Ken Shifrin: The Alto Trombone in the Orchestra: 1800-2000

Appendix 3

In October 1994 the following survey was addressed to the Principal Trombonist of every professional symphony and opera orchestra in Great Britain1. The same survey was also completed by Denis Wick, former London Symphony Orchestra Principal Trombone, and Jay Friedman and Michael Mulcahy of the Chicago Symphony Orchestra in October 1996. The author wishes to express his gratitude to all those who responded for their assistance and their valued input.

Trombonist Orchestra Model of Alto Trombone Alto Trombone Mouthpiece
(Principal unless otherwise stated) (as of 1/10/94)    
Dudley Bright (DB) Philharmonia (London) Bach 39 (1980) Wick 6BS (old)
Eric Crees (EC)* London Symphony Orchestra Glassl Gold Bell (1983?) From 6-10 size, larger for Brahms etc, smaller for classical repertoire
Mark Eager (ME) BBC National Orchestra of Wales Bach 39 (1981) Most of the time I use a Bach 12C which gives a well-centered 'lightish' sound, but it needs to be treated with care or overblowing causes a harsh sound.
Lance Green (LG) Royal Scottish National Orchestra Yamaha YSL671 (1980) Adjustable cup Hablowitch (from B. Free's collection!)
Michael Hext (MH) Royal Opera House, Covent Garden Yamaha YSL671 (1980) Bach 9. For me it works, but larger mouthpieces tend to make the alto sound like a large bore.
Chris Houlding (CH) English Northern Philharmonia Conn 38H (1991?) Wick 9C
Kevin Morgan (KM) Bournemouth Symphony Orchestra Miraphone (19?) I'm still experimenting and if I ever find a combination I'm happy with I'll let you know. Currently a Wick 6.
Chris Mowat (CM) BBC Symphony Orchestra (London) Yamaha YSL671 (1982?) Bach 6 1/2 AL or 1/4
Peter Oram (PO) BBC Scottish Symphony Orchestra Lätzsch (1973) Custom built
Anthony Parsons (AnP)* BBC Symphony Orchestra (London) Yamaha YSL671 Bach 6 3/4 C. Best of a haphazard selection tested.
Alan Pash (AP) Orchestra of Scottish Opera Lätzsch (1964) Various depending on period of work and type of mix I want with other instruments. Generally Giardinelli 4M for early works, Bach 7, 6 1/2 AL, 5 and 4 for large romantic and 20th century works. All these mouthpieces have been personalised and are not standard.
Kevin Price (KP) Royal Liverpool Philharmonic Glassl 49 and Yamaha 671 Bach 6 1/2 AL. It's the only one that my lips fit into! My high register becomes restricted by anything smaller.
Bryan Raby (BR) Welsh National Opera Pfitzner Schilke 47
Paul Reynolds (PR) BBC Philharmonic (Manchester) Whatever I can borrow Whatever works at the time
Ken Shifrin (KS) City of Birmingham Symphony Orchestra Yamaha YSL (large bore) 673 with detachable Bb valve.
Bach 39 for concerto work		 Bach 12C with my tenor mouthpiece rim
Warwick Tyrell (WT) London Philharmonic Bach small bore, Glassl medium bore. I consider mouthpiece change a major factor in getting the required sound for a particular style. I use 4 different mouthpieces on my 2 altos, depending on what I'm doing, solo or concerto. An old Besson (very small) gives a beautiful crisp bright sound. Brahms 1 I would use a Denis Wick 5 for a larger fuller sound.
M Wilson (MW) Ulster Symphony Orchestra Bach 39 Bach 11 (slightly large but it suits me)
Denis Wick (DW)   Yamaha Custom My own mouthpiece that was developed specifically for that instrument.
Jay Friedman (JF) Chicago Symphony Orchestra Lätzsch (1966) and Glassl (1992) Similar to a 6 1/2 AL

Question 1: What factors determine your use of the alto trombone?

DB Basically tessitura + blend + general strength of orchestration. My alto has too bright a voice to play anything too heavy – it (or I) sound like a trumpet and doesn't blend with the section!

EC Blend of sound. Much alto writing is above 2nd trumpet. Many pieces all of a sudden sound 'right' when the alto is used. Heavyweight Bruckner symphonies sometimes feel underweight.

ME Using the alto is determined by a number of things, mainly period, texture within the orchestra and whether or not any 'cutting through' is required in heavily orchestrated passages. I personally feel it is vital when doubling an alto part in a choral piece – this is both logical and sensible. I would also advocate using both tenor and alto in the same piece whenever necessary. I would stress however that it would not be to facilitate an easier top register but mainly for reasons of sound and clarity (this is quite rare of course). Sometimes the alto is used as a '3rd Trumpet' playing a middle part between top and bottom and thus if played on the tenor would be the wrong sound.

