Preparation is required to play the lowest notes. Legatos can be performed with ease and a marcato articulation is also possible in low registers. Attention must be paid to limitations in the lower register arising from the great demands made on the breathing. The contrabass trombone is frequently used for thematic tasks in the contraoctave. These are basically the same as on the tenor and bass trombones, although the contrabass trombone is harder to play. The pitch of the notes below B0 is no longer clearly identifiable. 2 go down as far as Gb1 and have more substance than the corresponding pedal notes on the bass trombone.Īs a rule the pedal notes are used as well. So when playing the lowest note on the contrabass trombone the musician has to vibrate an air column which is nearly 3.5 m long! Trombones also exist which do not have a Bb valve (fifth-valve) but a C valve (fourth-valve). In the Bb tuning the tube length is 724 cm in the longest possible (5th) position. In the shortest (1st) position the tube length of the F tuning is 386 cm. Range of the Contrabass trombone: Ab0 - C5 The notation in the upper register is in tenor clef. Music for the contrabass trombone is written in bass clef with no transposition. The double slide system is therefore no longer usual today. Other valves such as the Eb and C valves have subsequently also gained acceptance. In technical terms this combination of the bass and contrabass trombones corresponds to the system developed by C. When both are opened together the pitch is lowered to Ab0 (a fifth plus a major second). In 1921 Ernst Dehmel used the principles of the tenor-bass trombone to make the improved version of the contrabass trombone which is still customary today: a bass trombone in F1 with two valves (Eb1 and Bb0), which can be opened either singly or together. The principal task of the contrabass trombone was to provide sufficient volume for a stable and supportive foundation to the four-part trombone section while blending with its homogeneous overall sound, which was something the tuba could not do. What all of these works have in common is a large trombone section and vocal parts. Composers such as Giuseppe Verdi (Aida, 1871 Requiem, 1874), Giacomo Puccini (La Bohème, 1896), Richard Strauss and Arnold Schoenberg (Gurrelieder, 1911) wrote ever deeper parts for the 4th trombone, which could ultimately only be played by the contrabass trombone. Moritz made a double-slide contrabass trombone in Bb (with no additional valve) for Richard Wagner, who was the first to give the instrument an important role, which he did in the Ring. 1820/30 (Musikinstrumentenmuseum Schloss Kremsegg, Austria, Streitwieser collection) This shortening was a significant step forward.ĭouble slide trombone in F (low tuning), presumably from Markneukirchen, Germany, ca. It was this double U system that was called the “double slide” or “double trombone”.īut it was not until 1816 that a double trombone in F was designed by the German Gottfried Weber (and actually made by Halary in Paris in 1830), which shortened the slides to such a degree that they were even shorter than the old bass trombone. Attempts to divide the slide into four parts (a double U), thus halving its length - a single slide movement doubled the length of the tube - had been made as early as the 16th century, but had no role to play in baroque or classical music. The enormous length of the slides (the tube was around 6 m long) meant that only slow playing was possible. In the 16th century there was an octave trombone (trombone doppio = double trombone), which was tuned to an octave below the tenor trombone.
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