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Valve technique for the independentdouble-valve bass trombone: a pedagogicalreview and method.Thomas, Casey Winnhttps://iro.uiowa.edu/discovery/delivery/01IOWA_INST:ResearchRepository/12730521280002771?l#13730829810002771

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VALVE TECHNIQUE FOR THE INDEPENDENT DOUBLE-VALVE BASS TROMBONE:

A PEDAGOGICAL REVIEW AND METHOD

by

Casey Winn Thomas

An essay submitted in partial fulfillment

of the requirements for the Doctor of Musical Arts degree

in the Graduate College of The University of Iowa

August 2015

Essay Supervisor: Professor David Gier

Copyright by

CASEY WINN THOMAS

2015

All Rights Reserved

Graduate College The University of Iowa

Iowa City, Iowa

CERTIFICATE OF APPROVAL

______________________

D.M.A. ESSAY

______________________

This is to certify that the D.M.A. essay of

Casey Winn Thomas

has been approved by the Examining Committee for the essay requirement for the Doctor of Musical Arts degree

at the August 2015 graduation.

Essay Committee: ______________________________

David Gier, Essay Supervisor

______________________________

Jeffrey Agrell

______________________________ William L. Jones

______________________________

John Manning

______________________________ John Rapson

ii

To Dr. David Gier, my parents John and Sara Anne Thomas, and Jessica Brewster

iii

Only when the technical aspects of performance are eliminated can we

truly focus on the musical.

David Vining, Basic Routines for Trombone

If it sounds good, it IS good!

attributed to Duke Ellington

iv

PUBLIC ABSTRACT

In the past half century, the modern bass trombone has come into its own as both an

orchestral and especially as a solo instrument. The level of performance and subsequent attention

by composers and arrangers has attracted more players to the instrument. The manifestation of

this change in popularity has occurred in two ways. First, the development of bass trombonists is

occurring at earlier ages. Second, more trombonists are developing their proficiency at

“doubling,” in which the performer adept at tenor trombone performance becomes competent on

the bass trombone.

The author’s evaluation of the available methods for bass trombone reveals, however,

that aspiring bass trombonists do not have a comprehensive and systematic guide for the

valve/slide possibilities of the modern instrument. Therefore, providing a methodology that

addresses these shortcomings will provide benefits for future trombone performance.

Through the systematic study of fundamental exercises and orchestral excerpts, the user

of this guide will gain a better understanding of the functionality of their bass trombone as

currently designed. The performer will then be able to apply the knowledge gained to any music

pattern, simple or extensive, with a plan of valve and slide usage that is efficient and provides the

player with the means to create a more efficient, effective, and therefore musical performance.

v

TABLE OF CONTENTS

LIST OF TABLES ............................................................................................................. vii

LIST OF FIGURES ...........................................................................................................viii

CHAPTER ONE ..................................................................................................................1

Introduction ..........................................................................................................................1

Development of the Bass Trombone and the Second Valve ................................................2

Review of Literature ..........................................................................................................18

Structure of Methodology ..................................................................................................22

CHAPTER TWO ...............................................................................................................25

Pedagogy ............................................................................................................................25

Tuning Slide Placements: Cause and Effect ......................................................................30

Investigation and Implementation......................................................................................34

Additional Considerations .................................................................................................41

CHAPTER THREE ...........................................................................................................46

Introductory Principles.......................................................................................................46

Orchestral Excerpt Analysis...............................................................................................53

Application.........................................................................................................................70

Suggested Future Research ................................................................................................73

Conclusion .........................................................................................................................74

APPENDIX A – ANNOTATED ORCHESTRAL EXCERPTS .......................................77

The Creation by Joseph Haydn (number 26) .....................................................................77

Das Rheingold by Richard Wagner (Act I, Scene II, mm. 1-20) .......................................78

Das Rheingold (Act I, Scene II finale)...............................................................................78

Die Walküre by Richard Wagner (Act III, rehearsal 11 to 12) ..........................................79

Ein Heldenleben by Richard Strauss (rehearsals 55-65)....................................................79

Fountains of Rome by Ottorino Respighi (reh. 11-16) ......................................................80

La Gazza Ladra by Gioacchino Rossini (Overture, letter C) ............................................81

La Gazza Ladra (Overture, letter F) ..................................................................................82

La Gazza Ladra (Overture, letter I) ...................................................................................82

Lohengrin Richard Wagner (Act III, reh. 5, mm. 9-29) ....................................................82

Cello Suite no. 5 by Johann Sebastian Bach (Sarabande) .................................................83

Symphony no. 3 by Robert Schumann (mvt. 4, mm. 1-18) ...............................................83

Symphonie Fantastique by Hector Berlioz (mvt. 4, reh. 56) .............................................84

William Tell Overture by Gioacchino Rossini (letter C to E)............................................84

vi

APPENDIX B – BASS TROMBONE EQUIPMENT SURVEY RESULTS ...................86

APPENDIX C – BASS TROMBONE METHOD

AND ETUDE SURVEY RESULTS .................................................................................97

BIBLIOGRAPHY ............................................................................................................109

vii

LIST OF TABLES

Table 2.1: “Sides,” their symbols, and definitions............................................................28

Table 2.2: Valve symbols, examples, and explanations ...................................................30

Table 2.3: C2 to G2 from Figure 2.14 with all possible valve

and slide combinations and the “map” choices shaded ..................................39

viii

LIST OF FIGURES

Figure 1.1: “The Star Spangled Banner,” arr. William Himes (mm. 1-2) .........................1

Figure 1.2: B-flat tenor or bass trombone position chart ...................................................4

Figure 1.3: The fundamental tones of the open instrument and various first side tones ...5

Figure 1.4: Dependent double-valve system......................................................................6

Figure 1.5: Dependent B-flat/F/E-flat position chart .........................................................7

Figure 1.6: Independent double-valve system ...................................................................8

Figure 1.7: exercise 2.12 from Bass Trombone Craft by Brad Edwards (mm. 1-15)......21

Figure 2.1: #7 from Shifting Meter Studies by Allen Ostrander (mm. 1-4) .....................25

Figure 2.2: #179 from New Method for the Modern Bass Trombone

by Eliezer Aharoni (mm. 11-12) ...................................................................26

Figure 2.3: Bordogni etude #4 from Valve Technique for Bass Trombone

by Blair Bollinger (mm. 1-2) ........................................................................27

Figure 2.4: #3 from The In-Line Double Valve Bass Trombone by Paul Faulise (mm. 1.-2) ............................................................................27

Figure 2.5: Intonation tendencies for the first eight partials on the open instrument ......31

Figure 2.6: Intonation tendencies of the first three partials on the first side ...................32

Figure 2.7: Intonation tendencies of the first four partials of the second side .................33

Figure 2.8: Intonation tendencies of the first four partials of the dual side .....................33

Figure 2.9: “The Star Spangled Banner,” arr. William Himes (mm. 1-2) .......................34

Figure 2.10: “The Star Spangled Banner,” arr. William Himes (mm. 1-2),

with all possible valve and slide combinations .............................................34


with one possible valve/slide position combination .....................................35

Figure 2.12. Visual representation of Figure 2.11 .............................................................35

Figure 2.13: The “Star Spangled Banner,” arr. William Himes (mm. 1-2),

with another possible valve/slide position combination ...............................36

Figure 2.14: Visual representation of Figure 2.13 .............................................................36

Figure 2.15: A-flat major scale ..........................................................................................37

Figure 2.16: A-flat major scale with two slide/valve employment alterations ..................37

ix

Figure 2.17: Two different executions of one passage ......................................................39

Figure 2.18: Every possible valve and slide combination for E3 ......................................40

Figure 2.19: Consideration of tempo .................................................................................41

Figure 2.20: B-flat2 in X4+ eliminates contrary motion ...................................................41

Figure 2.21: B-flat2 in X4+ instead of first position .........................................................42

Figure 2.22: Distance equalization.....................................................................................43

Figure 2.23: Symphony No. 2 by Gustav Mahler (mvt. 5, reh. 25) ....................................43

Figure 2.24: “The Star Spangled Banner,” arr. William Himes (mm. 1-2) .......................44

Figure 3.1: Intonation and “tone matching” ....................................................................47

Figure 3.2: B-flat major arpeggios ...................................................................................49

Figure 3.3: B-flat major scales .........................................................................................50

Figure 3.4: B-flat chromatic scales ..................................................................................52

Figure 3.5: The Creation by Joseph Haydn (number 26) ................................................53

Figure 3.6: Passage number one from The Creation .......................................................54

Figure 3.7: Passage number two from The Creation .......................................................55

Figure 3.8: Passage number three from The Creation .....................................................56

Figure 3.9: Passage number four from The Creation ......................................................57

Figure 3.10: Passage number five from The Creation .......................................................58

Figure 3.11: Passage number six from The Creation ........................................................58

Figure 3.12: The Creation with suggested valve/slide indications ....................................59

Figure 3.13: Symphony No. 3 by Robert Schumann (mvt. 4, mm. 1-18)..........................60

Figure 3.14: Passage number one from Symphony No. 3 .................................................61

Figure 3.15: Passage number two from Symphony No. 3 .................................................61

Figure 3.16: Passage number three from Symphony No. 3 ...............................................62

Figure 3.17: Passage number four from Symphony No. 3 ................................................63

Figure 3.18: Passage number five from Symphony No. 3 .................................................64

Figure 3.19: Passage number six from Symphony No. 3 ..................................................64

Figure 3.20: Symphony No. 3 (mvt. 4) with suggested valve/slide indications ................65

x

Figure 3.21: Fountains of Rome by Ottorino Respighi (reh. 11-17)..................................66

Figure 3.22: Passage number one from Fountains of Rome ..............................................67

Figure 3.23: Passage number two from Fountains of Rome ..............................................68

Figure 3.24: Passage number three from Fountains of Rome ............................................68

Figure 3.25: Fountains of Rome (reh. 11-17)

with suggested valve and slide indications ...................................................69

Figure 3.26: # 2 from 70 Studies for BB-flat Tuba by Vladislav Blazhevich (vol. 1) .......71

Figure 3.27: #2 from Melodious Etude for Bass Trombone

by Marco Bordogni, arr. Ostrander ...............................................................72

1

CHAPTER ONE

Introduction

Among the instruments in the symphony orchestra, the bass trombone has undergone

considerable transformation in the recent past. Such evolution has included an expansion of the

bore and bell diameter, inclusion of initially one and now two valves, and experimentation with

variable-bore hand and tuning slides. These modifications were, in large part, implemented to

ease pre-existing demands. Various methodologies have been developed to address the ever-

expanding musical expectations of the bass trombonist, yet some pedagogical aspects have not

been fully addressed. One particular pedagogical subject that bears more investigation is the

proper usage of valves, and that is the subject this document examines and seeks to examine

closely.

Consider this passage:

Figure 1.1: The Star Spangled Banner, arr. William Himes (mm. 1-2)

With any trombone, pitched in B-flat without any valves, there is only one combination

of slide positions available to perform the passage in figure 1.1. However, on a modern bass

trombone, equipped with two independent valves, there are 576 possible slide position and valve

combinations available to perform the passage. How, then, does the modern bass trombonist

determine which approach is the most effective?

2

The author will provide bass trombonists and their teachers with a basic understanding of

the history of the bass trombone, including a short discussion concerning the limited technical

capabilities of the valveless and single-valve bass trombone. The realized method will provide

the bass trombonist with the tools to make intelligent decisions about which valve and slide

combinations to use and why, to the point that the informed bass trombonist will become the

master of the instrument.

Development of the Bass Trombone and the Second Valve

The trombone, from its earliest form, has largely remained the same: a cylindrical tube

with a bell and a slide. Ever-increasing demands on trombonists, particularly bass trombonists,

have brought about a need for greater range and capabilities. The bass trombone of the past,

which was not equipped with any valves and therefore limited technical capabilities, has evolved

into a very versatile instrument, often possessing two valves and, for the educated trombonist,

vastly increased technical capabilities.1

The bass trombone is a larger-bored version of the tenor trombone, designed to fulfill the

role as the lower voice in the trombone family. While the bass trombone has had one valve to

create an ease of access to that lower range for nearly 200 years,2 in 1921 a double-valve

contrabass trombone pitched in E-flat was patented in Germany.3 Later, the development of a

second valve began in America in 1935 by the F.E. Olds Company of Los Angeles, California.4

1 For a more detailed history of the bass trombone see David Guion’s A History of the Trombone (Lanham, MD:

Scarecrow Press, 2010), p. 52. 2 Trevor Herbert, The Trombone (New Haven, CT: Yale University Press, 2006), p. 183.

3 Ibid, p. 183.

4 Douglas Yeo, “Evolution: The Double-Valve Bass Trombone” (International Trombone Association Journal –

Volume 43, #2, summer 2015) (approved for future publication).

