Even though some chorist curtal players can play a g’ and tenor sackbut players can reach an a’-even higher at times-most players generally cannot. Above all, one must see to it when composing that no part ascends much more than an octave. If the first part is intended to be played a fourth or fifth lower as an alto, that part must be played either on an alto sackbut or treble curtal, that is, a small discant curtal, or sung by an alto. Finally, while discussing clefs and transpositions, Praetorius remarks, “Not everyone playing in the alto clef on the ordinary tenor sackbut can reach g’ and a’ lamire and even fewer on a chorist curtal. Later he mentions alto trombone in the context of choirs of trombones and curtals, naming it as a possible instrument for the top voice of an ensemble “with six sackbuts, curtals, or shawms” (Praetorius III Kite-Powell 165). The first is in the context of the cornett and violin choir: “But if another C-3 clef is used besides the one for the basset and other clefs noted above, it is better to use a sackbut together with the cornetts (if an alto sackbut player who plays really well is available), and a Viol da bratio…” (Praetorius III Kite-Powell 159). Finally, although plenty of exceptions can be found (particularly in printed music), it would appear that writers of historical treatises have very consistently associated alto trombone with the alto clef.ġ619-Wolfenbüttel, Germany: Michael Praetorius writes the following about alto trombone in the second volume of his treatise, Syntagma Musicum: “Alto or discant trombone (trombino, trombetta picciola), which can play discant parts perfectly well although the musical quality produced by its small body is not as good as that of the ordinary trombone, which can be used to play equally high parts after steady practice.” Although Praetorius seems to equivocate about alto trombone in this volume, the next volume, intended for the “practical musician,” provides numerous recommendations for using the alto trombone, and names the range of e to a (above the bass clef) as the register at which he recommends switching from tenor to alto (see below) (see facing image public domain) (Praetorius II Crookes 43).ġ619-Wolfenbüttel, Germany: In the third volume of his treatise, Syntagma Musicum, Michael Praetorius discusses use of alto trombone in several different settings. (On these two subjects see also Extant Altos and Alto in 19th Century Trade Catalogs). Another noteworthy matter concerns the ubiquity of the alto trombone the number and variety of authors who have included alto trombone in their discussions of the trombone is striking. This fact becomes clear from both the written materials and the many diagrams pictured with them (see below). Throughout trombone history, the vast majority of written sources have considered the alto trombone an instrument in the E-flat orbit (D, E-flat, F). 1811)-B-flat/E-flat (contradictory)Įncyclopaedia Britannica (1888)-E-flat, FĬonclusions: Obviously, one of the things that becomes most readily apparent upon examining these sources is the key of the alto trombone. 3) Finally, it goes without saying that not all sources contain accurate information, which is one reason that looking at broad overall patterns (rather than falling in love with one or two favorite sources) can be useful. All of the below references are listed in the Alto Trombone Bibliography, most of them in the “Primary Sources” section.įröhlich (c. While the fact that a particular source is derivative rather than strictly original may mitigate its historical worth to a certain extent, it can also illustrate influence. For example, much of the information in late 19th and early 20th century orchestration treatises derives from Berlioz’s treatise. For example, Hector Berlioz’s treatise carries significantly more weight than that of William James Henderson. Three things should be stipulated: 1) Not all sources are of equal importance. These sources offer much useful historical information about key, use of the instrument, clef, etc. Introduction: Below is a chronological listing of what many written sources have recorded about the alto trombone throughout history, beginning in the 17th century and continuing through the first quarter of the 20th century. ALTO TROMBONE in TREATISES, DICTIONARIES, and METHODS
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