[Trombone-l] An alto neophyte asks for it--tuning slides

[Keith Marr]

I've found this thread very interesting, particularly the contrast between 
various individuals experience of particular models. I think the guy that 
thought due to low production numbers that altos will be very individual in 
character had a good point, although I dare say Yamaha churn them out one 
identical to the other as they do with everything else. To me it's their 
strength, but also they're weakness if the design's not right. My experience 
of altos is with the Conn 36H and the Amati.

I found the Conn much to big for concerto and chamber playing (probably a 
good orchestra choice then) and way too big for a beginner on the instrument 
anyway. I couldn't safely get the high register for the Alberchtsberger 
concerto.

I understand the Amati is based on the Bach 39, and it certainly looks 
similar. This is a low budget horn (I bought it new plus Sibelius software 
with the money I got for selling the Conn secondhand!) and very small, but 
it plays very well and my high register is very secure on it.

I think the guy that said the alto should have a more trumpety tone in the 
modern orchestra was quite right, otherwise you're going to blend with the 
Horn section instead of the trumpets and trombones (plus you'll be playing 
in tune which will stick out a mile - meow! Sorry Horn players!). For 
chamber music and solos it is ideal and not a big investment so go for this 
or the Weril until you find you're getting the level of usage that justifies 
something more costly (a German model for example - Thein, Haag, Latzsch, 
etc., they're all very very good!).

First trombone in my orchestra has a Weril which he uses for Brahms etc. 
I've had a go on it and it blows very nicely, although the slide needs 
setting up. I can't say I've experienced the problem of tuning in 7th, but 
then it's not a position you use a lot on alto and I may be instinctively 
lipping down when I need it.

One particular point that hasn't been covered: If you're playing a lot of 
tenor and alto (or bass, tenor and alto even, as I was a one stage a few 
years ago) practice the instruments from the largest upwards. It's a lot 
easier to play tenor after bass and alto after tenor than vice versa. You 
might have no choice in a concert but for practice routines this is a good 
rule of thumb to follow.

I use Doug Elliot mouthpieces (when I can get them from him!) and I find the 
XT D cup and shaft works well with altos.

Cheers!

Keith in Bb/F/D
Bass Trombone
St Albans Symphony Orchestra
North Herts Big Band