Trombone

Herbert, Trevor

doi:10.1093/gmo/9781561592630.article.a2252542

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“…43 This occurred in part because of the trombone's ability to blend with the voice in terms of dynamic versatility, the pitch range of the instrument, and the ability to play in different keys. 44 Trombones of this time-period projected a clarity of sound similar to that of the modern trombone, but were typically softer and produced a more mellow tone. 45 was due in part to the more narrow bore size, the smaller bell, and a more conical mouthpiece.…”

Section: Origins Of Alto Trombone Notationmentioning

confidence: 81%

“…A number of previous studies have adequately discussed the history of the alto trombone as an instrument. Doctoral research projects by David Mathie 12 , and Mark Hartman 13 include concise historical overviews of the alto trombone, and Wayne Wells 14 provides a more detailed account of trombone history in Austria, a geographical region where alto trombone was at one time most prevalent. Alto trombone history is also outlined in several periodical articles, most notably by Stephen Anderson,15 and Will Kimball, 16 and considerable coverage can be found online in articles by Ken Shifrin,17 Rob Slocombe, 18 and Will Kimball.…”

Section: Chapter I Brief History Of Alto Trombone Notationmentioning

confidence: 99%

“…50 Nonetheless, throughout the 16 th century the trombone could be found in a variety of settings, at times grouped with loud, at times grouped with soft instruments, and by the 17 th century, the once-emphasized distinctions of loud and soft (haut and bas) instruments was largely meaningless. 51 In an exceedingly rare example, the printed and published music for the Medici wedding of 1539 written by Francesco Corteccia includes parts that double the vocal lines and are specifically labeled for the trombone. 52 1959): p.101.…”

Section: Origins Of Alto Trombone Notationmentioning

confidence: 99%

“…During this time, the orchestral use of the alto trombone was quickly becoming overshadowed by the tenor. 140 Orchestral scores can be similarly deceptive. For example, Schubert's scores were published with the top two trombone parts in tenor clef even though the composer had intended the first part for an alto trombone.…”

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confidence: 99%

“…142 In both of these cases, it was likely a matter of scoring convenience for composer or publisher, to minimize ledger lines, or perhaps determined by the available number of staves on the score paper. 143 Compounding the inconsistencies in clef and instrument variety, composers have occasionally labeled orchestral trombone section parts as alto, tenor, and bass regardless of intended or available instrumentation. 144 Shifrin notes that Brahms, for example, designed his orchestral first trombone parts to be taken by an alto:…”

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The alto trombone as a transposing instrument

Plitnik¹

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The Alto Trombone as a Transposing Instrument Brian Kirke Plitnik Coinciding with a concern for authenticity and balance in the orchestral brass section, and a renewed interest in 18 th century solo trombone literature, the nearly forgotten alto trombone has enjoyed a rousing comeback in recent decades. The alto trombone has traditionally existed as a concert-pitch instrument likely due to its early use in church music as a means of doubling the voice. Standard notational practice for the modern E-Flat alto has changed little over the centuries. While performance practice in previous centuries is not verifiable, current alto trombonists are tenor trombonists first; the alto trombone is nearly always a secondary instrument. Trombonists typically make the transition from a tenor trombone pitched in B-Flat to an alto trombone pitched in E-Flat without the use of a notational transposition. This is contrary to the overwhelming trend for wind instruments. Generally, secondary wind instruments pitched in different keys are written at a transposition for (relative) ease of maneuvering between the primary and secondary instruments. With transposition, the same basic fingering/slide patterns from primary to secondary instrument are maintained. Despite the success of the transposing method with other instruments, the most accepted method for alto trombone performance and pedagogy is for the alto to be played as a non-transposing instrument in alto clef. This requires the tenor trombonist learning to play alto to: 1) have a command of alto clef-a clef that is infrequently used for tenor trombone outside of a small body of the orchestral literature, 2) relearn all the correct positions for written notes, 3) relearn the appropriate notes for use of alternate positions, and 4) recognize the inherent intonation tendencies of a harmonic series constructed on E-Flat instead of B-Flat-all of this in addition to the other inevitable physical adjustments of switching between trombones in terms of proper tone production, range, and slide maneuverability. Considering these obstacles, it is hardly surprising that alto trombone playing is usually reserved for advanced college study, or graduate work. Due to the secondary status of the alto trombone, transposition allows the alto trombonist to maintain familiar tenor slide positions and intonation tendencies. This provides an advantage that outweighs the benefit of merely having an instrument that sounds at concert pitch. In an age of notation software, scanners, and music translation programs, the burden of rewriting music is no longer a valid basis to preclude the advantages of the transposing method of alto trombone. After reexamining the factors surrounding the existence of the alto trombone as a nontransposing instrument, the current study proposes that a change in the fundamental pedagogy of this instrument is warranted. 1 Will Kimball provides a concise historical explanation of the alto's comeback in his article, "The Rise and Fall…and Rise of the Alto Trombone."

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Section: Origins Of Alto Trombone Notationmentioning

confidence: 81%

Section: Chapter I Brief History Of Alto Trombone Notationmentioning

confidence: 99%

Section: Origins Of Alto Trombone Notationmentioning

confidence: 99%

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