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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56

THE INSTRUMENTALIST/AUGUST 1997

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

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

"A much needed

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- Harry Begian

Band Rehearsal Techniques is packed with practical guidance on what

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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

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.

Natural Pos. 4
F Attach. '3

5
15

1(6)
1

2(7)
12

3
13

-"etxr.lut
Natural Pos. 6
F Attach.
1

Natural Pos. 7
F Attach.
12

7
12

1 2
^ 5

5
6

6""frb
4
5
t7

3
6

13

4
5

6
1

17

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.
Natural Pos.
F Attach.
F/E Comb.
F/BComb.
F/D Comb.

4
13
2
H
4

5
15
4
3
1

Natural Pos. 6
7
F Attach.
1 12
F/E Comb. 16
1
F/ElComb. 6
17
F / D Comb. 4 1 5

Natural Pos. 7
F Attach.
12
F/E Comb.
i
F/F>Comb. F/D Comb. -

1(6)
1
5
IS
13

1
13
12
l
7

2
15
4
3
i

> IT
13
12
U

14
4
12
1

...

2(7)
12
1
6
4

3
13
12
H

teu
3
6
5
15
13

15

4
5
4
3
1

5
6

15
13

e4
5
17
16
6
14

17
15

btr is:

fi
15
|4
13

17
16
1,5

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6
15
4

6
1
7
i
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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.

Natural Pos. 4
FAttach. *3
GAttach.
1
F/GComb. U

5
|5
12
12

Natural Pos. 6
F Attach.
1
G Attach. I 3
F/G Comb. 1 4

1(6) 2(7) 3
4
I
12
13
5
13
15
|6
i
3
U
t|(g)
2

7
12
15
6

1
^
(6
(1)1

2
15
7
(2

3
6
13

4
17
1
14

5
'
12
6

5
6
12

13

6
1
13
-

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60

THE INSTRUMENTALIST/AUGUST 1997

Natural Pos.
F Attach.
G Attach.
F/G Comb.

7
12
15
.

14
7
12

13
(6
4)1

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.
tjje
Natural Pos.
F Attach.
Gt Attach.
F/G1 Comb.

Natural Pos.
F Attach..
Gl Attach.
F/G Comb.

4
13
15

5
15
1

1(6)
1
12

2(7)
12
14

3
13

4
5

15

6
1

14

6
1
12
U

7
12
|4
15

1 2
'3 15
(5 6
7
1

3 4
6 17
17
13 14

5
15

u
IS

_Q!

-eNatural Pos.
F Attach.
G l Attach.
F/d- Comb.

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62

THE INSTRUMENTALIST / AUGUST 1997

7
12

14

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.
13
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7

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
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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
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the FFX-105 14-inch free-floating
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A 10%-20% price reduction is in
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