The jazz or commercial bass trombone is often a smaller and/or brighter set-up than it’s classical counterpart. Some modern commercial settings have pared the traditional big band section of four trombones down to just two. Thanks to George Roberts, the second trombone is most often a bass. In a section of two, the bass trombonist must be able to blend with a small tenor, and play comfortably in the upper register.
Although No. 37, the original, posses a darker more characteristic bass trombone timbre and charm, No. 37A is more energetic and is reminiscent of Tommy Dorsey’s expansion of the range of the tenor trombone while he redefined it’s role as a solo melodic instrument.
The upper register is often featured in the solo repertoire of the ‘cello, and it may satisfy the desires of tenor trombonists share more fully in the “Stereogram experience”.
With both versions-No. 37 AND No. 37A, you have the best of both worlds!
Let us know which one you prefer.
Drawing inspiration from the cello suites of J. S. Bach and vocalist Bobby McFerrin, David William Brubeck’s Stereograms have been performed and recorded throughout the globe. Though originally composed for bass trombone, almost all of the Stereograms have optional octave indications and work very well for euphonium, bassoon, and tenor trombone with ‘f’-attachment as well. Separate editions have been transcribed for tuba and saxophone.
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