The Brass Bandsman.

New Zealand Graphic, Volume XXXI, Issue VIII, 22 August 1903, Page 561

The Brass Bandsman.

(Specially written for “N.Z. Graphic” by Bandmaster Eugene Hulse, late Royal Marines, bon. secretary Auckland Society of Musicians.) PART 11. THE BANDSMAN. B FLAT TROMBONE. USE OF SLIDE. Every slide - trombone player knows that, as he lowers the pitch of his instrument, the length of his slide must be increased between each semitone. Every change in the length of the sound-tube means a shifting of the natural scale; and we therefore get a large number of notes that could be obtained in various

ways, and of equal quality, since the last positions also permit of equal intonation. The slide is used in seven ■different positions, the first giving the normal sound of the instrument. Each of the other positions depress the pitch by a semitone. The use of the slide obviates obstruction in the wind passages, and allows each tone to be produced with equal volume and vigour. Easy running slides are essential to good trombone playing. The only position which is defective is the seventh, but as nearly all the tones in this position can be produced in other positions, the defect is not of any consequence. INTERMEDIATE NOTES. All the intermediate notes are obtained by means of the slide. By drawing this out the whole tube is lengthened, and the instrument depressed in pitch throughout, just as the same effect is accomplished by the mechanism of the cornet or saxhorn. By lengthening, or shortening, the slide a little, a false note can be correctly sounded. The position of the bell is generally a guide to the player. CLEFS. It is absolutely necessary for the trombone player to be acquainted with both the tenor and bass clefs, as he will find in the course of his career as a bandsman that both clefs will frequently present themselves to him. MOUTHPIECES. Trombone mouthpieces are now made oval, or, rather, like a large-sized cornet mouthpiece, i.e., half - way between a cone and a semisphere. i TIMBRE. The sound of the trombone is one of majesty, that bears no contradiction. • ITS USEFULNESS. The trombone is properly a colour instrument, and used for giving brilliancy and resonance to the middle and lower register of an instrumentation. It is sometimes employed as a solo instrument. ' '

ITS PERFECTION. In addition to being an instrument of remarkable power, it is the only wind instrument, which can truly boast of possess.ng absolute perfection of intonation, the entire scale being equitonal. COMPASS. All trombones have the same compass, viz., two octaves and a sixth. EMPLOYMENT. Trombones are scarcely ever used as instruments of melody (unless in unison accompaniment); it is not so necessary to remember that the melody most suited to them must be in the natural scale, or in one of its transpositions. When learning the trombone the performer should get acquainted with all clefs and

keys, so ss to be able to interpret at once the part placed before him, whether his instrument is in F, E flat, or B flat. OVERBLOWING. As trombones are beard' very conspicuously in forte passages, care should be taken not to overblow them. When they accompany a sostenuto melody, with only short notes, the effect is very unpleasant. WATER KEYS. The end of the trombone slide is furnished with a protector to prevent denting when rested on the ground. Ou one side of the end of some trombones, a water key is placed so as to permit the escape of the condensed breath. Others again are furnished with a syphon, which, when the slide is pressed on the ground, the valve is opened, and the water allowed to escape. ALTO TROMBONE. DESCRIPTION. The alto trombone is the smallest of the trombone family, and much rarer than it was. It is generally in E flat, being named after the note it produces when its slide is not drawn out. It is now replaced in brass bands by the valved alt-horn, or its part is played by lite tenor trombone. Pitch. The alto-trombone is in E flat, a fourth higher than the tenor-trombone. CLEF. The F alto-trombone was the smallest of all trombones, and, like the E flat alto, it used the alto clef. The altotrombone is only used in the orchestra, in classical music. BASS TROMBONE. DESCRIPTION. The largest of the three trombones is the bass trombone, whieh always uses the bass clef. It is seldom used on account of the fatigue experienced in play-

ing it. It is not only the largest of the trombone family. but the lowest of them all. PITCH. The bass trombone is in G. Its sound is majestic, formidable, and terrible; and to it belongs the lowest part in all masses of brass instruments. All trombones commencing from points more or less low, have the same compass; two octaves and a sixth. Besides this extensive scale, they also possess, commencing from the first low sound. A (natural reson-

ance of the tube), four notes enormous andmagnificent on the-tenortrombone,and terrible on the bass trombone, when they can be got out of the instrument. They are called pedals bn account of their re-

semblance in quality of tone to that of the very low notes of the organ. It is rather difficult to use them well, and they are even unknown to many trombone players.

There are bass tromoones in E fiat, with double, slides; they are the same pitch (of course) as the E flat bombardon. The bass trombone sounds best w hen written for in its lower register,and in a simple style. Middle and high notes

are better adapted for the florid passages than low ones. TILE SLIDE. The bass trombone cannot tend itself to rapid movements, with the celerity which marks others of the same family; the length and size of its tube necessitate rather more time for vibration, and its slide manoeuvred by the aid of a handle, which supplements, in certain positions, the length of the arm, does not admit of great agility. TIMBRE. The character of the timbre of the bass trombone varies according to the degree of loudness, with which their sound is emitted. In a fortissimo, it is menacing, and formidable. In simple forte, it lias an expression of heroic pomp, of majesty, of loftiness, which the prosaic commonplace of a vulgar melody could alone destroy. It then acquires with enormously increased grandeur the expression of a trumpet, it no longer menaces, it proclaims, it chaunts, instead of roaring. In mezzo-forte, in the medium, either in unison or harmony, and in a slow movement, it assumes a religious character.