Introducing Students To the Bass Trombone

by David F. Wilborn

he modern bass trombone emerged as a prominent wind instrument in concert bands and orchestras as composers appreciated and wrote parts for the instrument's distinctive sound and extended range. This instrument can imitate the warm qualities of the human voice in one passage and deliver an aggressive bass sound in the next. It is the bass trombone that often articulates and defines the bass notes in an ensemble. Many conductors do not understand the characteristic tone quality of the instrument and mistakenly treat it like a large tenor trombone, using it on first and second tenor trombone parts instead of bass trombone parts. Composers who want the bass trombone sound on a particular piece usually write a part specifically for that instrument, and directors should use the appropriate instrument for the designated part. Seated at the low end of the trombone section, the bass trombone usually plays the root or lowest pitch of a chord and establishes the intonation for the other trombones. However, a good bass trombonist will listen carefully to the first trombone for articulations, style, and dynamics. When the tuba joins in, it sets the pitch, as these instruments usually play in unison or octaves. If the tuba and bass trombone are in tune with each other, the rest of the section and the entire ensemble will have a solid pitch to match. Prospective students to switch to bass trombone are those who can blow enough air into the instrument to project low notes, but there is no truth to the myth that the best candidates for

bass trombone are the trombonists who can play the loudest. More important is the ability to control the sound with proper air speed, a consistent tone quality and dynamic level in all registers during loud playing, especially on legato passages. Bass trombonists are sometimes overzealous on low trigger and pedal notes and tend to overpower the ensemble. Conductors who are frustrated from working with overzealous bass trombonists should consider that encouraging students to fill up the horn with a large amount of air may contribute to overplaying problems. The size of the bell and its construction affect how much an instrument will penetrate an ensemble sound. The large bass trombone bell, which rings in performance, amplifies the sound and colors the timbre. A yellow-brass bell will produce a brighter sound than a red- or goldbrass bell because yellow brass (standard) contains less copper (about 70%) and is harder than red or gold brass (about 90% copper). The harder the material the less the bell will vibrate, and the less it vibrates the brighter the sound. Bass trombonists

also are loud because they have to move the bell out from behind the music stand to see the music so the sound projects through the ensemble to the audience without obstruction. Directors often confuse students by complaining about an edgy sound, when, in fact, they are referring to a bright, strident sound or one that is not in balance with the overall texture. Initially, a player might blow softly or play into the music stand to cut back the volume of sound, but this impairs the tone and ultimately does not eliminate what the conductor considers to be edgy. A better solution is for the bass trombonist to lower the jaw and blow what feels like a warm stream of air while focusing on playing evenly and broadly so no notes stand out. This is especially important in extreme registers and when going in and out of the trigger range. Although some teachers and manufacturers recommend large instruments, such as the King 8B or the Bach 50B3LO to avoid an edgy sound, most professional players agree that large-bell bass trombones produce an ; uncharacteristic sound that is dull in

David F, Wilborn is assistant professor of low brass at Eastern New Mexico LJniversity in Portaks, New Mexico, performs with the Amarillo Symphony and the Roswell Symphony, and serves as colkge/uni' versify division vice president of the New Mexico Music Educators Association. He received a bachelor of music degree from the University of Texas at Austin, a master of music degree from the Eastman School of Music, and a doctor of musical arts degree from the University of Texas,
54 THE INSTRUMENTALIST / AUGUST 1997