3

Other sources attribute the development of the second valve in “the early 1950’s”5 to

19576 and to single individuals as well as varied combinations of multiple trombonists. The

missing B1,7 intonation issues with C2 and other tones, as well as the difficulty maintaining good

technique in the outer slide positions8 are the primary reasons that attempts were made by at least

four professional trombonists, in collaboration with various instrument manufacturers, to create a

more efficient bass trombone. One of the earliest attempts to create a solution to these problems

was made in 1939 by Alan Ostrander, bass trombonist of the New York Philharmonic, in

collaboration with the C. G. Conn Company. Mr. Ostrander’s initial modification was to

lengthen the tubing of the additional valve, therefore producing the overtone series in E instead

of F. This version made B1 available but, as a result, F2 became inaccessible in first position.9

Instead F2 had to be played in the sixth position on an open10 trombone, creating another

problem to be solved. Mr. Ostrander, Kauko Kahila (bass trombonist for the Boston Symphony

Orchestra), Edward Kleinhammer (bass trombonist of the Chicago Symphony Orchestra), and

Louis Counihan (trombonist for The Metropolitan Opera), are all identified by various sources as

having contributed to the development of the second valve.11 12 Regardless, the first double-valve

5 http://www.yeodoug.com/resources/faq/faq_text/valves.html. Accessed May 1, 20101

6 Ronald G Smith, “The Life and Work of the Orchestral Bass Trombonist, Allen Ostrander, and the Development of

his Bass Trombone Methods and Solos” (D.M.A. dissertation, Louisiana State University, 1996), p. 66. 7 This document will assign octave designations based on the system defined by the Acoustical Society of America:

8 For the purposes of this document, “outer” positions are defined as fifth through seventh positions.

9 Smith, p. 42.

10 For the purposes of this document, “open” refers to the use of a trombone without engaging any valves.

11 Smith, p. 67.

12 http://www.yeodoug.com/resources/faq/faq_text/valves.html. Accessed May 1, 2010.

4

bass trombone was made available to the general public in 1958 by the Reynolds Musical

Instrument Company of Cleveland, Ohio.13

While the most common configuration of the modern bass trombone includes two valves,

it existed for well over a hundred years with one valve and hundreds before with no valves. Any

trombone pitched in B-flat without any valves is limited in the number of tones that it can

possibly create because of a gap in the overtone series between E2 and B-flat1:

Figure 1.2: B-flat tenor or bass trombone position chart.14

Original image by Emma Johns

Currently, most professional-model tenor trombones come equipped with a single valve,

and while most modern bass trombones are equipped with two valves, there are still modern bass

trombones equipped with a single valve. While the addition of a single F-valve to a tenor or bass

trombone allows for greater range and additional slide position options, it does not allow for a

complete chromatic connection between E2 to B-flat1. Figure 1.3 visually demonstrates that B1

is the missing connection. The black noteheads are the notes that are produced on the second

partial of a trombone with the valve engaged. The open noteheads are the fundamental tones

(first partial) of the open trombone. The chromatic scale is almost made possible from F2

descending to B-flat1, becoming incomplete with the exclusion of B1.

13

Smith, p. 69. 14

The measurements in Figure 1.2 were observed from https://sites.google.com/site/jeffreyclymer2/slide. Accessed

March 1, 2015.

5

Figure 1.3: The fundamental tones of the open instrument and various first side15 tones.


Notice in Figure 1.3 that the relative placement of noteheads produced with the F valve

engaged does not match the intonation of the open noteheads. This is due to the phenomenon that

when one valve is engaged there are no more than six pitches on any partial, but the placement of

each note is outward over and even past the seven position distance range of the open

instrument.16 Further, the use of two valves reduces the possible tones on any partial to five.

Besides the exclusion of B1, the intonation of C2 is, with a single-valve trombone,

extremely sharp. Additionally, for many trombonists, slide technique is more difficult the further

the hand slide moves away from first position. Imagine standing at the left end of a chalk board,

not allowed to move and unable to use more than one line, and being required to write a very

long sentence. By the end of the sentence, the writing would become sloppy and difficult to read

as the writer is straining to reach the end of the sentence. It would be much easier simply to start

another line.

15

“Side” refers to the usage of a particular valve on a trombone equipped with at least two valves. For example, a

performer who engages the longer of the two valves is said to be performing on the first side, usually pitched in F. A

more detailed discussion follows. 16

Trombonists relate all positions to the seven positions of the open horn. For example, the E-flat2 in Figure 1.3 is

referred to as being in “flat third position.”

6

The earliest models of double-valve bass trombones are considered “dependent” because

the first valve lever must be engaged in order for the vibrating air column to enter the second

valve section.

Figure 1.4: Dependent double-valve system.

Original photo by Kiela Beam.

In the earliest models of the double-valve bass trombone, both valves engaged at the

same time pitched the instrument in E-flat, making B1 a functional and practical note and C2

much easier to attain in a lowered fifth position as opposed to seventh position. In addition, the

inclusion of a second valve on bass trombones made it possible to produce certain tones in

multiple positions17, easing the previously difficult task of certain notes being relegated to the

17

see figure 1.5

7

furthest slide positions. In figure 1.5, the black noteheads exist on the single-valve tenor or bass

trombone, but with the development of the second valve, those tones were able to be produced in

multiple positions.

Figure 1.5: Dependent B-flat/F/E-flat Position Chart.


The double-valve bass trombone has continued to evolve since the original models, with

the primary development towards an independent valve system. While the dependent valve

system allowed for greater slide position options, there were still limitations. For many reasons,

including the inherent additional chromatic possibilities, a valve system was created where each

valve could function independently.

8

Figure 1.6: Independent double-valve system. Original photo by Kiela Beam.

In 1983, Doug Yeo, at that time bass trombonist of the Baltimore Symphony Orchestra,

conducted a survey of various bass trombonists to determine the different types of bass trombone

equipment currently in use.18 The first question Mr. Yeo asked was if the bass trombone used by

the survey participants employed a single or double-valve system. He then asked those who used

a double-valve system whether their system was dependent or independent. Finally, he asked

participants to name each key created by the open instrument and each of its various valve

deployments.

18

Douglas Yeo, “Bass Trombone Equipment Survey” – (International Trombone Association Journal – Volume 11,

#4, October 1983), p. 22-23.

9

Mr. Yeo’s research showed that a wide variety of equipment was in use, predominantly in

three tuning configurations. These configurations are described below:

1. B-flat/F/D

With this particular key configuration, the B-flat side of the instrument is commonly

referred to as the open instrument (no valves engaged), the F side of the instrument is the first

valve, and the D side of the instrument is the first and second valve engaged simultaneously,

making this example of a valve section a dependent section

2. B-flat/F/G-flat/D

Again, the open and first sides of the instrument are pitched in B-flat and F, respectively.

However, in this configuration the second valve can function independently of the first valve.

Therefore, the second valve in this example is pitched in G-flat while both valves engaged

simultaneously will pitch the instrument in D.

3. B-flat/F/G/E-flat

This valve configuration is very similar to the one above, except that the second valve is

pitched in G instead of G-flat. It is therefore a shorter length of tubing but still functioning

independently of the first valve. Therefore, the combined lengths of the two valves create a

resultant horn pitched in E-flat, as opposed to D.

For the purposes of this paper, two surveys were created, and an electronic version was

submitted to every National Association of Schools of Music (NASM) trombone or low brass

applied instructor.19 The first survey, based on Mr. Yeo’s 1983 study, demonstrates current

trends in bass trombone equipment use. It asks whether the survey participant uses a bass

trombone equipped with a valve and, if so, whether the instrument utilizes a single-valve or

double-valve system. Those who use a double-valve system were asked if the bass trombone

19

http://nasm.arts-accredit.org/index.jsp?page=About+NASM. Accessed June 1, 2010.

10

was dependent or independent and also in which “keys” the instrument was pitched. The results

show that, since the 1983 survey was conducted, the majority of respondents have settled on

using an independent double-valve system pitched in “B-flat/F/G- flat/D.” Further evidence of the

“B-flat/F/G-flat/D” prevalence is seen in comparing and contrasting bass trombones available for

purchase. An informal perusal of models available from several established instrument

manufacturers supports this fact. Lastly, a majority of recent texts and articles analyzed for the

purposes of this paper presuppose the use of a “B-flat/F/G- flat/D” system. Of the 309 instructors

contacted, forty-two responded to the first survey. The respondents were asked to consider their

primary instrument and to provide the instrument manufacturer, model, bell size, number of

valves, whether the valves dependent or independent, double-valve paddle placement, key

configuration, and if there are any subsequent alterations to the instrument. Each survey

participant was then asked to retake the equipment survey for each additional bass trombone they

owned and used on a regular basis. Of the eight questions, four are most pertinent to determine

the most common key figuration of the average bass trombone. Those results follow.

For your primary instrument, please answer a few short questions:20 21

20

In this survey, in all surveys presented in the essay, and in the appendices, all optional responses are unedited. 21

In this survey, in all surveys presented in the essay, and in the appendices, the response percentages have been

rounded to the nearest hundredth.

11

1. Number of valves: # Answer Response %

1 0 0 0% 2 1 3 8%

3 2 36 92% Total 39 100%

2. Are the valves22 # Answer Response %

1 dependent 16 41% 2 in-line 21 54% 4 other 2 5%

Total 39 100%

3. What is the "key" configuration of your instrument? # Answer Response % 1 B flat / F 5 13%

2 B flat / F / E flat 2 5% 3 B flat / F / D 8 21%

4 B flat / F / G flat / D 23 59% 5 B flat / F / G / D 1 3% 6 Other 0 0%

Total 39 100%

4. If "other," please specify: Have converted slide configuration for "Bolinger" style valve tuning. Rarely use it.

5. For your secondary instrument, (please leave blank if no secondary instrument): Number of valves:

# Answer Response % 1 0 1 8% 2 1 5 42%

3 2 6 50% Total 12 100%

6. Are the valves # Answer Response %

3 dependent 5 56% 4 in-line 3 33%

5 other 1 11% Total 9 100%

22

“In-line” valves are independent valves. Mr. Yeo used the term “in -line” in his 1983 survey and it is duplicated in

the current version.

12

7. What is the "key" configuration of your instrument? # Answer Response %

1 B flat / F 5 45% 2 B flat / F / E flat 0 0%

3 B flat / F / D 2 18% 4 B flat / F / G flat / D 3 27% 5 B flat / F / G / D 0 0%

6 Other 1 9% Total 11 100%

8. If "other," please specify: F/D/A

9. For your third instrument, (please leave blank if no third instrument): Number of valves: # Answer Response %

1 0 0 0% 2 1 0 0% 3 2 3 100%

Total 3 100%

10. Are the valves # Answer Response % 1 dependent 3 100%

2 in-line 0 0% 3 other 0 0%

Total 3 100% 11. What is the "key" configuration of your instrument?

# Answer Response % 1 B flat / F 0 0%

2 B flat / F / E flat 0 0% 3 B flat / F / D 1 33% 4 B flat / F / G flat / D 2 67%

5 B flat / F / G / D 0 0% 6 Other 0 0%

Total 3 100% 12. If "other," please specify:

13. For your fourth instrument, (please leave blank if no fourth instrument): Number of valves:

# Answer Response % 1 0 0 0% 2 1 0 0%

3 2 2 100% Total 2 100%

13

14. Are the valves # Answer Response %

1 dependent 2 100% 2 in-line 0 0%

3 other 0 0% Total 2 100%

15. What is the "key" configuration of your instrument? # Answer Response %

1 B flat / F 0 0% 2 B flat / F / E flat 0 0% 3 B flat / F / D 1 50%

4 B flat / F / G flat / D 1 50% 5 B flat / F / G / D 0 0%

6 Other 0 0% Total 2 100%

16. If "other," please specify:

The second survey was used to determine which bass trombone methods and etudes are

most popular with collegiate trombone instructors, since a modest amount of pedagogical

materials address bass trombone performance. The survey listed fifty- four methods or etudes,23

and instructors were asked to indicate which materials they had ever used in an instructional

setting and with what frequency: seldom, somewhat often, or very often. Of the 309 surveyed,

forty-two participated. The results yielded preferences for the collections and methodologies

instructors most prefer. The results below reflect the ten most “often” choices provided by the

survey participants.

1. Bordogni and Ostrander. Melodious Etudes: For Bass Trombone

# Answer Response %

1 Often 18 53%

2 Occasionally 6 18%

3 Seldom 10 29%

Total 34 100%

23

The list was created by completing a search for any and all bass trombone-related literature through

www.worldcat.org. Accessed September 1, 2014.

14

1.24 Fink. Studies in Legato for Bass Trombone and Tuba: Based on the Works of Concone,

Marchesi, and Panofka

# Answer Response %

1 Often 18 49%


3 Seldom 6 16%

Total 37 100%

3. Gillis. 20 Etudes for Bass Trombone with "F" Attachment

# Answer Response %

1 Often 14 48%


3 Seldom 9 31%

Total 29 100%

3. Vernon. The Singing Trombone

# Answer Response %

1 Often 14 48%


3 Seldom 10 34%

Total 29 100%

5. Gillis. 70 Progressive Studies for the Modern Bass Trombonist

# Answer Response %

1 Often 13 38%


3 Seldom 12 35%

Total 34 100%

5. Grigor'ev. Fifty Etudes for Bass Trombone and Tenor Trombone with F Attachment

# Answer Response %

1 Often 13 42%


3 Seldom 9 29%

Total 31 100%

24

In this paper identical survey results are assigned duplicate rankings.

15

7. Bordogni and Roberts. 43 Bel Canto Studies: For Tuba (Or Bass Trombone)

# Answer Response %

1 Often 10 33%


3 Seldom 9 30%

Total 30 100%

8. Aharoni. New Method for the Modern Bass Trombone

# Answer Response %

1 Often 7 22%


3 Seldom 15 47%

Total 32 100%

8. Vining. Daily Routines: Bass Trombone Edition

# Answer Response %

1 Often 7 29%


3 Seldom 13 54%

Total 24 100%

10. Ostrander. Basic Techniques: For the Double Valve Bass Trombone

# Answer Response %

1 Often 6 21%


3 Seldom 16 55%

Total 29 100%

The following results indicate the choices most commonly marked “occasionally” by the

respondents.

