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SPRING 2017 THE TROMBONIST Large mouthpieces and large trombones means the colour of forte happens at a much greater volume and works well for heavily orchestrated works from the late Romantic to Modern periods. By comparison, small equipment reaches the colour of forte at a much lesser volume, thus allowing the trombonist to contribute more to the performance of a Classical or Early Romantic work without the unintended destruction of the ensemble’s balance. If you choose trombones or mouthpieces that are too small, the section can sound like a ska band when the ensemble plays tutti fortissimo. Alternatively, if the section or player chooses equipment that is too large, the subtle colour difference between mezzo forte and pianissimo disappears and the trombonist is instantly relegated to a single, warm, “moo-cow” timbre regardless of most volume shifts. Ask an orchestral trumpet player how many trumpets they play for their job. A keen observer will see they not only change instruments per program, but they often play more than one trumpet in the same piece. As far as trombones are concerned on the matter, Gustav Mahler recommended doing exactly this in his Seventh Symphony. At rehearsal #39 in the first movement, he indicates “eventuell auf alt posaune zu blasen” which means, “if needed, play with alto trombone”. This is suggested for a four bar passage that has a range of notes between an f sharp to a b natural. Mahler did give us higher notes throughout the Seventh and all of his other symphonies and I assume they were to be performed on the tenor trombone. However, this phrase at rehearsal #39 in the Seventh Symphony is marked pianissimo, and is very pure, sotto voce – perfect when played on the alto. A tenor trombone playing the same pianissimo phrase has by default a much wider sound that is thick by default. Comparative clarity on the tenor would not be easily achieved and such a strain would be audible. There are several other less obvious places in the symphonic repertoire to utilise the alto trombone similar to trumpet switching, like at the opening phrases of Berg’s Three Orchestral Pieces. The Boston Symphony Orchestra trombone section utilises Edwards tenor trombones and Kruspe style German trombones (Deutsche Posaunen) as well as a variety of smaller trombones and mouthpieces from tenor to bass for the Boston Pops. This wide range of equipment allows us to better match the trumpet section and balance the orchestra as a whole. When the trumpet sections plays rotary trumpets, we generally match with our German trombones. The rotaries get a much warmer front to the attack and timbre of each note while reaching an elegant flame in the forte volume, similar to a soft mallet timpani hit and roll. I find the switch to Deutsche Posaunes allows us to match both timbre and default note shape better than our regular trombones, which tend to have a harder edged front, direct tone, and consistent colour. As Principal Trombone of the Boston Symphony Orchestra, I use a Kruspe alto trombone, a small bore tenor for Ravel, Berlioz, and Pops, and large bore tenor for everything else. As far as the tenor trombone is concerned in auditions, we could learn again from our trumpet colleagues who take several trumpets to each audition. Although it may be an impractical solution to fly with three trombones, Principal Trombone candidates can choose to bring an alto and large bore tenor with a few mouthpiece choices for the tenor trombone. It goes without saying that smaller equipment does make it easier to play in the upper register, just like big equipment allows us to command the low register with more confidence. However, I do find this obvious gain of either range extreme to be negated by the obvious lack of good tone quality. Small equipment does give us easier high range at first, but sadly it isn’t the best tone. Easy access to range extremes is less exciting than achieving the correct volume with great pitch and a gorgeous tone quality. This brings me to my final point that I cannot overstate: do not underestimate the amount of practice it takes to maintain reliable proficiency on more than one trombone. Too many great trombonists refuse to play alto trombone, German trombones or jazz trombone simply because they can’t pick it up the week before a performance and feel confident about pitch or response on game day. I used to feel the same way until, again, I observed my trumpet friends practice their piccolo trumpet, Bb, C, and D trumpets EVERY DAY. My friends, we must keep pace with our trumpet colleagues by at least doing the same! In closing, I admit that the strategy I’m suggesting may be at least cost prohibitive. Moreover, the time it takes to master two, let alone three instruments is no small investment either. So my friends, start with a new mouthpiece addition to your arsenal. One of the best auditions I ever played was when I prepared my audition on one trombone and two mouthpieces: one for Bolero and Symphony Fantastique, and another slightly larger mouthpiece for everything else. As you gain confidence with switching per the needs of the music and ensemble, you will find your tone colour and blend goals guiding your equipment decisions. This can greatly improve your odds of success rather than struggle through a commitment to a single setup that works well for a lot of repertoire but not for everything. Toby Oft has been Principal Trombone of the Boston Symphony Orchestra since 2008. Heralded as one of the finest trombone players of his generation, he is also an internationally active and renowned teacher. Current professor of trombone at the New England Conservatory and Boston University his master classes are in great demand both in the U.S and abroad. ...my final point that I cannot overstate: do not underestimate the amount of practice it takes to maintain reliable proficiency on more than one trombone. 30
