The Role of the Bass Trombone 1¢ bass trombone occupies an inconsistent place in many school band programs. While some large programs always have at least two or three bass trombonist, in others the instrument is unknown or is used only by the occasional student who takes it up at his own initiative. Many an instrument room contains an aging bass trombone that is played only on the rate occasions when a director deems it necessary for a certain piece, and then by a student with minimal training and even less knowledge of the instrument's characteristic sound. ‘These latter scenarios are unfortunate, because a well-played bass trombone greatly enhances the tonal palettes of both concert and marching bands. The Bass Trombone's Role When considering the role of the bass trombone in concert and march- ing bands it must be admitted that this instrument isa luxury. Even concert band works in which the lowest trom- bone parts extend well into the trigger register can be negotiated reasonably well using a tenor trombone with an F attachment, Examples include Move- ment IV of Gustav Holst and Etemal Father, Strong to Save by Claude T. Smith. 28 Twemstmuventaust war 204 By Micah Everett However, the rare piece that includes a B1/C*2, such as Chance’s Incantation and Dance, will require using a false tone or adjusting the F attachment tuning slide to E if the lowest part is to be played on a tenor trombone. Although the bass trombone is not absolutely necessary to hie the notes in low third and fourth trombone parts, it is essential if those notes are to be pro- duced with the best possible sound. The larger bore, bell, and mouthpiece of the bass trombone enable the player to extend into the lowest part of the range while maintaining a characteris- tic trombone timbre. Moreover, a dili- gent player who specializes in the bass trombone will have spent much more time developing skills in that part of the range than a less diligent tenor ‘trombonist who is placed on the third part because his audition landed him at the bottom of the section. The overall band sound should also be considered. The desire to hear a seamless, homogeneous brass section sound from the trumpets down through the tubas can be thwarted by the large difference in timbre between the tenor trombones and the euphoniums. The warmer and darker, but still character- istically trombone-like, sound of the bass trombone provides a bridge between the sounds of the tenor trom- bones and euphoniums. In this respect, using a bass trombone on the lowest trombone part is beneficial even for pieces in which the tonal range does ‘ot necessitate the larger instrument. I have observed similarly good results when using bass trombones in march- ing bands, even though the lowest trombone parts in those groups rarely extend very far into the low register. The bridging effect of the hass trom- bone between the tenor trombones and the lower brasses applies here also, and the result is rather pleasing. In jazz bands the bass trombone moves from luxury to necessity. Even intermediate-level_ jazz band charts will call for excursions into the valve and pedal registers in the lowest trom- bone parts. The frequency and intensi- ty of these notes only increase as the music becomes more advanced, and a double-valve instrument is almost cer- tainly required. Likewise, in. schools that have orchestra programs that bor- row wind and percussion students from the bands, a bass trombone will be needed on the lowest part because of both range requirements and timbral considerations. Choosing Bass Trombonists Having determined that placing one oor more of the band’s trombonists on bass trombone will benefit the ensem- ble, the next step is to decide which students to consider for the larger instrument. (There are instances when players of another instrument, espe- ally euphonium or tuba, might be considered for a switch to bass trom- bone as well.) Here ate some identify. ing markers of trombone students who ‘might make good bass trombonists: The student is of sufficient physical stature to handle the weight, air, and embouchure requirements of the bass trombone. The bass trombone is @ large and heavy instrument, requiring significant upper body strength to hold and to manage. Moreover, the amount of air required is significantly greater than that required for the tenor trom- bone, because of both the size of the instrument and the tessitura being played. Finally, even the smallest mouthpieces that yield a satisfactory ‘bass trombone sound are significantly wider and deeper than most tenor pn arombone mouthpieces, requiring a latter the bass trombon« ruclent_ with and. strong facial and even shares m features. The bass trombone might be embouchure requirement positions as the tenor, there is still a an especially good option for students The student should enjoy and per- learning curve for the student