LG (1) Timbre (2) Composer's intention (3) Historical correctness, i.e. I think the alto was played for the majority of the classical period.

MH Usually a combination of composer's intent and ease of high register. Blend depends on the composer being played.

CH I try and use the alto as often as possible when requested. Only when the tessitura goes too low to be practical do I choose to use the tenor throughout. Certainly a section of medium bore on 2nd and ordinary large bore tenor on bass makes a suitable blend for Haydn, Mozart and Beethoven.

KM Primarily by composer's intent but depending on my personal preference for blending with the section – e.g. Bruckner would be played on the tenor. Having said this, I have quite often tried something different if the section has requested it. Symphonie Fantastique I have tried with alto but have since only used the tenor – the alto just created more tuning problems, while the top Eb in 'March to the Scaffold' is more often than not covered by the second trumpet anyway.

CM Mainly reliability and stamina in high register, but in classical works to give a lighter sound especially when doubling voices.

PO (a) When lightness and clarity in high register is necessary. (b) Most classical works simply 'feel' better.

AnP Musical suitability and technical safety factor.

AP I weigh up all the above but particularly blend of sound and colour. Many works are played on too large a scale (too many strings) and the alto doesn't always cope with weight of sound without overblowing, which is why I often use the tenor at a quieter dynamic, but will use a 4 with shank.

KP Timbre mainly – always when doubling vocal parts or when scoring is especially light. Sound is my only reason for ever using the alto – I use it whenever it helps to bridge the gap between trumpets and trombones as well as to fulfil a similar role between choir and orchestra.

BR Variety.

PR Only when extremely desperate

KS Composer's intent

WT I try to keep in mind the composer's intent as the basis on what instrument to play. I use two altos and two tenors as Principal of the LPO. I would use my Bach alto (small bore) for Mozart, but my Glassl (large bore) for Schubert. There are so many factors involved – size of the orchestra, style of the orchestra (90 LPO players play differently to 90 baroque players), what the trumpets use, composer's intent, conductor's wishes, etc., etc., etc. This also applies for my tenor equipment.

MW I don't play the alto when the part is printed in the tenor clef! Also I use it when I think it's authentic.

JF Composer's intent.

DW Sound quality and texture; ease of register (e.g. Berg op. 6).

MM Composer's intent.

Question 2: What role (if any) does the conductor play in your use of the alto?

DB Harnoncourt – Beethoven! Authenticity.

EC Most are ignorant. Abbado asked me to use the alto in Beethoven 9 when I was actually already using it! When I used the alto in the Fantastic Symphony he asked me why I was using it. I showed him the title page where Berlioz specifically asks for an alto ('I do not want a large instrument'). Presumably he now goes round the world insisting that the alto is used in it. Most don't seem to notice. I have never been asked specifically.

ME If I felt the piece needed an alto I would choose it myself before the conductor needed to request it.

LG No. If requested, will use.

MH I've never been asked by a conductor. I think that most of them wouldn't know the difference!

CH Nobody has ever requested either tenor or alto. I have always made my own decision.

KM No.

CM No.

PO In a symphony by Berwald I was requested by Norman del Mar to use alto: music in the style of Mendelssohn.

AnP Never.

AP –

KP Conductor asked for alto and small bore tenor/bass in Beethoven symphony recording (Mackerras), wanting a very bright sound.

BR –

PR No.

KS Maurice Perez: Schubert's 9th Symphony; some German conductor in Stuttgart : Schubert's Unfinished.

WT I have never had a conductor specifically request a particular instrument, alto or tenor, in eleven years in the profession.

MW Conductors don't seem to mind which instrument is used.

DW Rarely. They usually left it for me to decide.

JF Only Szell – he even requested the make (Lätszch).

MM –

Question 3: In your opinion should the second and bass trombonists use trombones of narrower dimensions when playing in conjunction with the alto?

DB Depending on the conductor in earlier works.

EC It can be nice for the second to use a medium bore and the bass a Bb/F tenor, but they usually 'lighten up' naturally if they are intelligent players.

ME Not always. On most occasions they will naturally lighten up the sound, on others the alto can be played to match their bigger instruments.

LG Sort of, if they feel happy to, i.e. bass trombonist could use a Conn 88H, second trombone a medium bore such as Bach 36. These would sound good, but intonation can be suspect.

