Current Articles

Michael Hext expounds on being both a jazz and classical trombonist in Crossing the Great Divide.

Michael Lasserson, a double bass player in the London Doctors' Orchestra, remembers the first performance of a new concerto for trombone and orchestra by Michael Brooks in A View from Below.

Following the recent death of British jazz trombonist and former BTS President Don Lusher, Sheila Tracy has penned a fitting tribute and obituary for the man who inspired generations of young trombonists.

The British Trombone Society is proud to have been given the opportunity to publish The Alto Trombone in the Orchestra: 1800-2000 by Ken Shifrin, ex-principal trombone of the City of Birmingham Symphony Orchestra, based on his doctoral thesis for Oxford University. Ken takes us on a journey from the introduction of the trombones to the orchestra to the present day, charting the progress of the alto trombone as it was ousted by the tenor trombone. All those burning questions about whether an alto trombone was really intended by the composers of the 19th century are answered in full.

Adrian Cleverley reports on Chris Stearn's Contrabass Trombone Masterclass at Trinity College of Music.

During the latter half of the 19th century, the alto trombone diminished in popularity almost to the point of extinction. The last thirty years have seen a resurgence of interest. Rob Slocombe investigates the Fall and Rise of the Alto Trombone.

Michael Hext and Tom Winthorpe, trombonists with the Orchestra of the Royal Opera House, Covent Garden, speak out on the issue of using smaller trombones in the opera house in Large one or small one, sir?

Peter Bassano, ex-trombonist with the Philharmonia Orchestra has researched that well-known work for trombone quartet, Beethoven's Vier Equale and presents his findings in God's Trombones.

One of the most remarkable efforts to improve upon the basic design of the trombone occurred at the turn of the 20th Century in Edwardian England. In The Improved Trombone, former Editor of The Trombonist Chris Greening looks at the instrument designed for and produced by the Salvation Army.

Recently interviewed in the article New York, New York, Sam Burtis reveals to David Lalljee the intricacies of the life of a New York studio musician. He discusses the influences on him and other studio trombonists and the pressures of working in the New York studio scene.

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