Review

Randy C. Gardner
Good Vibrations: Masterclasses for Brass Players:

Cincinnati, OH, United States
Publisher: Randy Gardner
Date of Publication: 2014
Language: English

Primary Genre: Study Material - book
Secondary Genre: Study Material - etude

Randy Gardner, second hornist of The Philadelphia Orchestra for 22 years and currently the horn professor at the Cincinnati College-Conservatory of Music has created this book that will stand the test of time. Good Vibrations is an attractive, coil-bound book primarily of text with graphic and musical examples. In 11 chapters and appendices, Gardner manages to cover a wide spectrum of topics, including Breathing and Embouchure Basics, Tone and Dynamic Control, Articulation and Lip Trills. Although the musical examples are for French horn and some chapters such as Chapter 10: Stopped Horn, will be less relevant for trombonists, the book still contains a wealth of practical advice that comes from an expert performer/teacher with a long career. Appendix B, “Trombone Skill Assessments” is a list of orchestral excerpts organized into skill categories by Gardner’s colleague Tim Anderson. For example, the category of ‘Soft Control’ includes the chorale from Brahms Symphony No.1 and the low lyrical line from the St. Saëns Organ Symphony among others.

This book is so densely packed with great tips that it reminds me in some ways of Also Sprach Arnold Jacobs. Chapter One: The Foundation includes such sub-headings as ‘First and Foremost, develop your musical mind,’ and ‘The most effective learning takes place by reinforcing successes.’ Gardner moves beyond mere platitudes by including detailed steps a student can take to practice more effectively. This first chapter, if its instructions are carefully read and followed, is a gold mine worth the cost of the entire book. In addition to musical examples, Gardner includes clear graphical indications of abstract concepts including desirable tone shapes, tonguing with constant air, not ‘locking up’ the air before an attack and visualizing the tone with a big core. Even the chapter on legato, a special area of focus for trombonists, is still highly relevant in listing specific exercises to improve air flow and avoid the evil ‘wah’ articulation. It is a shame that Gardner did not come out with a trombone-specific version of Good Vibrations. Excerpt examples from our literature would have made a good book even better. It also would have been wonderful to have seen some sections devoted more to phrasing issues as opposed to the book’s primary technical and pragmatic focus. However, these concerns are minor. I have seen no other book that compiles so many useful and highly relevant concepts in a single volume and recommend it highly. 

-Brad Edwards
University of South Carolina