Introducing Students

To the Bass Trombone

by David F. Wilborn

T
he modern bass trombone bass trombone are the trombonists also are loud because they have to
emerged as a prominent wind who can play the loudest. More impor- move the bell out from behind the
instrument in concert bands tant is the ability to control the sound music stand to see the music so the
and orchestras as composers appreci- with proper air speed, a consistent sound projects through the ensemble
ated and wrote parts for the instru- tone quality and dynamic level in all to the audience without obstruction.
ment's distinctive sound and extended registers during loud playing, especially Directors often confuse students by
range. This instrument can imitate the on legato passages. Bass trombonists complaining about an edgy sound,
warm qualities of the human voice in are sometimes overzealous on low trig- when, in fact, they are referring to a
one passage and deliver an aggressive ger and pedal notes and tend to over- bright, strident sound or one that is
bass sound in the next. It is the bass power the ensemble. not in balance with the overall tex-
trombone that often articulates and Conductors who are frustrated from ture. Initially, a player might blow
defines the bass notes in an ensemble. working with overzealous bass trom- softly or play into the music stand to
Many conductors do not understand bonists should consider that encourag- cut back the volume of sound, but this
the characteristic tone quality of the ing students to fill up the horn with a impairs the tone and ultimately does
instrument and mistakenly treat it like large amount of air may contribute to not eliminate what the conductor con-
a large tenor trombone, using it on first overplaying problems. The size of the siders to be edgy. A better solution is
and second tenor trombone parts bell and its construction affect how for the bass trombonist to lower the
instead of bass trombone parts. Com- much an instrument will penetrate an jaw and blow what feels like a warm
posers who want the bass trombone ensemble sound. The large bass trom- stream of air while focusing on playing
sound on a particular piece usually bone bell, which rings in performance, evenly and broadly so no notes stand
write a part specifically for that instru- amplifies the sound and colors the tim- out. This is especially important in
ment, and directors should use the bre. A yellow-brass bell will produce a extreme registers and when going in
appropriate instrument for the desig- brighter sound than a red- or gold- and out of the trigger range.
nated part. Seated at the low end of brass bell because yellow brass (stan- Although some teachers and manu-
the trombone section, the bass trom- dard) contains less copper (about facturers recommend large instru-
bone usually plays the root or lowest 70%) and is harder than red or gold ments, such as the King 8B or the
pitch of a chord and establishes the brass (about 90% copper). The harder Bach 50B3LO to avoid an edgy sound,
intonation for the other trombones. the material the less the bell will most professional players agree that
However, a good bass trombonist will vibrate, and the less it vibrates the large-bell bass trombones produce an ;
listen carefully to the first trombone brighter the sound. Bass trombonists uncharacteristic sound that is dull in
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 pro-
ject low notes, but there is no truth to
the myth that the best candidates for

David F, Wilborn is assistant professor of

low brass at Eastern New Mexico LJni-
versity in Portaks, New Mexico, performs
with the Amarillo Symphony and the Ros-
well 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 mas-
ter 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 VWW.USc
 comparison to the other low brass
instruments. An instrument of moder-
ate 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 posi-
tions, 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 artic-
ulate in the low register, the obstacles
are often insurmountable for players
who have not yet mastered the tenor
trombone.
The best candidate for bass trom-
bone is not the worst player in the sec-
Future Pro™ tion but a student who can lead the
SD-IF Drumstick
low brass section and is enthusiastic
•TXSD-IFW
about trying something new and play-
Future Pro™ ing bass trombone.
Xylo-Bell Mallet 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
Introducing Future Pro" Drumsticks and Mallets. diameter of the inner slide is much dif-
ferent, Although the bass trombone
Pro-Mark Quality. Sized for Smaller Hands. can play as high as Bi'4, the larger bore
Big desire. Small hands.That's the challenge size enables players to comfortably play
facing student percussionists as they struggle notes down to El.
I Ext. High Range Practical Range
through exercises, rehearsals and !>»-__ _
~ ^~-.O. n\, Low Range
performances using standard-size mallets
and drumsticks.The solution is Pro-Mark
Future Pro™. Designed in conjunction with
The expanded bore size contributes to
our Educational Advisory Board, the Future
the characteristic dark tone quality of
Pro line is sized and balanced for student- the bass trombone because players
sized hands.Yet there's no skimping on have to blow more air through the
instrument. Designed with a gradual
quality.The drumsticks and timpani mallets
taper that expands the bore of the
are made with premium American Hickory. instrument, the bell flares out slowly,
And the synthetic handles on the xylo-bell which darkens the tone as well.
and accessory mallets are virtually Large trombone mouthpieces have
wide rims, deep cups, and open back-
indestructible. bores to extend the low range and pro-
'' Future Pro1 Want to help young percussionists grasp duce a darker sound, but large mouth-
Timpani Mallet their full potential? Recommend Future Pro pieces limit the high range. Students
/ FPT-2 should use a mouthpiece, such as a
from Pro-Mark. Bach 1C or I'/zG, that works well
Future Pro" over the full range. Leadpipes come in

