Bass Trombone

Bass Trombone Bass Trombone Range

The Bass Trombone is unusual among all wind instruments in that the modern instrument bears no relation to its predecessor.  The modern Bass Trombone is, in reality, a modified Tenor Trombone.  The Tenor Trombone is pitched in B-flat – and so is the Bass. Confused yet? The original Bass Trombone was a large, ungainly instrument pitched in either G, F, or E-flat a third, fourth, or fifth below the standard Tenor Trombone.  The instrument was so large that the slide had to have a handle attached to it in order for the player to reach all the way out to sixth and seventh positions.  Players found this instrument tiring, and by the end of the Nineteenth Century, it had almost completely disappeared.  In its place was a Tenor Trombone with a single valve attached to it.  This valve lowered the fundamental pitch of the instrument, B-flat a fourth to F.  In conjunction with the valve, the bore of the instrument was enlarged to be of the same proportion as that of the old Bass Trombone.  The effect was a small instrument with a large bore that made the same sound as the older, larger instrument.  However, there was a problem with this arrangement.  The single valve didn’t work perfectly.  Due to required longer slide positions needed when the valve was used, only six slide positions were available, which means that the low B that was available on the F Bass Trombone (the most common instrument) was no longer available.  This caused huge problems when Bartok wrote that note in an important solo in his Concerto for Orchestra. The solution to the low B problem started to come around in the 1950s when a second valve was added.  The two valves now were able to produce the low B (as well as notes lower).  This is now what we call the modern “Bass” Trombone; a large-bore, two-valve B-flat Tenor.  (By the way, the passage in Bartok is still not playable on this instrument!) With all this said, I must bring up an important point about all brass instruments.  As we see with the Bass Trombone, it is not the length of the instrument that determines tone color, but rather the shape and diameter of the bore.  The sound of a true Bass Trombone has been exactly recreated (and possibly improved on) by a smaller length instrument that possesses the same bore as the old instrument.  This is quite in contrast to woodwinds where both the length and the bore play important factors in determining the sound quality.

The technique of the Bass Trombone is exactly the same as on the Tenor Trombone with the sole exception of the second valve.  However, its increased weight and bore size means that its technique will be somewhat slower than the lighter Tenor (though not considerably).  As the modern Bass Trombone is only a modified Tenor, it should be able to reach the top standard note on the Tenor (high B-flat). In sound, the Bass Trombone is majestic and solemn when played at medium to soft dynamics.  When pushed to forte (which is very common for younger players) the sound becomes bright and overbearing.  Long slow, solemn melodies are perfect for the Bass Trombone.  These melodies will have a sense of weight and gravitas when played on the instrument.  The traditional role of the Bass Trombone in the orchestra is two-fold.  One is as the bottom of the trombone choir.  The other is as a double of the tuba either at the unison or at an octave higher.  In this last role, the band has a far better solution, the Euphonium, an instrument purposely designed to double to tuba at the octave.  This frees up the Bass Trombone away from the tubas and gives it a voice of its own.  Another curious use would be as the bass of a Horn choir when played at forte.  Brahms used it to double the Contrabassoon in the famous chorale in the Finale of his First Symphony.  Of the woodwinds, saxophones will blend the best. As a solo instrument, the Bass Trombone is sadly neglected.  I can think of no major solos for the instrument in either the band or orchestral literature.  There is no reason for this disparity.

To my ears, the Bass Trombone, with its larger and warmer sound, is more suited for solos than is the Tenor Trombone. Nearly every band at and above the high school level will have a Bass Trombone, and for the most part composers acknowledge this.

Often the part is just written as “3rd (or 4th) Trombone” with the intention of it being played on the Bass.  To be sure you do get a true Bass, always label the part as “Bass Trombone.”  While other trombone parts may have multiple players on them, the Bass Trombone part will usually only have a single performer (though the very largest festival bands may have two). The Bass Trombonist should have in their arsenal all standard mutes (straight, cup, and possibly harmon).

Solo from Mahler’s 7th Symphony.

Excerpts from Johan de Meij’s Canticles for Bass Trombone and wind band.

Variations on the Carnival of Venice.  Mr. Pollard is the Bass Trombonist with the Met Opera.

Doug Yeo talking about Yamaha trombones.  I only include this video because it shows a rare F Bass Trombone (no valves!).

A short talk about the famous glissando from Bartok’s Concerto for Orchestra where the player actually has a true F Bass Trombone with no valves.

A demonstration of an E-flat Bass Trombone (no valves).  This video incorrectly calls it an E-flat “Contrabass.”

11 thoughts on “Bass Trombone

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  6. Dennis L. Clason

    So, I’d like to ask a rhetorical question: consider the double horn standing in Bb. Is it a different instrument from a double horn standing in F? Would a tenor-bass (Bb/F) trombone standing in F (that is, the valve would be an ascending valve) be a different instrument from one standing in Bb?

    Bass trombones differ from tenors not merely in terms of bore size (in fact, some orchestral players play on 14.3 mm [0.562 in] bore bass trombone slides). The bell flares are designed differently: bass trombone bells have larger throats and slower flares than tenor trombone bells. The timbral differences are primarily due to the modified bell flare rather than bore size. F basses of the 19th and early 20th C had bores around 13.3 mm (.525 in) about the size of modern medium bore trombones. Some bass trombones of the mid 20th C had longer slides and shorter bell sections to facilitate the low C without an additional valve. Some bass trombones were and are designed with slide tuning to allow the bell flare to begin at the valve return. A longer flare allows an effective bell length closer to the nominal 2:1 cylinder:cone typical of trumpets and trombones.

    I encourage composers and orchestrators view the bass trombone as an instrument in Bb/F standing in Bb. The tenor trombone is a related instrument in Bb that may have a valve to F. Slide length and human proportions make the second valve mandatory on the bass trombone. I need the low C and B to be good notes that don’t require me to tinker with valve tunings.

    As you may have surmised, I play both bass and tenor trombone. As a player I’ve found the instruments require somewhat different approaches. It is my considered view that these are related but not quite identical instruments.

    1. As for the rhetorical question, they’d be the same instrument just with different mechanics. I know some Double Horns can change their valve structure in order to go from plain F to B-flat and make the trigger work in reverse, but we wouldn’t classify them as a separate instrument.

  7. David

    So, Brett, if a modern trombonist needs to play a part on a G bass, would they see a concert pitch part (non-transposed), and simply need to learn the positions for that instrument? Thanks.

    1. All trombones are written in concert pitch except the tenor trombones in a British brass band. Basses are always written as sounding no matter the fundamental.

  8. Tom Izzo

    Not all 2 valve Bassi are Bb/F/Gb as you state. Also in the independent models, there are Bb/F/G, & Bb/F/D models available. In dependent configuration, there are Bb/F/E (original), Bb/F/Eb, Bb/F D, Bb/F/C available.

    1. Once the new book is done, all your info will be updated and corrected. Most of these are old posts that badly need revision, but all my effort in this realm is going into volume 3 of my textbook. Expect something around 50 pages or so per brass family (maybe more). I’ll send you the trombone chapters when they’re in a more complete state.

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