MH Occasionally, for Mozart, second on medium bore, bass on large bore [tenor] (88H or 42B) perhaps.

CH Haydn, Mozart, Beethoven. We all use smaller instruments for Bellini, Donizetti, Bizet and Massenet, etc.

KM Depends upon the composer and the wish to experiment. We recently did Beethoven Nine with alto, peashooter and 'G', although I'm not sure anyone noticed the difference! It's nice, however, to play and listen to well developed, well-made modern trombones.

CM Yes.

PO No.

AnP In some cases yes. But ideally extra section practice is needed, and usually there's not time or enthusiasm for this. Players in general do not like swapping instruments. If I use alto, second and bass assume it's to make me feel safer and more comfortable. They carry on as usual.

AP Yes. But I feel this in general that bass trombonists are trying to sound like tubas. The section should be a much lighter sound. We use a smaller bore mouthpiece on second with 8H to match, and single plug Bach (New York) on bass.

KP Depends what you are playing. Smaller instruments worked well in the Mackerras Beethoven recordings but Haydn Creation (for example) worked better on larger instruments. Vocal pieces are dictated by the nature of the choir – you have to match their sound.

BR Yes. Medium bore for second, 88H type for bass trombone.

PR Could try Conn 88H and a Bach 36.

KS Tends to defeat the purpose, as the alto is larger than yesteryear's. Perhaps if the bass trombonist customarily uses a humungous model he should use something slightly smaller.

WT It very much depends on the work being played and the orchestra. For Mozart I would use Bach alto, small bore tenor, large bore tenor. However for Brahms' First maybe large bore alto, large tenor and F bass trombone.

MW Yes. Bach 36B or even Conn 6H on second.

DW Sometimes – in lightly scored pieces (e.g. Mozart); in Berlioz "Symphonie Fantastique", with ff levels predominating, normal instruments worked better.

JF Generally speaking no.

MM The Glassl alto we use has a warm sound that blends well with modern tenors and basses.

Question 4: Do you agree that over the past decade or so there has been a resurgence of interest in the alto trombone? If yes, to what do you attribute this?

DB I have too much difficulty playing one instrument properly to play another more than occasionally.

EC This needs a PhD! Essentially it is more musically appropriate. Trumpet players don't use Bb instruments for D parts, even though they might get the notes on the Bb. Twenty years ago there was a certain macho bias against the alto, implying that you can't get the notes on the tenor. Thankfully through better teaching and availability of instruments this is no longer the case.

ME I've always been very keen on playing the alto whenever necessary and would never dream of playing anything else for Mozart/Beethoven. The quality of the instruments are excellent these days and apart from having the right sound for certain pieces it also makes life a lot easier.

LG Yes. I believe in correct sound, timbre etc. I feel it helps (1) me, (2) the section to get the right sound, and (3) the appearance for the audience.

MH I'm all for it. Yes, it has affected my use. I use it more now.

CH Yes. General quest for authentic performance, availability of instruments and doubling fees.

KS Yes. Influence of trumpet players who 'specialise', popularity of the 18th century solo repertoire, availability and choice.

WT I have always considered the use of the alto important so this increase has not affected my own usage of the instrument. I do agree that there is a resurgence of the alto – I feel it's because more young players are getting into the swing of what composers wanted. Many older principals still do not use it.

MW The increased use is due to the demand for authentic-sounding performances.

DW Availability of better instruments (Lätsch, Yamaha, later Conn).

JF I've always played alto on appropriate literature (since 1966), now more than ever because of my own interest in musicology.

MM I'm happy this beautiful timbre has not been lost.

Question 5: Does your orchestra pay a special instrument or doubling fee for playing the alto trombone?

DB MYOB

EC No.

ME No.

LG Yes.

MH Yes.

CH Yes.

KM Included in salary.

CM –

PO No.

AnP No.

AP Bought out.

KP Built into contract.

BR Yes.

PR No.

KS Yes.

WT –

MW Yes.

DW Yes.

JF Yes.

MM Yes.

