Thoughts on the Bass Trombone

Formerly the bass trombone was fundamentally distinguished from the tenor by its basic pitch: E♭, F or G according to the period and the country. Its sound was therefore quite distinct as the player was playing on higher partials. Nowadays the bass is played in the same way as the tenor (generally the rotary valves are only used in the low register). The difference in sound is due entirely to the use of a deeper mouthpiece.

The modern instrument is distinguished by its bore (14.3 mm, 0.563″). But, since this criterion has evolved with time, it can hardly be retained as a definition; the tenors of today are the basses of yesterday. Furthermore there are tenors of several different bores in existence today and they are all called tenors. “What about the valves?” you may ask. But there are single-rotor bass trombones just like B♭ and F tenors and even a double-rotor alto (Thein)! The modern bass is therefore nothing more than a large-bore tenor and hardly seems to deserve the name!

At present the instrument seems to be searching for its proper form, for neither the rotor systems nor their pitches are standard. The latest independent-rotor (“in-line”) model (B♭/G♭/F/D or B♭/G/F/E♭) does not seem to have won universal approval. Some players prefer to put a D (or E♭) valve on the G (G♭) side; others, retaining the advantage of the second rotor in the major, prefer non-independent rotors (special model). The old double-rotor is still available (B♭/F/E, E♭, D or D♭ with the thumb) and of course the single rotor (F-E). The modern bass trombone thus has several variants, which must create some confusion for the composer!

There is also a problem with the music of the past. The classic trio (alto-tenor-bass) has been standardised — at least in France — to three tenors. Today the alto is being played again and its unique sound recognised. Why not reintroduce the F bass? (It is used in some countries.) As soon as there are four trombones a solid bass is necessary. (In France the tuba is often still used in certain works in defiance of the orchestration.) There are currently available bass/contrabass trombones in F (Thein, Alexander) with double rotors (F/D or E♭/B♭/A♭ or, alternatively, F/D/C/B♭), with or without a slide handle (six or seven positions in F), and valve bass trombones in F (Miraphone, Thein). These instruments, commonly known as contrabass trombones, permit faithful performances benefiting from modern manufacturing standards. In his own day, indeed, each composer had at his disposal a great variety of instruments which we have now abandoned because manufacturing has failed to keep up but also in order to simplify things (what a word to use when we are talking about art!) and which we are rediscovering with advantage today. Thus the F bass/contrabass is perfect for the fourth part in Wagner, Verdi, Puccini, Richard Strauss and Berg, with an ordinary bass trombone on third. Remember that these parts are marked contrabass trombone, cimbasso, bass trombone or just trombone 4. Some of them, too difficult to play with the slide, can be played on the valve bass trombone in F (Othello, Falstaff). But just think what composers like Debussy or Ravel might have written for these instruments… and did Berlioz not regret the passing of the bass trombone in France?