Alto trombone
Adapted from Wikipedia · Discoverer experience
The alto trombone is a special kind of brass instrument that belongs to the trombone family. It is smaller than another type called the tenor trombone. Most alto trombones are tuned to a note called E♭, which sounds a fourth higher than the tenor trombone. Sometimes, you can find alto trombones tuned to F, but this is less common.
Many years ago, from the 16th to the 18th centuries, the alto trombone was very important in church music. It was used to make the alto voice — a higher singing voice — sound stronger, especially during special church services called the Mass. Because of this role, the music for alto trombone was usually written using a special kind of musical notation called alto clef.
History
For broader coverage of this topic, see Trombone § History.
The alto trombone is a smaller version of the trombone family and was used a lot in the past. It first showed up in the 1500s, but we don't know exactly when the smaller alto size started. The first written records of an alto trombone come from 1590. By the 1600s, alto trombones were used in church music to support the alto singing parts.
In the 1700s, the alto trombone was popular in Vienna, Austria. A talented player named Thomas Gschladt helped make it famous. Some special music written for him showed just how skilled alto trombone players could be back then. But by the 1800s, the alto trombone was mostly replaced by other types of trombones. Today, the alto trombone is making a comeback, and modern composers are writing new music for it.
Construction
For broader coverage of this topic, see Trombone § Construction.
The alto trombone has a size between a trumpet and a tenor trombone, with a bore usually around 0.450 to 0.500 inches (11.4 to 12.7 mm) and a bell about 6+1⁄2 or 7 inches (17 or 18 cm) long.
Some modern alto trombones come with a special valve that can lower the pitch. This valve can drop the pitch by a small step to D, or by a larger step into B♭, helping players reach notes that are harder to play with the slide alone. This B♭ valve lets the instrument play notes from A2 down to F2.
Many companies make alto trombones, including Yamaha, Bach, Conn, SE Shires, Thein, Rath, and others.
Alto valve trombones in E♭ have been made but are very rare and are usually only found in museums.
Characteristics and range
The E♭ alto trombone can play notes from A2 to E♭5, though it usually stays above E♭3 in classical music. With skill, it can even reach up to G5. Special low notes can be made from E♭2 to A1, but these are not often used.
Because the alto trombone is smaller, its slide parts are closer together than on larger trombones. A B♭ valve attachment can help lower the sound even more, mainly to give easier positions for middle notes. The alto trombone sounds brighter and clearer than larger trombones, which is one of its special qualities. Its high notes can be very expressive and beautiful.
Repertoire
The alto trombone is often used in choral, orchestral, and operatic music. It became popular in the early 1800s, especially in the symphonies of composers like Schubert, Schumann, Brahms, and Mendelssohn. Since the 1700s in Vienna, it has also been enjoyed as a solo instrument.
Today, modern composers are using the alto trombone more often in smaller musical pieces. For example, the composer Britten used it in his 1966 chamber opera The Burning Fiery Furnace. Professional orchestra players are now expected to play the alto trombone when needed.
| Composer | Work | Year | Type |
|---|---|---|---|
| Monteverdi | L'Orfeo | 1607 | opera |
| J. S. Bach | Christ lag in Todes Banden, BWV 4 | 1707 | cantata |
| J. S. Bach | Aus tiefer Not schrei ich zu dir, BWV 38 | 1724 | cantata |
| Gluck | Alceste | 1767 | opera |
| W. A. Mozart | Great Mass in C minor | 1782–1783 (unfinished) | concert mass |
| W. A. Mozart | Requiem | 1791 (unfinished) | concert mass |
| W. A. Mozart | Don Giovanni | 1787 | opera |
| W. A. Mozart | Idomeneo | 1781 | opera |
| W. A. Mozart | The Magic Flute | 1791 | opera |
| Haydn | The Creation | 1796–1798 | oratorio |
| Haydn | The Seasons | 1801 | oratorio |
| Beethoven | Symphony No. 5 | 1804–1808 | symphony |
| Beethoven | Symphony No. 6 | 1804–1808 | symphony |
| Beethoven | Symphony No. 9 | 1817–1824 | symphony |
| Beethoven | Missa Solemnis | 1823 | concert mass |
| Spohr | Faust | 1813, revised 1852 | opera |
| Spohr | Jessonda | 1822 | opera |
| Schubert | Symphony No. 7 | 1821 (unfinished) | symphony |
| Schubert | Symphony No. 8 "Unfinished" | 1822 (unfinished) | symphony |
| Schubert | Symphony No. 9 "The Great" | 1826–1827 | symphony |
| Schubert | Mass No. 5 in A♭ major | 1822 | concert mass |
| Schubert | Mass No. 6 in E♭ major | 1828 | concert mass |
| Berlioz | Symphonie fantastique | 1830 | symphony |
| F. Mendelssohn | Lobgesang ("Symphony No. 2") | 1840 | symphony-cantata |
| F. Mendelssohn | Symphony No. 5 "Reformation" | 1830 | symphony |
| F. Mendelssohn | Elijah | 1846 | oratorio |
| F. Mendelssohn | Overture in C minor "Ruy Blas" | 1839 | overture |
| Schumann | Symphony No. 1 "Spring" | 1841 | symphony |
| Schumann | Symphony No. 2 | 1845–1846 | symphony |
| Schumann | Symphony No. 3 "Rhenish" | 1850 | symphony |
| Schumann | Symphony No. 4 | 1841, revised 1851 | symphony |
| Brahms | Symphony No. 1 | 1876 | symphony |
| Brahms | Symphony No. 2 | 1877 | symphony |
| Brahms | Symphony No. 3 | 1883 | symphony |
| Brahms | Symphony No. 4 | 1885 | symphony |
| Brahms | Academic Festival Overture | 1880 | overture |
| Brahms | Tragic Overture | 1880 | overture |
| Brahms | Ein Deutsches Requiem | 1868 | vocal/orchestral work |
| Schoenberg | Gurre-Lieder | 1911 | vocal/orchestral work |
| Schoenberg | Pelleas und Melisande | 1903 | symphonic poem |
| Berg | Wozzeck | 1922 | opera |
| Berg | Three Pieces for Orchestra | 1913–1915 | orchestral work |
| Stravinsky | Threni | 1958 | vocal/orchestral work |
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