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comparison to the other low brass instruments. An instrument of moderate specifications (9-91/2-inch bell, red or gold brass, and .562-inch bore) is often the best choice. When switching students from tenor trombone to bass, directors should consider several factors. Students who have been playing tenor for less than two years are probably still learning such basic fundamentals as slide positions, articulations, and characteristic tone quality and are not ready to begin the bass trombone. When they have to learn a new concept of tone, complex trigger system, and the ability to articulate in the low register, the obstacles are often insurmountable for players who have not yet mastered the tenor trombone. The best candidate for bass trombone is not the worst player in the section but a student who can lead the low brass section and is enthusiastic about trying something new and playing bass trombone. Both tenor and bass trombones are C instruments with approximately 8V4 feet of tubing excluding trigger slides. The similarity in size contributes to the myth that the two instruments are virtually the same, but the inside diameter of the inner slide is much different, Although the bass trombone can play as high as Bi'4, the larger bore size enables players to comfortably play notes down to El.
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The expanded bore size contributes to the characteristic dark tone quality of the bass trombone because players have to blow more air through the instrument. Designed with a gradual taper that expands the bore of the instrument, the bell flares out slowly, which darkens the tone as well. Large trombone mouthpieces have wide rims, deep cups, and open backbores to extend the low range and produce a darker sound, but large mouthpieces limit the high range. Students should use a mouthpiece, such as a Bach 1C or I'/zG, that works well over the full range. Leadpipes come in a variety of tapers that change the resistance, but in general the more open the leadpipe and larger the mouthpiece the less resistance and the darker the tone. Available in several designs and specifications, bass trombone triggers vary widely from one instrument to

56

THE INSTRUMENTALIST/AUGUST 1997

Help for College Students and Beginning Directors

Some of the best articles from the pages of The Instrumentalist for prospective or beginning directors are collected in this new publication. Veteran directors share their experiences to give practical advice to those just starting their careers. College professors may want to make this an assigned text for future directors, Practical advice and solutions on matters ranging from discipline to choosing music to fundraising make this volume an essential resource for new directors. 48 pages, $8 for single copies, $5 each when 5 or more copies are ordered, (This new publication will be included as a bonus to all group subscribers to The Instrumentalist this year. See page 63 for information.) The Instrumentalist 200 Northfield Road Northfield, Illinois Telephone: 847-446-8550 Fax: 847-446-6263

another. The single F-attachment bass trombone (B^/F) is ideal for beginning bass trombonists because they can play low trigger and pedal notes without the hindrance of an elaborate trigger system. The bass trombone music at this level consists largely of mid-range notes and an occasional low trigger note. With the single F attachment students can use alternate positions for pitches from C3 down to E2 and play down to C2; this instrument will play Bl if students extend the F-attachment slide about four inches.

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The best instruments for intermediate and advanced students are the B^/F/E, Bl>/F/F>, and B^/F/D instruments, which have a second trigger or attachment (pitched in E, EP, or D), This attachment extends the low trigger range an additional minor second, major second, or minor third when used in conjunction with the F attachment, which alone lowers the instrument's range a perfect fourth. These additional attachments allow bass trombonists to use at least two slide positions for each low trigger note (the F attachment alone or in conjunction with the second attachment) and play Bl without adjusting the F-attachment slide.
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The Instrumentalist, 200 Northfield Road, Northfield, Illinois 60093 Telephone: 847-446-8550 Fax: 847-446-6263
58 THE INSTRUMENTALIST / AUGUST 1997

Alternate positions in the low range are important because trigger notes are further apart on the slide than notes played without the trigger, about 4-5 inches instead of 3-3 Vi inches. With two slide positions for each low trigger note, slide movement between notes is reduced from within and outside the

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second partial trigger register. The second attachment, which works only in conjunction with the F attachment, produces a poor tone in the middle and high registers and is suitable only for low notes. Regarded as a professional-quality instrument and available with various bell and bore sizes, the B^/F/G/E'' bass trombone features an independent trigger system that allows players to use the F and G attachments alone or together, which opens the E^ side of the instrument, lowering it a perfect fifth. The variety of possible combinations with this trigger configuration increases the number of alternate positions, making most of the difficult bass trombone literature easier to play, and allows students to play pedal B^ in seventh position as an alternate position to first. Designed as an in-line trigger, the G attachment has a long, narrow metal piece that connects to the G valve and extends behind the firstslide brace. When used in the middle register, the G attachment produces a tone similar to the natural sound of the instrument, offering an increased number of alternate positions.