1. Fink. Studies in Legato for Bass Trombone and Tuba: Based on the Works of Concone,

Marchesi, and Panofka

# Answer Response %

1 Often 10 23%


3 Seldom 6 14%

Total 43 100%

16

2. Pedersen. Intermediate Etudes for Bass Trombone: 15 Original Etudes

# Answer Response %

1 Often 5 18%


3 Seldom 11 39%

Total 28 100%


# Answer Response %

1 Often 10 33%


3 Seldom 9 30%

Total 30 100%


# Answer Response %

1 Often 7 22%


3 Seldom 15 47%

Total 32 100%

5. Edwards. Bass Trombone Craft

# Answer Response %

1 Often 3 13%


3 Seldom 11 48%

Total 23 100%

5. Edwards. Simply Singing for Winds

# Answer Response %

1 Often 4 16%


3 Seldom 12 48%

Total 25 100%

17


# Answer Response %

1 Often 13 38%


3 Seldom 12 35%

Total 34 100%


# Answer Response %

1 Often 13 42%


3 Seldom 9 29%

Total 31 100%

5. Ostrander. Method for Bass Trombone and F Attachment for Tenor Trombone

# Answer Response %

1 Often 5 18%


3 Seldom 14 50%

Total 28 100%


# Answer Response %

1 Often 6 21%


3 Seldom 16 55%

Total 29 100%

Now that two valves are commonly available on the bass trombone, there is a need for a

corresponding methodology that fully considers their capabilities. Such a text would take into

consideration tempo, note sequence, and articulation, as the performer seeks to create the best

possible performance.

18

Review of Literature

A review of the available literature can be classified by an understanding of valve and

slide usage. The author has created the following five classifications:

1. A methodology25 that does not include any suggestions, or markings, related to slide

placement and valve use.

Example: The Singing Trombone by Charles G. Vernon26

This methodology is intended for use by all trombonists and contains several different

sections related to performance that the author believes covers the wide range of subjects

necessary for effective practice. There are no markings to indicate slide placement or valve use

during sections of the method that are more appropriate for a bass trombonist.

A similar category includes transposed etudes, such as vocalises originally written by the

Italian operatic tenor and teacher Marco Bordogni and the collections originally written for the

bass tuba by Russian composer and trombonist Vladislav Blazhevich. These materials are

valuable and popular amongst bass trombonists, but tangential to the topic at hand.

2. A collection of etudes that does not include any suggestions, or “markings,” related to slide

placement and valve use.

Example: 24 Studies by Boris Grigor’ev and Allen Ostrander27

Within this set there is no mention of slide/valve technique or usage.

25

For the purposes of this paper, methodology will be defined as a collection of idiomatic exercises designed to

address at least one aspect of performance and etude will be defined as a collection of compositions, either original

or transcribed for use by a particular instrument or range of instruments. 26

Charlie Vernon. The Singing Trombone. (Atlanta: Atlanta Brass Press, 2010) 27

Boris Grigor’ev and Ostrander, Allen. 24 Studies. (New York: International Music Co, 1970)

19

3. A methodology that includes markings related to slide placement and valve use but does not

include explanations of their inclusion.

Example: Valve Technique for Bass Trombone by Blair Bollinger28

The author of this treatise states the following in his introduction: “This book shows how

to maximize the use of ‘good’ fingerings to help the player develop an excellent technique on the

bass trombone.” Though that aim and the purpose of the book is well-intentioned, nowhere

within the body of the method is there any discussion pertaining to the “why” behind his

suggested “fingerings” and, therefore, little understanding for the reader to discern how best to

apply these fingerings to other works.

4. A collection of etudes that includes markings related to slide placement and valve usage but

does not include explanations of their inclusion.

Example: Technical Studies for Bass Trombone by Donald Knaub29

Very few suggested usage markings exist in this otherwise enjoyable and educational

collection of etudes and, again, there is no mention of slide/valve technique or usage.

The New Method for the Modern Bass Trombone by Eliezer Aharoni30is also worthy of

examination. Originally published in 1975 with the most recent edition released in 1996, this

particular text is one of the few that is both a popular “often” and “occasionally” choice from the

literature survey results. What is most useful for discussion is the presentation of material in Mr.

Aharoni’s method.

The book is divided into three sections, the first two of which are now obsolete, since

they only address the single valve bass trombone and the dependent double-valve instrument. In

fact, 140 of 180 pages are dedicated to the first two sections. There are a total of 183 etudes and

28

Blair Bollinger. Valve Technique for Bass Trombone. (Collingswood, NJ: CEC Music, 2007) 29

Donald Knaub. Technical Studies for Bass Trombone. (San Antonio: RBC Publications, 1992) 30

Eleizer Aharoni. New Method for the Modern Bass Trombone. (Tel Aviv: Noga Music, 1996)

20

they are valuable if the suggested markings are ignored in any section that does not presuppose a

B-flat/F/G-flat/D bass trombone. Even within the in-line discussion, there are arguably needless

portions that address such tunings as B-flat/F/G/E- flat and “long tuning slide” exercises.31 Mr.

Aharoni explains that some performers have found individual success by adding extended tubing

to the second valve. The author states that the most common keys of these extensions convert the

first and second sides of the instrument to E-flat/C, D/B, D-flat/B-flat, and C/A.

Mr. Aharoni’s systematic introduction of one tone at a time in all sections is potentially a

model for future methodologies. Specifically, the author begins in first position on a given side

of the instrument and provides brief etudes in which the notes producible in first position are

prominent. Mr. Aharoni then proceeds to lower positions and repeats the same approach. Each

subsequent etude incorporates the recently introduced valve/slide combinations and preceding

combinations as well. This progressive approach is logical and productive but, as with all known

etudes and methodologies, the author never explains to the observer the logic behind any of his

valve/slide choices.

5. A methodology that does broach the subject of proper slide position and valve combinations.

Example: Bass Trombone Craft by Brad Edwards32

As part of a larger, holistic, methodology, Mr. Edwards includes one page of exercises

that challenge the performer to consider all slide and valve options, though no such instructions

are specifically provided.

31

Ibid, p. 169 32

Brad Edwards. Bass Trombone Craft. (Columbia, SC: Bonezone Publications, 2012)

21

Figure 1.7: exercise 2.12 from Bass Trombone Craft by Brad Edwards (mm. 1-15)

The only suggestion provided that might provoke any investigation of various slide and

valve options is the statement “The first two notes of the ‘A’ pattern need not use the same

valves as the first two notes of the ‘B’ pattern.”33

These five examples reflect the body of pedagogical materials available to the bass

trombone performer and instructor. What is lacking is a comprehensive bass trombone method

devoted to educating the bass trombonist and teacher in the decision-making process. There are

many method books that describe “how” to use the slide and valves in different combinations,

and there is at least one methodology that tells “why” certain slide and valve combinations

should be used. However, there is no single resource that combines the “how” and the “why” and

33

Edwards, p.40.

22

also educates the user on the “when” and “where” to apply combinations in different technical

situations for the most facile performance.

The analysis of the selected materials shows a variety of approaches taken by the authors

in the ways and situations in which they suggest that the valves and slide positions be employed.

In this respect, the selected materials are reflective of the complete list of methods and etudes.

This analysis shows that available materials do not include rationales for suggested valve/slide

assignments and do not educate the musician to make optimal technical and musical choices.

Structure of Methodology

This document will create a comprehensive bass trombone methodology in the following

ways:

1. An introductory chapter will explain terminology with fundamental explanations of

criteria to determine appropriate valve and slide combinations;

2. A presentation of multiple options to produce almost any tone with more than one valve

and slide combination;

3. A presentation of the theoretical and practical criteria used in selecting valve and slide

combinations;

4. And foundational exercises and contextual examples, including orchestral excerpts,

which will help the student build these options into their approach.

Objectives of the document include comprehension of the following:

1. Terminology used to differentiate between various symbols for valves and positions

through the introduction of a unique system of notation;

2. Exposure to a wider variety of slide placement and valve employment options available

to the user of an independent, double-valve bass trombone;

23

3. Criteria for determining valve and slide position employment that include, but are not

limited to, articulation, tempo, and slide position proximity;

4. The full spectrum of beneficial valve and slide position options available and the means

with which a bass trombonist or instructor can make informed, logical decisions, thereby

improving bass trombone teaching and performance.

Orchestral excerpts chosen for this methodology are based on two criteria. The first is the

frequency a bass trombonist or teacher might encounter a particular excerpt. Certain excerpts are

routinely seen in audition lists for various colleges and music organizations. These excerpts

were obtained from the following sources:

1. 150 Difficult Excerpts for the Orchestral Trombonist (Milt Stevens)34

2. The Bass Trombonist’s Orchestral Handbook (Doug Yeo)35

3. Orchestral Excerpts for Bass Trombone – Jeffrey Reynolds (recording)36

4. The Singing Trombone – Charlie Vernon37

5. www.tromboneexcerpts.org38

The second criterion is the unique and pertinent technical challenge an excerpt presents,

regardless of how frequently it appeared on audition lists. Non-diatonic patterns are included

because many pedagogical texts emphasize major and minor patterns.

This project does not address alternative positions in the upper range of either the open or

valved “sides” of the bass trombone. There will be a limited discussion of open horn or valved

34

http://www.miltstevens.com/htmlpages/150Difficultexcerpts.htm. Accessed April 1, 2010. Dr. Stevens was the

Principal Trombonist of the National Symphony Orchestra. 35

http://yeodoug.com/resources/handbook/image_files/text_files/yeohandbook.html. Accessed April 1, 2010. 36

Jeffrey Reynolds. Orchestral Excerpts for the Bass Trombone, Tenor Tuba, Bass Trumpet (Tempe, AZ: Summit

Records, 1995), sound recording. Mr. Reynolds was the Principal Bass Trombonist of the Los Angeles

Philharmonic. 37

Vernon, p. 48-56. 38

http://www.tromboneexcerpts.org. Accessed January 1, 2015. This website is a compilation of “the top 70 tenor

and bass trombone excerpts commonly asked on orchestral auditions” and was created by Dr. Seth T. Vatt.

24

upper range alternatives. Discussions related to valve tuning will be limited. A variety of

approaches exist, but only one tuning system will be examined.

This paper will address only intonation tendencies and the chromatic and fundamental

patterns created by a “B-flat/F/G-flat/D” bass trombone. Bass trombonists who use a different

system will have to adjust their use of this text accordingly. This essay will also ignore the

nascent development of the double-valve tenor trombone.

Lastly, discussions of excerpt performance practice, such as editing issues related to

differing editions, and opinions related to tempo, style, and orchestration will be avoided.

25

CHAPTER TWO

Pedagogy

Currently, there is no universally accepted notation system in place for indicating

suggested valve and slide combinations in modern bass trombone method books. Various

authors have attempted to notate different valve and slide combinations, but there is little

consistency between authors, and the notations often make assumptions about the players’

knowledge or can be confusing when other factors are considered. The following four examples

demonstrate common historical and present notational practices.

1. “V” for “valve”

Figure 2.1: #7 from Shifting Meter Studies by Allen Ostrander (mm. 1-4)39

In Figure 2.1 Mr. Ostrander included introductory exercises for unique notes produced

through the use of the single valve. Both C3 and B-flat2 were “introduced” before the example

above as notes performable with the F-attachment. Therefore, the author assumes that the student

does not require position reminders in addition to the “V,” though some similar versions do

include position reminders. The use of a “V” symbol is logical in that it is easy to associate with

“valve” and it does not create any significant opportunity for confusion with other musical

indicators. The use and popularity of these early methodologies are the reasons why “V” is the 39

Allen Ostrander. Shifting Meter Studies. (North Easton, MA: Robert King Music Co., 1965)

26

most common indicator for the first or only valve, still today. However, Mr. Ostrander and other

authors that use the same system assume that the trombonist has only one valve at their disposal.

In fact, the vast majority of texts that use this notational system were created before the inclusion

of a second valve became popular.

2. Multiple alphanumeric usage

Figure 2.2: #179 from New Method for the Modern Bass Trombone by Eliezer Aharoni (mm. 11-12)

Mr. Aharoni, as the author of this “multiple alphanumeric” scheme, has assigned “V” to

indicate usage of the first valve, “S” to indicate usage of the second valve, and “D” for double-

valve usage. The open side is indicated with either an isolated position number or with no

position assigned at all. As with the previous example and now with regards to tones performed

on either side of the instrument, the author assumes that the student does not require position

reminders. There are no overtly confusing aspects to the use of these three symbols, though it is

conceivable that some confusion could occur if an individual were to conceptualize “D” as a

pitch, thereby possibly creating confusion between the indicator and simultaneously observed

note.

27

3. Valves as a “key”

Figure 2.3: Bordogni etude #4 from

Valve Technique for Bass Trombone by Blair Bollinger (mm 1-2)

Figure 2.3 demonstrates the application of “key” to each side of the instrument, with the first

side as “F,” the second side as “G,” and both valves employed simultaneously as “D.” Even

more confusion is possible when three of four sides are given a key symbol, as opposed to Mr.

Ahroni’s approach of assigning a key symbol to only one side of the horn.40

4. Unique “V” for each side

Figure 2.4: #3 from

The In-Line Double Valve Bass Trombone by Paul Faulise (mm. 1-2)41

Here, the first valve is assigned “ ,” the second valve is assigned “ ,” and both valves

employed simultaneously as “ .” The strength of this system is the development of the “ ,” into

“ ,” to denote usage of both valves simultaneously. However, there is an inherent confusion

possible with the use of a flat symbol to indicate the second valve of the bass trombone,

40

Mr. Bollinger advocates modifying the shortest tubing of either valve to be pitched in G instead of G-flat, though

the vast majority of methodology users will possess an instrument with the second valve pitched in G-flat. 41

Paul Faulise. The In-Line Double Valve Bass Trombone. (Woodcliff Lake, NJ: PF Music Co., 2008)

28

especially considering the common practice of using the flat sign to indicate a position

adjustment to improve intonation.

