TromboneChat

Posted: **Mon Aug 08, 2022 6:13 am**

So... I have seen other similar threads but am curious to see what responses I get.

I am playing more and more shows and pit gigs and have come across an array of different requirements expected of the trom book.

For example, Matilda requirs Bass/Tenor , but, some of the tenor trom stuff would go down to the E flat.

My Bach 16 was always going to be too small, but my question is should I be looking at a King 3bF? Or something a bit bigger like a Bach 36?

I would love to get some responses from everyone, from the everyday hobbyist to full-time musos who do this kind of work as a living.

Cheers!

Posted: **Mon Aug 08, 2022 6:43 am**

With enough practice you should be able to go down into the bass range on your 16, I do it on my Bach 12! However, if it goes down there too much I use my Bach 36K, or even my King 5B if it's not often up in the rafters & I need a bigger sound!

It all depends on what the show is & how to blend within the group. What works with 1 group for a show may not work as well with another, doing the same show!

The Yamaha YSL456A is a medium bore Bb/F, with a fairly light tone between your 16 & a 36, that works well in pits.
A king B/F would probably be similar, but with a smaller bore, along with an Olds Recording.

I'm not a huge fan of large bores in a pit, unless using it as a small bass or there is a full section of bones.

Cheers

Posted: **Mon Aug 08, 2022 8:08 am**

If you need one horn to cover the full range, you can't get much better than a 36b. Maybe swap out mouthpieces for the extremes of range.

Posted: **Mon Aug 08, 2022 8:19 am**

All the King 3BF I've played have a surprisingly great low range. The 607F I have (medium bore) also has a really good low range.

I think it boils down to what type of sound you want. If you want a great "everything" horn, a 3BF or 607F (or the 3B+F) are all great options and require no additional configuration to get them to do what you need to do (no taking the torch to it like you would to install an F attachment on a Bach 16 or something). Most of the King wraps actually have a decent "E" pull, so you can even get down to B natural if your arms are long enough on most horns. The professional (600+) Yamaha medium bores also have that pull as well. The 356 doesn't have quite an E pull but is also a really good horn. Bach 36"X" where "X" is any of the various valves they have are also typically good horns as well.

A large bore instrument would get you a similar result. You probably wouldn't use it for everything, but for tunes inside a larger work that you wanted a more "classical" sound, it might be a good option. Keep the small horn for "commercial"/jazz/etc. and have the large bore on hand.

If you don't already have one, I'd also seriously consider a bass trombone. Everyone seems to want a bass trombone! You can get a dependent bass on the used market for a good price usually too (like a King Duo Gravis). I prefer Independents but it isn't necessary by any stretch. You can also get single valve basses but that second valve is really, really useful. That gives you access to the low Eb for sure! The sound is way more different on bass than on small tenor so if your goal is to have it sound similar for tunes with the Eb that wouldn't work... but if it's acceptable then, go for it! Bass trombones use large shank receives and you'd probably most of the time want to use a bass trombone mouthpiece (like Bach 2G or bigger); however.... you can use smaller pieces. Something with a depth of a 6.5AL even can work "okay" for tenor parts. It's weird if you're used to bass pieces in a bass, but if it gets the job done...

Posted: **Mon Aug 08, 2022 8:27 am**

In my opinion, a .525 bore horn with an f attachment is ideal for most theatre work that asks for tenor trombone. That being said, I know people who play both larger and smaller horns on shows. Trombonist who play on broadway or the west end often have several options to choose from at home and are likely going to tailor the horn to the gig. Also keep in mind, many modern books will ask you to double on bass trombone, tuba and occasionally euphonium. A great example is Jesus Christ Superstar, which is a tenor/bass/tuba book.

I bought a medium bore shires five or so years ago when I was working on cruise ships and I never knew what a guest entertainer was going to throw at me on a given night. Its been great for musicals. Styles can vary quiet a lot in one show, and you would be surprised how many tenor books have a random low Eb or D written in them. When books get reduced for tours or regional work, two trombone books often become one and bass lines find their way into a tenor book.

