Tip From The Top

By Michael Hext

Mike began playing the trombone when he was nine, taught by his father, Terry. He was brought up in Bedford and did most of his early playing in local bands and orchestras. He became the first winner of the BBC TV Young Musician of the Year award in 1978, which enabled him to pursue the role of trombone soloist at an early age. He went on to study at the Royal College of Music under John Iveson, gaining valuable orchestral experience with college orchestras and the European Community Youth Orchestra.

He has since played with the Philip Jones Brass Ensemble, the Fires of London, and as Principal Trombone with the Hallé Orchestra and the London Philharmonic.

He is currently joint Principal Trombone at the Royal Opera House, Covent Garden. He still fits in solo and brass ensemble engagements, and teaches at the Royal Academy of Music.

I would like to talk briefly about a topic which I feel is somewhat neglected amongst many trombone players - the subject of musicality. There is a tendency amongst younger players to feel that technique, volume and range are the ultimate in playing. While I do not doubt that all qualities are impressive, one should never underestimate the importance of musicality. Musicality is about expressing yourself on the instrument. It can't be explained in the chapter of a book or tutor, but one only has to listen to the likes of Tommy Dorsey, Urbie Green and Christian Lindberg to realise what it is. There aren't many of us who will be able to remember the famous American trombone player and teacher, Emory Remington, but his many students will bear testament to the value he put on being able to make the instrument sing. Remember, there are many players who can play the last variation of Bluebells of Scotland at the speed of light but far fewer who can make a simple Sarabande from a Bach Cello Suite sound like a piece of music. It's the difference between being a great player - and a really great player.

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