It is necessary to propose a new notation system, one that will be useful and

understandable, both now and in the future. The usage of the second independent valve is

becoming more and more common, and although we cannot anticipate future developments with

regards to equipment standardization, a system should be developed now that does not lend itself

to question and confusion.

In addition to the open instrument, there are three valve combinations on the modern bass

trombone. For this methodology, each way will be referred to as a “side” and then further

defined with regards to an independent system on a two-valve bass trombone.

SIDE SYMBOL DEFINITION

Open No symbol necessary

The open, or primary, side of the

instrument does not employ any

valves

First Valve “X”

The first valve is the only valve on a

single-valve trombone, or it is the

longest individual valve on a

multiple-valve trombone

Second Valve “Y”

The second valve is the shortest

individual valve on a multiple-valve

trombone, only applicable with an

independent valve configuration

Dual Valve “Z” The dual valve is when both valves

are played simultaneously

Table 2.1: “Sides,” their symbols, and definitions

The first advantage with this new notational system is that the sides of the instrument are

given a clear and logical letter assignment. They are logical because they are sequential in the

alphabet and because they do not match any note names in the music alphabet.

29

The second advantage is seen in the ease of adding notations for intonation tendencies. It

is not adequate to indicate that a particular note should be performed in, for example, first

position when the tendency of the note in question is either sharp or flat. Occasions where the

tendency of a note is sharp will be notated with the symbol “-“ to indicate that the slide should be

placed adequately lower42 than the necessary or suggested position.43 For notes that are very

sharp, two stacked “=“ symbols will be used. For notes that are flat, the “+” symbol will be used

to indicate a small adjustment of the slide44 and a “ǂ” will indicate a more significant movement

of the slide from the basic position. When it is necessary for a note to be played at the halfway

point between two slide positions, it will be notated with the lower case letter, “h.” A further

attempt to avoid creating confusion is made by placing the intonation symbols after the number

and also by making them superscripted.

From a young age, our brains are trained to read statements such as “X-7” as x minus

seven or “X(-7)” as x times negative seven. For this reason and for the purposes of keeping

numbers that are not related to slide positions and letters not related to the key of the instrument

or the alphabetic music scale out of the methodology, letters and symbols have been chosen that

would not be easily confused with other music notations. Regardless, no amount of suggestions

or reminders in relation to intonation can serve as a substitute for the pursuit of true perfect

intonation, which is through aural stimuli and adjustment and never physical or spatial realities.

42

The slide should be placed further away from first position. 43

This system where, for example, a particular note tends to be sharp but is notated flat in order to move the slide

further away from first position is common practice among trombonists. 44

The slide should be closer to first position.

30

SYMBOL EXAMPLE DEFINITION

_ X4ˉ

This tone should be performed using the first

side and with the hand slide slightly lower than fourth position (in the

direction of fifth position)

= Y3=

This tone should be performed using the

second side and with the slide somewhat lower than third position (in the

direction of fourth position)

+ 5+

This tone should be

performed on the open instrument and slightly higher than fifth position

(in the direction of fourth position)

ǂ

X6ǂ

This tone should be

performed on the first side and with the slide somewhat higher than

sixth position (in the direction of fifth position)

h Z1h

This tone should be

performed with both valves engaged and with

the slide halfway between first and second positions

Table 2.2: Valve symbols, examples, and explanations

Tuning Slide Placements: Cause and Effect

It is now necessary to introduce and explain the system used in this document and in the

methodology with regards to tuning slide adjustments to the open, first, second, and dual sides of

the bass trombone. Good tone quality is most easily produced in first position and is harder to

produce further and further away from first position. This method is predicated on a tuning

31

system in which all tones possible in first position, regardless of the valve combination, are

functional and are, if at all, sharp with regards to intonation. The initial tuning slide adjustment

should be made to the main tuning slide, which affects the open instrument. Figure 2.5 and the

subsequent three figures are graphic representations of the theoretical intonation tendencies of

the notated partials based on equal temperament.

Figure 2.5: Intonation tendencies for the first eight partials on the open instrument. Original image by Emma Johns

Because of equal temperament, the partials that begin with B-flat theoretically do not

require adjustment and are centered on an imaginary and useful vertical line. Noteheads to the

right of the nominal position are therefore sharp. Conversely, noteheads to the left of the line are

flat. Notice that the fifth and seventh partials are theoretically flat in relation to the fundamental

B-flat partials, with the seventh partial more so than the fifth. It would be desirable to extend the

main tuning slide the appropriate amount to make D445 a viable option in first position46 because

the amount of extension required would be minimal. Conversely, it would be counterproductive

45

D4 is produced by the dual horn on the fifth partial. 46

This will be true if, in fact, D4 is flat in relation to the fundamental B-flat partials.

32

to extend the main tuning slide the necessary amount to make A-flat447 a viable tone in first

position, as that would extend every other position further away from first position and would

most likely eliminate any viability of seventh position and further.48

The first side of the bass trombone should be tuned after the open instrument. Again,

there are certain tones that need to be viable in first position, but not as many as there are on the

open instrument.49

Figure 2.6: Intonation tendencies of the first three partials on the first side.


The second side of the instrument should be adjusted accordingly for intonation before

the same is done for the dual valves. This is because the informed bass trombonist will access the

second side of the instrument far more often than the dual side.

47

A-flat4 is produced by the open horn on the seventh partial. 48

It is because of the aforementioned reasons that trombonists forego the use of A -flat4 in first position. 49

Though not contained in figure 2.6, A3 should be investigated for its viability in first position, but only if it is not

flat in relation to the fundamental F partials.

33

Figure 2.7: Intonation tendencies of the first four partials of the second side. Original Image by Emma Johns

Lastly, the first four partials of the dual instrument should be viable in first position.

Therefore, it will be necessary to shorten the length of one of the two individual valve tuning

slides if even one of the four tones on the dual side is flat in first position.

Figure 2.8: Intonation tendencies of the first four partials of the dual side. Original Image by Emma Johns

34

The user is now prepared to begin study of the criteria used to determine proper valve and

slide position employment with these intonation adjustments successfully completed.

Investigation and Implementation

It will be helpful to revisit the first music example in Chapter One. The three different

tones that appear in Figure 2.9 can be produced with only one slide position per tone when

performed with any B-flat trombone not equipped with any valves.

Figure 2.9: “The Star Spangled Banner,’ arr. William Himes (mm. 1-2)

Conversely, the modern bass trombone pitched in B-flat and equipped with two valves

pitched independently in F and G-flat and dependently in D, has several more options as to

possible positions:


with all possible valve and slide combinations

In the example 2.10, each “key” of the bass trombone is shown with all possible valve

and slide combinations. While G-flat2 is not available in the first valve key of F, and E2 is not

functional in the dual valve key of D, there are quite a few options available for each note of the

35

passage. In effect, there is only one “way” to perform the example with a valveless, or “open,”

B-flat tenor or bass trombone, but with the modern, independent double-valve bass trombone

there exists a total of 576 slide and valve combinations possible to execute this phrase. How,

then, is the bass trombonist supposed to decide which combination is the best?

Certainly, there are some possible combinations that are intuitively less than ideal:


with one possible valve/slide position combination

The employment of different valves and vast movement of the slide would make this

combination illogical. The following graph visually demonstrates the wide distances traversed

across the slide in figure 2.11:

Figure 2.12: Visual representation of Figure 2.11.


36

At the suggested tempo, this would be a very difficult and potentially uncomfortable

choice of valve and slide placement.50 Indeed, the option defined in example 2.11 does not seem

to offer a discernible advantage over the sole option afforded the trombonist without any valves.

The opposite choice of the very active motion involved in figure 2.11 is the option that

affords the player the least amount of effort traversing the slide.

Figure 2.13: “The Star Spangled Banner,” arr. William Himes (mm. 1-2), with another possible valve/slide position combination

Figure 2.14: Visual representation of Figure 2.13


Sometimes, however, traversing the least distance is not always the best choice. In this

passage, there would be some alternation between the first valve to the second valve back to the

first valve, which could lead to potential difficulty in the execution of the passage at the marked

tempo. For this reason, an even better option, which will be explored in more depth later in the

document, will be presented on how to play this passage.

50

Intuitively, even the most inexperienced trombonist would not play the first notes in figure 2.11 in such drastically

distant positions.

37

It is the purpose of this methodology to provide inexperienced bass trombonists and their

teachers with the means to discern the best and most efficient ways with which to employ

various slide position and valve combinations.

As previously stated, an immediate benefit from the genesis of the second valve was to

make B1 a functional note and C2 easier to execute. Unfortunately, the reality of most

inexperienced bass trombonists and instructors is that they learn how to play B1 and C2 with

both valves and never bother to learn more than very few, if any, of the other options available.

With this school of thought, performers and teachers maintain a knowledge of the usefulness of

the first valve, gain the use of possibly only two notes with both valves employed, and do not use

the second valve independent of the first.

Figure 2.15: A-flat major scale

Such students and instructors are not taking advantage of the additional benefits afforded

by an independent double-valve bass trombone. Observe figure 2.15 with only two notes

provided an alternate valve/slide combination.

Figure 2.16: A-flat major scale with two slide/valve employment alterations

38

The figure above is the first example of the primary consideration behind the use of any

valve, and that consideration is proximity. In Figures 2.15 and 2.16 consider the slide position

distance traveled from C2 to G2. In Figure 2.15 the total distance is approximately ten positions

(2+3+2+3). Figure 2.16 alters the positions of two tones (D-flat2 and F2), which decreases the

slide distance traveled to approximately five positions (1.5+0.5+1+2).

Before discussing secondary considerations, it is necessary to explore another aspect of

valve usage afforded us by Figure 2.16. Music passages are rarely limited to two tones, yet bass

trombonists often limit their consideration of valve usage to two tones instead of considering the

totality of the passage. Therefore, performers must make a conscientious effort to plan their

valve usage through a given passage. This is much like choosing a route from point A to point B

in a major urban city, as opposed to the limited options, if any, afforded in a rural area. The

document and methodology will refer to this concept as “mapping” and will use the term “map”

as appropriate in context.

In Figures 2.15 and 2.16 we specifically considered the slide distance traveled between

the tones C2 and G2. Figure 2.16 altered the position and valve usage of only two tones (D-flat2

and F2), but all five tones are possible with more than one slide/valve combination. The table

below demonstrates all possible slide and valve combinations for all five tones, while also

highlighting the recommended “map.”

39

TONE POSSIBLE VALVE AND SLIDE COMBINATIONS

C2 X7=

Z4

D-flat2 X6

Z2h

E-flat2 X3=

Z5+

F2 6

X1

Y2-

Z7-

G 4

X7-

Z4-

Table 2.3: C2 to G2 from Figure 2.14 with all possible valve and slide combinations

and the “map” choices shaded

The secondary consideration behind the use of any valve is articulation.

Figure 2.17: Two different executions of one passage

On the open side of a bass trombone, the two notes in figure 2.17 exist on the same

partial. Unique to the trombone amongst the brass family, a true connected slur is impossible

when attempting to slur from one note to another on the same partial. Either a glissando effect

will occur or the performer will have to lightly interrupt the airstream to approximate the desired

slur. However, this same example can be executed with a “valve” slur. Such a slur occurs when

the performer traverses from one side of the instrument to any other side of the bass trombone by

40

either engaging or disengaging a valve. Those actions enable the player to create a seamless

connection between the two tones without the use of the tongue.

Figure 2.17 demonstrates that B-flat2 is executable in at least two positions. If

articulation was not a consideration then the performer must determine which option is most

desirable. The primary consideration should be tone quality and an explanation of that concept

follows.

Figure 2.18: Every possible valve and slide combination for E3

Figure 2.18 demonstrates that E3 can be produced with five different valve and slide

combinations. Based purely on the concept of tone quality, which choice is superior? The

common perception amongst trombonists is that quality tone is more easily produced on the open

instrument. If there is more than one position that a given note can be performed on the open

trombone, the superior choice is whichever position exists on a lower partial. For example, E3

exists on the open instrument in second and seventh position. E3 in second position occurs on the

third partial and in seventh position it occurs on the fourth partial.

It is also perceived that tone production suffers with the addition of valves. Numerous

problems potentially arise when these perceptions are applied in a practical manner. For instance,

again observe example 2.17 and consider whether it would be better to play E3 in seventh

position on the open instrument or in a raised fourth position with both valves employed.

41

It is the belief of the author and the approach of this document that tone should be as

consistent as possible between multiple options of valve and slide employment. Too often the

use of a valve is avoided because of the perception of negative tone production. To the extent

possible, the bass trombonist should strive to equalize tone between various valve and slide

combinations so as to not eliminate an alternate option from being viable. What follows is yet

another music example where the use of a valve could be very advantageous.

Figure 2.19: Consideration of tempo

In the largo portion of figure 2.19 there is no reason why F-sharp3 should not be played

in the open and primary position. However, execution of this molto vivace passage is made

easier by the quick use of the Y valve.

With the primary issues of proximity, articulation, and tone quality addressed, a student is

now able to approach the numerous positive theoretical applications of valve usage.

Additional Considerations

Further valve usage considerations follow, resuming with employing the valve to reduce

contrary motion:

Figure 2.20: B-flat2 in X4+ eliminates contrary motion

42

The primary consideration of proximity is aided by the use of the valve when the music

passages become faster and faster. Here, the trombonist who is reluctant to use alternate

positions because of a perceived lack of quality tone should recognize that shorter durations and

faster tempi will not present apparent issues with regards to tone quality.

