Trombone Tips for Composers

By: Aiden Hartery (www.aidenhartery.com)

While it isnt 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

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 fs, double fs, or triple fs, 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
st
th
between the 1 and 7
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 its easy to read and
understand, then its 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. Its 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. Dont 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 doesnt have to be long or difficult,
just as long as they feel important and not forgotten.