TromboneChat

This is for all you folks covering the 4th/bass bone book in a big band. When the director finally throws you a bone (sorry about the pun) and says take a ride and it's only 8 or 12 bars so it has to be flashy.... do you go up high and fly, or do you keep it down low where bass bones live?

I've been wrestling with this for awhile now. Just wondering what others do.

Where do you sound best?

It's going to be tough to play a "busy" solo down low. You have to be Dave Taylor to get away with it.

No way are you going to be able to play a Bill Watrous special on a large horn. You may have better luck with your "baby" bass, though.

In short: play where you are comfortable. Lots of notes to choose from.

The Eliezer Aharoni bass bone method book has a lot of bass licks in different styles. If you've only got a few bars, then string a couple of those together for a starter, and branch out from there. Or listen to some great bari sax solos for inspiration. They are often in the same boat.

hyperbolica wrote: ↑Wed Mar 27, 2019 2:57 pm The Eliezer Aharoni bass bone method book has a lot of bass licks in different styles. If you've only got a few bars, then string a couple of those together for a starter, and branch out from there. Or listen to some great bari sax solos for inspiration. They are often in the same boat.

I am building a bag of tricks down low and taking this approach. The bari sax idea is great. Thanks

If G Mulligan can play jazz on a bari sax ...

I do neither.
I make myself as small as possible behind the music stand and not get noticed.
No improvising for this little duck!!!

Play something simple enough that it will come across to the audience, in a range that projects.

Otherwise the audience only sees you moving your slide. "Flashy" will get you nowhere.

Doug Elliott wrote: ↑Wed Mar 27, 2019 8:42 pm Play something simple enough that it will come across to the audience, in a range that projects.

Otherwise the audience only sees you moving your slide. "Flashy" will get you nowhere.

Down low I always keep it simple so the articulation are distinct. When I'm mic'ed I like to decend down to the tonic to end it. Otherwise I've been trying to keep it tastey between Eb and high G.
I'm really enjoying this learning experience!

Always focus on playing something melodic, with rhythmic intensity. "Flashy" isn't really necessary or always desirable. JJ Johnson is my guy in this regard - never flashy, always right in the pocket. For a short solo, or really any solo, feel free to write something out that sounds like it is meant to be there.

I don't play bass much anymore, but when I did I took a solo whenever I had a chance. The biggest difference between bass and tenor, in terms of soloing, is the register conception - on a tenor you are generally soloing in the upper tenor and alto register. On a bass, you'll solo mostly in the baritone register - I think of Frank Sinatra, if you're looking for a vocal equivalent. The limit to your range up high isn't that much - F,G above middle C is not problematic for your average bass trombonist ... that said, that higher range doesn't speak as well or sound as present. Conversely, the mid and low range can really pop. On a small horn, I rarely go bellow midline D during a solo - rarely even in the staff when things are loud or dense behind me. On a bass tbn, that mid-to-low register can really bite if you have the right equipment and sound concept.

Given the fact there aren't many bass trombone soloists, you'll want to check out Bari players to round out your vocabulary. The register and the general melodic concept bari players have fits bass trombone really well.

Also, upright and electric bass solos - check out not just what they play, but how the rhythm section should comp behind the solo and carve out space for an instrument in that register. Your rhythm section will want to keep in mind that the key to making lower register solos sound good is carving out space. The main issue there is that the drum set comping too busily or heavy on the snare and toms will cover up your sound in the mid register. Too heavy on the ride and crash won't cover up notes but they tend to mask your attacks, making definition disappear. If you play too low and the bass is walking, you can very easily muddy up the sound of the bass by spending too much time in the bottom and below the staff. Sometimes, piano and guitar players will lay out to give you space, but when comping is done right in the mid register it can actually help clarify and project your lines down there as long as it isn't overly busy.

A little forethought and focus on groove over complexity can set up your rhythm section and a bass trombone soloist up quite well.