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Re: Necessity of a 4th trombone

On 15 May, Matt LaFontaine <mattl@xxxxxxxxxxxxxxxxxxxxxx> wrote:

> Lately I noticed many comments that said adding a 4th trombone would be a
> way to even out the balance and make scoring easier for the section. the
> logic being there was an uneven number of trombones, and a 4th would make
> mathematical and musical sense.

> In my admittedely short brass band experience, I have been taught that
> the bass trombone, while of course being a trombone, was closer to being
> an extension of the bass section. 

Not at all. The bass trombone is a trombone, not a tuba. It extends the
trombone section range into the bass register. The problem is, that with
only 3 trombones, the section is not self sufficient for voicing harmonies
that extend further than triads. To keep a balance in the trombone section
I find myself scoring the 3 trombones all on the inner harmonies. This
works fine, as although the bass trombone has a wider bore than the tenor,
it balances well playing about a 6th below the lead trombone line. But as
a bass trombonist myself, I know that these guys like to pump away on
those pedal notes once in a while, and add those lovely soft bass lines to
the trombone choir. By adding another tenor to the section, it is easier
to write a part that is satisfying to the bass 'bonist. Stan Kenton, who
was always a forward looking guy, used 5 trombones (3 tenors and 2
basses). This usually meant that the 5th player would be churning out the
bass line all of the time, which can become quite tiring, although having
2 bass 'bones, the bottom parts can be shared, just as can the lead parts.

> It was ment to add definition and sharpness to the tuba tone, and was to
> be the only true "edge" instrument in the brass band, 

Which is the very thing, judging by recent posts, that many brass banders
seem to dislike, contrast of tone. You can't use french horns and trumpets
in the band, because they won't blend with the saxhorns and tubas. If
these instruments creep into our 150 year old tradition, we won't be able
to produce that boring ol' "organ" tone all of the time.

> and occasionally coupling up with the rest of the trombones.

The bass 'bone is ALWAYS part of the trombone section, even if at times it
wanders into another section of the band to say "hello, I'm just going to
play the bass line with you for a moment".

> By that logic, the tenor trmobones would work out as being two (like the
> baritones) and the bass trombone would serve as the bridge from the tenor
> register (euphos and tenor trombones), same as the two baritones bridge
> the gap from the tenor horns and the low brass.

The way things are, it is sometimes necessary to combine the baritones
with the trombones, or put a flugel on top to complete the voicing.

> To score a fourth trombone would throw the equation out of whack, unless
> you were crazy enough to score for two bass trombones to even them up
> with the baritones (dear lord, who would score for two bass trombones???
> :)

Stan Kenton, Bobby Lamb-Ray Premru, Adrian Drover, etc., etc....
I had a band I recorded with that had 4 bass trombones (2 in each section
of 5 trombones). I have played in an ensemble which consisted only of 6
bass 'bones. Some of my music was recorded recently by 100 trombones in
Tokyo. I guess there must have been probably in the region of 40 bass
trombones in that.

> Comments? Adrian, anyone else? 

You got it Matt.

Cheers, Adrian

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|  ()  / _ | / _ \_( ___/ INNOVATIVE ORCHESTRAL SERVICES
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