TromboneChat

I don't know whether it has previously appeared on TromboneChat, but I just watched this video of Toby Oft and Christan Griego discussing the choice of equipment for various orchestral compositions - and why it's important to not be "monagamous" - and therefore choose to play with the appropriate trombone & mouthpiece for the literature.


What do you think?

Great thoughts - I'll always remember the weeks I spent struggling to get bolero consistent on my large bore with a 3g.

You definitely need the right equipment, horn, mouthpiece, whatever, for the music, the particular orchestra, and the section.

At some point, doesn't this just become doubling, but without the fee? A 2b and a .547 cannon are pretty different.

AtomicClock wrote: ↑Tue Jan 09, 2024 2:41 pm At some point, doesn't this just become doubling, but without the fee? A 2b and a .547 cannon are pretty different.

Good luck convincing management of that!

AtomicClock wrote: ↑Tue Jan 09, 2024 2:41 pm At some point, doesn't this just become doubling, but without the fee? A 2b and a .547 cannon are pretty different.

That's hilarious.

It also depends on who you are and what you get called for. Carl Fontana and JJ Johnson may never have had more than one instrument at a time. Playing trumpet, tuba, or euphonium is doubling. Playing alto, tenor, bass, and maybe slide trumpet, not so much. It depends on the player’s circumstances and goals. I think the possible elephant in the room are the guys who accept jazz, brass quintet, bass, pops, and the gamut of orchestral literature gigs, and try to play everything on their favorite large bore tenor and for some, with one mouthpiece. We have them here. And I have seen them get less than endearing looks from the leader and the contractor. They played all the notes, didn’t miss any, but it did not sound right. Toby Oft also addresses the logistics of how many horns can a player bring to an audition, and by extension, performance. It is kind of like shooting dove with 12 gauge and rabbits with. 308 Winchester. They both will kill the game. But there may not be a lot left to clean.

Posaunus wrote: ↑Tue Jan 09, 2024 3:34 pm

AtomicClock wrote: ↑Tue Jan 09, 2024 2:41 pm At some point, doesn't this just become doubling, but without the fee? A 2b and a .547 cannon are pretty different.

Good luck convincing management of that!

Our management will pay for small trombones if they want them. Not if we want to use them. Bigger or smaller modern bass is my (unpaid) choice.

I think the line should get drawn at, "would we need to hire someone else for this specialty instrument?" for the doubling fee.

Bringing a Bach 36 for Bolero as a principal is not doubling, it's trying to make the job you were hired for easier and to sound convincing. Bringing an alto ... Might be doubling, barely, but the expectation these days is that you can play it. You probably had to play it on your audition. But "it's so hard to keep my chops in shape for it, doubler fee please", I wouldn't rock the boat if they are paying it.

Playing tenor horn for the Mahler solo as a trombonist is doubling. Playing bass trumpet, same thing. They would have had to hire someone else and you're saving them from doing that, here's a doubler fee.