Question 6: Of the following repertoire please indicate

  • A: works you play on the alto trombone
  • A + T: works you play on either instrument
  • A/T: works in which you use the alto for some passages and the tenor for others
  • T: works you play on the tenor trombone
  A A + T A/T T
Bach
Cantatas DB, EC, ME, CH, CM, PO, AnP, AP, KP, KS, JF, MM      
Beethoven
Leonora Overture no. 2 DB, EC, ME, LG, CH, KM, CM, PO, AnP, AP, KP, KS, WT, MW, DW, JF, MM     MH, PR
Leonora Overture no. 3 DB, EC, ME, LG, CH, KM, PO, AnP, AP, KP, KS, WT, MW, DW, JF, MM     MH, CM, PR
Missa Solemnis DB, EC, ME, LG, CH, MH, KM, CM, PO, AnP, AP, KP, KS, WT, MW, DW, JF, MM     PR
Symphony no. 5 DB, EC, ME, LG, CH, MH, KM, CM, PO, AnP, AP, KP, PR, KS, WT, MW, DW, JF, MM      
Symphony no. 6 DB, EC, ME, LG, CH, MH, KM, CM, PO, AnP, AP, KP, KS, WT, DW, JF, MM     PR, MW
Symphony no. 9 DB, EC, ME, LG, CH, MH, KM, CM, PO, AnP, AP, KP, KS, WT, DW, JF, MM     PR, MW
Berlioz
Symphony Fantastique EC, LG, CH, AP, DW   ME, MM DB, MH, KM, CM, PO
KP, PR, KS, WT, MW, JF**
**uses small-bore tenor
Les Francs Juges EC, PO, JF, MM     DB, ME, LG, CH, KM, AnP, KP, PR, KS, WT
Berg
Wozzeck/Drei Bruchstücke   EC EC, ME, MH, CM, KP, AnP, AP, KS, WT, DW DB, JF, MM
Lulu/Lulu Suite     EC, ME, MH, AnP, AP, KP, BR, KS DB, CH, KM, CM, WT, DW, JF, MM
Three Orchestral Pieces   EC EC, ME, MH, AnP, KP, BR, PR, KS, WT, DW, JF, MM DB, KM, CM
Brahms
Symphony no. 1 EC, LG, CH, WT, KS, JF, MM CM   DB, ME, MH, KM, PO, AnP, AP, KP, PR, MW, DW
Symphony no. 2 LG, WT, JF EC, ME, KS EC, MM DB, MH, CH, KM, CM,PO, AnP, AP, KP, PR, MW, DW
Symphony no. 3 LG, JF, MM     DB, EC, ME, MH, CH, KM, CM, PO, AnP, AP, KP, PR, WT, MW, DW
Symphony no. 4 LG, JF KS MM DB, EC, ME, MH, CH, KM, CM, PO, AnP, AP, KP, PR, KS, WT, MW, DW
Requiem EC, LG, CH, PO, KS, JF, MM ME, CM   DB, MH, KM, AnP, AP, KP, WT
Britten
Building of the House EC, KP, KS, DW     DB, ME, CM, AnP, WT
Bruckner
Mass in E Minor PO, KS, MM EC EC DB, ME, MH, CH, KM, CM, AnP, AP, KP, DW, JF
Mass in F Minor EC, PO, KS, MM WT   DB, ME, MH, CH, CM, CM, AnP, AP, KP, PR, DW
Symphonies       All respondents
Dvorák
Stabat Mater       All respondents
Te Deum       All respondents
Handel
Israel in Egypt DB, EC, ME, LG, MH, CH, KM, AnP, AP, KP, KS, WT, DW, JF, MM      
Saul DB, EC, ME, LG, MH, CH, AnP, AP, KP, WT, DW, JF, MM      
Haydn
Creation DB, EC, ME, LG, MH, CH, KM, PO, AnP, AP, KP, BR, KS, WT, MW, DW     CM
Seasons DB, EC, ME, LG, MH, CH, KM, PO, KP, KS, WT, MW, JF, MM   CM, AnP DW
Mendelssohn
Elijah DB, EC, ME, LG, MH, CH, KM, KP, PO, BR, MW, KS, JF, MM AP   AnP, PR
Midsummer Night's Dream DB, EC, LG, CH, KM, PO, KS, JF, MM WT   ME, MH, KP, AnP, DW
Hymn of Praise DB, EC, ME, LG, MH, CH, PO, KS, WT, JF, MM, DW     KP, AnP, PR
Overture 'Ruy Blas' DB, EC, ME, LG, MH, CH, KM, CM, PO, AnP, AP, BR, PR, KS, MW, JF, MM, DW     KP, WT
Symphony no. 5 'Reformation' DB, EC, ME, LG, MH, CH, PO, AnP, AP, KS, JF, MM, DW WT   KP
Mozart
Davidde Penitente DB, EC, ME, LG, MH, CH, KM, CM, AnP, AP, KP, KS, WT, JF, MM      