Posted: **Mon Aug 08, 2022 9:32 am**

I haven’t played a show in a long time, but I recently purchased a Conn 79H, 0.525 bore with f attachment and slide pull for b natural. I am much more accustomed to Bach 42G trombones of various configurations. I have found the 79H to be nimble and capable of staying under a soloist while maintaining a reasonably “sound.” And it can project when required. It can get a little bright on Bb and above, above middle C. I bury the bell into the stand when that happens. The one I purchased has the best slide of any Conn that I have played. I think Yamaha, King, and Bach trombones with 0.525 bores and f attachments are worth looking into.

As much as I love my Duo Gravis, which is easy to blow, easy to swap back and forth between smaller trombones, and sounds gorgeous, I am not anxious to carry the beast to a gig with another horn, or for the record, pick it up for long periods of time.

Posted: **Mon Aug 08, 2022 9:38 am**

I use a Yamaha YSL-640 for this work, though a Bach 36B would also be great. The F-attachment and the compact wrap on both are perfect for often cramped pit locations. I played once where there was literally no room to go to 6th position, so having the F-attachment really helped.

Posted: **Mon Aug 08, 2022 10:29 am**

Here's an interesting extra factor. If it's a long running show, you should also consider who you would want your subs to be. If they draw primarily from the jazz/commercial side, then a King or a medium bore f-attachment is great. If you're planning on subbing to classical players, they'll probably bring a large bore.

It's more of a matter of where you want your career to go, and just food for thought, not a hard and fast rule or anything.

Posted: **Mon Aug 08, 2022 12:42 pm**

I feel a lot of the recent shows that require doubles are very well planned out in terms of doubling so you can really play on your small bore and bass bone without getting another horn.

When I played Matilda a few years ago, I used a 3b type Yamaha straight horn with a bass trombone. The switches in the music were very reasonably planned out so I didn't have any trouble switching between my small bore and bass. I remember there were times I just stuck with the bass trombone on some of the parts and not switch. The low Eb at the end of #4 must be what you're referring to is an example where I just stay on bass for that section. Same thing with the end of #20C.

There are some shows that have double where you can really play it all on a F-attachment Large bore. Urinetown(gotta have Euphonium though...), Mary Poppins-condensed version(8 measures of bass bone...), and Pippin comes to mind.

The Bach 16 should work fine in many or any show. Almost all pits are mic'd in one way or another so you don't really need to produce a lot of sound to get into the house. Perhaps a cheaper alternative is a mouthpiece change on shows that needs a little more bottom. NY trombonist Keith O'Quinn plays pretty much all of his shows(well, everything really) on a Gold Plated Bach 16M with a Bach 6 1/2A mouthpiece.

Posted: **Mon Aug 08, 2022 2:27 pm**

There are a lot of variables that go into this.

Posted: **Mon Aug 08, 2022 2:37 pm**

I use my 3BF. I eventually want to get a 2nd valve added to it for specifically the show work described. If I had a 607 or 36B, I would probably use that instead on shows with more low demands than high. A two-valve 607 would be the perfect instrument for Cabaret, for example. Low C to high Bb, piece of cake.

Posted: **Mon Aug 08, 2022 3:52 pm**

Posted: **Mon Aug 08, 2022 9:55 pm**

Versatility is the name of the game. Unless it’s a big pit, you’ll be the only trombonist. For a small pit, maybe one of only 2-3 brass players. I’ve used a variety of large bores, a medium bore, and even a single valve bass. The medium bore with an F attachment is really hard to beat, and you can have several mouthpieces to adjust the colours you need for a scene. Large bore can work, as can bass, but keeping articulation snappy will be harder.
I like Bach horns, but players I worked with in NYC used a mix of Bach, Shires, edwards.

Posted: **Tue Aug 09, 2022 2:53 pm**

Hard to beat a 3Bf, especially in silver.
A 36b is super flexible, but a lot more work.

Posted: **Tue Aug 09, 2022 3:03 pm**

Pretty much everything people have said here. The only difference for me is that I'll use a modern bass for most parts marked "bass". Anything lower than low Eb (which may have just been poorly scored) I'll assume is a real bass part though I play in a more compact commercial sound. Anything marked tenor or just trombone I'll decide based on the scoring. Classical/orchestral show? Large tenor as that's what the local symphony folks that are likely in the other chairs are expecting. Commercial/pop book? Small tenor.