pro-mark
• ai 11 - r T r a variety of tapers that change the
Accessory n resistance, but in general the more
open the leadpipe and larger the
™ Our reputation is in your hands® mouthpiece the less resistance and the
darker the tone.
10707 CRAIGHEAD DRIVE • HOUSTON.TX 77025 • 713-666-2525 • HOTLINE: 1-800-233-5250 Available in several designs and
E-mail: info@promark-stix.com 'WEB SITE: http://www.promark-stix.com specifications, bass trombone triggers
vary widely from one instrument to
56 THE INSTRUMENTALIST/AUGUST 1997
 another. The single F-attachment bass
trombone (B^/F) is ideal for beginning
Help for College Students bass trombonists because they can play
low trigger and pedal notes without
and Beginning Directors the hindrance of an elaborate trigger
system. The bass trombone music at
this level consists largely of mid-range
Some of the best articles from the
notes and an occasional low trigger
pages of The Instrumentalist for note. With the single F attachment
prospective or beginning directors students can use alternate positions for
are collected in this new publica- pitches from C3 down to E2 and play
tion. Veteran directors share their down to C2; this instrument will play
experiences to give practical advice Bl if students extend the F-attach-
to those just starting their careers. ment slide about four inches.
College professors may want to
make this an assigned text for
Natural Pos. 4 5 1(6) 2(7) 3 4 5
future directors, F Attach. '3 15 1 12 13 5 6
Practical advice and solutions
-"—e—tx»—r.—lut 6""frb „
on matters ranging from discipline
Natural Pos. 6 7 1 2 3 4 5 6
to choosing music to fundraising F Attach. 1 12 ^ «5 6 t7 • 1
make this volume an essential
resource for new directors. 48
pages, $8 for single copies, $5 each Natural Pos. 7
F Attach. 12 13 17
when 5 or more copies are ordered,
The best instruments for intermedi-
(This new publication will be included as a bonus to all group subscribers ate and advanced students are the
to The Instrumentalist this year. See page 63 for information.) B^/F/E, Bl>/F/F>, and B^/F/D instru-
ments, which have a second trigger or
attachment (pitched in E, EP, or D),
The Instrumentalist • 200 Northfield Road • Northfield, Illinois This attachment extends the low trig-
Telephone: 847-446-8550 • Fax: 847-446-6263 ger range an additional minor second,
major second, or minor third when
used in conjunction with the F attach-
ment, which alone lowers the instru-
ment's range a perfect fourth. These
additional attachments allow bass
trombonists to use at least two slide
"A much needed positions for each low trigger note (the
book that answers F attachment alone or in conjunction
so many questions with the second attachment) and play
that are not answered Bl without adjusting the F-attach-
in most music educa- ment slide.
tion classes in our • ...
universities. I am Natural Pos. 4 5 1(6) 2(7) 3 4 5
recommending the F Attach.
F/E Comb.
13
2
15
4
1
5
12
1
13
12
5
4
6

text to everyone F/BComb. H 3 IS 6 H 3 15

F/D Comb. 4 1 13 4 15 1 13
that I know who
is turning out teu —e-
Natural Pos. 6 7 1 2 3 4 5 6
future band F Attach.
F/E Comb. 16
1 12
1
13
12
15
4
6 17 1
5 16
and orchestra F/ElComb. 6 17
F / D Comb. 4 1 5
l
7
3
i
15 6 17
13 14 15 7
directors."
•» >•• IT btr is: — i —•
- Harry Begian Natural Pos. 7
F Attach. 12 13 14 fi n }1
F/E Comb. i 12 4 15 6 17
F/F>Comb. - U 12 |4 15 16
F/D Comb. - 1 13 4 1,5 7

