This guest post by John Covelli was contributed with no monetary compensation or sponsorship involved. Views expressed are the author's own.
Introduction: From the Back Row to the Front Line
Like many trombonists, I came up in bands where my job was to sit in the back row, play long notes, and fill out chords while the saxophones and trumpets carried the melodies and the solos. It was fun to be part of that sound, but deep down I wanted more. I wanted to step forward, play fast lines, take risks, and trade ideas on the same level as the other horns.
The problem? My slide. Every time I tried to copy a trumpet solo or take on a quick saxophone line, I ran into the same roadblock: awkward leaps, long stretches, and too much tonguing. I felt like the instrument itself was holding me back.
That’s when I started digging into the concept of alternate positions — and eventually discovered the fascinating, often-overlooked technique called “against-the-grain.”
What Is “Against-the-Grain”?
At its core, “against-the-grain” is a way of using the trombone’s natural overtone series in reverse.
Normally, when we think about moving through positions, we go with the grain: sliding outward and using higher partials, or inward and using lower partials. It feels natural and it’s the way most method books present the instrument.
But against-the-grain does the opposite. It deliberately moves in the “wrong” direction to find a smoother, shorter path between notes.
For example:
- Instead of reaching out to 6th or 7th position, you might stay closer to home and change partials instead.
- A phrase that would normally take three long shifts can sometimes be played in one small, efficient motion.
The result is a kind of shortcut that can make the trombone feel like a different instrument — quicker, lighter, and more agile.
The Roots: David Baker and Tom Malone
The first time I encountered this idea was through the writings of David Baker, the legendary jazz educator. In his method books, Baker described “against-the-grain” as a way to rethink slide motion and open new technical doors for improvisers. His perspective gave it legitimacy — if Baker was talking about it, it was worth exploring.
Later, I picked up Tom Malone’s book, Alternate Slide Positions — still the best $10 I’ve ever spent. Malone, known for his work on Saturday Night Live, The Blues Brothers, and countless jazz recordings, laid out practical examples that showed how alternate positions (including against-the-grain) could simplify difficult passages.
Between Baker and Malone, I realized this wasn’t a gimmick. It was a real technique with deep roots in jazz pedagogy. But it had a problem: very few trombonists seemed to know about it.
Why Most Trombonists Don’t Learn It
Ask the average trombonist about alternate positions, and you’ll usually hear something like:
- “Yeah, I know a few — 4th position F and D, 5th position Bb, things like that.”
- Or: “I just play what’s written and hope for the best.”
The truth is, against-the-grain is rarely taught systematically. Method books focus on the standard seven positions, and teachers often prioritize tone, intonation, and ensemble blend over technical shortcuts.
That leaves players with a blind spot:
- Students struggle with fast passages, assuming it’s just their lack of skill.
- Teachers may not have a clear system for teaching alternates beyond a handful of examples.
- Pros often figure it out on their own, but might not share the knowledge or formulate a reliable method.
In other words, against-the-grain is part of trombone tradition, but it’s been hiding in plain sight.
My Journey: Why I Built SlideMaster
As a trombonist and bandleader of the Hard Bop Messengers, I found myself constantly pushing against this limitation. I wanted my trombone to be as flexible as the other horns on the bandstand. I wanted to take bebop lines at tempo, to phrase like a saxophone, to solo without feeling like I was fighting the instrument.
I studied the books by Baker and Malone, which present many options. The challenge came when attempting to apply the principles to real examples, trying to decide between endless alternates to find the most efficient path. And while I could hear and feel the difference, it was incredibly hard to apply consistently.
The problem wasn’t knowing that alternate positions existed. The problem was finding them instantly, in context, while playing music.
That’s what inspired me to build SlideMaster, a web-based app that takes the wisdom of Baker, Malone, and decades of trombone innovation, and makes it immediately usable for today’s players.
How SlideMaster Builds on the Tradition
SlideMaster doesn’t replace learning or practicing — it supercharges it. Here’s how:
- Analyze Any Passage: Input notes from a score, exercise, or solo line.
- Discover Alternates: The app maps out every possible slide position.
- Find the Shortcuts: SlideMaster highlights where “against-the-grain” moves make the line smoother.
- Visualize the Path: Instead of guessing, you see the most efficient slide path right in front of you.
In other words, SlideMaster is like having Baker and Malone sitting next to you in the practice room, pointing out shortcuts you might never have found on your own.
Educational Example: Turning Theory into Practice
Chromatic runs are especially handled well against the grain. In the “Giant Steps” excerpt below, measure 25 (outlined in red) has a downward chromatic run, which at top speeds in normal positions can be troublesome to articulate quickly while retaining intonation.
With against-the-grain:
With the slide positions notated above, we can fire the run off quickly by cutting across the grain, which will automatically articulate the notes, except for the “D” in 4th which will need to be articulated. SlideMaster made decisions in this case based not only on against-the-grain, but also proximity.
Why This Matters for Today’s Trombonists
We live in a world where trombonists are asked to do more than ever:
- Sit in orchestras and nail precision parts.
- Play in jazz bands and trade lines with fast-moving horns.
- Teach students who want to explore all kinds of styles.
- Double on commercial gigs where efficiency is survival.
Against-the-grain technique is part of the solution. It’s a way of expanding the instrument’s possibilities without changing the instrument itself.
And now, with tools like SlideMaster, it’s no longer something you stumble upon — it’s something you can integrate into your practice immediately.
The Takeaway: Tradition Meets Innovation
David Baker gave us the foundation. Tom Malone showed us the applications. Trombonists everywhere experimented and improvised their way toward greater efficiency.
SlideMaster is simply the next step in that lineage: taking an old, brilliant idea and making it accessible for every trombonist, from beginner to pro.
If you’ve ever felt stuck in the back row, if you’ve ever wanted to solo more freely, or if you’ve ever wondered how to play the “impossible” lines — against-the-grain is the key.
And once you start seeing the shortcuts, you’ll never look at the trombone the same way again.