I don't mess with 0.525 horns very much. I get the idea of the all around flexibility but in a world of pickups and cars I've always felt like medium bore horns end up being the El Camino.

Posted: **Tue Aug 09, 2022 3:35 pm**

“I've always felt like medium bore horns end up being the El Camino.”

Excellent comparison.

Posted: **Tue Aug 09, 2022 4:46 pm**

Molefsky wrote: Tue Aug 09, 2022 3:03 pm ... in a world of pickups and cars I've always felt like medium bore horns end up being the El Camino.

... or perhaps a Honda Ridgeline (a much more sensible vehicle).

Posted: **Tue Aug 09, 2022 6:30 pm**

Except the Ridgeline is bigger than many pickups. That would be like playing everything on bass just because you can.

Posted: **Tue Aug 09, 2022 11:37 pm**

Played my seldom-used Conn 79H (0.522" bore) at a rehearsal tonight. It is a marvelous trombone - definitely not a useless "in-betweener." Makes me want to try it in a variety of playing situations. I was recently invited to join a (relatively modest) symphony orchestra in the fall. I think I'll being the 79H - it should be perfect for the size of the ensemble and the hall they'll be playing in. I wouldn't hesitate for a moment to use it in a pit.

Posted: **Wed Aug 10, 2022 5:11 am**

I think a better frame (pun intended) would be that a medium bore is like a small/mid SUV (w/ F attachment) or crossover (straight). They aren't as fuel efficient as a compact, they don't handle as well in bad weather as a heavy SUV, they can't tow as much as a truck, and they don't carry as many people as a van. But they carry more people and handle bad weather better than a compact, can tow light loads, and are way more fuel efficient than a heavy truck or van.

The medium bore w/o F attachment doesn't quite get as many of the benefits like the extra low range, much like how a crossover is essentially a larger car that often handles better in bad weather. And with an F attachment is more akin to a Subaru Outback, Honda CRV, or Toyta RAV4. There are few things you can't do with those vehicles, but you can get specialized vehicles that do everything better than them.

Sidenote about the Ridgeline... it's very similar to the Pilot, but with a truck bed. It looks big, but it's actually a surprisingly nimble vehicle and gets surprisingly decent mileage. My Pilot feels more like I'm driving a slightly large car more than a heavy Truck. Although it looks like the Pilot/Ridgline comparison is diverge a little. When I bought my Pilot, the Ridgeline was only 1MPG less than the Pilot (20/27 vs 19/26). The Pilot is still (on paper) as efficient as mine is, but the Ridgeline is now 18/24. After doing extensive (well.. okay, not extensive, I average like 100 miles a month), I actually get better mileage in it than on paper. On the interstate, I can push 30MPG in it and around town, I'm getting 24-26.

Still doesn't hold a candle to my Fit, which I can push 40MPG if I have a stiff tailwind. I can't wait until some of the EV vehicles become a little bit more affordable. I would have bough a Highlander Hybrid instead of the Pilot, but it was a solid 15k more when I bought mine

Such a totally smooth ride. Like a carbon fiber slide... Okay I'm going to stop

Posted: **Wed Aug 10, 2022 9:43 pm**

I once had to use a valve trombone because there was (literally) NO room in the pit for my slide to move...

Posted: **Thu Aug 11, 2022 9:00 pm**

My Corp 36B is my go-to pit horn for most 'tenor' books. I'm currently using this with a Bach 5GB on my 2nd run of Matilda, alongside my modified Yamaha bass - same setup as I used for Miss Saigon. Other than a couple of the really high rock bits, it's brilliant - I just wouldn't mind a bit more brightness and snap up top, with the low-dynamic we're having to work to. I had a 3rd trombone player years ago play Follies on a 36B with a 2G mouthpiece - plenty solid enough down low.

For more big-band style shows (Producers trombone 1) I'd use the 36 on trombone 2 but something smaller on 1.
Rock shows (eg Kinky Boots) also had the small-bore out.
Anything G&S gets the 36B or something large, depending on whether I'm in a section and what the acoustic environment is (a big, open pit could justify a large-bore, a tight, mic'd pit mic want something smaller).
For the cut-down-book shows like Parade/Miss Saigon/Matilda where the instrument changes aren't always in the best places, the 36 is giving me the power down low without having to work quite so hard up top.