Band Rehearsal Techniques is packed with practical guidance on what

to do at a new school before classes begin, choosing repertoire, score Alternate positions in the low range
study, rehearsal procedures, developing musicianship, motivating are important because trigger notes are
students, and more. Hardbound, 96 pages, $16. Prepayment required further apart on the slide than notes
(add $3 shipping) played without the trigger, about 4-5
inches instead of 3-3 Vi inches. With
The Instrumentalist, 200 Northfield Road, Northfield, Illinois 60093 two slide positions for each low trigger
Telephone: 847-446-8550 Fax: 847-446-6263 note, slide movement between notes is
reduced from within and outside the
58 THE INSTRUMENTALIST / AUGUST 1997
 second partial trigger register. The sec-
COMPACT DISCS - New Releases ond attachment, which works only in
CD348:LITTLETUNESFORTHE BIG BASSOON. CD396: GRAVITY IS LIGHT TODAY. Roger conjunction with the F attachment,
Sue Nigro, contrabassoon. Short pieces by Bobo, Tuba & Bass Horn. Jazz tuba works by produces a poor tone in the middle
Cherubim, Corelli, Tartini, Geminiani, Debussy, Roger Kellaway & Fred Tackett. With Fraydis and high registers and is suitable only
Bozza, Gipps, Laudenslager, Davis, plus The Pink Wekre, horn; Kellaway, piano; Tackett, guitar; &
Panther, Take Five, Harlem Nocturne, & much jazz ens. "Heifetc of the Tuba" (Stereo Review) for low notes.
more, "a veritable Paganini of the contrabas- CD566: STROPHES OF THE NIGHT & DAWN. Regarded as a professional-quality
soon.AfundiscI".said Fanfare about Nigro'sfirst F|orida state Bras$ Quintet. Peaslee, Distant instrument and available with various
CD The Big Bassoon. This sequel is even more fun. Dancing; Cheetham, Scherzo; Suderburg, Stro- bell and bore sizes, the B^/F/G/E'' bass
CD655: MOVING ALONG with Harvey Pittel, phes of the Night & Dawn; Walker, Raise the Roof; trombone features an independent
Saxophone. Dahl, Concerto for Saxophone; Ib- Everett, Rendezvous; Koetsier, Quintet.
ert, Concertino da Camera; Creston, Sonata; CD356:TOUR DE FRANCE. Debussy, Prelude a trigger system that allows players to use
Maurice,Tableaux de Provence; Albinoni, Con- I'apres-midi d'un faune, Syrinx; Bizet, Jeux the F and G attachments alone or
certo Saint Marc; Rachmaninoff Vocalise. "Pittel, d'enfant; FaurS, Dolly Suite; Saint-Saens. Buyse, together, which opens the E^ side of
a master of his instrument", NewYork Times flute; Webster, clarinet; Collier, piano.
the instrument, lowering it a perfect
CDs 16.95 ea. Add $2/order US shipping. Visa, MC accepted. Send for free catalog
fifth. The variety of possible combina-
CRYSTAL•RECORDS tions with this trigger configuration
28818 NE Hancock Rd, Camas, WA 98607 phone 360-834-7022, fax 360-834-9680
increases the number of alternate posi-
tions, making most of the difficult bass
trombone literature easier to play, and
allows students to play pedal B^ in sev-
MUSICFEST enth position as an alternate position
WASHINGTON, D. C. 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 first-
slide brace. When used in the middle
register, the G attachment produces a
tone similar to the natural sound of the
instrument, offering an increased num-
ber of alternate positions.

