# Would this be playable on the Tenor Trombone?



## Aitcpiano (Mar 11, 2022)

Would this be playable on the trombone at around 120bpm.


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## Bollen (Mar 11, 2022)

I don't see why not however, what's the BPM?


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## marclawsonmusic (Mar 11, 2022)

From my son, a trombone player...



> Absolutely
> What’s the dynamic?





> And articulation I guess lol



Good points


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## marclawsonmusic (Mar 11, 2022)

And...



> Yeah it’s definitely playable
> The difficulty depends on the dynamic/articulation
> If it’s staccato or regular tongue, easy
> If it’s slurred, a lot tougher


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## Aitcpiano (Mar 11, 2022)

Bollen said:


> I don't see why not however, what's the BPM?


120 BPM, I'm quite new to brass writing so was just unsure regarding faster figures or arps type things due to the way you produce notes on the trombone.


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## Aitcpiano (Mar 11, 2022)

marclawsonmusic said:


> From my son, a trombone player...
> 
> 
> 
> ...


Dynamic would be p/mp


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## Aitcpiano (Mar 11, 2022)

marclawsonmusic said:


> And...


Also probably stac for this or regular tongue


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## Bollen (Mar 11, 2022)

Aitcpiano said:


> 120 BPM, I'm quite new to brass writing so was just unsure regarding faster figures or arps type things due to the way you produce notes on the trombone.


I have never worried about trombones, professional ones can play almost anything you give them. The only concerns you should have are:

1.- Fast large leaps, brass players generally struggle with these, but they also practice them a lot.
2.- Very high, very soft passages. But even then it's really about what else is going on orchestration-wise.
3.- Fast back and forwards between 'cut' points i.e. furthest extended position and closest. 

Number 3 is usually overcome by having a trigger on the instrument, if you are writing for a specific player you should ask them if their trombone has this.


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## R.G. (Mar 11, 2022)

Aitcpiano said:


> 120 BPM, I'm quite new to brass writing so was just unsure regarding faster figures or arps type things due to the way you produce notes on the trombone.


If you'll be writing for trombone from time to time, get yourself a position chart and check your figures against that in conjunction with the note pacing. If you're writing for pros, make sure the chart also lists the six positions for the F-trigger so you can check those secondarily. Those secondary positions are only there to provide playing solutions when the straight horn won't cut it, or else for color. There's also an easy way to do all this mentally if you find yourself without a chart.

As far as your figure goes, it doesn't require the F-trigger, but only pos's1 and 2 of the straight horn, which are about 8.8cm apart, and the C# to E is all under pos2, adjacent partials, so that note exchange could even be lip-slurred very quickly.


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## dtoub (Mar 12, 2022)

I find this interesting because as a minimalist composer, I’ve composed some music for brass instruments (including bass trombones) that people have told me is unplayable because there is no good place for the performer to breathe. I sometimes kinda assume (naively) that many wind and brass players can do circular breathing but my daughter the flute player tells me that’s not true. So I now make sure there are rests as much as possible, but looking at this trombone score gives me hope that I’m not as crazy as I thought in writing brass music that doesn’t have a ton of rests…


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## bryla (Mar 13, 2022)

dtoub said:


> I find this interesting because as a minimalist composer, I’ve composed some music for brass instruments (including bass trombones) that people have told me is unplayable because there is no good place for the performer to breathe. I sometimes kinda assume (naively) that many wind and brass players can do circular breathing but my daughter the flute player tells me that’s not true. So I now make sure there are rests as much as possible, but looking at this trombone score gives me hope that I’m not as crazy as I thought in writing brass music that doesn’t have a ton of rests…


This example switches between first and second horn so each player has two bars rest between their figures.


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## mikeh-375 (Mar 13, 2022)

A couple of things to consider...
1 - as the groupings are beamed in 3's, bracket them as triplets not sextuplets. There is no real need to have a '3' over every grouping btw.
2 - Overlap the notes so that player 1 plays the first note of player 2's part for a smoother line that also more importantly, aids good ensemble.


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## dtoub (Mar 13, 2022)

bryla said:


> This example switches between first and second horn so each player has two bars rest between their figures.


Missed that nuance. Darn. Thanks.


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## cmillar (Mar 18, 2022)

Considerations (from a pro trombone player here):

- it is playable, but depending on the technique of your son, don't expect it to sound anything at all like what you perform using a keyboard and sample library

- staccato will be very 'iffy'; hope for a lightly toungued 'tenuto' kind of sound. (...this is referring to the majority of players you'll likely encounter. There are always exceptions to the rule that are freaky and can play anything!)

- Mike Hewer's advice about 'sharing' the part between players is good. (...they better have great time and rhythm in their bones!)

- what kind of trombone is being used? A large bore symphonic bore trombone (the kind you see serious orchestral players use with extra tubing and a thumb trigger) is going to sound different than a smaller bore trombone used by more jazz, show, and commercial style trombone players. Larger bore trombones are going to be less 'focused' and not as bright sounding as the smaller bore horns (....unless, again, you've got access to a fantastic player who can really play a large bore horn as nimbly as a small bore horn). Playing short staccatto attacks on a large bore horn requires a player who is in really top shape and has everything 'clicking'.


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