I'm in the position where I've got a heap of horns to choose from for pit work though, but especially if sight-reading a new show, the 36 is my go-to.

Posted: **Thu Jul 31, 2025 2:31 pm**

Resurrecting this thread for a topic that wasn't part of the conversation so far: What kind of basses do you play for this shows? Symphonic, commercial, in between? On which shows which choice?

Posted: **Thu Jul 31, 2025 5:16 pm**

Well, on an historic note, the original run of Jesus Christ Superstar (London, 1970s) was a two trombone show with the second book doubling tuba. Original gear was King 2b and Holton TR180 with B&H tuba. Then Minick 100H, Bach 50B3LG and NO tuba. I subbed the final two weeks on a Conn 60H and A.L-W came in for the first time in a long time and was furious at the lack of a tuba....not at me, but the MD. I don't know how one player covers everything now.

Posted: **Thu Jul 31, 2025 5:32 pm**

ParLawGod wrote: Wed Aug 10, 2022 9:43 pm I once had to use a valve trombone because there was (literally) NO room in the pit for my slide to move...

I played some of the run of Chess when it was in Sydney, many years ago. There was plexi "everywhere" in that pit!! But someone had cut a hole, "just" big enough for the slide to go through!!

Posted: **Thu Jul 31, 2025 7:24 pm**

EriKon wrote: Thu Jul 31, 2025 2:31 pm Resurrecting this thread for a topic that wasn't part of the conversation so far: What kind of basses do you play for this shows? Symphonic, commercial, in between? On which shows which choice?

I would definitely lean commercial, or at least middle of the road. The pit bass parts I've played were all commercial in nature, and you want to be able to put sizzle on the low stuff without burying everyone else. I personally would not bring a dark, heavy horn to a pit.

I use my indy 72H for everything so it's an easy choice for me, but even if I had 10 bass choices I'd still likely bring the 72H. You don't need heavy artillery for a 10-piece orchestra.

Posted: **Fri Aug 01, 2025 12:27 pm**

I use my Greenhoe Bach 50. My goal is, as Tiffany suggested, to get a lot of core in the tone so you get a nice beefy sound that projects without having to play too loud. The one change I make is to use a Bach 2G mouthpiece it pit situations. The smaller mouthpiece helps to emphasize core and sizzle, keeps the sound beefy not woofy, and I don't have to overblow the horn. Plus the smaller mouthpiece has the added benefit of making the switch back and forth between tenor easier.

Posted: **Fri Aug 01, 2025 1:35 pm**

When I double for shows I play a 79H and a King 7B. Both horns have overlap into each other, so it gives me some flexibility if I want to avoid a quick switch, ie: the 7B can move into the low/mid tenor register and sound close to a tenor.

Posted: **Fri Aug 01, 2025 4:23 pm**

From my stable, which includes a 3BF, 36B and a Bb/F horn based around a 42, I‘d probably reach for my Olds Opera O-23 for the following reasons:

Punchy sound, but can be darkened up if played carefully at lower dynamics

The horn which I probably have the best good quality range on

Projection monster in a theatre or anywhere really so you can take it pretty easy on long gigs

Cost me less than any of the other horns I mentioned, I really like it and may be hard to replace but ultimately it cost less than the retail price of most non-Chinese student horns so I wouldn‘t be completely devastated if it got damaged

Traditional Valve Wrap, compact

Light and fast slide for a large bore

The Olds is 99% as usable as the 3BF or 36B for me to play in my upper range with a DE D cup, whilst still having a pretty full sound in the mid to low range and some killer pedals. It might be that after years of trying small and medium horns, I am still a large bore tenor player at heart. If I would want more body to the sound, I can switch to an E or F+ cup and transform the feel of the horn to a more legit sound but really I like the strange combination of a largish horn with a shallow mouthpiece in this case.

Posted: **Fri Aug 01, 2025 5:19 pm**

EriKon wrote: Thu Jul 31, 2025 2:31 pm Resurrecting this thread for a topic that wasn't part of the conversation so far: What kind of basses do you play for this shows? Symphonic, commercial, in between? On which shows which choice?