Don Giovanni DB, EC, ME, LG, MH, CH, KM, CM, AP, KP, BR, KS, WT, DW, JF, MM DW   AnP
Idomeneo DB, EC, ME, LG, MH, CH, KM, CM, AP, KP, BR, KS, WT, DW, JF, MM DW   AnP
Magic Flute DB, EC, ME, LG, MH, CH, KM, PO, AP, KP, BR, KS, WT, MW, DW, JF, MM DW   CM, AnP, PR
Mass in C Major DB, EC, ME, LG, MH, CH, KM, AnP, AP, KP, BR, KS, WT, MW, DW, JF, MM     PR
Mass in C Minor DB, EC, ME, LG, MH, CH, KM, CM, PO, AnP, AP, KP, BR, KS, WT, MW, DW, JF, MM     PR
Requiem DB, EC, ME, LG, MH, CH, KM, CM, PO, AnP, AP, KP, BR, KS, WT, MW, JF, MM     PR
Vespers DB, EC, ME, LG, MH, CH, KM, CM, PO, AnP, AP, KP, BR, KS, WT, MW, DW, JF, MM     PR
'Waisenhauskirche Mass' DB, EC, ME, LG, MH, CH, KM, AnP, AP, KP, BR, WT, DW, JF      
Schoenberg
Gurrelieder EC, ME, LG, CH, CM, AP, KS, JF, MM, DW WT AnP, KP  
Pelleas und Mellisande EC, ME, LG, CH, AP, KS, DW WT MH, KP AnP, PR
Schubert
Mass No. 1 EC, ME, LG, MH, CH, KM, CM, PO, AnP, AP, KP, WT, JF      
Mass No. 5 EC, ME, LG, MH, CH, KM, PO, AnP, AP, KP, WT, DW, JF, MM      
Mass No. 6 EC, ME, LG, MH, CH, KM, PO, AnP, AP, KP, PR, WT, DW, JF, MM      
'Unfinished' Symphony LG, KM, KS, MW, JF, MM     DB, EC, ME, MH, CH, CM, PO, AnP, AP, KP, PR, WT, DW
Symphony no. 9 LG, CH, KM, BR, KS EC, ME EC, MM DB, MH, CM, PO, AnP, AP, KP, PR, WT, DW, MW, JF
Overture 'Rosamunde' EC, LG, CH, KM, CM, KS, JF, MM ME, WT   DB, MH, PO, AnP, AP, KP, PR, DW
Overture 'Zauberharfe' EC, LG, KM, KS, JF, MM ME, WT   MH, CH, PO, KP, PR, DW
Schumann
Symphony no. 1 ME, LG, MH, CH, KM, PO, KP, KS, WT, MW, JF, MM EC EC DB, CM, AnP, AP, PR, DW
Symphony no. 2 EC, ME, LG, MH, CH, KM, PO, KP, KS, WT, MW, JF, MM     DB, CM, AnP, AP, PR, DW
Symphony no. 3 EC, ME, LG, MH, CH, KM, CM, PO, AnP, AP, KP, BR, KS, WT, DW, MW, MM   PR DB, JF
Symphony no. 4 EC, ME, LG, MH, CH, KM, PO, AP, KP, KS, WT, MW, JF, MM CM   DB, AnP, PR, DW
Richard Strauss
Die Frau ohne Schatten     ME, BR DB, EC, MH, CH, AnP, KP, WT, JF, MM, DW
Stravinsky
The Flood DW   EC, ME, CM, KP WT
Weber
Overture 'Euryanthe' EC, LG, AP, KS, JF, MM ME   DB, MH, CH, KM, CM, PO, AnP, KP, PR, WT, DW
Overture 'Der Freischütz' EC, LG, KS, JF, MM ME   DB, MH, CH, KM, CM, PO, AnP, AP, KP, PR, WT, DW
Overture 'Oberon' EC, LG, AP, KS ME   DB, MH, CH, KM, CM, PO, AnP, KP, PR, WT, DW
  1.  For the sake of continuity, a number of questions were intentionally similar to those posed by Dr Mark Hartman in his survey of US trombonists conducted in 1985 (see Hartman, The Use of the Alto Trombone in Symphonic and Operatic Orchestral Literature, DMA dissertation, Arizona State University, 1985). While responses regarding performance practice were generally not unalike on both sides of the Atlantic, the salient difference appears to be the greater acceptance of the alto by the British players surveyed in 1994 as opposed to the US players surveyed in 1985, or even those questioned by David Mathie in 1993 (see Mathie, The Alto Trombone: Current Use and Performance Trends, University of Georgia DMA, 1993). Return to Article

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