Lol.