I have exactly 1 bass

if it’s lighter work, I’ll pop a 1.5G into my large tenor. I played Matilda on a 3B and some flavor of orchestral bass with a 1.5G and it did just fine.

Posted: **Sat Aug 02, 2025 7:20 pm**

I thought my .525 would be perfect for the show I’m doing but the music has a trad jazz feel and weight of the F att and plunger stuff are killing my left wrist. So either my 16 or 2B I think.

Posted: **Sun Aug 03, 2025 10:49 am**

OneTon wrote: Mon Aug 08, 2022 9:32 am As much as I love my Duo Gravis, which is easy to blow, easy to swap back and forth between smaller trombones, and sounds gorgeous, I am not anxious to carry the beast to a gig with another horn, or for the record, pick it up for long periods of time.

Small point, I've recently tried a neo grip on my DG and it makes a huge difference.

Posted: **Fri Nov 28, 2025 3:35 am**

Resurrecting this thread again

A few months ago I won the audition for a new show run over here in Hamburg. The show is Back To The Future, starting in March. Recently I do think a lot about which equipment to play for that. We have that reduced tour version of the show with just two brass and two reeds. Bill (who's active in here too!) played the US Tour and I've been in contact with him about the book and the show in general which was really helpful (thanks a lot again, Bill!).

I do have my own thoughts, but I'm curious to see what equipment you would choose (especially for tenor).

Short description of the part:
Mixture of Rock/Pop music and legit/classical/movie soundtrack like music.
Tenor goes from trigger Eb up to High C and is mostly Rock/Pop horn section style (some really exhausting tunes with long stretches of high playing), with like two symphonic numbers.
Bass goes from pedal F up to High C (yes, no joke), 50/50 use for the orchestral tunes and adding bass to the Rock/Pop tunes. Sometimes it's part of the horn section too (therefore the high notes) and there's no time to change the horn.

First I felt like the part would be played best with on 4 different horns (due to those condensed versions we have) but of course I want to settle on two horns. A lot of it is having a good sound concept for both instruments for sure. But I'm still curious to see what you guys might choose for such things because I'm not entirely sure about my choice as well.

Thanks!

Edit: I have to add that we have the key comp being involved as well. Means many of the orchestral numbers have lots of pre-recorded full orchestra playing in there and the live horns are just mixed into that.

Posted: **Fri Nov 28, 2025 4:54 am**

I'd chime in but you know exactly what I'm gonna say

Posted: **Fri Nov 28, 2025 6:51 am**

Hey Erik. You're very welcome! I will be curious to see what you choose to use for this show. Once the "powers that be" cut a show from 18 musicians down to 9 it makes everyone's job that much more difficult.

Posted: **Fri Nov 28, 2025 9:03 am**

On a side note it's great to see that there continue to be good gigs for the many great trombonists here in Hamburg! Congrats Erik!

Posted: **Fri Nov 28, 2025 10:08 am**

EriKon wrote: Thu Jul 31, 2025 2:31 pm Resurrecting this thread for a topic that wasn't part of the conversation so far: What kind of basses do you play for this shows? Symphonic, commercial, in between? On which shows which choice?

For me, a modded Yamaha 421, single valve, has been sufficient. Unless there are large sections of the music that take two valves to be played conveniently, then my Conn 62 comes out.

Posted: **Fri Nov 28, 2025 10:21 am**

Digidog wrote: Fri Nov 28, 2025 10:08 am
EriKon wrote: Thu Jul 31, 2025 2:31 pm Resurrecting this thread for a topic that wasn't part of the conversation so far: What kind of basses do you play for this shows? Symphonic, commercial, in between? On which shows which choice?
For me, a modded Yamaha 421, single valve, has been sufficient. Unless there are large sections of the music that take two valves to be played conveniently, then my Conn 62 comes out.

For certain shows, like Back to the Future, you'll be wanting that 2nd valve and your Conn.

Posted: **Fri Feb 13, 2026 11:56 am**

My equipment for the Netherlands national tour of West Side Story.

PXL_20251121_185753331~2.jpg

Conn 60H inside tuning from 1969
Bach 36B from 1970
Mostly Humes & Berg mutes and a Joseph Rapuano mute from 1921 (the brown one) + Joe-ral bass straight and Denis wick bass cup.

