www.indyjazz.org > Education Resources > Articles > Playing Lead Trombone in a Jazz Band

The jazz band lead trombone player has to play many different roles. Depending upon the music, you will be required to either support, lead, or solo. To fulfill these roles, you have to rely on several tools. These tools include your ears, knowledge, eyes, and chops. In this article, I will present my thoughts on these tools and roles. I will also present my thoughts on consistency, the role of section trombone players, and hearing protection. Your ears are your most important tool as a lead trombone player. You must use your ears listen to the drummer's high hat and/or ride cymbal for time. Because of the size of the horn, trombones tend to play a little late. To stay in time, you will need to anticipate the beat a little bit. You must also use your ears to listen for pitch so that you can play in tune with the rest of the ensemble. In general, you should listen down to the lower pitched parts for intonation but there will times when you have to listen up to the higher pitched parts. You will need to use your ears to adjust your volume to balance the rest of the group. If the lead trombone part is a supporting part, make sure that you keep your volume below that of the lead part. The lead might be in any other part in the band or it might be a vocal. If the lead trombone part is leading or co-leading the band, you will have to bring your volume up a little bit. If you are leading or co-leading the band, you will also have the leeway to add the APPROPRIATE stylistic elements such as scoops, falls, flips, and vibrato. Finally, you must use your ears to maintain a connection to the lead player. This lead player is most often the lead trumpet player. At times, this connection with the lead player will almost seem psychic. The best players will anticipate the actions of the lead player. For this to happen, the lead player must be consistent. The lead player will show you, through your ears, how to start, end, and modify the notes that you see on the page. Remember that there will be certain stylistic elements that the lead player will add to the music that you should not add unless the stylistic element is notated. These elements include vibrato, flips, and shakes. When in doubt as to whether or not you should add a stylistic element, ask the lead player. Your knowledge is the second most important tool as a lead trombone player. You must have a thorough knowledge of the different styles you will be required to play. A rock chart must be played differently than a swing chart. A Kenton ballad must be played differently than an Ellington ballad. When you are performing a leadership role, you must use your knowledge of styles to add the appropriate stylistic elements to the music. You can build your style inventory by becoming an avid listener. Take every opportunity to listen to recorded, broadcast, and live music. You must also use your knowledge to help you determine if you are in a supporting, co-leading, or leading role. To be a strong lead trombone player you must have great eyes. In other words, you must be a great sight-reader. You leadership role requires you to be able to play the music correctly and confidently the first time through. You can become a better sight-reader with practice. Set aside some time each day to practice reading new material. I have found that Band-In-A-Box ® (PG Music Inc.) is a great source for sight-reading material. The soloist function will generate solos that you can use for sight-reading practice. The solo parts can be printed out or read directly from the computer monitor. Lead trombone players must have a strong and accurate upper register - chops. The bread-and-butter range for the lead trombone player extends from F3 (fourth line bass clef) to D5 (fourth line treble clef). Occasionally, I have seen an F5. Since the tessitura (average range) for lead trombone is quite high, I like to start my daily routine on F4 and work both up and down from this note. Playing Rochut exercises up a 5th (tenor clef) or up an octave will help develop a secure and lyrical upper register. Remember to rest when you get tired. In general, you should rest as much as you practice. You should also balance working on your upper register with work on your extreme lower register. Playing notes from Bb2 (low Bb) to Bb0 (double-pedal Bb) will help strengthen your upper register. These notes should be played without changing the position of the mouthpiece. Aerobic exercises (swimming, brisk walking, or running) and breathing exercises will also help you develop a strong upper register. The breathing exercise that I like is as follows. While walking briskly breathe in for five steps (a full breath), hold for five steps, breathe out for five steps (exhale completely), hold for five steps, and repeat. You can modify this exercise by adjusting the number of steps either up or down. The best lead trombone players are consistent. It is very easy for section players to predict the actions of a consistent lead player. Rhythms, attacks, dynamics, note lengths, tone quality, and stylistic elements should remain the same from performance to performance. If you are going to do something different, make sure that you communicate the change to those in your section. A lead trombone player is only as strong as the other trombonists in the section. The lead trombone player receives strength from a great section. Conversely, a poor trombone section can quickly sap the energy from the lead player. Overbalancing (playing too loud), incorrect rhythms, playing behind the beat, poor intonation, and failure to follow can make the job of the lead trombone player very difficult. The section players should remember that their job is to follow and support the lead player. As with the lead trombone player's relationship with the ensemble leader, remember that there will be certain stylistic elements that the lead trombonist will add to the music that should not be copied unless the stylistic element is notated. These elements include vibrato, flips, and shakes. When in doubt as to whether or not to add a stylistic element, ask the lead player. The lead trombone player has the best seat in the band. Unfortunately, this is also about twelve inches from the bell of the strongest, loudest musician in the band - the lead trumpet player. The Indianapolis Jazz Orchestra is fortunate to have an excellent lead trumpet player. His musicianship, strength, and consistency makes it easier for the rest of us to play but he also creates an environment that can be dangerous for the lead trombone player. I have measured the sound intensity level at my ear at 120 decibels. This is the threshold of feeling, a very dangerous level. Exposure to this sound level is uncomfortable and will lead to ringing in the ears and hearing loss. No musician can afford to lose hearing. I strongly recommend that all jazz band trombonists use some sort of hearing protection. The protection should have a Noise Reduction Rating of at least 20. There are many different products that will accomplish this. Some of these earplugs are expensive and some are inexpensive. For me, Howard Leight Quiet® earplugs work the best. These reusable earplugs are very comfortable and have a Noise Reduction Rating of 26. They allow me to easily hear other instruments in the band and normal conversation. They also have a minimum amount of feedback from my own playing. You can purchase Howard Leight Quiet® earplugs at any Osco for less than five dollars. Playing lead trombone is a rewarding experience. Be patient while working on the tools that you will need, including ears, knowledge, eyes, chops, and consistency. It will take time to develop these areas. Above all, remember that the jazz band is a team with leading and supporting players. Know what role you are playing and do your best to fulfill that role.