FOR

S O L O

E I G H T E E N T H
T R O M B O N E

C E N T U R Y
L I T E R A T U R E

By Chris Buckholz
' onie of the most frequently performed tronabone
literature comes from eighteenili centur)^ Austria. Consisting of
concertos for alto trombone (which may actually be movements
cobbled together from a larger piece) and sacred works for alto
trombone, voice, and continuo. they are a small but significant pool
of compositions from a period ibat is one of the most revered (and
widely perfonned) in westem music histoiy Because these pieces are
the best representatives trombonists have ofthe classic period, tliey
are an imponant component of the solo trombone repertory
But tbe way you sbould prepare an eighteenth centur)instaimental solo is ver)' difierent from tbe way you would approacb
a later one, because musicians during thai era had much more
control over perfoiTnance practice. Composers of the classical period
often left articulation, cadenzas and certain types of ornamentation
up to the performer. This sometimes led to some veiy interesling
results in large ensembles, apparently because musicians in particular
regions would add cmbellishmenis to orchestral works
simultaneously and independently (Levin 273). C.FE. Bach, in bis
keyboard essay Versuch ubcr die ivalitr kn dm Clavier cu spidcn from
1753 and 1762, states that ihe composer sbould have the final say in
omameniaiion, because [performers are too often dnven by ego to
piay with ta.ste (Bacb 166-67). By the mid-nineteenth centuiy, Bacb's
sentiments bad become standard practice, with .composers
controlling most of the aspects of perfonnance.
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Today there are multiple recordings of eighteenth century-solo
trombone works available. Most of tbese recordings demonstrate a
limited knowledge of classical perfomiancc practicefor example, a
performer might play an appropriate cadenza that is the right length
and style, but takes the trill sign literally throughout and does not
-ornament repealed sections, Tbis observation is not intended as
LTiticism, for the trombone community as a whole is mostly unaware
of classical perfomiance practice. And the "eariy music" movement
has often fallen into the trap of elev'ating minutia above artistry,
creating a skeptical backlasb against its teachings. But tbere are
some ver)' valid reasons to understand and assimilate historic
performance practice. Far from being a pedantic study, a little
knowledge of classical performance practice will t^ake any
trombonist's life easier technically and more satisfying musically.
For an example of the ornaments issue, listen to practically any
recording of an eighteenth century solo trombone work and you'll
hear a veiy uniform and (Xiiisbed perfonnance of trills. However.
there are many different ways that these anisis choose to execute
the trill. Some migbt play special alto trombones with irill
valves, and others might use an alto trombone with a Bb valve.
Some artists perform lip trills tbat may or may not require the
use of alternate positions. Of course, when tbese works were
written there was no such thing as a brass instrument valve; that

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invention came in 1814 (Baines 207). Therefore, the only way

that tbe original performers of these works could play a trill was
through lip trilling.
The problem is that many of [he trills written in these works are
difficult to execute and have the potential of sounding clumsy. Tbe
pitches are not conducive to lip trilling, because the trilled pitch is too
lo\^'. meaning that tlie next bigber ovenone scries is a fairly large leap.
Sbort note durations compound the problem. Take tbis example from
measure 83 of the Aibrecbtsberger Concerto, first movement:

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Lip trilling on a middle C on alto trombone is difficult, because tbe next

ovenone series up is a major third awa)'. There's no aliemate ]X)sition
available. And even though the piece is basically in a moderate 8/8,
there's not much time to trill on an eighth note. This is no trouble for
cotitinuo or strings (and during the period, tbe con\'ention was tbat
these pieces could be played by other alto instrLiments like the viola or
basset hom), but its awkward on trombone. Its easv' to understand why
the trill.valve is a convenient solution to the problem. However, the
invention of the valve was still decades away for tbe trombonists who
premiered these works. Did they not execute the trills veiy well, or
were they simp!)' habituated to pla)1ng trills so often that they were
experts on praducing them iluentl)'?
%ere is another answer lO this question ihat'Comes fi^om
mustcolog)'. According to Jaap Schaieder, a violinist and expert on
early music practice whom I studied witb at tbe Yale School of
Music, the trills tbat appear in modern editions of tbese pieces may
not be the exact ornament that the original perfomters chose to play
This is verified by Daniel Gottlob Turk, in his keyboard style manual
from 1789. Turk states tbat "At times various composers write the
sign for the trill or the mordent in passages in which these two
ornaments, because of the shortness of the notes or for other
reasons, camiot be comfortably played. In sticb cases, the keyboard
player can make use of the tum with out hesitation in place of these
other ornaments" (Turk 273-74).
Sometimes true trills can be played where indicated, but on
other occasions turns work better Here's the Aibrecbtsberger firsl
movement example again, witb a tum written out where tbe trill was;

This effectively solves the problem of trilling on ihe C. The first

movement of the Albrechlsbergei* Concerto contains other good
candidates for turns, such as this example frotn measures 26-27:
26

