Trombone

Good intonation on the trombone

The trombone’s fixed positions meet the compromises of natural harmonics, as Raymond Fonsèque proposes a different logic for pitch across major and minor keys.

By Raymond Fonseque

Part 1

From musical wallpaper to the twelve-note row

The trombone in the chamber ensemble at the beginning of modern music (1913-1934)

Between 1913 and 1934, the trombone gained an unexpected place in chamber music as Satie, Milhaud and Stravinsky challenged orchestral traditions with jazz and new sounds.

By Michael Struck-Schloen

The trombone: changing times, changing slide positions

From Virgiliano to Praetorius and Eisel, early sources reshape long-held assumptions about trombone tuning, slide positions and historical playing practice.

By Howard Weiner

Part 2

From musical wallpaper to the twelve-note row

The trombone in the chamber ensemble at the beginning of modern music (1913-1934)

In interwar chamber music, Hindemith, Janáček, Berg and Webern give the trombone new roles, expanding its expressive range beyond its traditional bass function.

By Michael Struck-Schloen

Michel Becquet

Interview

A young Michel Becquet challenges orchestral habits, champions the trombone as a solo voice and reflects on competitions, repertoire, teaching and sound.

By Benny Sluchin

Part 2

The Alto Trombone

By Benny Sluchin

Part 1

The Alto Trombone

Once a fixture of the orchestral trombone section, the alto fell out of use before returning to the orchestra, with the E-flat instrument the most widely used of several types.

By Benny Sluchin

Special GDR

The Trombonists Conrad and Johannes Bauer

Conrad and Johannes Bauer took different paths to improvised trombone music, developing distinct approaches before joining forces in the Doppelmoppel quartet.

By Bert Noglik

Markneukirchen 1986

International Brass Competitions

In 1986, young brass players from East and West met in Markneukirchen, where exceptional talent, demanding juries and musical traditions crossed political borders.

By Jean-Pierre Mathez, Roland Schnorhk

Branimir Slokar

Portrait

Branimir Slokar’s career took shape through studies in Ljubljana and Paris, orchestral posts and teaching, leading to an international solo career and trombone quartet.

By Jean-Pierre Mathez

Part 1

Trombone and Organ — a Dialog

Since the 1970s, the trombone and organ have inspired a new repertoire in which medieval traditions, sacred music and modern composition meet in unexpected ways.

By Klaus Winkler

Part 2

Trombone and Organ — a Dialog

By Klaus Winkler

Part 2

Anton Hansen (1877-1947)

Father of trombone playing in Scandinavia

Berlin, Leipzig and Copenhagen diary pages show Hansen testing slide-trombone ideals against Weschke, orchestral practice and Carl Nielsen.

By Per Gade

Benny Sluchin

Portrait in brief

Between Paris, Cologne and Tel Aviv, Benny Sluchin brings mathematics, acoustics and contemporary performance into the brass world.

By Jean-Pierre Mathez

Part 3

Thomas Gschladt

An Historical Perspective of an 18th Century Trombonist

By J. Richard Raum

David Taylor

or a high class bass trombone

By Jean-Pierre Mathez

The double-slide trombone

museum-piece with a future?

As virtuosity reshaped 20th-century brass playing, Boris G. Manzora argued that the forgotten double-slide trombone could redefine technique and range.

By Boris G. Manzora

Toulon 1989

International Competition - Trombone

By Jean-Pierre Mathez

An interview with Jean Douay

What does it take to stay at the top of a major orchestra? Jean Douay shares insights on discipline, pressure and the realities behind the trombone section.

By Jean-Pierre Mathez

Part 2

The 18th Century Trombone

Rumors of its Death were Premature

By J. Richard Raum

Being a Concert Trombone

By Ronald Barron

New Thein Bass Trombone Innovations

By Ben van Dijk

Part 2

The Alto Trombone

In the 18th Century Sacred Chamber Music from the Abbeys of Göttweig and Melk, Austria

By J. Richard Raum

The Alto Trombone in the 20th Century Orchestra

By Benny Sluchin