For this show I chose the Conn 60H because the bass parts in this book (the condensed touring verion for 15 musicians) do well to have lighter "old school" sound, and the lowest note is a C and Bb (no B's) so the double trigger is not necessary.

I went for the Bach 36B because some times I want a small bore jazz/latin sound (Jet song, Mambo, Blues at the Gym, America) and others I need a larger tenor sound (officer krupke, the ballet) I need the valve because there are some low Eb's that have to be played on the tenor. Only using a small bore would have left me missing in the big stuff and a large bore was sounding to big in the blend of the more energetic stuff. The 36 can do both of these well, you just need to know what you want sound wise and play accordingly.

The mutes, were chosen for the same reason, a more oldschool sound to blend with the choices the trumpets made, and the joe ral bass mute I use only for "Boy like that" which we wanted to have a real gutteral sound.

It's a great show. If you're around in the Netherlands I would recommend coming to see it. We wrap up the tour at the end of june.

Best
Sam

Posted: **Fri Feb 13, 2026 12:26 pm**

Nice Sam! Enjoy the run!!

Posted: **Fri Feb 13, 2026 4:09 pm**

hyperbolica wrote: Mon Aug 08, 2022 8:08 am If you need one horn to cover the full range, you can't get much better than a 36b. Maybe swap out mouthpieces for the extremes of range.

Yeah, this is it. The 36B is ideal for pit work. Can't beat it. But for a show like Matilda (and many other reductions that require tenor and bass) I also bring a bass trombone. A 36B is not a substitute for bass trombone just because it has an F attachment.

Posted: **Fri Feb 13, 2026 5:18 pm**

I bring what I believe will make the music/show sound and feel the best for myself and the other musicians in the band/orchestra. I will generally play one instrument unless I am being instructed/paid to bring two.

In recent memory:
Damn Yankees - heading to Bway/NYC after starting in DC
Trombone 2 - Shires .525” w/ valve
Some Like it Hot - Natl. Tour
Trombone 2/Bass Bone - Shires .525” w/valve and Yamaha YBL-613H
Wicked - Natl. Tour
Trombone/Bass Bone - Shires .547” w/valve and YBL-613H
Great Gatsby - Natl. Tour Launch
Trombone/Bass Bone - Yamaha 891ZD and YBL-613H
Impending:
Back to the Future - Natl. Tour
Trombone/Bass Trombone - Shires .525” w/valve and YBL-613H

Posted: **Fri Feb 13, 2026 5:34 pm**

For Frozen which I did from 2024 - 2026 the music was a mix of light pop and heavy Film score "classical" style music.

PXL_20250111_134841935~2.jpg

We arranged this book to be about 50/50 Tenor and Bass. Originally it had much less Bass in it, but after working with the international team from Disney in the rehearsal period, we changed the part to help support the reduced arrangement and fill-out the sound of the orchestra more.

On Broadway it's something like a 22-25 piece orchestra, we were doing it in the Netherlands with a 10 piece.

For this I used:
Shires Custom Basstrombone (2009)
Y-Fort YSL763GL Large bore Tenor (2024)

The bigger horns got a run out on this show, because I really needed that full orchestral/film score sound.

The bass trombone part has some huge, low moments with the range going down to pedal Gb. At other times, played softer in the high register it matches the french horn and almost sounded like a 2nd horn. I find this combination works well if you are playing something that was originally a 2nd horn part that has been arranged into the trombone part.

The more poppy numbers (fixer-upper, what do you know about love and let it go) worked well on the large bore, but again the more "classical" charts really needed the big full tenor sound.

I thought I would share these two different set ups that I've used for these shows (Frozen and West Side) to show the different directions you can go in choosing instruments. For other shows I've used a mix of these instruments (also a Bach 36 no trigger) and tuba.

The main thing I always consider when deciding on which horns I use is what sound concept do I want for the show and which instrument/s allows me to achieve that with the least effort.

No show is the same and the demands are always different, so to answer the original question, all types of trombone work in the pit. If you don't think the instrument you have is the right one for the show you're about to do and can afford it, you can always buy the one that will (recommend to buy used). And after the run is over, you can keep it or sell it on and get you money back.