ROGER WILLIAMS A TRIBUTE FROM PAUL ARCHIBALD: Casual conversations amongst musicians occasionally bemoan the lack of ‘characters’ in professional music making, implying that today’s work environment requires a rather clinical perhaps commercial approach to high level performance. If you need a perfect example of a modern day ‘character’, an individual who broke the mould, who pursued his own path at the highest level then Roger Williams, who has sadly passed away after a long illness, was surely the embodiment of the bohemian spirit. Merely to call Roger a bass trombonist does him an injustice. He did, of course, perform with many of the great London orchestras and was a busy and highly successful West End musician but it was his personality, eccentricity, enthusiasm, quirkiness and sheer joie de vivre that guaranteed a smile on the face of those who were fortunate enough to share his company. His self-deprecating take on his euphonium and tenor trombone playing never fooled anyone. He was an intensely thoughtful musician and his beautiful lyrical playing is evident on the many recordings he made throughout his life. Because of his refusal to lose his child-like love for anything connected to brass he constantly explored and experimented. He was an evangelical supporter of the avant-garde and an influential member of Music Projects / London, he travelled the world with English Brass Ensemble courtesy of the British Council and he helped define two of the most iconic folk groups to grace these shores – Brass Monkey and Home Service. He was an important influence in Colin Towns’ Mask Orchestra and the Stan Tracey Big Band and he even found time to expand his many talents into the world of professional music copying and score preparation. His greatest success was his family life and his love for Gillie and his beautiful children Katie and Max. His funeral at St Paul’s Church in Grove Park was a tribute to the man and musician. It was a celebration of the music that he loved, as diverse a collection of styles and influences as you could wish for and reflected his love and passion for music, the arts and life. As Colin Towns stated in his tribute to Roger in the London Jazz News “Roger simply loved life – walking, photography, travelling and of course his beautiful family. An almost normal human being, but anybody who knew him would say: ‘he’s a truly extraordinary man, a great friend, brilliant musician and by the by a brilliant chef too’.” Thank you Roger for being a ‘character’ – loved by family, friends, colleagues and audiences – and for inspiring all of us with your joy and enthusiasm. FROM CHRIS STEARN – MEMORIES OF A DEAR FRIEND: I first met Roger in our now long distant college days; I at the Guildhall, he at the Royal Academy of Music, Roger having gained entry after just over a year of playing tenor trombone! I will never forget that first meeting. An ad hoc orchestra in some hall in a corner of London and an outstretched hand comes rushing toward me, “Hello! Iʼm Roger... SO pleased to meet you!” His greeting was so warm, so honest, and his trombone playing so enthusiastic, I knew right away that we would get along. Roger moved to bass trombone in his first year of study at the Academy, probably because it was more quirky, with extra bits of plumbing to mess around with and he took to it like a duck to water. We would never again sit together in a section because of the lone nature of the bass trombone, but now had a shared passion and made the most of it. Days of blowing through excerpts, playing recordings, cooking and talking because commonplace. Notting Hill must have come to dread our Wagnerfest sessions, playing all the loudest parts of the Ring cycle until we could blow no more. I think the Carnival was invented simply to drown us out! Roger loved cycling and ensured that this ailment infected me too. We would head off into darkest Essex in search of the best ale available as recommended in the CAMRA guide. The ride to our destination was usually straightforward, but the return journey often developed complications, due probably, to slightly impaired judgement. Over time we pretty much perfected the art of falling off a bicycle with minimum damage. We also both dipped a pen in the black art of music copying, sometimes sharing work that was too demanding for just one scribe, meeting up, red eyed after days without sleep, to hand in parts just before a deadline. Thank goodness all that is now the work of computer programs. Over the years, even with me being at the other end of the country, we never lost touch and would catch up regularly over food and wine in London or Scotland. There were a steady stream of recordings that arrived on my doorstep, as Roger continued in his mission to educate me regarding the wider world of music. Each sonic epistle reflected his highly refined musical ear and gave me much to consider. More than anything, Roger cared. He cared about his friends and he cared about his family. He cared deeply about music and loved to share his passion. It has been a rare privilege to be the friend of such a man. Goodbye old chum. 31
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Page 5 and 6: WELCOME TO THE SPRING ISSUE OF THE
Page 7 and 8: REVIEWS PREVIEWS EVENT NEWS REVIEWS
Page 9 and 10: was hard, although the panel of Dav
Page 11 and 12: BLACK DYKE JUNIOR & YOUTH TROMBONES
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Page 16 and 17: WINTER 2016 THE TROMBONIST BY JANE
Page 18 and 19: SPRING 2017 THE TROMBONIST BY JANE
Page 20 and 21: SPRING 2017 THE TROMBONIST BY LIAM
Page 22 and 23: BONE THOUGHTS FROM ABROAD CONTINUED
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Page 26 and 27: SPRING 2017 THE TROMBONIST BASS BON
Page 28 and 29: SPRING 2017 THE TROMBONIST Presiden
Page 32 and 33: SPRING 2017 THE TROMBONIST REVIEWS
Page 34 and 35: Photography courtesy of Betina Skov
Page 36: THE BRITISH TROMOBONE SOCIETY MEMBE

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