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The B^/P/ClVD instrument is the same as the B'J/F/G/E'> bass trombone except that the G!> attachment and F/G combination produces notes a half step lower. Both instruments are widely available, and the main difference in their use is simply a matter of personal preference. Alternate positions with the BP/F/G/EP configuration fall mostly within the first three positions, but with the B ''/F/G '/D configuration they fall within the first two.
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60

THE INSTRUMENTALIST/AUGUST 1997

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Although a knowledge of its design and function within an ensemble is important, the best way to understand the bass trombone is to become familiar with the literature, which establishes performance standards for the instrument. Much of the bass trombone repertoire challenges players with difficult technique, extended high and low ranges, and long, sustained legato passages that call for expanded breath capacity. As the instrument continues to grow in popularity, composers are writing original solo works for bass trombone and third and fourth trombone parts that use the instrument's low trigger range. Thanks to the efforts of the International Trombone Association and such outstanding bass trombonists as Thomas Everett, Donald Knaub, and Fred Boyd, composers have written many works that have become standards in the bass trombone repertoire. Repertoire Bass Trombone and Band Accompaniment Cameos by Gordon Jacob Concertino Basso by Richard Lieb Concerto by David Gillingham Concerto by Frigyes Hidas Concerto by Vaclav Nelhybel Fantasia by Burnet Tuthill Sonata in One Movement by Donald Grantham Way Down Blues by D. Armitage Bass Trombone and Orchestral Accompaniment Concerto by Frank Siekman Concerto by Thorn Ritter George Concerto by Frigyes Hidas Concerto by Vaclav Nelhybel Concerto by Karl Pilss Concerto (for Tuba/Bass Trombone) by John Williams Concerto by Ellen Taaffe Zwilich Band Works that Include Bass Trombone Parts and the mountains rising nowhere by Joseph Schwantner Commando March by Samuel Barber First Suite in E^ by Gustav Hoist Lincolnshire Pos^i by Percy Grainger Moravian Hymn Dance by Fred Allen Music far Prague 1968 by Karel Husa Punchinello by Alfred Reed Rocky Point Holiday by Ron Nelson Savannah River Holiday by Ron Nelson Scenes from the "Louvre" by Norman Dello Joio

Southwestern Sketches by Samuel Adler Symphony No. 1 by Johan de Meij Symphony No. 3 by Vittorio Giannini Variants on a Medieval Tune by Norman Dello Joio Orchestral Excerpts 18 J 2 Overture by Peter Tchaikovsky Hary-Janos Suite by Zoltan Kodaly Hungarian March by Hector Berlioz Lohengrin by Richard Wagner The Rhinegold by Richard Wagner Symphony in D Minor by Cesar Franck Symphony No, 1 by Johannes Brahms Symphony No. 4 by Anton Bruckner Symphony No. 4 by Peter Tchaikovsky Symphony No. 5 by Dmitri Shostakovich The Valkyrie by Richard Wagner William Tell Overture by Gioachino Rossini D Brass Reunion After approximately five years The Canadian Brass renewed its association with Yamaha, The group developed its own line of instruments after leaving the company. For more information contact Yamaha Corporation of America, Band & Orchestral Division, P.O. Box 899, Grand Rapids, Michigan; 616-940-4900, fax 616.949. 7721. Music Industry Directory A publication of the Governor's Texas Music Office, the 424-page 1997 Texas Music Industry Directory lists musical events, classical music, books about Texas, state colleges that offer music and music business courses, and more than 8,000 business contacts. To receive a copy send $ 18 to Texas Music Office, P.O. Box 13246, Austin, Texas; 512-463-6666, fax 512.463.4114. Price Reduction Pearl announced price reductions on several marching and concert band percussion products. In the Championship line the company reduced the FFX-105 14-inch free-floating marching snare drum from $745 to $695 and the FFX-103 13-inch free floating snare drum from $630 to $595, A 10%-20% price reduction is in effect for all Competitor marching drums. The new CSD-213 13-inch marching snare lists for $321 and the CBD-216 16-inch marching bass drum is $385. Snare Kits, available in both backpack (SK-700) and hard case (SK-750) styles, and the PL-600 (combination snare and bell kit), which now costs $499, now feature upgraded basket-style snare stands (Pearl Corporation, 549 Metroplex Drive, Nashville, Tennessee; 615-833-4477, fax 615,833.6242).

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62

THE INSTRUMENTALIST / AUGUST 1997