Figure 2.21: B-flat2 in X4+ instead of first position, thus eliminating drastic contrary motion

Bass trombonists who have difficulty maneuvering through the outer positions of the

slide because of arm length will benefit by learning all valve and slide position combinations

available.

Lastly, technical efficiency decreases with larger and larger contrary motion.

Just as a student or instructor may be unaware of options, so too can they be enamored of

these possibilities. When this happens, students and instructors adopt a strict and narrow strategy

that can dictate a particular approach as being superior. All students of the bass trombone should

understand the theoretical and practical applications of the double-valve system, in that the

nature of the music and the impact of the musical setting should be taken into consideration.

During fast passages, it is helpful to equalize to the extent possible the distances between

valve and slide combinations.

43

Figure 2.22: Distance equalization

In example 2.22, the author imagines a student who is very comfortable with playing C3

in X1ˉ. This is most likely because they previously played a tenor trombone equipped with only

one valve and have almost always played C3 in X1ˉ. The student might also be uncomfortable

with the concept of “half” positions (in this case, C3 in Y2h.) For them, it should be made

apparent that the fast execution of this particular scale will be made easier by employment of the

second valve. Subsequently, the student will become more comfortable with the intonation and

tone matching at a slower tempo.

Another possible complication occurs through alternation between the first and second

valves.

Figure 2.23: Symphony No. 2 by Gustav Mahler (mvt. 5, reh. 25)

The first suggested set of valve/slide combinations affords a logical choice for C3 (y2.5

instead of x-1), but the second set is advantageous because of its reduced slide movement.

However, the advantage is tempered by issues that arise from alternating between the first and

second valves. During the transition between alternately employing the first valve and second

valve, there is a moment where the performer is blowing through the open side of the instrument

44

for a fraction of a second. The more often the performer alternates the first and second valves

while playing a passage, the more opportunities for that fraction of a second of blowing through

the open instrument to cause timing and response issues.

Having identified various theoretical and practical applications of numerous valve and

slide combinations, it would be informative to revisit the first music example in this paper.

Figure 2.24: “The Star Spangled Banner,” arr. William Himes (mm. 1-2)

A mapping of “6 – X1 – 7 – Y1 – 6” is inefficient due to the constant contrary motion

and a high number of slide positions traversed. “X1 – X1 – X2 – Y1 – X1” is efficient with

regards to slide distance, but with an overriding disadvantage from the alternation of the X side

to the Y side and then back to the X side. Considering the fast tempo, this mapping is not

optimal. A mapping that exists entirely on the open horn and would completely avoid alternation

is “6 – 6 – 7 – 5 – 6.” However, two possible disadvantages occur. As mentioned, slide technique

is more difficult the further the hand slide moves from first position. This is especially true for

someone with shorter than average arms. A potentially advantageous mapping is “Y2h – Y2h –

Y4+ – 5 – 6,” with no contrary motion, but it still requires traveling to the outer region of the

slide. Lastly, a “Y2h – Y2h – Y4+ – Y1 – Y2h” map allows the performer to play on one side of

the instrument and to avoid the outer positions of the slide.

45

Though the author would choose to implement the last option, and no matter how much

theory or practicality is considered, there can be no quarreling with any approach that is

musically effective.

46

CHAPTER THREE

The following guide to valve usage is constructed with a certain logical progression. The

first portion presents the proposed new system of valve and slide notation introduced in chapter

two, explanations for the proper tuning of the B-flat/F/G-flat/D bass trombone, and examples

with discussion that demonstrate the primary, secondary, and additional considerations necessary

to implement within any given music passage. Also included are examples from two etude

collections not originally conceived for the contemporary bass trombone that are, nonetheless,

primary repertoire for all trombonists. The second portion provides introductory exercises

constructed in each of the twelve keys of the Western chromatic scale. The first scale degree is

B-flat, chosen because B-flat is both the fundamental of the bass trombone and conceptually

“fundamental” to trombonists, especially those tenor trombonists with limited or no experience

with the bass trombone.

Introductory Principles

Exercise 1 is titled “intonation and ‘tone matching.’” This initial exercise provides every

octave (in this case, B-flat) between B-flat0 and F5. When possible, each octave is provided with

multiple slide/valve positions, with the primary position listed first, followed by combinations

available from the first side, then the second side, then with both valves engaged.

47

Figure 3.1: Intonation and “tone matching”

The purpose of the exercise portrayed in Figure 3.1 is two-fold. First, not all bass

trombonists should be expected to be able to play or even be aware of each of the octaves

provided. In the case that a performer cannot perform a certain octave, the usage of this exercise

is progressive. The performer will eventually gain familiarity with each octave and at least the

primary position for each octave. Next, the user could and should become familiar with alternate

slide and valve combinations, learning adjustments for intonation and matching, to the extent

possible, the same tone quality produced with primary position.

In Figure 3.1 and throughout the methodology every possible valve/slide combination is

provided for the first through fourth partials. The primary positions are listed on the first

horizontal row of valve/slide combinations, with the remaining combinations provided vertically,

first with any remaining open horn alternation position, then followed by the X, Y, and Z valves

(where applicable). Only the open horn positions are provided for the fifth partial and above. In

Figure 3.1 there are five valve/slide combinations provided for B-flat3, yet this is not to say that

musical situations exist or will exist in which all five combinations will be useful. Regardless, it

is the author’s opinion that the performer should be aware of too many options rather than too

few, as it is impossible to anticipate all musical demands or to eliminate the need for any

48

particular combination. This rationale has limitations, as seen with B-flat4. While B-flat4 can be

produced in four positions on the open instrument, the author feels that investigating additional

options would be counterproductive.

After examination of Figure 3.1, the performer is now prepared to explore various valve

and slide combinations in the context of arpeggios, along with model and chromatic scales. The

following passages remain based on the fundamental pitch of B-flat regardless of pattern or

tonality. The scale and arpeggio exercises cover the range from B-flat0 to F5. The bass

trombonist is still not expected to immediately perform every octave and is encouraged to start

with those octaves in each exercise that are performable.

The guide presents arpeggio exercises first, in the following order: major, minor,

augmented, and diminished. Also, arpeggio and scale exercises require the performer to

articulate upward passages and slur downward passages. This is an important distinction as has

been discussed earlier, as articulation demands are a primary factor in determining slide/valve

usage.

49

Figure 3.2: B-flat major arpeggios

There are two reasons why position markings are no longer included. First, it is assumed

that the performer has spent adequate time studying the primary and secondary valve and

position combinations for various octaves of a given key. It is the author’s belief that continued

inclusion of position markings is no longer warranted by the time the performer begins their

50

study of the arpeggio and scale exercises. The second reason is to reduce possible visual

distractions.

The valve recommendations in Figure 3.2 and in all exercises contained in the guide

should be considered as suggestions, nor should any one approach become codified as the best

choice. It is the experience of the author that students and instructors all too often narrow their

comprehension of various available options, which only serves to limit their potential with regard

to technical efficiency.

51

Figure 3.3: B-flat major scales

52

Figure 3.4: B-flat chromatic scales

Notice in figure 3.3 that some tones have more than one suggested valve marking, with

the second marking in parentheses indicating the author’s desire that the user be aware that there

might be a compelling reason to consider using the second recommendation. An understanding

53

of compelling rationales will be apparent in the second portion of the guide that analyses issues

within orchestral excerpts.

Orchestral Excerpt Analysis

The analysis of orchestral excerpts will be the most informative aspect of this guide.

Excerpts allow the user to see and understand various valve and slide position considerations

within a musical context.

The twelve excerpts included in the guide were selected from the sources listed on page

23. Inclusion for analysis was justified if the excerpt contained any passage that presented a

unique aspect of discussion.

54

Figure 3.5: The Creation by Joseph Haydn (number 26)

In the excerpt shown in Figure 3.5 and in the following excerpts, various passages are

visually highlighted with brackets and numbers. The author will refer to each passage by its

assigned number.

Figure 3.6: Passage number one from The Creation

Passage number 1 is an example of proximity as primary consideration for where and with what

valve, if any, to perform D3. This tone’s primary position exists on the open instrument in fourth

55

position. Without other musical demands to consider, such as volume or tempo, D3 should be

performed using the primary option. However, passage number 1 does require the performer to

consider tempo and the subsequent F3. At the suggested tempo, a motion from first to fourth and

back to first will be relatively difficult when compared to the less difficult execution of

performing D3 in first position with both valves engaged. Some musicians might consider the

tone produced with both valves engaged on the fourth partial as being less than ideal, but the

tempo of the excerpt will preclude any perceived lack of tone quality.

Figure 3.7: Passage number two from The Creation

The second passage in Figure 3.5 is another example of proximity as the primary

consideration. C3 can be performed in sixth position on the open instrument, in a lowered first

position on the first side, and halfway between second and third position on the second side.

Considering that C3 is surrounded in this passage by D3, the author would suggest playing C3 on

the second side of the instrument.

Before analyzing a new passage, the second example affords further discussion. The

suggested option is not always clearly superior to all other options, as is the case in the second

passage. Another option for placement of C3 is in sixth position on the open instrument. This

option is advantageous for two reasons. First, the motion from E-flat3, to D3, to C3 in sixth

position would be of one motion, in this case downward. Second, the performer would “stay” on

the same side of the instrument for the duration of the passage. However, two possible

56

disadvantages exist. First, as mentioned in chapter two, technique can suffer the further one plays

from first position and hamper performers with relatively short arms. Second, the three positions

involved (3-4-6) are not adjacent and therefore the performer is susceptible to what Ed

Kleinhammer, former bass trombonist of the Chicago Symphony Orchestra, called “halfway-

itis.”51 In this situation, the trombonist must avoid repeating the effort put forth when traveling

from one position to the next closest position that, in this case, is from third to fourth position. In

fact, they must double their efforts in order to truly arrive in sixth position after fourth position.

Often, especially with inexperienced trombonists, the lack of effort will not result in a

duplication of one position change, but will more often result in a modified effort, somewhat

greater than one position, but not quite enough to arrive at the correct position. In this passage

the halfway- itis would result in a passage from third position, to fourth position, to halfway

between fifth and sixth position, instead of arriving in sixth position. Trombonists, unique

amongst brass instrumentalists, will encounter many music passages where halfway- itis could

occur. These situations cannot always be avoided, but it can be eliminated in this particular

excerpt by performing C3 on the second side of the instrument, halfway between second and

third position.

Figure 3.8: Passage number three from The Creation

51

Edward Kleinhammer and Yeo, Doug. Mastering the Trombone (Hannover, Germany: Edition Piccolo, 1997),

p. 6.

57

Passage number three demonstrates a secondary consideration where it is desirable to

equalize the distance traveled across the slide. Again, the note in question is C3. Intuitively, even

an inexperienced trombonist would avoid playing C3 in sixth position, resulting in a slide

combination of “4-6-1.” At the requested tempo, such an execution would be unnecessarily

difficult and the typical solution would be to perform C3 in a lowered first position on the first

side. The tempo and context suggest this solution as reasonable. However, the performer benefits

from equalizing the distance by playing C3 halfway between second and third position on the

second side, advantageous at faster tempos or with shorter note values.

Figure 3.9: Passage number four from The Creation

The fourth passage is slightly more complicated to analyze. The author suggests that F2

be performed with the second valve in a lowered second position instead of on the first side in

first position. An inexperienced trombonist will see the previous note followed by another that

can be performed in the same position, choosing a logical combination that requires the least

amount of effort. However, such an approach fails to consider the totality of the passage, what

the author referred to earlier as mapping. In the fourth passage it would be better to equalize, to

the extent possible, the distance between F3 and E-flat2 by playing F2 in a lowered second

position. The last two tones in the suggested mapping will require that the performer switch

between one valve and another. As discussed earlier in chapter two, such alternating between

valves can prove problematic because of the minute amount of time during which the vibrating

air column flows through the open instrument between the depression of one valve and the

58

engagement of the other valve. Such timing issues can hamper articulation since the performer

has to execute a precise alignment of slide motion with the added element of valve depression

timing. Indeed, if the note after E-flat2 were an F2, alternating back to the second side of the

instrument would be even more cumbersome. Given the notes of the passage and the subsequent

note, and given the tempo, it is the author’s opinion that the alternation of valves with the

suggested combination is highly executable and warranted.

Figure 3.10: Passage number five from The Creation

Example number five has the opposite contour of passage number one, but the dissimilar

note durations make the fifth example slower than the first. An inexperienced trombonist might

intuit this passage to use the same valve and slide combinations as the first example (performing

D3 with both valves engaged in first position), but that would be counterproductive. The rhythm

of the fifth passage is comprised of eighth notes, as opposed to sixteenth notes, so the author

suggests playing D3 in the primary position, which is on the open instrument in fourth position.

The longer the duration of a note, the more appropriate it is to perform it with the primary

valve/slide combination.

Figure 3.11: Passage number six from The Creation

59

Passage number six involves a situation where a consideration of proximity outweighs

that of contrary motion. B-flat2 should be performed on the first side of the instrument in a raised

fourth position because the primary position of the tones that surround B-flat2, A-flat2 and C4, is

third. Performing B-flat2 in a raised fourth position creates two contrary motions, but such

kinesis is relatively minor and the benefit of proximity to the surrounding third position notes is

superior to any disadvantage created with this specific instance of contrary motion.

60

Figure 3.12: The Creation with suggested valve/slide indications

Figure 3.13: Symphony No. 3 by Robert Schumann (mvt. 4, mm. 1-18)

Figure 3.13 provides multiple passages that demonstrate the need to consider articulation.