who seemed more suitable for trom- haps be strongest when playing parts in hes from tenor to bass, most ‘one than for tuba as beginners, but the middle and egisters cially regarding slide positions using pose embouchures have filled out as not the same thing as saying the stu- the second valve. Whether because of they have gorten older. Bass trombone h insufficient class time f thould by no means be limited to larg tention, unfamiliarity cudents, but the physical require- eliminate ments for high trombone on the band director ments are significant and should be range developme thusastudent lack of available private instruc taken into account when considering who struggles in that area on the tenor a combination of these fact cudnt for the bass trombone, especial nts who The student should al k rt, will trombone often have to teach haracteristie 0 . ba tobe panacea for this selves the new instrument in | the bass trombc instru- difficulty. H student who truly measure. The student who is a ment, itis still a wombone and should in the ster without candidate for bass trombone is thu ound like one, only larger. Remember ting the upper range might find one who is able to take the instru ofthe primary reasons to include s trombone to be an excellent tional materials provided and run with the bass trombone in the wind band i cases, the larger mouth- them in an independent manner that it is a bridge beew timbre piece actually helps with the student The student should be one f the tenor trombones and that of the upper register, which will lead the wants to take up the bass trombone swer brasses. A student who is inca- newly minted bass trombonist to soon This is an important factor that should pable of producing a full sound on the g an exceptionally large not be dismissed. Although it is some tenor trombone will certainly be The student should also be able to times necessary to persuack tunable to fulfil this role with the bass think and work independently. While uninterested students to change instBSTC UT eel eT TTC Dene ay Raa | In Sizes 6¢, 65 & 66 For Better Toning Puen aes etl Crean a iad oe ee ey eared oor! ory [PRODUCTS | www.rovnerproduets.com Recorded student assessment CAN be affordable! oe , With a Charms Office Assistant subscription and a simple microphone, your students have ‘access to the Charms Personal Recording Studio, at NO EXTRA CHARGE < Visit \weww.charmsoffice.com/about.asp| 30 mu ‘ments in order to improve the balance of the ensemble, such changes are most ent is willing to make the switch and even enthusi- astic about doing so. The switch from tenor to bass trombone should ideally be made only by students who rruly desire to make that change Although there are a number of physical and musical traits typical of trombonists that can make good can- didates to move to bass trombone, are some characteristics chat successful when the stu should not be used as criteria when choosing students to switch. First, the students currently playing third trom. bone in the band ate not necessarily the ones who should be considered for bass trombone, Ifa student is sitting at the bottom of the section because of lack of practice, chances are that switching from tenor to bass trombone will do nothing more than exchange a mediocre tenor trombonist for a mediocre bass trombonist Secondly, while a student who strug gles with the upper register might be a good candidate to move to bass, this is When compared to tenor trombone music, the upper range requirements for bass trombon- ts are not reduced nearly as much as the lower range requirements are increased. In other words, bass trom: bonists are often required to have the not true in every case Micah Everet is assistant professor of (iromboneflow brass) at the University of Mssisippi, principal trom bonis inthe North Mississippi Symphony Orchestra assistant editor (audio/video reviews) of the Iruernatonal Trombone Association Journal. He | master’s and doctoral degrees in performance from the University of North Carolina at Greensboro and a bachelor’s de ee in music education from Delta State Un largest tonal range of the entire trom- bone section, and this makes the trans- fer of a student from tenor to bass trom- bone in an attempt to evade a range problem a potentially foolhardy choice Another preliminary consideration is when to move students to bass trom- bone. Given the multiple shared slide positions and techniques between tenor and bass trombones as well as the substantial size and weight of the bass, Ido not advise moving.a student to the bass trombone before high school. Choosing Equipment In recent years the number of com: mercially a increased dramatically, with a wide range of options for bore and be mouthpieces, valves and valve cont ailable bass trombones has other characteristics uations, These developments are great for the bass trombone community but