Natural Pos. 4 5 1(6) 2(7) 3 4 5

FAttach. *3 |5 I 12 13 5 6
GAttach. 1 12 13 15 |6 i
Fairfax, Virginia F/GComb. U 12 3 U t|(g) 2
12
13

April 17-18 and May 1-2, 1998

Natural Pos. 6 7 1 2 3 4 5 6
A high quality festival for CONCERT BANDS, JAZZ ENSEMBLES, ORCHESTRAS, F Attach. 1 12 ^ 15 6 17 ' 1
G Attach. I 3 15 (6 7 1 12 13
CONCERT CHOIRS, SHOW/JAZZ CHOIRS, and MEN'S/WOMEN'S CHORUSES. F/G Comb. 1 4 6 (1)1 (2 13 14 6 -
Divisions include junior/senior high schools and college.
Produced by MUSICFEST ORLANDO.
Groups may perform for "Comments Only," for "Ratings," or in "Competition." Natural Pos. 7
Each group will receive an on-stage critique/clinic from one member of the F Attach. 12 13 14
G Attach. 15 (6 7
adjudication panel. F/G Comb. . 4)1 12

ALL STAR ADJUDICATION PANEL: David Bragg, Gary Green, Jay Jackson, The B^/P/ClVD instrument is the
Don Wilcox, Duncan Couch, John Purifoy, Russell Robinson, Jeff Reynolds same as the B'J/F/G/E'> bass trombone
except that the G!> attachment and
"FESTIVAL ONLY" F/G combination produces notes a half
PACKAGES step lower. Both instruments are
INDIVIDUALS WILL RECEIVE . . . widely available, and the main differ-
• Festival Registration for MUSICFEST WASHINGTON, D. C.
ence in their use is simply a matter of
• Awards Presentation personal preference. Alternate posi-
• Festival T-shirt tions with the BP/F/G/EP configuration
• Festival Patch fall mostly within the first three posi-
ALL GROUPS WILL RECEIVE . . .
tions, but with the B ''/F/G '/D configu-
ration they fall within the first two.
• 2 FREE PACKAGES for directors including MUSICFEST WASHINGTON, D.C.
T-shirt and Patch (based on a minimum of 30 paid persons). tjj—e—
Groups with less than 30 will receive 1 free PACKAGE.
Natural Pos. 4 5 1(6) 2(7) 3 4 5
• Engraved Plaque with Ratings for each performance F Attach. 13 15 1 12 13 5 6
• Adjudication sheets with taped comments Gt Attach. 15 1 12 14 15 6 1
• On-stage Critique/Clinic with one member of the adjudication panel F/G1 Comb. 5 6 1 14 6 1 3

Call MUSICFEST ORLANDO

u
Toll-Free 1-800-734-0482 Natural Pos. 6 7 1 2 3 4 5 IS
F Attach.. 1 12 '3 15 6 17 - I
Gl Attach. 12 |4 • (5 6 17
F/G Comb. U 15 7 1 13 14 15 7

