Professional One-Trick Ponies

[JTeagarden]

This is a question regarding speciialization.

From my observations, it seems as though most trombonists in major orchestras can play all of the low-brass instruments they might be called on to play, at a professional level: alto through bass trombone, euphonium, bass trumpet, the occasional tenor horn, etc.

Are you aware of any who simply have to swim in their lane, i.e., only play bass or tenor trombone, and simply cannot play any of the others at a high enough level to consider themselves doublers?

The purpose of asking is not to name names, but rather to understand whether the physical requirements of the different instruments and/or the physical gifts of players are sometimes so extreme, that even top-notch players are hesitant to do anything other than what they are best at.

[Finetales]

I don't think that kind of utility player is the norm in major orchestras. It seems to me that the majority of trombonists in top orchestras play tenor (and alto, if principal) or bass (and sometimes contra, especially in Europe) and that's about it, unless you're in the Wechselposaune chair.

Players like Mulcahy who play bass trumpet and euphonium parts to the same standard as their trombone playing seem to be the exception rather than the rule, and players who can play tenor and bass at the level expected in the famous orchestra they play in are even less common (again, Wechselposaunists excluded) outside of the LA studios and specific players like Jim Markey. If world-class utility players were the norm in major orchestras, players like Carl Lenthe wouldn't get flown out to orchestras all around the world to play bass trumpet.

I don't know the numbers at all, but that's just how it seems to me.

Having said all that:

The purpose of asking is not to name names, but rather to understand whether the physical requirements of the different instruments and/or the physical gifts of players are sometimes so extreme, that even top-notch players are hesitant to do anything other than what they are best at.

I think doubling on bass as a tenor player is really the only double that every trombonist in a major orchestra couldn't pick up easily. Euphonium is easy, and bass trumpet is not easy but still a perfectly natural double for a trombonist. There's not any physical barrier to playing either if you can play trombone IMO, especially at the level of someone holding a chair in a major orchestra.

[JTeagarden]

Thanks for your reply, I know Jim personally, and sort of assumed his jump from tenor to bass, while clearly unusual, would actually not be so hard for someone at his level, maybe he's a real outlier.

[MStarke]

In the major orchestras (and big bands) the majority probably play 1-2 instruments regularly, as described by Finetales.

Not so many actually play 2 or more on a really high level.
I also know multiple people who for that exact reason get called for "specialty" instruments (mostly bass trumpet and euphonium) to other orchestras as those don't really have someone playing it.

Actually in my view most orchestra jobs are privileged in that it's contractually limited what instruments you need to play. Many freelancers on the other hand are covering more and more doubles.

[CalgaryTbone]

Most orchestras only carry 3 trombones, so any pieces requiring more than that means that extra musicians are hired. That means that those players don't need to play the lesser used brass instruments (like euphonium and bass trumpet) since a player is going to have to be hired anyway. However, if someone in the section does play those instruments well, and wants to double on them, they will usually get the nod and someone will be hired to cover their usual part.

When the orchestra carries 4 players, it's usually understood that one player needs to be able to play valves so the orchestra management is not on the hook to find a player for those works. It varies as to who does what. When I was studying in NY, the asst. played the valves, and the 2nd player covered any bass that was needed because he had been a bass trombonist earlier in his career. Sometime around Markey's hiring, all of the "doubles" fell to that chair. LA is similar to that. Philadelphia and Cleveland have long histories of 2nd players that are good valve players, so that work has stayed in those chairs (not sure what they do about any bass playing needed).

Even when it's established as to who's responsible for each of these roles, the skills of the current players can mean that parts get traded. As I understand it, George Curran (bass in NYP) was a euphonium major in his undergrad degree, so he takes some of the valve playing and Colin Williams (associate NYP) has become a good bass doubler and will play George's chair for that concert. Then in some orchestras, if there's more than one good valve player in that section, they may make a call as to who's playing what on that occasion.

It's generally a combination of who has the skills, who wants to play which part, and the financial component for the management.

Jim Scott

[robcat2075]

I don't think that kind of utility player is the norm in major orchestras.

I'll note that the Dallas Symphony does have a utility trombone who, per published comments, is ready to cover any trombone part in the event of an absence or do anything else that needs doing.