Best
Sam

Posted: **Fri Feb 13, 2026 9:38 pm**

tbdana wrote: Fri Feb 13, 2026 4:09 pm
hyperbolica wrote: Mon Aug 08, 2022 8:08 am If you need one horn to cover the full range, you can't get much better than a 36b. Maybe swap out mouthpieces for the extremes of range.
Yeah, this is it. The 36B is ideal for pit work. Can't beat it. But for a show like Matilda (and many other reductions that require tenor and bass) I also bring a bass trombone. A 36B is not a substitute for bass trombone just because it has an F attachment.

You know, I might change my mind now. You could use a King 1480 with a couple of different mouthpieces, with the caveat that the 1480 doesn't really have a good C or B. If it were bass heavy and light on tenor, you could do it with a Duo Gravis and a couple of mouthpieces. The DG has some remarkably tenorish traits, while still being a real bass.

Posted: **Sat Feb 14, 2026 5:24 am**

SamBTbrn wrote: Fri Feb 13, 2026 5:34 pm For Frozen which I did from 2024 - 2026 the music was a mix of light pop and heavy Film score "classical" style music.
PXL_20250111_134841935~2.jpg

We arranged this book to be about 50/50 Tenor and Bass. Originally it had much less Bass in it, but after working with the international team from Disney in the rehearsal period, we changed the part to help support the reduced arrangement and fill-out the sound of the orchestra more.

On Broadway it's something like a 22-25 piece orchestra, we were doing it in the Netherlands with a 10 piece.

For this I used:
Shires Custom Basstrombone (2009)
Y-Fort YSL763GL Large bore Tenor (2024)

The bigger horns got a run out on this show, because I really needed that full orchestral/film score sound.

The bass trombone part has some huge, low moments with the range going down to pedal Gb. At other times, played softer in the high register it matches the french horn and almost sounded like a 2nd horn. I find this combination works well if you are playing something that was originally a 2nd horn part that has been arranged into the trombone part.

The more poppy numbers (fixer-upper, what do you know about love and let it go) worked well on the large bore, but again the more "classical" charts really needed the big full tenor sound.

I thought I would share these two different set ups that I've used for these shows (Frozen and West Side) to show the different directions you can go in choosing instruments. For other shows I've used a mix of these instruments (also a Bach 36 no trigger) and tuba.

The main thing I always consider when deciding on which horns I use is what sound concept do I want for the show and which instrument/s allows me to achieve that with the least effort.

No show is the same and the demands are always different, so to answer the original question, all types of trombone work in the pit. If you don't think the instrument you have is the right one for the show you're about to do and can afford it, you can always buy the one that will (recommend to buy used). And after the run is over, you can keep it or sell it on and get you money back.

Best
Sam

Very interesting insights! Thanks for those!
In Hamburg we had the normal Frozen Tour book without the adjustments and it was basically all tenor with very little bass trombone (which wasn't written in btb range either). Back then I played my Bach 36BOG and my King Duo Gravis for having an easy life and better blend with horn and trumpet. Also, I wasn't happy with my playing in general back then and had some struggles, so I wanted to use equipment to make it as easy as possible. I remember starting on the Conn 88H for that show and making the switch later on. Also started on the bigger Edwards Bass Trombone but changed as well.

There are so many reasons to choose horns for these shows and sometimes they are not only for musical reasons but also for technical reasons. And in the end it most often is a trade-off because of the huge differences in genres/styles within one show.

I'm currently looking for a theatre instrument (tenor) for our upcoming Back To The Future run. The Touring version. Likely gonna be a 3BF or 36B in the end. We will see what happens

Posted: **Sat Feb 14, 2026 6:08 am**

EriKon wrote: Sat Feb 14, 2026 5:24 am
SamBTbrn wrote: Fri Feb 13, 2026 5:34 pm For Frozen which I did from 2024 - 2026 the music was a mix of light pop and heavy Film score "classical" style music.
PXL_20250111_134841935~2.jpg

We arranged this book to be about 50/50 Tenor and Bass. Originally it had much less Bass in it, but after working with the international team from Disney in the rehearsal period, we changed the part to help support the reduced arrangement and fill-out the sound of the orchestra more.

On Broadway it's something like a 22-25 piece orchestra, we were doing it in the Netherlands with a 10 piece.

