I had the privalege of studying with Murray for a brief period when my teacher was not available. I enjoyed the way we started a listen sight reading bassoon music and other music. I learned a great deal about musianship in general. Never did I think I would switch from tenor to bass trombone. I did. I will always treasure the time I had with Murray. Carole Paul Trombonist Toronto
Whoa. What a talent. I can't wait to learn trombone. It seems like the hardest part of playing a brass instrument is getting a smooth tone. How were you able to achieve that? What's the highest note on the trombone, and how many octaves does it have? Congratulations on mastering this challenging instrument. You've really demonstrated that you're capable of playing whatever is out there.
I've just started learning the trombone, and looking for good Christian songs. I was moved with this song. I love the trombone sound. It's so majestic, and I know this song will help me worship the Lord, as I learn it on trombone. Thank you. God bless!
God knew that we weren't perfect and couldn't have fellowship with Him or that we could save ourselves so He sent His only Son that whoever believes in Him shall not perish but have eternal life He got nailed to the cross for you He got whipped and hit and he did it all for you. crucifixion was the worst death ever and He did it for you because He loves you. Now because of what Jesus did you can have a friendship with God u can be saved u can be forgiven be reconciliated with God be freed and more. Get right with God today 🙏Jesus is coming soon and we have to be ready
I played this in jazz band in high school. Most memorable performance, we had a concert at a festival, few thousand people there, we were on the main stage. I was the third chair trombone. The morning of the concert, we found out the bass trombone player was out sick, so the band director decided that the bass trombone part was more important than third part, so she told me to play fourth instead. We had one run through with me on 4th part prior to our performance. I did not have a bass trombone (with the trigger) so I had to lip down a number of notes. Just was awesome to me, to be put to the test like that and achieve.
Great! Regards from Andre Huys from Aalter in Flanders, Belgium. Yes, I am from Flanders, from Flanders Fields in a way of speaking. All the atrocities happened only 30 miles from my village. Incredible!
André Huys from Aalter, Flanders, Belgium Thanks so much for writing; it is great to hear from you! The area around Flanders’ Field must be a beautiful place to live.
I went to University with Murray. I liked him, but I have no right to call him a friend, because we simply hadn’t sufficient association to win that privilege of each other. I had enough talent though to recognize that Murray had more than talent: the difference being that Murray had the courage to trust his, where I did not. I sat across from Murray, on the opposite side of a substantial trombone choir rich with talent, where I privately celebrated his unique contribution to the ensemble while lamenting my own. Had I found the courage to use the instrument and mouthpiece I wanted, I might have better returned the favor of his support of my melody lines. Partly due to my exposure to Murray’s playing, I began to formulate a concept of ‘section’ sound that had no place in the prevailing performance paradigm. I wanted to be the tenor version of what I thought Murray was to bass, by which I mean authentically brassy; that which I would come to think of as being vintage German! [I had spent a previous year as principal in Wold Youth Orchestra and been very much impressed by the German Youth Orchestra. Their brass on Bruckner 4 sounded resonant rather than euphonic, powerful but not loud, brassy but not brash, and all without ever drowning out the string or woodwind voices. Our Mahler 5 sounded…loud.] I don’t know that following Murray’s example would have led more reliably to greater success for me, but had I tried and failed I would have realized that it was because my philosophy didn’t sponsor membership in the orchestras of that (or this) time. What a purgatory it would have been to persist in success, in practice of private failure. How odd it is that I remember hearing the same kind of life and vitality in Peter Sullivan’s ‘playing’ (more than just tone) when I heard him at the finals for the Montreal Symphony (which he won). He too possessed a uniqueness, a naturalness and authenticity of style, where I had become only deliberate, practiced, and…trombone-like! This then is the lesson we should take away from Murray in music. This agency should be his legacy. Courage! Generations of potentially talented trombonists have had their natural ability over-writ by outdated performance paradigms to succeed by failing. But that’s changing and a new breed of trombone player is emerging. No similar authority ‘owned’ so universally the manufacture of musicianship on trumpet, horn, or tuba, and as a result, as did trombone, so they have realized a greater proliferation of 'original 'and authentic talents. In my time, only orchestral trombone players labored to be so…musically modest and irrelevant, in pursuit of low (pun intended) musical self-esteem. Despite some trombonists surviving their education to become talented musicians, I feel that the end result of more trombonists ‘failing’ for having tested their own talent, rather than succeeding for having adopted a template of ‘convention’, would have profited the instrument, orchestras, and audiences alike. The point is, Murray did! Murray believed in his approach, and this authenticity, as supported by his love of music, and an innate sense about creating a section sound, led, I believe, to his success. I feel that I knew him better than I did, because he was so affectionately regarded by others who sat on the other side of the staff and stage with me. My condolences to Linda, Murray’s 'greater' love, and his family. I liked him even better when he came under her influence. Only love can make you cry, so how great is the gift that celebrates love and music together through tears. May you never lose the ability to cry in accounting your fortune for having loved and been loved. Tim
I played with Murray in a community did by side so the PSO . He not only helps me musically but during rehearsal he cracked jokes to make me relax. He as a gifted musician and a very nice man
Kevin, you da MAN! I love this composition and your arrangement is superb. Thanks to the Pittsburgh Trombone Project and for bring back memories of an incredible Trombone Sunday!