can make choosing and mouthpieces a daunting task for stu dents who are new to the bass trom: bone. There are broad guidelines that directors and students should consider when choosing a mouthpiece and instrument. The choice of mouthpiece might be more important than the choice of instrument. Given the desire to pro- duce a hig sound as quickly as possible, directors or students might be tempted to purchase the largest hass trombone mouthpiece they can find, but this is ter increase in air and inscruments almost certainly a recipe for d The dramatic embouchure requirements brought about by the largest mouthpieces will likely be overwhelming, and the sound produced will be more similar to a poorly played tuba or euphonium than a trombone. A mouthpiece with a cup Jiameter of approximately 27mm, for example the Bach 1.5G or Schilke 58, is big enow timbre without being overwhelming of excessive diameter of h to provide the desired depth, Larger mouthpieces can be con- sidered once a student has adjusted to the bass trombone, but the sound pre duced with mouthpieces comparable to those I have mentioned is satisfac tory and moving t Likewise with instruments, bi rarely better. Bass ti purchased with .562"/.578" dual-bore hhandslides and bell diameters as large As with the largest mouth: pieces, these gargantuan instruments most likely will not yield the desired sound. High school bass trombonist should stick with a more reasonable as 10.5562" bore instrument with a 9.5" bell Such instruments are perfectly capable of yielding the darker and_ warmer sound that is desited while still main- taining a trombone character. The choice of valves and valve sys tems is also important and might be the most confusing aspect of considering bass trombones. First of all, only dou blewalve bass trombones should be considered. Single-valve instruments are not fully chromatic inthe lover reg ister (BI cannot be played on a single- valve instrument), and the second valve, once mastered, greatly enhances facility throughout that part of the range. Double-valve bass trombones are available with both independent and dependent setups. In. both setups, the firse valve is an F attachment, just like that of the tenor trombone, and in both setups engaging the two valves together almost always lowers the firs-position fundamental pitch to D. The ference is thar in the independent setup both valves are mounted to the main body of the instrument, so that the second valve can be used independently (yield ing a fundamental pitch of Ge), where- as with the dependent setup the second valve is mounted to the first valve's tub ing, and can only be used in combina tion with the first valve. Both systems have their advantages. The independent setup provides more altemate slide position options, while the dependent setup sometimes feels more open when the valves are not engaged, since the player is not always blowing through two valves. The choice between independent and dependent setups is entirely atthe dis- cretion of the Bass trombones can be. purchased with rotary valves, axial-flow (or Thayer) valves, or a number of other proprietary valves. The diflerences are usually limited to the subjective feel and response experienced by a player and not readily perceived by listeners. ‘When considering instruments for a beginning bass trombonist, and espe- cially if the school is purchasing the instrument, the most cost-effective valve type (usually rotary valves) is usually the best choice director and student. Tho Tr to Bi When I have visited high school band rooms and seen students strug sling with the bass, the two most com- mon problems have 1 poor mouth- piece choice (usually too small, such as f large-shank tenor trombone mouth piece, but occasionally too large) and ignorance of how to use the second Grand Mesa Music Publishers Present Our Prem ‘You play Sousa Marches all the time. low oe: the man himself play them. | Sousa Marches — cp461 Played by the Sousa Band Beco the Sousa Band 1897-1830. Indes tars 8 Stipes conducted by Sous), Semper Fels, Washington Pos ECan, 6 maces played the ‘na Sus wanes them Dig stration o reduce surface nose Facage Indes 8 page took wth 9 pots and history of Sous his band 3-CD Set, US$50.85 + $2 shipping in US, or $10, ‘other countries ($5. Canada). Visa, MC, check accepted. Free: dironal Oyo hie of the most aimed soloists ofa tne HL he, Comet oli of Sousa Band: O45 or Arthur Pye, Trombone Salis Sousa Band: (D451 ~ on Dee wth purse of $0.85 Sousa set. ‘Order by phone fax, mal emai or at wivn.crystalrecards.com. Send fo ree catalog, CRYSTAL * RECORDS 28818 NE Manco amas, WAS86D7 USA phn 360-824-702 360.834.9680 ocenacystaecrdscom a 204 /THE STRUMENTALIST 31Bass Trombone Slide Positions with No, One (V), and Both (VV) Valves Engaged 1 z 3 valve. In many cases the slide position charts available in band method books and other