For this I used:
Shires Custom Basstrombone (2009)
Y-Fort YSL763GL Large bore Tenor (2024)

The bigger horns got a run out on this show, because I really needed that full orchestral/film score sound.

The bass trombone part has some huge, low moments with the range going down to pedal Gb. At other times, played softer in the high register it matches the french horn and almost sounded like a 2nd horn. I find this combination works well if you are playing something that was originally a 2nd horn part that has been arranged into the trombone part.

The more poppy numbers (fixer-upper, what do you know about love and let it go) worked well on the large bore, but again the more "classical" charts really needed the big full tenor sound.

I thought I would share these two different set ups that I've used for these shows (Frozen and West Side) to show the different directions you can go in choosing instruments. For other shows I've used a mix of these instruments (also a Bach 36 no trigger) and tuba.

The main thing I always consider when deciding on which horns I use is what sound concept do I want for the show and which instrument/s allows me to achieve that with the least effort.

No show is the same and the demands are always different, so to answer the original question, all types of trombone work in the pit. If you don't think the instrument you have is the right one for the show you're about to do and can afford it, you can always buy the one that will (recommend to buy used). And after the run is over, you can keep it or sell it on and get you money back.

Best
Sam
Very interesting insights! Thanks for those!
In Hamburg we had the normal Frozen Tour book without the adjustments and it was basically all tenor with very little bass trombone (which wasn't written in btb range either). Back then I played my Bach 36BOG and my King Duo Gravis for having an easy life and better blend with horn and trumpet. Also, I wasn't happy with my playing in general back then and had some struggles, so I wanted to use equipment to make it as easy as possible. I remember starting on the Conn 88H for that show and making the switch later on. Also started on the bigger Edwards Bass Trombone but changed as well.

There are so many reasons to choose horns for these shows and sometimes they are not only for musical reasons but also for technical reasons. And in the end it most often is a trade-off because of the huge differences in genres/styles within one show.

I'm currently looking for a theatre instrument (tenor) for our upcoming Back To The Future run. The Touring version. Likely gonna be a 3BF or 36B in the end. We will see what happens

Hey Erik,
Yeah I got a look at the Hamburg trombone book thanks to Ben before we started the show here in the NL. We ended up playing from the Australian tour book, which had even less Bass in it. (The opening had been changed from bass bone low Eb's to tenor Bb's, which did not sound as good) But the stage/Disney team based in Hamburg were more than happy to work on changing the part to beef it up. In the end it became something quite different than even what you had in Hamburg.

Good luck and enjoy, Back to the future. That's a great show!!

Posted: **Sat Feb 14, 2026 6:48 am**

pfrancis wrote: Fri Feb 13, 2026 5:18 pm I bring what I believe will make the music/show sound and feel the best for myself and the other musicians in the band/orchestra. I will generally play one instrument unless I am being instructed/paid to bring two.

In recent memory:
Damn Yankees - heading to Bway/NYC after starting in DC
Trombone 2 - Shires .525” w/ valve
Some Like it Hot - Natl. Tour
Trombone 2/Bass Bone - Shires .525” w/valve and Yamaha YBL-613H
Wicked - Natl. Tour
Trombone/Bass Bone - Shires .547” w/valve and YBL-613H
Great Gatsby - Natl. Tour Launch
Trombone/Bass Bone - Yamaha 891ZD and YBL-613H
Impending:
Back to the Future - Natl. Tour
Trombone/Bass Trombone - Shires .525” w/valve and YBL-613H

Would love to hear more about Gatsby. I may be doing that at some point.

Posted: **Sat Feb 14, 2026 12:13 pm**

Just another thing.... I depped in Superstar for my friend Roger. After Superstar Roger went to Starlight Express. When Mick Rath started making bass trombones, Roger had him make his ideal instrument. I play Roger's bell section with a newer bronze slide as his original has seen better days. It works as well in the opera as it did in shows. Copper bell with Hagmanns.

Posted: **Sat Feb 14, 2026 12:53 pm**

WGWTR180 wrote: Sat Feb 14, 2026 6:48 am Would love to hear more about Gatsby. I may be doing that at some point.

Pm sent

TromboneChat

What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes

Re: What horn/s and why for Pits - Broadway/Westend/OtherShowScenes