In Music, the Tools Are Universal

By NICHOLAS HAGEN

Nicholas Hagen

Swing. It's a fundamental action that can lead to profound results. It is also something that this classical musician put to good use last November, when I, along with a few others, stepped into a recording studio in Brooklyn to lay down a few tunes in hopes that they might prove victorious in upcoming competitions. They did—and a new ensemble, Dease Bones, was born. One of the most interesting things about this jazz-oriented group is that half of the trombone section hails from Juilliard's classical department. How is it possible for these two worlds to come together in lush Coltranian harmony? It helped that we have a deep interest and experience in jazz, but still, many questions can arise from this blend. The basic truth that came out of the experience is that virtually the same tools must be used in any type of music. As your teacher would say: play in tune, in time, listen, make music! Like any music, jazz is about making a personal statement about what's on the page, almost as if you're reacting to what's written rather than mildly stating it. In the end, when the groove locked in, everything was clicking. That brings me to what I was most excited about in the session. What were the things that I could bring back to my world from this experience? Anyone who has taken Mark Gould's Orchestral Rep Class (woodwinds, brass, percussion) knows Mr. Gould's take on much of what we play: "it has to swing," "not so tight," etc. Mike Dease, Marshall Gilkes, and all jazz musicians personify those creeds in their sounds. From listening and playing with them I learned how to make a note come alive with shading and color, be it straight eighths or not, and their intense styles can be applied to any music. Is it a coincidence that Professor Gould is a master of both genres?

I think not.

Nicholas Hagen is a bachelor's degree candidate in trombone.