'Tips from the Top' - Interview with Grant Jameson

On this weeks 'Tips from the Top' we welcome the Principal Euphonium of The Flowers Band, Grant Jameson, current Besson Prestige Artist, Winner of the BBC Radio 2 Young Brass Musician of the Year 2015 and recent Graduate from the Royal Welsh College of Music. 

1.      When did you start to play the euphonium?

I started playing when I was 11 years old. Being from a musical family, I was always encouraged to play an instrument. When I was 10, I was really interested in being a percussionist, but my dad encouraged me to play a brass instrument. I decided to play euphonium after I heard a concert of the New York Staff Band of the Salvation Army that featured their principle euphonium, Aaron VanderWeele, playing a few solos promoting his new solo CD. As soon as I heard the instrument, I fell in love with its warm sound and broad range of capabilities. From that point forward, I wanted to become a euphonium soloist.

2.      What is a typical day/week like for you?

This is a difficult question as every day and week seems to be a little different from the last. I like to keep myself busy with many different aspects of music. Every musician is unique and I find it very gratifying to not only play my instrument, but to conduct, teach, and arrange music as well. I currently conduct the Severn Tunnel Band and have pupils throughout the week that I really enjoy. As for a weekly practice schedule, again it totally depends on what I am preparing for at that time to determine the routine that I use. Some days I concentrate on the fundamentals of playing and others I play more solo repertoire or band repertoire. I believe it is very important to keep a good balance in what you do with playing no matter what. So not too much of one aspect on any day.

3.      What skills/personal attributes are most important to being a successful Euphonium Player?

I believe that there are three big aspects that will lead to success. The first is being your own personal development in playing a brass instrument. Without developing your sound and technique it is very difficult to achieve what you set out to do. The second aspect is developing a very clear idea of what you want to be getting out of playing the euphonium. As euphonium players, we don’t have the same wide range of ensembles and situations where we are called upon so we have to be very creative in what we decide to do. Being your own unique thing is extremely important because of this limited market. The third and most important thing, in my opinion, to being successful in ANY musical situation is to always put the music. It is very easy to put yourself first in playing an instrument and I always find that a huge shame. Music shouldn’t be about competition, but instead about loving what you are doing and enjoying yourself. Enjoying yourself in music will make the passion and drive for it last much longer, which will ultimately lead to success!

4.      What are your favourite Euphonium Solo’s?

It’s extremely hard for me to put my finger on one solo that I can call my favourite as I play in many different situations and ensembles. But I always enjoy playing the standards such as Czardas, Endearing Young Charms, Fantasie Originale, Napoli. I really enjoy playing vocal transcriptions, too as they suit the euphonium extremely well. My favourite really serious piece is probably Nigel Clarke’s “The City in the Sea” because of the atmosphere the piece creates linked with the extremely impressive technical aspects.

5.      Tell me about your rehearsal schedule?

My rehearsal schedule changes every day like I have said. On a day where I have a lot of time to practice, I will try and do 2-3 hours. The first hour being my warm-up and fundamental practice where I try and prepare myself for the day ahead of personal practice (or rehearsals in the evening). Some days the warm-up is longer than others depending on how heavy the day before was. The second hour consists of working on new repertoire. The final hour is where I run through solos that I would have to play in brass band concerts or at the end of recitals. This hour provides reassurance in my ability to still play well after a lot of playing prior to that time.

6.      You have recently entered a number of high profile contests winning the BBC2 Radio’s Young Musician of the Year 2015. How do you prepare for solo competitions?

I find every solo competition different to prepare for in many ways. But the similarity if find in all that I’ve entered is preparing consistently and with a clear idea of what I want each piece to sound like. Without consistency, unfortunately it is very difficult to do well in solo competitions. Personally, I find it very important to always be unique in the way you interpret a piece, while still keeping true to the style you are performing in. Without these two aspects of preparation, it will be difficult to have success.

7.      You recently became Principle Euphonium of the Flowers Band, can you tell me about some of your Brass Band experiences whilst being in England?

I have been fortunate enough to have had a fantastic experience while I’ve been studying in the UK. Playing in many bands around Wales and England at many of Britain’s best venues over the past 4+ years has been unforgettable.  On top of that I have played as a soloist with many bands including Cory, Grimethorpe, Brighouse and Rastrick, and of course my current band, Flowers.

8.      Who would you say is the one euphonium player who has influence you the most?

It’s hard to put my finger on one euphonium player that has influenced me most.  I have tried to take my favorite characteristics/strengths of many different players and have created the player I want to be.  But two that have had huge impacts on me as a person AND player have been, of course, my current tutor, David Childs, and the person that first inspired me to start playing, Aaron VanderWeele.  But like I said, there is a much longer list I could name.

9.      What advice would you give to a musician recently graduated from college?

KEEP LEARNING!  In my opinion, we should never stop learning and trying to explore new aspects of playing and music.  The hard work shouldn’t stop after we graduate.

10.   What are your future ambitions?

My future ambitions are to become the best euphonium player and, more importantly, the best musician I can be. I hope to continue playing as a soloist for as long as I can.  I also really enjoy teaching and conducting, so finding a job at a music college would be another big ambition of mine.  I plan to record more solo albums and someday start a music publishing company with my family.

Thank you Grant, it has been fascinating to see a little into your world. I remember hearing your superb 'Genesis' CD for the first time and being blown away by your sound and technique. I look forward to catching up with you soon.