materials marketed to school hand directors also lack infor mation on the second valve, so both directors and students are lost when trying to determine how to use it. Happily, some of the method books listed below include slide position charts for the doublevalve ba bone. Position charts and warm-up exercises are also available on my web- site: www.olemisseduflowbras. On the bass trombone, the slide posi- tions when both no valves and the F attachment are engaged are the same as those of the tenor trombone. As usual when the F attachment is engaged, the positions so much that there are only ions possible when that trigger is used. The locations of the positions using an independent G> attachment are similar to those using the F attach- engaged the distance between slide distance between slide leng six po and when both valves are positions increases even more, 0 that the instrument then has only five posi tions. While fine-tuning int determines the precise location of each Position, the diagram above shows the approximate locations ofthe slide posi- tions with no valves, one valve, and both valves engaged. The chart shows that sixth position with one valve engaged is precariously close to the end of the slide but does not appear to be as far away from fifth position as it should be. The handslide would need to be a little bit longer to yield a true sixth position with the son that the double-valve instrument is preferable Onee a student has a basic under standing of how the bass trombone 4 5 Mee ie | |] v\ vv4 works and the location of its slide post tions, the followin, help to increase facility on the instru- method books can ment. Although these studies are best undertaken with the guidance provid ced by regular private lessons, students can also work through these independ. cently with some success The Double-Valve Bass Trombone by Alan Raph (Carl Fischer). Following introductory materials that provide a basic understanding of the bass trom. 6 7 bone, the book quickly p etudes and exercises, which will tc increase the scudent’s overall facility and familiarity with the valves used individually and in combination. This is a fine first method book for a dili gent student who is transitioning from tenor to bass trombone. The FED Double Valve Bass Trombone: Daily Warm-Up and Maintenance Exercises by Paul Fau (PF Music). This book contains exercises that can be used for daily warm Ups and to increase understanding of the valves and how to use them. The difficulty ranges from simple long-tone exercises to advanced slurring and articulation patterns using both valves. 70. Progressive Studies for Bass Trombone by Lew Gillis (Southern). This older method book is annotated for use with a single-valve instrument but can also he used to develop facility with the double-valve bass trombone. Melodious Etudes for Bass Trombone by Marco Bordogni, arranged by Allen Ostrander (Carl Fisher). Ostrander has transcribed several of the etudes from the well-known Bordogni/Rochut ‘method into keys suitable for hasstrom- bone. Like the Gillis hook, this book is annotated with a single-valve instru- ment in mind, but is equally useful for double-valve bass trombones and is a great tool for developing smooth, lyrical playing in the lower register. 24 Studies by Boris Grigoriev, arranged by Allen Ostrander (International). These musically pleas- ing etudes make thorough use of the valve register of the instrument. This is a common source of bass trombone audition etudes for all-state bands ‘New Method for the Modem Bass Trombone by Eliezer Aharont (Noga) This book is similar in format and intent to the Alan Raph book, but the tudes here are more difficult (and more interesting), In addition to these materials, be sure to direct students to recordings of pro- fessional bass trombonists so that they ‘can begin to develop a concept of the instrument’ characteristic sound. There are tremendous resources available, including YouTube and other audio and video streaming websites as well as com- mercially available recordings. ‘Summary and Conclusion Most band programs can get by without bass trombonists, but the instrument should not be viewed as a mere luxury with limited benefit. Adding even one bass trombone will yield improved tone quality on the lowest trombone parts in concert bands, a more seamless brass section timbre in both concert and marching bands, and the necessary bottom trom- bone voice in orchestras and jaz bands. Implementing the foregoing suggestions on selecting, equipping, and transitioning students to the bass trombone will provide a good start to any director seeking to incorporate this extremely useful instrument into the music program, [rer] John Philip Sousa Band Award ‘The John Philip Sousa Band Award was introduced in 1955 to honor the top student in the high school band. 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