If the goal in playing slurred passages is to use as little articulation as possible, and to sound as

smooth and connected as possible, then the modern bass trombone equiped with two valves is an

instrument full of potential. However, just because an option exists does not make it correct to

chose that option. Inexperienced bass trombonists often become enamored of the valve slurs

61

inherently possible with two valves. This is especially true of a performer with a valved-brass

background, most often a tubist or euphoniumist.

Figure 3.14: Passage number one from Symphony No. 3

Passage number one from Figure 313 presents the question, easily answered, as to where

B-flat2 should be played. Because the composer has asked for this passage to be slurred and

because the surrounding notes will be performed in third position, it would be best to play B-

flat2 in a lowered fourth position on the first side.

Figure 3.15: Passage number two from Symphony No. 3

The second passage presents more options and therefore requires more consideration. The

first note, E-flat3 will be performed in third position, but the choice of where to play D-flat3 will

impact the choices for the two notes that follow.

The primary position for D-flat3 is in fifth position on the open instrument and the

secondary position is in a lowered first position on the second side. Performing a slur from E-

flat3 to D-flat3 with both notes on the open instrument will require a legato articulation so as to

avoid a glissando. The inexperienced player will often quickly chose to execute a valve slur from

third position to lowered first position, but the tone and intonation of this secondary choice might

62

be inferior to the primary position. Further complicating the choice is the following G-flat3,

which exists primarily in fifth position on the open instrument or in first position on the second

side. However, if a lack of tone quality should be considered when playing D-flat3 on the second

side, theoretically quality tone will be even harder to create on a higher partial. Intuitively, few

trombonists would choose to execute a wide motion from D-flat3 in lowered first to G-flat3 in

fifth position. Therefore, the trombonist must be able to effectively perform G-flat3, both

intonationally and tonally, in first position if s/he choose to play D-flat3 on the second side. It is

the author’s opinion that the legato articulation necessary to slur from E-flat3 to D-flat3 on the

open instrument is optimal because the performer is already in fifth position and prepared to

execute a natural slur to G-flat3.

Figure 3.16: Passage number three from Symphony No. 3

Example number three from Figure 3.13 contains three tones whose primary positions (2-

4-3) exist on the same partial. An attempt to slur the passage will require legato articulations

with the second and third notes (D3 and E-flat3). An alternative that eliminates the need for

legato articulation is to perform D3 in first position with both valves engaged. Rationales exist

that support and contradict such a choice. First, it is a common perception among trombonists

that the softer the dynamic, the more likely an alternate position can be played with a tone that

sounds as well or nearly as well as the surrounding tones. Conversely, D3 in first position exists

on the fourth partial with both valves engaged. The tone with the added resistance of both valves

is inherently more difficult to produce than the tone produced on the open instrument in the

63

primary position. Though the author would choose to play D3 in fourth postion and consequently

have to employ legato articulation, it is more important to stress that the performer should be

aware of this and all options, with both the positive and negative ramifications.

Figure 3.17: Passage number four from Symphony No. 3

The fourth passage introduces a situation trombonists refer to as “against the grain” or

“cross grain” slurring.52 Simply put, cross grain slurring involves two occurences on the open

instrument: from one note to the next both the partial and the slide position is altered. For

example, observe figure 3.17. The first two tones exist on the fourth partial and the third pitch

exists on the third partial.53 The mapping necessary in example number four will result in the

need to employ at least one cross grain slur, but how many slurs depends on the chosen map.

It would appear that G-flat3 performed in first position on the second side would be

optimal because it would result in a valve slur from A-flat3, through G-flat3, to F3. The tone on

such a relatively high partial on the second side must be representative of the tone quality

achieved by the surrounding tones performed on the open instrument and with primary positions.

Even if a performer felt that the resultant tone on the second side was acceptable, there is a

potential complication with the following slur from F3 to C-flat4. This slur, from first to fourth

52

The terminology “cross grain” will be used throughout the remainder of this paper. 53

Very often inexperienced trombonists will use the example referred to above and incorrectly assume that cross

grain slurs can only occur with a downward progression of notes. The contour of any passage does not necessarily

preclude a slur from being cross grain.

64

position, will be a cross grain slur. Such slurs can be difficult to execute due to their wide

distance and upward contour.

The next possible cross grain is from G-flat3 in fifth position to F3 in first position, with

both of those serving as primary positions. The disadvantage is the wide distance traveled from

fifth to first position. Therefore, it is recommended that F3 be performed in sixth position. With

the second portion of the map chosen, it is only logical to complete the map with C-flat4 in

fourth position on the open horn, its primary location.

Figure 3.18: Passage number five from Symphony No. 3

Example five and six are related, in that the placement of the first B-flat2 will have an

influence on the placement of the second B-flat2. In the fifth passage, the composer requests a

slur from C-flat3 to B-flat2. This will be easy to produce using a valve slur from a lowered

second position on the first side to first position on the open instrument. It is the following B-

flat2 that bears more discussion.

Figure 3.19: Passage number six from Symphony No. 3

The final tone in the sixth example is E-flat2 and should be performed on the first side of

the instrument in a lowered third position. Because the passage ends in that area of the slide and

65

because A-flat2 is in third position, it might seem logical based on its proximity to perform B-

flat2 on the first side of the instrument in a raised fourth position instead of in first position. The

inexperienced trombonist could also feel a greater motivation to do so because they will have

been encouraged by an instructor to develop their ability to incorporate B-flat2 on the first side

of the instrument.54 For three reasons, the author suggests that B-flat2 should be performed in

first position. First, the tempo and note values of the passage do not create a difficulty.

Therefore, the tone and intonation created with the first B-flat2 can and should be recreated with

the subsequent B-flat 2. In essence, there is no compelling reason to perform the second B-flat2

in a raised fourth position, though it would not be wrong to do so if the tone and intonation from

the first to second B-flat2 are similar.

Figure 3.20: Symphony No. 3 (mvt. 4)

with suggested valve and slide indications

54

B-flat2 in a raised fourth position exists on the third partial of the first side. Often, many trombonists only use C3

and C-flat3 on this partial and are reluctant or sometimes unaware of the existence of additional tones available in

lower positions.

66

67

Figure 3.21: Fountains of Rome by Ottorino Respighi (reh. 11-17)

The excerpt in Figure 3.21 requires a significant volume for performance. Just as it is

potentially feasible to use alternate positions for softer passages, the opposite is true for louder

segments.

Figure 3.22: Passage number one from Fountains of Rome

Passage number one is an example of a sequence of notes that should be performed with

one, outward slide motion that will end in a primary position. Specifically, the G-sharp3 is

performed in third position, the B2 is performed in a raised fourth position on the second side of

the instrument, and the C-sharp3 is performed in the fifth position.

68

Figure 3.23: Passage number two from Fountains of Rome

C3 in example number two is the pivotal note. The two preceding tones will be

performed in fourth and then second position, creating one inward motion. The closest C3 to

second position is on the second side of the instrument, halfway between second and third

position. It is the author’s opinion that C3 in this particular passage should be performed on the

first side of the instrument in a lowered first position, creating one inward motion and avoiding a

quick contrary outward motion.

Figure 3.24: Passage number three from Fountains of Rome

Example number three from Figure 3.21 illustrates the need to balance tone quality with

contrary motion considerations. The primary positions of the two notes included are fifth

position for D-flat3 and third position for E-flat3. The E-flat is a sixteenth note and has a

relatively short duration based on the tempo, so the resultant contrary motion back to fifth

position will be significant. One inward motion can be created by playing D-flat3 in a lowered

first position on the second side of the horn. That advantage is lost if the tone or intonation is not

equal to that which is produced with the primary position. Again, the performer should be less

inclined to use an alternate position with the fortissimo dynamic. This is not to say that the

69

performer should eliminate this option entirely from their overall approach. Indeed, the

overarching belief of this guide is that all options should be considered in order to choose the

best possible approach given the circumstances.

70

Figure 3.25: Fountains of Rome

with suggested valve and slide indications

Application

By this point of study, the performer has received instruction on proper tuning slide

adjustments, the primary and secondary considerations for the usage of valves, and introductory

pattern exercises. Now the performer is better equipped to apply the acquired concepts to any

music passage. What follows is a brief application of these concepts to two common passages

from technical and lyrical etude collections not originally written with the bass trombone in

mind.

71

Figure 3.26: #2 from 70 Studies for BB-flat Tuba by Vladislav Blazhevich (vol. 1)

Conceptually, the first step for the bass trombonist is to recognize, note by note, the

primary and, when applicable, secondary positions. Next, they should begin mapping their way

through the passage, all the while keeping all combinations in mind. Important during the

mapping process is recognizing when it would be better to change a previous mapping decision.

Often a plan of action is devised through a passage, only for the user to observe a new note that

influences a mapping correction before the new tone. Lastly, the user must always stay cognizant

of the primary consideration, which is proximity, followed by secondary considerations such as

articulation.

72

Figure 3.27: #2 from Melodious Etudes for Bass Trombone by Marco Bordogni, arr. Ostrander

It is common for courses of study to require a certain balance of practice between lyrical

and technical etudes. However, lyrical etudes are inherently “legato,” or slurred, and therefore

articulation becomes a higher priority.55 An example of the need to alter one’s approach could be

cited in measure 7 of Figure 3.26. The highest note in this measure, C3 should be performed

halfway between second and third position on the second side of the instrument. The proximity

of the surrounding notes (G2) in fourth position makes this a logical choice. However, it would

be a mistake to put too much faith in this choice during other music passages and view it as

superior in all circumstances.

Now consider measure three of figure 3.27. An inexperienced trombonist might again

choose to perform C3 on the second side of the instrument based on the equalization of distance

55

Further discussion occurred in chapter two, p. 39.

73

consideration which, as a concept, is closely related to the consideration of proximity. However,

the surrounding tones and the requested articulation make such an implementation less than

ideal. First, the preceding note, E-flat2, will be performed with the primary combination of the

first valve in a lowered third position. Then, shifting to the second side C3 opens up the

possibility of a momentary interruption of air flow,56 thus reducing or eliminating the desired

slurred articulation. Therefore, C3 should be performed on the first side of the instrument in a

lowered first position. Not only does this choice avoid a negative consequence, but it allows the

three tones of measures three and four to be played on one side of the instrument, creating a lip

slur from the first note through the second and on to the third.

Figures 3.26 and 3.27 are recreated here exactly as they were published. That is, without

any valve or slide position suggestions. Indeed, the vast majority of all musical material played

by a bass trombonist is void of such markings. It is the responsibility of the performer to apply

approaches presented in this paper to all musical materials, for more efficient and effective

performance.

Suggested Future Research

Considering the relatively rapid advancement of the bass trombone and its capabilities, it

should be assumed that the instrument itself will continue to evolve, possibly with additional

valves and with different fundamental pitches. Future research should duplicate and expand the

survey of this document to determine current trends in bass trombone equipment. The pool of

possible survey respondents could be expanded to include not just collegiate applied instructors

but those whose principal employment is through performance of the bass trombone. Further,

56

Further discussion occurred in chapter two, p. 39.

74

any such survey should reach beyond the borders of the United States and seek to understand

trends on a worldwide scale.

Respondents to the literature survey were invited to list any other materials used for

teaching purposes. Several bass trombone-specific materials were cited that were not discovered

during the survey preparation. This means that the search parameters for the current survey were

inadequate. A future survey should include titles created between this publication and that future

date.

Research into the age and stage of development when trombonists are introduced to the

bass trombone would be informative to the music education community. Concurrently, an

investigation of techniques currently used to introduce the bass trombone would be useful.

This guide will have a positive impact on current pedagogical practices and in future

methodologies. Periodically, research could be pursued to determine if future bass trombone-

specific methods and/or etude collections are implementing the suggested approaches contained

within this document. An effective supplement to this guide would be the creation of original and

progressive etudes, like those presented by Mr. Aharoni in his New Method for the Modern Bass

Trombone. Another possible supplement source could be an annotated etude collection in the

public domain, such as the vocalises by Marco Bordogni.

Conclusion

In the past half century, the modern bass trombone has come into its own as both an

orchestral and especially as a solo instrument. The survey conducted by the author confirms that

the Bb/F/Gb/D configuration has become standard. The level of performance and subsequent

attention by composers and arrangers has attracted more players to the instrument. The

75

manifestation of this change in popularity has occurred in two ways. First, the development of

bass trombonists is occurring at earlier ages. In the past approximately half-century, the

conversion of tenor trombonists to bass trombone is occurring earlier than collegiate education,

often in high school and sometimes junior high school. Second, more trombonists are developing

their proficiency at “doubling,”57 in which the performer adept at tenor trombone performance

becomes competent on the bass trombone.58

The author’s evaluation of the available methods for bass trombone reveals, however,

that aspiring bass trombonists do not have a comprehensive and systematic guide for the

valve/slide possibilities of the modern instrument.

Providing a methodology that addresses these shortcomings will provide benefits for

future trombone performance. The application of concepts discussed in the guide can be

effectively applied to all music passages, whether rudimentary exercises, excerpts, etudes, or any

music passage yet to be written. Further, a performer who chooses to use a horn equipped with a

non-standard key configuration, compared to current popular trends, will still be able to apply the

outlined concepts. This would be true with any given bass trombone, both of a current but non-

standard configuration or one yet to be devised.

Through the systematic study of fundamental exercises and orchestral excerpts, the user

of this guide will gain a better understanding of the functionality of their bass trombone as

currently designed. The performer will then be able to apply the knowledge gained to any music

pattern, simple or extensive, with a plan of valve and slide usage, known as a map, that is

57

Taken a step further, some performers become adept at alto, tenor, and bass trombone , referred to as tripling.