60 THE INSTRUMENTALIST/AUGUST 1997

 _Q!
Southwestern Sketches by Samuel Adler
-e- TT kr = Symphony No. 1 by Johan de Meij
"^* TT
Natural Pos. 7 . . 1
F Attach. 12 13 u 6
Symphony No. 3 by Vittorio Giannini
17 -
G l Attach. 14 15 6 17 Variants on a Medieval Tune by Norman
F/d- Comb. 1 13 4 '5 7
Dello Joio
Although a knowledge of its design Orchestral Excerpts
and function within an ensemble is 18 J 2 Overture by Peter Tchaikovsky
important, the best way to understand Hary-Janos Suite by Zoltan Kodaly
the bass trombone is to become famil- Hungarian March by Hector Berlioz
1 ftcfcilke I iar with the literature, which estab-
lishes performance standards for the
Lohengrin by Richard Wagner
The Rhinegold by Richard Wagner
CUSTOM-BUILT , instrument. Much of the bass trom- Symphony in D Minor by Cesar Franck
bone repertoire challenges players Symphony No, 1 by Johannes Brahms
INSTRUMENTS with difficult technique, extended
high and low ranges, and long, sus-
Symphony No. 4 by Anton Bruckner
Symphony No. 4 by Peter Tchaikovsky
AND MOUTHPIECES tained legato passages that call for Symphony No. 5 by Dmitri Shostako-
expanded breath capacity. As the vich
instrument continues to grow in popu- The Valkyrie by Richard Wagner
TRUMPETS larity, composers are writing original William Tell Overture by Gioachino
IN Bt>, C, D, EP, Et>/D, F, G, solo works for bass trombone and third Rossini D
EVF/G. 65 Models-Trumpets- and fourth trombone parts that use the
Cornets . instrument's low trigger range. Thanks Brass Reunion
to the efforts of the International After approximately five years The
Trombone Association and such out- Canadian Brass renewed its associa-
standing bass trombonists as Thomas tion with Yamaha, The group devel-
PICCOLO TRUMPETS Everett, Donald Knaub, and Fred oped its own line of instruments after
IN Bb/A, C Boyd, composers have written many leaving the company. For more infor-
works that have become standards in mation contact Yamaha Corporation
the bass trombone repertoire. of America, Band & Orchestral
TUNING-BELL TRUMPETS Division, P.O. Box 899, Grand Rapids,
Repertoire Michigan; 616-940-4900, fax 616.949.
With Detachable Bells Bass Trombone and Band Accom- 7721.
Eliminates the tuning slide paniment
improving intonation and Cameos by Gordon Jacob Music Industry Directory
response. Additional bells Concertino Basso by Richard Lieb A publication of the Governor's
offer varied tone color. Concerto by David Gillingham Texas Music Office, the 424-page 1997
Concerto by Frigyes Hidas Texas Music Industry Directory lists
Concerto by Vaclav Nelhybel musical events, classical music, books
Fantasia by Burnet Tuthill about Texas, state colleges that offer
MOUTHPIECES - music and music business courses, and
Sonata in One Movement by Donald
STANDARD AND SIGNATURE more than 8,000 business contacts. To
Grantham
Precision made for Trumpet, receive a copy send $ 18 to Texas Music
Way Down Blues by D. Armitage
Cornet, French Horn, Trom- Office, P.O. Box 13246, Austin, Texas;
bone, Euphonium and Tuba. Bass Trombone and Orchestral Ac- 512-463-6666, fax 512.463.4114.
companiment
Concerto by Frank Siekman Price Reduction
Pearl announced price reductions on
Concerto by Thorn Ritter George
Call or write several marching and concert band
Concerto by Frigyes Hidas
for dealer in your area: percussion products. In the Cham-
Concerto by Vaclav Nelhybel
pionship line the company reduced
Concerto by Karl Pilss
the FFX-105 14-inch free-floating
SCHILKE MUSIC, INC. Concerto (for Tuba/Bass Trombone)
marching snare drum from $745 to
by John Williams
$695 and the FFX-103 13-inch free
Concerto by Ellen Taaffe Zwilich
4520 James Place floating snare drum from $630 to $595,
Melrose Park, IL 60160 Band Works that Include Bass Trom- A 10%-20% price reduction is in
bone Parts effect for all Competitor marching
312922-0570 and the mountains rising nowhere by drums. The new CSD-213 13-inch
Joseph Schwantner marching snare lists for $321 and the
PLEASE SEND: Commando March by Samuel Barber CBD-216 16-inch marching bass drum
First Suite in E^ by Gustav Hoist is $385. Snare Kits, available in both
D Instrument Catalog
Lincolnshire Pos^i by Percy Grainger backpack (SK-700) and hard case
O Mouthpiece Catalog Moravian Hymn Dance by Fred Allen (SK-750) styles, and the PL-600 (com-
Name Music far Prague 1968 by Karel Husa bination snare and bell kit), which
Address Punchinello by Alfred Reed now costs $499, now feature upgraded
Rocky Point Holiday by Ron Nelson basket-style snare stands (Pearl
City/State . Savannah River Holiday by Ron Nelson Corporation, 549 Metroplex Drive,
Zip Scenes from the "Louvre" by Norman Nashville, Tennessee; 615-833-4477,
Dello Joio fax 615,833.6242).
62 THE INSTRUMENTALIST / AUGUST 1997