27

We can do a regular trill, which might look like this performed:

Here is how it would be played with turns:

If we make our example in F minor this lime, the trill would look
like this, using a half step:

27^

In the Wagenseil Concerto, there are similar difficulties with a few of

the trills. Take, for example, measure 13:
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YoLt could do a very fast trill here, hut lip trilling on a middle Eb on
alto trombone means that the upper panial series is either a major
third (in first position) or a minor third (in fifth position) away A tum
is the more logical choice, especially because of the appoggiatura:

Again, the tum starts on the pitch a step above the note with the trill
designation and resolves in a logical manner. In measure 35. there's
plenty of time to do a lip trill:

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But Jaap Schroeder suggested making the first c|uan,er note longer
and doing a tum, so that the figure is like that in measure 13:

In either case, the irill begins on the pitch a step above the note
the "tr". In the nineteenth centur)', trills began on ihe aciual pilch of
the "tr" designation, hut not so in the eighteenth. The last two notes
of the ornament are called the termination. Trills at^ almost always
played with a termination, but if the note value is too shori, )'ou can
leave it off (Turk 250), However, there are better alternatives for short
noies that are easier lo execute on the trombone,
A tum would be perfonned like this:

A "quick tum" reverses the figure (Turk 276);

And a 'trilled turn" adds some extra notes (Turk 278-7Q):

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If the note values are shorter,

ot course, suhstituiing a lurn fora trill is a matter of personal
taste. But even if you have no problem executing trills in the most
difficult circumstances, it is a good idea to use some variety Perfectly
executed trills, played over and over again, are hardly as interesting
as the use of a variety of ornaments. This Is not to say that trills
should be avoided; quite the opposite.
Some notes are best embellished with a standard trill, like the
opening of the Albrechtsberger, first movement, because there's time
lor it, its on a good panial series, and it works well with the eadier
statement by the strings:
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liul many are better executed with turns or other emhellishments.

And a word of caution if you're perfonning one of the many sacred
pieces available for voice, trombone, and continuo. If you decide to
c hange any trills to turns, make sure that you have the vocalist
change his or her ornaments in the corresponding phrase.
At this point, it might be good to go over some basic rules for
ornaments in the eighteenth century. Some omaments are simply not
practical for use on the trombone and are better left to other
instalments. But there are a few good options available to us. Let's
lake a typical cadence in F major that has a trill on the V chord:

tr

you can perfomi a half trill (Turk 262):

Mordents are not usually perfonned on V chords, but they can

decorate the following tonic. They are a rapid alternation between
the note of the mordent and a step below. Unlike a trill, they begin
right on the beat. Here's a situation where you could use a shon
mordent on the 1 chord (in this case, F):

And this is what it would look like executed:

tr

www.trombone.net / Intemational Thimbone Association Journal

Appoggiaturas arc not just a rhytbmic device; tbey are a means of

denoting emphasis before the standardized use of aniculations.
Appoggiaturas should be "leaned on" a bit (Bacb 88). Tbey are not
articulated harder, as might be interpreted with an accent mark, but
simply given more weight than other notes.
Today as in the eighteenth century, cadenzas are sometimes
interpreted as licenses to show off. Not everyone is guilty, but we Ve
all heard trombonists use the cadenza as an opportunity to
demonstrate to the listener just how much technique i.s in reserve, or
how tricky tbey can get wilh harmonic structure. Isn't that the
puipose of a cadenza? lt may bave been for Liszi or Paganini, but not
for performers in the eighteenth century. As Robert D. Levin writes,
"A cadenza is less a prolonged virtuoso display than a decorated
cadence, as denoted by tbe Italian word" (Levin 279). Cadenzas were
preferably short, tasteful improvisations upon tbe themes and
harmonic language of that movement (Turk 299). Mozart's keyboard
cadenzas suggest a length of not more than ten percent of the
movement's total performance time (Levin 280). Cadenzas in the
printed editions of eighteenth century trombone music bave been
written by tbe editor, not by tbe actual composer. During this period,
cadenzas were expected to be improvised and therefore were typically
not written into the score. The edition cadenzas can be excellent, but
tend to run mucb longer than necessary You will want to do some
substantial editing. Better yet, write your ov^n. It's not too difficult;
here's one 1 wrote lor tbe fiim movement of the Wagenseil Concerto:

