Trombone Tips for Composers

By: Aiden Hartery (www.aidenhartery.com)

While it isn’t important for a composer to know all the mechanics of every instrument, there are a few specific aspects of the trombone which every composer should know when writing for this instrument.

The following will be a ‘go-to’ resource for people interested in knowing few specific techniques/ guidelines about the trombone

The trombone has 7 positions. As with all brass instruments, their range is determined by the harmonic series. The trombone begins each position with the fundamental of the harmonic series.

Positions: 1 2 3 4 5 6 7

For Your Consideration: Range: Generally from the E below the bass clef to the C to Db above middle C is a good range for the tenor trombone. They can do pedal tones (the fundamental of each position (see above diagram)), but do no expect active/complex rhythms or quiet dynamics in this range. The only note which the trombone cannot play is the B natural below the bass clef. An extreme higher range for professional players can go up to the F on top of the treble clef (and beyond). A very cool technique with the ‘high F’ is that it will maintain that pitch even if you move the slide which produces a wavering sound as it moves through the positions.

Most tenors have an ‘F attachment’ on their instrument which extends the range down to a C below the bass clef

Alternate positions: Since each position is made up of the harmonic series built on different fundamentals, there are common notes found in various positions which can be used to aid the player, but also provide possible extended techniques. These are also the accidentals that trombonists favour. Dynamic vs Range: When assigning dynamics to specific notes, it is important to know which notes go well with particular dynamics:

Rule of thumb: The trombones are one of the few instruments that can drown out an entire orchestra/ensemble on their own. If you give them f’s, double f’s, or triple f’s, they will be more than willing (and capable) to give you exactly that. As my trombone teacher often said, “use your powers for good”.

Vibrato: The trombone has two types of vibrato: lip vibrato (normal among all brass instruments) and the slide vibrato. They produce very Glissandos: any note different sounds, but are both very effective. Indicate with a between the 1st and 7th simple instruction which you would like (if any). positions can be ‘glissed’ to or from if it is in the same partial of the harmonic series.

‘Rip’ Glissandos: These are another type of glissando which are used by every brass instrument. It is achieved when the player quickly plays up or down the harmonic series in a position (or valve combination).

A similar technique can be used between different positions (although the gliss may be broken while moving the slide) There are multiple ways glissandos are notated. Basically, if it’s easy to read and understand, then it’s okay.

Trills: Trilling on the trombone is a more difficult technique to produce than other brass instruments. The others (trumpet, horn, or tuba), have valves which can easily and quickly move between adjacent notes to produce a trill. On the trombone, the player will have to do a ‘lip trill’ to move up and down between notes in the harmonic series. Since the trombone is set at the very bottom of the series, only notes found at the very top will be able to move between each other easily and effectively.

A non-exact trill can be produced if the trombone has an attachment (it is not very clean sounding but could be used as an extended technique. Pedal notes cannot be used with the trigger). Mutes: Like other brass instruments, trombones can use various mutes to alter their tone and sound quality. Until the trumpet however, it takes more time to put in/take out a mute. Therefore, when writing muted passages for trombones, provide enough time to allow for an efficient transition. It’s difficult to judge exactly how long to give. As a rule of thumb, if you can effectively mime the action (without rushing) it should be appropriate.

Going ‘Against the grain’: The trombone is able to move between notes without the performer applying any tonging by moving through ascending/descending notes in the harmonic series throughout the slide positions (and also combine with partials in the same position). These can be executed fairly quickly and will produce a flourishing effect. Ways to make a trombonist happy: When writing a piece of music that includes trombone, there are a few things to consider that will make the player(s) appreciative:

In solo rep: Music that fits well on the slide. This is where knowing which positions the notes are in comes in handy. Writing a melody/material which does not awkwardly move between extreme ends of the slide will be: a) easy to play, and b) not an intense arm workout for the player. These are important things; if the player can easily navigate the material, they will be a positive experience playing it. Trombonists like a challenge. Players are used to playing very dull and unexciting material in the standard rep. Don’t be afraid to write something difficult (in tempo, dynamic and pitch range, etc). A skilled player can easily manipulate the slide (if the notes fit on the slide) and also move between registers with minimal effort. Also, the unique ability which the trombone has over all other wind instruments is the pure glissando. Do not be afraid to exploit it.

Ensemble rep: For the most part, trombones still provide bass/ harmonic support in most orchestral/wind band music. Trombonists are used to this. But, if you include a section of your piece where the trombone section is featured (or a solo passage), they will be very satisfied and enjoy playing your piece. It doesn’t have to be long or difficult, just as long as they feel important and not forgotten.