Thank you for playing with accompaniment! This brings back memories, my low brass professor in the early 1990s had accompaniments for the Bordogni/Rochut studies which he would play on his computer while I played the piece on tuba. It helped me quite a lot to do that.
He has some resources here on RU-vid about his warmup. Largely, classical playing is about fundamentals. Spend a lot of time in the Remington, Schlossberg and Arban. Getting a teacher will help too.
@@JonathanRandazzo great, your playing here is precise and consistent. I just love how each note pings with full warm tone and pitch. You inspire me to keep playing my Bach centennial 42
Best I've heard from a fellow trombonist. You can't forget you're playing a trombone, but you should be asking yourself, why a cellist would interpret this this way or that way and how that can transfer to the trombone. i might not agree with every bit of ritardando or agogic modifications, but he dared to do it and that's what counts. Bravo, maestro!
Only other trombonists would be so impressed by strong instrumental facility (and Johnathan does have solid technique and tone) and an affected or mannered interpretation that they would be blinded to the musical failings of this performance. That's why first trombone positions in major orchestras are still generally 'principle' and not solo positions. He predictably hesitates at the end of every bar, even when the phrase crosses it, which is literally every bar! The first note of each bar 'is' the last note of each phrase! That's where the breath goes. There is a reason why cellists, who don't need to breathe ('but should'), don't stutter and stammer their way through this piece one bar at a time to prove their...musical introspection. Further, the 'need' of a breath doesn't justify taking one, however much you might attempt to setup expectation of it by excessive use of regularly occurring rallentando. It makes no musical sense. This doesn't sound like a piece, it sounds like explorations of harmony through arpeggiated chords one bar at a time. The idea of a study is to develop technique that you might come to make music, not celebrate the mechanisms that define technical challenge by drawing peoples attention to them that 'you' might be better appreciated 'over', rather than, and instead of the music, for...wrestling it into submission, in which case when you win, you lose...musically. When I played these, I sacrificed the...consequence of my 'apparent' tone and volume in order to allow me to 'reach'' the music that is out of reach otherwise. Failing musically is not an option, but playing more quietly is! Playing these pieces at a volume 'sufficient' to music (such as is sufficient enough to any of the 'other' principle wind players, instead of shouting your message in the style given to the orchestral trombone's usual voice, is the the only way. You must subvert your want of appreciation for your play to your obligation to make music. A lesson with a cellist would solve the major problems...while no doubt creating others.
