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  • Yeah, yeah, yeah.

  • Wait, wait.

  • Thank you.

  • So, so much for that warm round of applause.

  • I speak for myself and my colleagues here.

  • When I tell you how thrilled and honored we are to be here to perform for you this evening a Ted x Maplewood.

  • When I was asked to say a few words, I couldn't help but think about Cem.

  • Important if not profound, lessons that are found in collaboration with a chamber music ensemble that I believe could be shared a little more broadly again.

  • My friends and colleagues here, some of the most world renowned trombonist, you've probably actually heard them perform before.

  • If you've been to the New York Philharmonic with the Metropolitan Opera Broadway show, or even listen carefully to movie soundtracks, everybody on this stage has spent thousands of hours working to prefer fact our crafts, um, finding our own unique sound.

  • And everybody here has a very different sound from one another and playing across all different musical genre.

  • But we wouldn't have been able to play with that beautiful, blended sound that you just heard right now.

  • Unless each one of us didn't, um, compromise or sacrifice a lot of actually what makes us special.

  • I want to demonstrate that to you for a second with my friends, and we're gonna play a few moments of a piece of we're gonna end the evening with tonight and to show you that just because great musicians get together at the same time in the same place to do the same thing doesn't necessarily make it collaborative.

  • And it certainly doesn't ensure that the product is gonna be beautiful.

  • So, as you can see, everybody is gonna move around here so they can't see each other very well and they're putting earplugs in so they can't hear each other very well either.

  • But I've asked each one of them to make sure that they play their part as beautifully and Solis tickly as they possibly can.

  • Let's see how that goes.

  • So that was interesting.

  • If you were like me, your eyes and your ears probably darted around, tow each individual player.

  • I mean, after all, there was actually a very good playing going on, but I probably don't need to tell you it lacked any kind of riel cohesiveness because what everybody was doing was the most important thing in the room at that time.

  • So, uh, we're back in a semi circle so everybody can see each other.

  • And I hope the earplugs air out and we're gonna perform that same piece while the musicians are going to be highly cognizant of who has the most important line and who has the supporting lines, et cetera.

  • Let's hear how that sounds.

  • In case you weren't clapping, that was better.

  • So so we all bring the sum total of our life experiences to the collaborative table, the good, the bad and the ugly.

  • And we use those experiences in order to make real time decisions in order to benefit the greater organization.

  • That's what makes collaborations so unbelievably incredible.

  • Everybody brings something completely different, but when it comes together the right way, it could be phenomenal.

  • That's what makes collaboration in a chamber music ensemble.

  • So great, and perhaps that's a model of collaboration and leadership.

  • We need to make other areas of our life great as well, so it's our normal as musicians to be prepared to give of ourselves when we get together to collaborate.

  • That idea of stepping back and accompanying and supporting somebody else taken the lead instead of fighting for that is not a sign of weakness.

  • It's a sign of strength, of confidence, of leadership.

  • I have a desire to be part of something far bigger than ourselves.

  • That's our normal as musicians, and I wonder what life would be like if that was our normal as a society.

  • Um, we're gonna finish the evening by playing a piece by Johann Sebastian Bach, a posse, Scalia and C Minor originally written for pipe organ over 300 years ago.

  • And everyone on the stage here has a very small, yet crucial task of representing the fingers or the hands or even the feet of the organist whose supposed toe originally be performing this piece.

  • So I hope you enjoy watching us collaborate for you.

  • And again, thank you so much for having us here this year.

  • The O really Wait, wait.

Yeah, yeah, yeah.

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B1 collaboration perform ensemble evening piece collaborative

What can a trombone choir teach us about collaboration? | Anthony Mazzocchi | TEDxMaplewood

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    林宜悉 posted on 2020/04/04
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