Some trombonists develop a proficiency with a valved-low brass instrument such as tuba and/or euphonium. 58

Such an ability is advantageous as a performer and as a teacher, especially since there is an ever-expanding

amount of student bass trombonists.

76

efficient and provides the player with the means to create a more efficient, effective, and

therefore musical performance.

77

APPENDIX A – ANNOTATED ORCHESTRAL EXCERPTS

The Creation by Joseph Haydn (number 26)

78

Das Rheingold by Richard Wagner (Act I, Scene II, mm. 1-20)

Das Rheingold (Act I, Scene II finale)

79

Die Walküre by Richard Wagner (Act III, rehearsal 11 to 12)

Ein Heldenleben by Richard Strauss (rehearsals 55 to 65)

80

Fountains of Rome by Ottorino Respighi (reh. 11-16)

81

La Gazza Ladra by Gioacchino Rossini (Overture, letter C)

82

La Gazza Ladra (Overture, letter F)

La Gazza Ladra (Overture, letter I)

Lohengrin by Richard Wagner (Act III, reh. 5, mm. 9-29)

83

Cello Suite No. 5 by Johann Sebastian Bach (Sarabande)

Symphony No. 3 by Robert Schumann (mvt. 4, mm. 1-18)

84

Symphonie Fantastique by Hector Berlioz (mvt. 4, reh. 56)

William Tell Overture by Gioacchino Rossini (letter C to E)

85

86

APPENDIX B – BASS TROMBONE EQUIPMENT SURVEY RESULTS

1. For your primary instrument, please answer a few short questions: Instrument Manufacturer

# Answer Response %

1 Bach 9 22%

2 Bach/Greenhoe 1 2%

3 Besson 0 0%

4 Conn 5 12%

5 Conn/Greenhoe 2 5%

6 Courtois 1 2%

7 Edwards 4 10%

8 Getzen 1 2%

9 Greenhoe 2 5%

10 Holton 2 5%

11 Minick 0 0%

12 Raph 1 2%

13 Reynolds 3 7%

14 Shires 4 10%

15 Yamaha 3 7%

16 Other 2 5%

17 King 1 2%

Total 41 100%


Getzen Custom

Jupiter

Jupiter

Michael Rath

3. Model:

3062AFR

62H

Xo

YBL-613G

TR-180

50

B454 E

Bell: BII 2G, Slide: B62, Tuning slide: BYB, Valves:

Independent rotors

YSL 613

50B custom

87

Standard Design with Tuning- in-Slide and red brass

Bach 50

Director

50T3

B454-DE

50B

Greenhoe/Conn

62HCL

Duo Gravis

XO

B-454-V

Tru-Bore B62-78

R9

3062AF

50A

Professional with Thayers

50B, 42, 70H

50B

R9

YBL822G

Conn single trigger George Roberts model made in the 40s

4. Bell size:

# Answer Response %

1 9 1/4 1 3%

2 9 1/2 34 87%

3 9 3/4 0 0%

4 10 2 5%

5 10 1/4 0 0%

6 10 1/2 2 5%

7 10 3/4 0 0%

8 Other 0 0%

Total 39 100%


6. Number of valves:

# Answer Response %

1 0 0 0%

2 1 3 8%

3 2 36 92%

Total 39 100%

88

7. Are the valves

# Answer Response %

1 dependent 16 41%

2 in-line 21 54%

4 other 2 5%

Total 39 100%

8. Double-valve paddle placement:

# Answer Response %

1 Thumb and third (or fourth) finger paddle operation

36 97%

2 Side-by-side paddle

operation 1 3%

3 other 0 0%

Total 37 100%

9. What is the "key" configuration of your instrument?

# Answer Response %

1 B flat / F 5 13%

2 B flat / F / E flat 2 5%

3 B flat / F / D 8 21%

4 B flat / F / G flat / D 23 59%

5 B flat / F / G / D 1 3%

6 Other 0 0%

Total 39 100%


Have converted slide configuration for "Bolinger" style valve tuning. Rarely use it.

11. Are there any alterations to the instrument?

removable leadpipes

Yes, in the left-hand area, I soldered a trumpet ring on near

the leadpipe, use a Rath handbrace, and have a block of wood molded to my hand. This makes the instrument MUCH easier

to hold and perform on.

2 hand slides, one with rose brass crook, one with nickel

89

silver crook.

no

Hybrid: Holton hand slide & main tuning slide from TR-180; Orla Ed Thayer valves; Shires bronze (90/10) medium heavy

bell

Thayer valve section replaced conventional rotors

No

1977 Minick open wrap - Mt. Vernon bell - Shires hand slide

shortened main tuning slide

Bach bell, slide, tuning slide configured on Shires Thayer valves

No

Yes. It was originally a side by side paddle.

No; interchangeable lead pipes are standard

Rath hand support brace

no

Yes, a couple of custom modifications

Added brace to slide crook. Added braces to valve tuning slides.

No

Slight bend of Gb trigger to fit hand. Also a brace has been

installed at the factory that rests between thumb and index of left hand.

yes

Greenhoe end bow of the slide; yellow brass on one and

nickel/silver on another.

not many

Cut-bell

no

no

12. For your secondary instrument, (please leave blank if no secondary instrument):

Instrument Manufacturer

# Answer Response %

1 Bach 4 36%


3 Besson 1 9%

4 Conn 1 9%


6 Courtois 0 0%

7 Edwards 1 9%

8 Getzen 0 0%

9 Greenhoe 0 0%

10 Holton 0 0%

90

11 King 0 0%

12 Minick 0 0%

13 Raph 0 0%

14 Reynolds 0 0%

15 Shires 2 18%

16 Yamaha 1 9%

17 other 0 0%

Total 11 100%


Dillon

14. Model:

2B

50B

62H

62H

YBL-830

Contrabass Trombone

50B

15. Bell size:

# Answer Response %

1 9 1/4 0 0%

2 9 1/2 11 92%

3 9 3/4 0 0%

4 10 0 0%

5 10 1/4 0 0%

6 10 1/2 0 0%

7 10 3/4 0 0%

8 Other 1 8%

Total 12 100%


big

91


# Answer Response %

1 0 1 8%

2 1 5 42%

3 2 6 50%

Total 12 100%

18. Are the valves

# Answer Response %

3 dependent 5 56%

4 in-line 3 33%

5 other 1 11%

Total 9 100%


# Answer Response %

1 Thumb and third (or fourth) finger paddle

operation

6 86%

2 Side-by-side paddle operation

0 0%

3 other 1 14%

Total 7 100%


# Answer Response %

1 B flat / F 5 45%


3 B flat / F / D 2 18%

4 B flat / F / G flat / D 3 27%

5 B flat / F / G / D 0 0%

6 Other 1 9%

Total 11 100%


F/D/A

92


removeable leadpipes, dual bore slide

Thayer Valve

The original first valve tubing was made open wrap and an

optional second valve was added (to be inserted into the F tuning slide). It is playable as a single valve or double valve horn. The tuning is in the slide.