Both TLirk and J.J, Quantz have a number of imponant things to

say about cadenzas. First of all, stick to the important themes and key
centers of tbe tnovement (Quantz 184), Absolutely do not employ
modulations and flashy runs that have nothing to do with tbe
movement's melodic material; a cadenza during this period is not a
license for letting your ego run amok. View it as an opponuniiy to
show how lasteful and melodic you are, like any good classicist. Keep
tbe length proportional: in fact, both Turk and Quantz suggest that
wind instrument cadenzas should only be as long as one can play in
one breath (Turk 498, Quantz 185). If this is the case, then perhaps
you could shorten the example above to contain just tbe last pbrase:

reprini the intended repeat (thus implying that tbe composer wished
a literal restatement of the material), when in fact tbe composer
intended for ornamentation to be added (Levin 272-73). C.EE. Bach
would most likely recommend erring on the side of conservatism in
the embellishment of repeats, Tiirk gives tbe suggested example of
an embellisbed melody ornamented to the point that it amounts to
an elaborate variation, although he points out that one wouid not
choose ail of his suggestions in performance (Turk 314-16). Still, it
is clear that a substantial amount of variation is permissible.
For an example of an omamented repeat in trombone literature,
here's the first repeated section from the trio of the menuetto
movement in the Leopold Mozart Serenade in D:
And here's the same passage that I have omamented:

This example migbt not suit your taste, but one of the nice

about tbis practice is that it is entirely within your control. Us one of

tbe few opportunities as a soloist where you can have significant
creative input. This requires quite a bit more out of the perfomier;
you must know about the types of eighteenth century ornaments
and their application. However, the extra study ensures an
interpretation that is true to the period's performance practice, and is
much more enjoyable for both audience and performer.
Based upon the recordings and performances lVe beard (and my
ovm performances are included), trombonists bave a long way to go
virith eigbteentb century performance practice. Because so mucb
from this period is left up to tbe performer, it is critical for tbe
individual to fmd their own unique style. Historically correct
performance practice teclmiques can only enhance your artistry.
Hopefully, with a little more effort and study, and a willingness to
break witb the concept of "sticking to the ink," we'll be able to
perfbmi these works in a more compelling and musical manner.
Worki Cited

My personal opinion is that trombonists should not be musically

penalized simply because we're not violinists or keyboard players.
We're habituated to hearing cadenzas that are longer than a few
seconds, so there's no good reason why we can't play a short, tasteful
cadenza like any other instrument. And one last point: even if you
cannot improvise a cadenza and must write one out, play it as
though you're making it up (Tiirk 298-301).
Finally a word needs to be said about repeats in common forms,
like sonata, minuet, and rondo. Repeated sections are eveiywbere in
classical music, because many of tbe common forms evolved from
baroque dance. Expositions in sonata movements were played twice.
Performers today often choose to ignore exposition repeats because
the simple themes can l3ecome boring a second time around. In the
eighteenth century (particularly in solo forms where the tbeme is
carried by a single instrument), tbe way to solve tbis problem was to
ornament repeats. Modem editions often leave out da capo signs and
International Trombone Association Journal / www.trombone.net

Aibrechtsljerger, Jiihann Georg. Gmu-Ttsi per irtmlxim-alw fd anhi. Edlied by Darvas GSbiir.
Piano score by V^csryjenii. Budapest: Editio Musiai Budapest, 1966.
Bach, Carl Pliillipp Emanuel Essay cm ihf True An oj Playinij, Kiyh)iird (rufiuriviTMs.
Translaied diid ediied lay William J. Miithell. New York: W W Nonon fj Oimpany, 1949,
iiaine5, Anihimy Btiiis Inslrumcnls: Their HisWry and DtvelupmtnL Mineola, New York;
Dover Publicaiions, Inc., ^ 9 3 ,
Li?vin, Robert. D, "Instrumental Ornamentation, Improvisatiim, and Cadenzas." In
Pt'rfornwnce ProLtice: Musii. Ajlcr J600. Edited by Howard Mayer Brown and Stanley
Sadie. New York: W W Nonon &r Co Ud., 1^8^:367-^1.
Mozari, teopold. Concenmo per Trombone rur PosMune & StTcichorches.la. Edited by Paul
Angercr. Zumikon, Switzerland: Edilitins Man; Rdfl. 19^0.
Quanta, Johaim JoaLlum, On Ploying [hi- FtuLe. Translated with notes and an introduction
by Edward R. Eteilly Boston: Nonhcasiem tlnivcrsity Press, 1976.
Tilrk, Daniel Gottlob. .School oj Qavier Playing, or Inslixtclioiv. in Play'm^ ihc Clavier /orTfachfr% & Sludcnis. Transiaiion, inmiduciion, and notes by Raymond H. Haggh.
Lincoln, Nebraska: University of Nebraska Press, 1982.
Wagenseil, GeoigChristopb. Knrzert jUr Posaune. Edited and piano score by Kun Janetzk>:
New York: C.E Peters Corporaiion, 1963.

Chris Buckholz served as the lead trombonist of the Army Jazz

Ambai,sadorsfwm 1997-2005 and taught at Bowling Green State
Vnivcrsiiy from 1996-97. He received the doetorate from the University of
Michigan in 2001. Buckholz is current!)' assistant professor of trombone at
ihc University of Northern Iowa.