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or... Buy me an elephant...please!
by Alan Raph
I’ve been asked by Liz Colin to write an article on lower brass instruments and young beginning players. Knowing that Andy Rodgers teaches an eleven year-old tuba player, and (my) having had experiences teaching those unable to reach the 6th position (both child and adult), I readily accepted this assignment.
Some of the subject material roughly parallels two publications of mine called “Le” Trombone and “Les” Brass. Therefore to minimize the risk of being repetitive I will stick to roads less travelled.
MOTIVATION
A youngster with some amount of interest in one of the lower brass instruments has usually gained this from their physical appearance. Very few children (or, for that matter, adults) know what a lower brass instrument SOUNDS like ... having only heard those instruments as an indistinguishable drone beneath the trumpets in the ensemble. Trombone and tuba recitals are attended by other trombone and tuba players; the young person who occasionally finds their way into one is witnessing an adult activity with limited appeal. This, of course, can be confusing if not traumatic.
How do we get the young person to actually choose to play one of these instruments?
By making it fun!
This is fairly easy. Trombone players LOOK like they’re having fun (the slide takes care of this).
Tuba players ACT like they’re having fun.
Baritone horn players should probably keep a low profile and let the child choose between the other two for the time being.
Lower brass players learn to sustain the frozen smile of the acrobatic dancer upon completion of a difficult performance - thereby giving the impression that this has been fun. A harmless but effective deception.
In explaining the instruments, it is best to point out how shiny they are, rather than go into such things as the F-attachment, or the many different sizes and keys of the tuba... and certainly not the various aspects of maintenance. This will come later.
All in all... we try to give the impression of being in “La-la land.”
Lower brass instruments are heavy, but fun.
THE TUBA
At some point during a brass ensemble demonstration, invite a youngster to come up on the stage for a tuba lesson. Can he lift the instrument? No problem... Don Butterfield has pointed out time and time again that the tuba is hollow. Once the child produces a sound on the instrument he is hooked; his classmates will never let him forget that he once played the tuba. Soon he is obliged to study the instrument. (This is analogous to one’s being called ’clumsy‘ repeatedly until one final BECOMES clumsy.)
THE TROMBONE
Trombones generally have to be brought into the classroom and demonstrated by a competent player with a sense of humor. Simple trade-gimmicks like playing a glissando or dropping the slide are sure winners. Pictures of trombone players are often effective. Back issues of Downbeat offer many excellent photos of old forgotten players when they were young and unknown. Well chosen key words like ‘swing,’ ‘hot chorus,’ ‘lip,’ ‘diaphragm,’ ‘barnstorm’ and ‘wail’ may be employed to help the trombone/youngster bonding process.
THE BARITONE HORN
Baritone horns present a different problem. They cannot really be passed off as “baby tubas” because they occasionally play a real melody. Offenbach band excerpts sometimes do the trick, but the player must be cognizant of the audience’s attention span. Whereas an adult might listen to most of a complete tune on the baritone horn before being bored, the child usually loses it on the repeat of the ‘A’ section. Filling the bell with water sometimes regains the interest, especially when the valves are then pressed.
Some of our foremost educators use hand puppets. It’s possible to play the Carnival of Venice on the tuba with one finger (which of course can operate the right or left hand of the puppet...or the dog’s nose...). This works best with young children who will immediately clamor for the puppet. Some may, however, be tricked into wanting to play the tuba.
Music is fun and the trombone, baritone horn and tuba are user-friendly; remember they need only to be played marginally well. ‘Clams’ on the lower brass instruments are indigenous. Tubas, short of being dropped, can be forgiven any variance in sound' baritone horns are easy to play and trombone mistakes are humorous.
And speaking of ‘clams’... IS THE FRENCH HORN CONSIDERED “LOWER BRASS?”
The French horn is a miracle of design. Never has so much tubing been crammed into so small a space. Here also, is an instrument which defies all known mouthpiece/bell ratios.
The beginning French horn player is told how beautiful the horn’s sound is, he is brought to a concert and every lovely sound that he hears is said to be the French horn. Of course he can’t tell when in fact the horn is actually playing (few can) so he simply enjoys the music and rushes home to practice.
Relating to the French horn is similar to acquiring a taste for Brussels sprouts or sex. Once uncorked, however, it can become all-consuming. Horn players mature early, if at all.
The horn’s enormous range from the unplayable low notes to the often-missed high notes, spans some 4 octaves. Unlike any other instrument in the orchestra, horn players are complimented when they bat .300. .400 hitters are legend.
On second though...perhaps the French horn SHOULDN’T be considered a lower brass instrument. Maybe in Australia.
Other low brass instruments include the Alpine horn, the tenor horn, the contra bass trombone and the bass trumpet. These are relatively easy to play and are only used as ‘doubling’ instruments. None of them sound particularly well and they should probably not be used in serious musical demonstrations.
Trombone and tuba teachers are in the midst of the battle for survival and can be most helpful in disclosing their own personal secrets of motivation. Be discreet in approaching them, however. Their turf is always in a state of flux.
Finally, the promise of NO SCALES, NO ARPEGGIOS, NO BACH, and NO GYM offers a strong inducement to the prospective lower brass player.
For more in-depth information on brass instruments, the reader is referred to the earlier-mentioned books...“Le” Trombone, “Les” Brass and “L’”Orchestra, all available through AR Publishing Co., Box 292, Candlewood Isle, CT 06812. (203) 746-4222.
ALAN RAPH is first-call bass trombonist for many of New York City’s recordings, commercials and motion pictures.
He is well known as a soloist/clinician for United Musical Instruments and plays the King and the Benge trombones exclusively.
His publications for Carl Fischer Music Publishing Co. include The Double Valve Bass Trombone, Recital Pieces for Unaccompanied Trombone, and Trombonisms (with Bill Watrous). His latest publication, soon to be released is Introductory Melodious Etudes (a ‘primer’ to the “Rochut” Books).
You can pick up your latest copy of The Brass Player at these locations
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