Bass Trombone Tunings

[normrowe]

Yah. And the examples of switching from tennis to racquetball and back....have trouble with those too, so I think it's an across-the board thing. But....I can switch from euph to oboe in the same concert (just did that, playing euph on a needed bassoon part when there was only one oboe part) with no problem. I guess it's the similarities that trip me up, while other people would have trouble with things I don't (friend who plays both euph and bassoon needs a good 24-36 hours in between.) And the reading by pitch instead of fingering is probably a different approach than most use, too. But I don't play tennis by pitch....

MA

I do similar things in the orchestra. I'm primarily principal oboe, but in three of our concert series (each series consisting of presenting the same program in three different venues) I've gone from oboe to drum set for a piece (show tunes), then back to oboe. In the first one (Evita), I even had to lay down the sticks and play an oboe solo (thankfully no drum part at that moment), then put the oboe back down and finish on drums. On a recent concert series I did oboe, popped over to trumpet for part of one number, then back to oboe, then to snare drum for our encore. Once concert series a couple of years ago I spent half the concert on trombone (1st for "Firebird" and bass for another piece) while our second oboe player covered the 1st oboe parts. On another concert series it was alto sax on a couple of pieces. While playing in a community band several years ago, I was playing 1st oboe, then put it down to play a trombone solo with the band (happened twice, once it was a bass trombone solo, the other time a tenor trombone solo), then back to oboe. I usually don't have much trouble switching gears very quickly.

[stonejwsm]

I studied with Don Harwood when he was using the C crook on the second trigger and I used it as well for a short time (ca. 1985) This was shortly before the advent of advances in valves like the Axial Flow and Greenhoe valves, etc. One of his other students was observing what Ed Anderson of the Cleveland Orchestra was trying to do with his Bach 50. In one part, it adds weight to the horn and in another it gave you a really open and easy low C for Brahms #1 and easy to access low B for the Bartok and other pieces (I had a chance to perform the Brahms 1 and it rocked!).
I am not sure what other uses Harwood found for it, but after the coming of the Axial flow, the C crook disappeared from his horn, though not immediately. I think the combination of C crook and axial flow (and the screw rim bell) was more than Mehta could deal with and I think it actually gave Harwood some joint problems. He had to lighten up the horn.
I found that losing that valve to either the B, C or Db wasn't enough to justify it continued use, especially with Axial flow giving you plenty of openness plus you have that extra tubing going down the other side of the horn. It's a little over the top. Sitting in lessons with that horn, it looked like he was holding a rocket engine not a Bass Trombone! I remember my own horn at the time (Bach 50B with F/C/AA) would almost make me tip over!
I mean the main purpose of the second valve on the horn is to give you the extension to the B bridging you to the pedal range. It came about because of the needed ability to play the B to F glissando in the Concerto for Orchestra (Bartok) on a standart Bb Bass trombone instead of an F Bass trombone. The extra tubing of the C crook gives a really dense set of low notes into the pedal range but honestly it isn't really that necessary. The Axial flow or Greenhoe valve will compensate for any stuffiness in using both valves together.
My preferred tuning and I think the way the horn has evolved is the Bb/F/Gb/D configuration.
I hope this helps the discussion...