no

No

Slight alteration to second trigger to fit hand

The valves have been carved open; it is a Mt. Vernon B50

23. For your third instrument, (please leave blank if no third instrument):


# Answer Response %

1 Bach 2 100%


3 Besson 0 0%

4 Conn 0 0%


6 Courtois 0 0%

7 Edwards 0 0%

8 Getzen 0 0%

9 Greenhoe 0 0%

10 Holton 0 0%

11 King 0 0%

12 Minick 0 0%

13 Raph 0 0%

14 Reynolds 0 0%

15 Shires 0 0%

16 Yamaha 0 0%

17 other 0 0%

Total 2 100%


Benge

93

25. Model:

290

50G

50B2

26. Bell size:

# Answer Response %

1 9 1/4 0 0%

2 9 1/2 3 100%

3 9 3/4 0 0%

4 10 0 0%

5 10 1/4 0 0%

6 10 1/2 0 0%

7 10 3/4 0 0%

8 Other 0 0%

Total 3 100%



# Answer Response %

1 0 0 0%

2 1 0 0%

3 2 3 100%

Total 3 100%

29. Are the valves

# Answer Response %

1 dependent 3 100%

2 in-line 0 0%

3 other 0 0%

Total 3 100%

94


# Answer Response %

1 Thumb and third (or fourth) finger paddle

operation

3 100%

2 Side-by-side paddle operation

0 0%

3 other 0 0%

Total 3 100%


# Answer Response %

1 B flat / F 0 0%


3 B flat / F / D 1 33%

4 B flat / F / G flat / D 2 67%

5 B flat / F / G / D 0 0%

6 Other 0 0%

Total 3 100%



lacquer has been stripped from the bell

open wrap

34. For your fourth instrument, (please leave blank if no fourth instrument):


# Answer Response %

1 Bach 0 0%


3 Besson 0 0%

4 Conn 0 0%


6 Courtois 0 0%

7 Edwards 0 0%

8 Getzen 0 0%

9 Greenhoe 0 0%

10 Holton 0 0%

95

11 King 1 50%

12 Minick 0 0%

13 Raph 1 50%

14 Reynolds 0 0%

15 Shires 0 0%

16 Yamaha 0 0%

17 other 0 0%

Total 2 100%


VMI

36. Model:

duo gravis

37. Bell size:

# Answer Response %

1 9 1/4 0 0%

2 9 1/2 1 50%

3 9 3/4 0 0%

4 10 1 50%

5 10 1/4 0 0%

6 10 1/2 0 0%

7 10 3/4 0 0%

8 Other 0 0%

Total 2 100%



# Answer Response %

1 0 0 0%

2 1 0 0%

3 2 2 100%

Total 2 100%

96

40. Are the valves

# Answer Response %

1 dependent 2 100%

2 in-line 0 0%

3 other 0 0%

Total 2 100%


# Answer Response %

1 Thumb and third (or fourth) finger paddle operation

2 100%

2 Side-by-side paddle

operation 0 0%

3 other 0 0%

Total 2 100%


# Answer Response %

1 B flat / F 0 0%


3 B flat / F / D 1 50%

4 B flat / F / G flat / D 1 50%

5 B flat / F / G / D 0 0%

6 Other 0 0%

Total 2 100%



paddles

97

APPENDIX C – BASS TROMBONE METHOD AND ETUDE SURVEY RESULTS


# Answer Response %

1 Often 7 22%


3 Seldom 15 47%

Total 32 100%

2. Aharoni. The Non-Classic Bass Trombone

# Answer Response %

1 Often 0 0%


3 Seldom 21 84%

Total 25 100%

3. Bernard. Complete Method for Bass Trombone, Tuba, Bass and Contra-Bass Saxhorn

# Answer Response %

1 Often 0 0%


3 Seldom 17 85%

Total 20 100%

4. Bitsch and Greiner. Fourteen Rhythmical Studies: For Bass Trombone or Tuba

# Answer Response %

1 Often 1 4%


3 Seldom 19 73%

Total 26 100%

5. Bordogni and Ostrander. Melodious Etudes: For Bass Trombone

# Answer Response %

1 Often 18 53%


3 Seldom 10 29%

Total 34 100%

98


# Answer Response %

1 Often 10 33%


3 Seldom 9 30%

Total 30 100%

7. Cherubini and Goudenhooft. 5 Etudes

# Answer Response %

1 Often 0 0%


3 Seldom 16 84%

Total 19 100%

8. Cherubini and Goudenhooft. Etudes Diverses

# Answer Response %

1 Often 0 0%


3 Seldom 18 90%

Total 20 100%

9. Fink. Studies in Legato for Bass Trombone and Tuba:

From the Works of Concone, Marches, and Panofka

# Answer Response %

1 Often 10 37%


3 Seldom 6 22%

Total 27 100%

10. Cummings. Thirty Studies for Tuba, Bass Trombone, Bass and Contrabass Saxhorn

After Maxime-Alphonse

# Answer Response %

1 Often 0 0%

2 Occasionally 0 0%

3 Seldom 19 100%

Total 19 100%

99

11. Doms. 24 Studies for Bass Trombone

# Answer Response %

1 Often 0 0%


3 Seldom 16 89%

Total 18 100%

12. Dutton. Twelve Etudes for Solo Tuba or Bass Trombone

# Answer Response %

1 Often 0 0%

2 Occasionally 0 0%

3 Seldom 19 100%

Total 19 100%

13. Edwards. Bass Trombone Craft

# Answer Response %

1 Often 3 13%


3 Seldom 11 48%

Total 23 100%

14. Edwards. Simply Singing for Winds

# Answer Response %

1 Often 4 16%


3 Seldom 12 48%

Total 25 100%

15. Eversden. 50 Studies for Bass Trombone

# Answer Response %

1 Often 0 0%


3 Seldom 18 90%

Total 20 100%

100

16. Fetter. Six Etudes and Two Mad Scenes: For Unaccompanied Bass Trombone

# Answer Response %

1 Often 2 9%


3 Seldom 15 68%

Total 22 100%

17. Fink. Studies in Legato for Bass Trombone and Tuba: Based on the Works

of Concone, Marchesi, and Panofka

# Answer Response %

1 Often 8 30%


3 Seldom 6 22%

Total 27 100%


# Answer Response %

1 Often 13 38%


3 Seldom 12 35%

Total 34 100%

19. Gillis. 20 Etudes for Bass Trombone with "F" Attachment

# Answer Response %

1 Often 14 48%


3 Seldom 9 31%

Total 29 100%

20. Goudenhooft. 32 Etudes Pour Le Trombone Basse Ou Le Tuba Basse

# Answer Response %

1 Often 1 5%


3 Seldom 16 80%

Total 20 100%

101

21. Goudenhooft. 24 Etude Techniques: Pour Le Trombone Basse Et Le Tuba Basse

# Answer Response %

1 Often 1 5%

2 Occasionally 0 0%

3 Seldom 18 95%

Total 19 100%

22. Goudenhooft. Apercu Du Trombone-Basse

# Answer Response %

1 Often 0 0%

2 Occasionally 1 6%

3 Seldom 17 94%

Total 18 100%

23. Goudenhooft. Quinze Etudes Complementaires

# Answer Response %

1 Often 1 6%

2 Occasionally 0 0%

3 Seldom 17 94%

Total 18 100%

24. Green. Pro-Slide Studies: For Bass Trombone

# Answer Response %

1 Often 0 0%

2 Occasionally 0 0%

3 Seldom 18 100%

Total 18 100%


# Answer Response %

1 Often 13 42%


3 Seldom 9 29%

Total 31 100%

102

26. Handrow. New Studies for Bass Trombone

# Answer Response %

1 Often 0 0%


3 Seldom 16 80%

Total 20 100%

27. Hinterbichler. 11 Orchestral Etudes for Bass Trombone

# Answer Response %

1 Often 0 0%


3 Seldom 17 89%

Total 19 100%

28. Kahila. Semester of Studies: For Bass Trombone

# Answer Response %

1 Often 4 17%


3 Seldom 16 67%

Total 24 100%

29. Kling. 32 Technical and Musical Studies: For Tuba (or Bass Trombone)

# Answer Response %

1 Often 1 5%

2 Occasionally 1 5%

3 Seldom 17 89%

Total 19 100%

30. Knaub. Technical Studies for Bass Trombone

# Answer Response %

1 Often 3 12%


3 Seldom 17 65%

Total 26 100%

103

31. Langey. Practical Tutor for the G Bass Slide-Trombone

# Answer Response %

1 Often 0 0%

2 Occasionally 0 0%

3 Seldom 19 100%

Total 19 100%

32. Maenz. 20 Studien Fur Bassposaune Oder Tuba

# Answer Response %

1 Often 5 21%


3 Seldom 14 58%

Total 24 100%

33. Muller and Meyer. Technische Studien Fur Bassposaune Und Tuba

# Answer Response %

1 Often 1 6%

2 Occasionally 1 6%

3 Seldom 16 89%

Total 18 100%

34. Naulais. Miscellaneous studies for virtuosity, style, and rhythm: for bass trombone

# Answer Response %

1 Often 2 10%


3 Seldom 15 75%

Total 20 100%


# Answer Response %

1 Often 6 21%


3 Seldom 16 55%

Total 29 100%

104

36. Ostrander. Method for Bass Trombone and F Attachment for Tenor Trombone

# Answer Response %

1 Often 5 18%


3 Seldom 14 50%

Total 28 100%

37. Ostrander. Shifting Meter Studies for Bass Trombone or Tuba

# Answer Response %

1 Often 1 4%


3 Seldom 17 71%

Total 24 100%

38. Ostrander and Williams. Double-Valve Bass Trombone Low Tone Studies

# Answer Response %

1 Often 2 9%


3 Seldom 17 77%

Total 22 100%

39. Pedersen. Advanced Etudes for Bass Trombone

# Answer Response %

1 Often 3 10%


3 Seldom 14 47%

Total 30 100%

40. Pedersen. Intermediate Etudes for Bass Trombone: 15 Original Etudes

# Answer Response %

1 Often 5 18%


3 Seldom 11 39%

Total 28 100%

105

41. Pedersen. Advanced Etudes for Bass Trombones: 15 Original Etudes

# Answer Response %

1 Often 4 15%


3 Seldom 14 52%

Total 27 100%

42. Pedersen. Elementary Etudes for Bass Trombone

# Answer Response %

1 Often 5 20%


3 Seldom 12 48%

Total 25 100%

43. Roberts. Let's Play Bass Trombone: For Bb, F, and E Trombone

# Answer Response %

1 Often 1 5%


3 Seldom 17 85%

Total 20 100%

44. Sachse and Griffith. Studies for bass trombone

# Answer Response %

1 Often 0 0%

2 Occasionally 0 0%

3 Seldom 19 100%

Total 19 100%

45. Slokar and Bachmann. Method for bass trombone

# Answer Response %

1 Often 1 5%


3 Seldom 16 84%

Total 19 100%

106

46. Stretton. Hawkes & Son's "Unison" Scale-Books for Military and Brass-Bands Bass

Trombone, Slide or Valve, in Bass-Clef

# Answer Response %

1 Often 0 0%

2 Occasionally 0 0%

3 Seldom 18 100%

Total 18 100%

47. Teele and Ferguson. Advanced Embouchure Studies for Bass Trombone

# Answer Response %

1 Often 2 10%


3 Seldom 15 71%

Total 21 100%

48. Toulon. Ten Studies for Bass Trombone in F and D

# Answer Response %

1 Often 0 0%

2 Occasionally 0 0%

3 Seldom 17 100%

Total 17 100%

49. Uber and Knaub. 30 Etudes

# Answer Response %

1 Often 3 15%


3 Seldom 14 70%

Total 20 100%

50. van Dijk. Ben's Basics: For bass/tenor Trombone + F Attachment

# Answer Response %

1 Often 2 11%


3 Seldom 13 72%

Total 18 100%

107

51. Vernon. The Singing Trombone

# Answer Response %

1 Often 14 48%


3 Seldom 10 34%

Total 29 100%

52. Vining. Daily Routines: Bass Trombone Edition

# Answer Response %

1 Often 7 29%


3 Seldom 13 54%

Total 24 100%

53. Vobaron and Ryser. Studies: bass trombone

# Answer Response %

1 Often 1 5%

2 Occasionally 0 0%

3 Seldom 18 95%

Total 19 100%

54. Wilborn. 30 Progressive Studies for Bass Trombone

# Answer Response %

1 Often 0 0%


3 Seldom 16 89%

Total 18 100%

108

55. Please list any other bass trombone-related titles that you have ever used for instructional

purposes.

Bollinger

Paul Faulise: "The In-Line Double Valve Bass Trombone in F, G-flat, and D", "The Basics F/G-

flat/D In-Line Double Valve Bass Trombone", "The F&D Double Valve Bass Trombone" pub. by PF Music Co. P.O. Box 8625, Woodcliff Lake NJ 07675

Raph: The Double-Valve Bass Trombone

Bollinger

Chevaillier—Étude du Trombone Basse (includes Murgier—10 Études de Concert);

Chevaillier—Exercises Techniquss et Gammes; Delgiudice—12 Études Rythmiques et Mélodiques; Dufresne—Sight Reading Studies for Bass Trombone; Faulise—The F & D Double Valve Bass Trombone; Grigoriev/Ostrander—24 Studies; Kopprasch/Sluchin—60 Études, Op. 5

(free from yeodoug.com); Kreutzer/Chevaillier—20 Études d'après R. Kreutzer; Malterer—Pitch Control Studies for Bass Trombone; Naulais—20 Caprices; Naulais—25 Études Recreatives;

Ostrander—The F Attachment & Bass Trombone; Raph—The Double Valve Bass Trombone; Stephanovsky/Brown—20 Studies; Uber—Concert Etudes; Uber/Knaub—30 Etudes; Uber—15 Progressive Etudes; Vernon—A "Singing" Approach to the Trombone (and other Brass)

Blazevich tuba etudes

Arban's method for tuba ed Wesley Jacobs

Blazhevich/Vernon Low Register Studies

Stephanovsky (Brown), 20 Studies for Bass Trombone; Dotzauer, J. Friedrich - 113 Studies for Solo Cello

Bach cello suites; Bordogni etudes transposed down an octave; Stephanovsky etudes; Blazhevich

etudes (for tuba);

Tyrell Etudes BBb Bass, Blazhevich Tuba Vol 1 & 2

Blazevich Tuba Studies; Blume for F-attachment, Kopprasch for F-attachment; Kopprasch tuba studies; Snedecor Low Studies

Grigoriev/Hawes Etudes published by Encore

Paul Faulise: The F & D Double Valve Bass Trombone. Buddy Baker: Tenor Trombone Method

Bordogni/Raph Melodious Etudes (tenor) down an octave-often

Blazhevich: 70 Studies for Tuba; Tyrell: 40 Advanced Studies for Tuba; Jeff Reynolds:

Comprehensive Workbook for B. Trombone; Bordogni / Rochut: Melodious Etudes

For the Borgdoni, I meant the standard Rochut. Wes Jacobs Concone studies, Brad Edwards Lip Slurs, Kopprasch, Blazhevich, Clarke, Arban, Tyrell, and a bunch more I'm sure. :)

Bach Cello Suites, Arbans, Tyrrell Advanced Studies for Bass, Delgiudice Douze Etudes pour

Trombone-Basse, Raph Double Valve Bass Trombone, Richardson Play Legato Bass Trombone, and Tuba stuff

109

BIBLIOGRAPHY

Aharoni, Eliezer. New Method for the Modern Bass Trombone: Single Valve in F (with E

Section): New: Single Valve with Sliding E Extension: Double Valve in Flat-E, E-Flat or

D: Independent Double Valve (in Line) in G-E-Flat and in Gb-D. 4th exp. ed. Jerusalem:

Noga Music, 1996.

Aharoni, Eliezer, Micha Davis, Rafi Kadishson, Mel Keller, Shmuel Kraus, Shem-Tov Levy.

The Non-Classic Bass Trombone: (or Tuba). Jerusalem: Noga Music, 2008.

Bauer, Paul Donald. Bass Trombone Pedagogy as Practiced by Selected Bass Trombonists in

Major American Symphony Orchestras: Techniques and Their Origins. D.M. diss.,

Northwestern University, 1986.

Bernard, Paul. Méthode Complète Pour Trombone Basse, Tuba, Saxhorns Basses Et

Contrebasse. Paris: A. Leduc, 1960.

Bitsch, Marcel, Anthony Griner. Quatorze Études De Rythme: Pour Trombone Basse ou Tuba.

Paris: A. Leduc, 1990.

Blair Bollinger. Valve Technique for Bass Trombone. Collingswood, NJ: CEC Music, 2007.

Bordogni, Marco, Allen Ostrander. Melodious Etudes: For Bass Trombone. New York, NY: C.

Fischer, 1970.

Bordogni, Marco, Chester F. Roberts. 43 Bel Canto Studies: For Tuba (or Bass Trombone).

Paris: A. Leduc, 1972.

Bordogni, Marco, David A. Schwartz. Bordogni for Bass Trombone. Belmont, MA: David A.

Schwartz, 2005.

Chapman, T.J. The Vocalises of Marco Bordogni Adapted for the Modern Bass Trombone. M.M.

thesis, University of North Dakota, 2012.

Charlier, Theó. 32 Études De Perfectionnement Pour Trombone En Si Bémol à 4 Pistons ou

Tuba. Paris: H. Lemoine, 1946.

Cherubini, Luigi, André Goudenhooft. 5 Etudes Pour le Trombone Basse ou le Tuba Basse Seul

ou Avec Accompagnement De Piano. Paris: G. Billaudot, 1998.

Cherubini, Luigi, André Goudenhooft. Etudes Diverses Pour le Trombone Basse ou le Tuba.

Paris: G. Billaudot, 1998.

110

Chevaillier, Claude, Giuseppe Concone, Jacques Murgier. Étude Du Trombone Basse. Paris:

Éditions Choudens, 1982.

Clark, Larry, Ferdinand David, Johann Ernest Galliard, Alexandre Guilmant, Daniel Schmidt. A

Guide to the Collegiate Audition Process: For Trombone (Tenor Trombone, Euphonium,

and Bass Trombone). New York, NY: C. Fischer, 2009.

Clymer, Jeffrey. “Trombone Slide Positions.” https://sites.google.com/site/jeffreyclymer2/slide.

Accessed March 1, 2015.

Colin, Allan, Sam Pilafian. Contemporary Etudes: For All Bass Clef Instruments. New York,

NY: Charles Colin Music, 1980.

Colomer, Javier, Heinrich Thein. El Mundo Del Trombón Contrabajo. Cocentaina, Spain: Javier

Colomer, 2012.

Cummings, Barton, Maxime-Alphonse. Trente Études Pour Tuba, Trombone Basse, Saxhorns

Basse Et Contrebasse D'après Maxime-Alphonse. Paris: Alphonse Leduc, 1978.

Dijk, Ben van. Ben's Basics: For Bass/Tenor Trombone + F Attachment . Den Haag,

Netherlands: BVD Music Productions, 2004.

Doms, Johann. 24 Etüden Für Bass-Posaune. Band I. Berlin: Musikverlag J. Doms, 1974.

Dutton, Brent. Twelve Etudes for Solo Tuba or Bass Trombone. San Diego, CA: Brassquake

Press, 2003.

Edwards, Brad. Simply Singing for Winds. Low Bass Clef. Columbia, SC: Brad Edwards, 2009.

________. Bass Trombone Craft: A Musical Approach to Building Tone and Technique.

Columbia, SC: Brad Edwards, 2012.

Everett, Thomas G. "Tunings for Double Valve Bass Trombone." The Instrumentalist, vol. 30,

no. 10 (1976). 47.

Eversden, Michael. 50 Studies for Bass Trombone. Coventry, England: Warwick Music, 2003.

Faulise, Paul. The Basics F Gb D in-Line Double Valve Bass Trombone: Sound, Intonation,

Articulation, and Valve Facility. Woodcliff Lake, NJ: PF Music Co., 2008.

________. The F & D Double Valve Bass Trombone: Daily Warm-up and Maintenance

Exercises. Woodcliff Lake, NJ: PF Music Co., 1983.

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