DEBERES Y OBLIGACIONES SECCIÓN 1: CONTRIBUYENTES - AGENTES

The brass band as found in Britain, Northern Europe, Australasia, and now USA, has always fascinated me. In common with many British professional brass players, I come from that tradition. In a way, it is an anachronism. In many areas, it perpetuates playing styles which are regarded by modern professional players as ‘dated’, to say the least. There is, however, for all their possible lack of sophistication and their careful cultivation of their own traditional styles, a vigour and enthusiasm about these amateur players that would put many professionals to shame.

Brass band trombones do not usually play as continuously as, for instance, euphoniums and cornets and are used in not too dissimilar a way to the trombones in the orchestra – to make an occasional change of tone colour, and add emphasis, as well as to function occasionally as a solo voice. Brass bands normally employ three trombones, two tenor and one bass. Traditionally small-bore tenors and G bass have been the rule, but in recent years these have often been replaced by medium-bore tenors and large-bore Bb and F bass.

The old ‘pea-shooter’ small-bore trombone has always been an extremely difficult instrument to play well, and has an alarming tendency to over-blow or ‘rip’. When this happens the real trombone qualities of nobility of sound, with just enough ‘edge’ for projection, are lost. The ‘circular saw’ quality of the over-blown small-bore trombone can easily predominate and make this the most often heard trombone sound. The answer is to limit volume and use a deeper mouthpiece – assuming that there are no embouchure problems.

The medium-bore trombone will tend to eliminate much of this traditional aspect of trombone sound, and should give a much wider range of dynamics.

Band trombonists frequently have great dexterity and brilliance, and some of the best players in championship bands are very good indeed – many have taken the trouble to study with professionals and have a well-organized technique and good sound quality. Unfortunately, however, many bandsman-trombonists still perpetuate the faults of ‘smile’ embouchure, note stopping with tongue, tongue penetration, and so on, that have already been discussed within these pages. In many bands the trombone, possibly because it is more difficult, is not played as well as the other instruments – perhaps the faults I have mentioned are more evident on the trombone. Many such players are out of touch with modern professional standards and would be astounded at the technical levels that have been reached.

The method of scoring for brass band is to use the treble clef for all instruments (except the bass trombone). One can see the sense in this – one basic clef reduces the amount of theoretical knowledge needed and makes the transfer of a player from one instrument to another comparatively easy. For the trombonist, however, it is very limiting. In all other fields the trombone is not treated as a transposing instrument. Learning bass and tenor (even alto!) clefs not only gives the band trombonist unlimited scope for playing with other combinations of instruments, but makes available vast quantities of study material and solos. It would be fair to say that the bandsman who learns the trombone only as a transposing Bb treble clef instrument needs to free himself from the shackles of the treble clef if he is to make any headway as a trombonist (see chapter on clefs).

Choice of equipment is important, of course, and even if he is unable to afford a really good trombone, then a well-designed mouthpiece will probably help him.

Band trombonists should aim at a big, solid, well-centered straight (vibrato-free) sound in all ‘tutti’ playing, with no more tongue-application than is necessary for clean production, good breath support and no ‘tail’ at the end of the note. In solo playing, a really well organized legato, with a ‘vocalistic’ vibrato. In dynamics, a louder ff (with good sound quality to maximum level) and a softer pp level.

With all the faults that may be found therein, the brass band remains the best place for young players (in brass band countries, that is) to learn to play and to develop the

necessary embouchure strength and reading ability. It has the additional advantage that players in it have often to play ‘tunes’ and easily acquire the basic musicianship needed to play an expressive melodic line. It is unfortunate that amateur orchestras, in Britain at any rate, are generally of a low standard – I am sure that it is better to play in even a second- rate band than to count rests in a third-rate orchestra!

Author's note 2004: Since this was written brass bands have moved forward in the way

that had hoped, 35 years ago.Their trombonists now tend to use large-bore instruments and to make an orchestral sound. The levels of both trombone and tuba playing have improved unimaginably over the years. The negative aspect of the large-bore trombone is that the sound of tenor horns, baritones, trombones and euphoniums, the “middle” of the band, tend to be too similar. The late Robert King described the brass band as “like a string orchestra with 8 divisi violas”.

The trombone in the brass ensemble

Perhaps the best way for interested and otherwise musically frustrated brass players to express themselves is to form themselves into a small brass ensemble, where they may find considerable musical enjoyment and fulfilment.

The standard brass quintet of two trumpets, horn, trombone and tuba, gives a fine, well balanced sound with marvellous possibilities of musical expression. There is a growing repertoire for this combination of original twentieth-century music which, although

sometimes extremely difficult, is well worth playing. Music from the baroque period also arranges well, although in my opinion it sounds better on trumpets and trombones. The trombone suffers slightly in the brass quintet, because of the obvious disadvantage that the slide can never be quite as nimble as valves. However, trombonists can meet this challenge and cope with well-written trombone parts so that they do not appear at a disadvantage. Small ensembles like the brass quintet do offer opportunities of musical expression to trombonists that bigger groups often deny. It is to be hoped that the brass quintet becomes as much a part of musical life as a string quartet – it has an immediate attraction to the listener and will appeal to a much wider public than the somewhat staid vehicles of more conventional chamber music.

Author’s note, 2004: These words were, indeed, prophetic. Thirty-five years on, brass

ensembles, especially brass quintets have proliferated, proving excellent opportunities for work and enjoyment by trombonists.

The trombone in the wind band

Various combinations of wind instruments, making up various kinds of wind band have existed for centuries The large USA-type organisation, sometimes called Symphonic Winds or Wind Symphonies where vitually every wind instrument can be found is now well represented in other parts of the world, notably Japan.; its influence can now befound in the better service bands in UK. The wind band has to be the best place for young players of every instrument to learn to play together, so its place in musical education is very important.At the best performance levels, the range of musical colour is extraordinarily fine.

In the wind band the trombone section should function exactly as in a symphony orchestra and should ideally use the same kind of equipment. Although the kind of sound quality that the strings can make in the symphony orchestra is lacking in the concert-band, and therefore the lower ppp range of dynamics is hardly ever needed, there are enough colours in the palette of the concert band to give trombones full rein to their range of dynamics. By careful use of every aspect of technique and expression the trombone section can make an essential contribution.

Trombone choirs

‘Trombone choirs’ consisting of multiples of four parts from as few as eight to as many as 40 players have now become very popular in the larger music colleges. The sound that such groups produce is unexpectedly beautiful, and much music has been either arranged, or specifically written, for them.