Tip From The Top

By Chris Pyne

Chris Pyne was born in Bridlington, Yorkshire. His father was a keen amateur pianist and gave Chris his first piano lesson at three years old. He continued with piano lessons at Bridlington Grammar School and at 14 taught himself to play the trombone. After doing his National Service in the RAF, he turned professional and moved south to London in 1963.

He spent a lot of time on the road during the 60s, playing with Alexis Korner, John Dankworth and Ronnie Scott before joining Humphrey Lyttelton in 1966 for a four and a half year spell. In 1969 he was named Top Jazz Trombonist by the Melody Maker and has been in much demand on the jazz scene ever since.

He was a sideman with the Maynard Ferguson Band in the 1970s and in 1990 he toured the UK with the Kenny Wheeler Big Band. He can be heard on Kenny Wheeler's album "Music for Large and Small Ensembles", available on ECM 843152-2.

In teaching at the Guildhall and at various other colleges, it is very obvious that many young trombonists have very bad posture. If you stand or sit badly, you will constrict the airflow and make it very hard on yourself I have seen a couple of youngsters who look as if they have been practising in a telephone booth. Once corrected they were delighted that they could play four minims tied together in one breath.

In Tommy Dorsey's tutor book, there are photographs of him sitting and standing playing the trombone. When young, I thought this strange, however I now realise how important it is to sit up correctly. In order to facilitate full control of the air channel, you must sit upright and stand upright, relaxed and allow the air stream full access, with breathing controlled from your diaphragm. These are fundamental tips but nonetheless vitally important.

I am often asked about playing in a section. It doesn't matter what kind of section or music it is ... jazz, straight, dance, brass, chamber ... the same rules apply. Follow your leader and hone into the way he or she is doing it, i.e.: phrasing, weight, tuning, intonation. It also means listening to the others in the section and blending. All chairs are important in the section, so if you are playing 3rd, 4th or even 5th, play with that same intensity as if you were playing 1st trombone.

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