On Aug 10, 2008, at 10:21 AM, Craig Parmerlee wrote:
The avoidance of the trigger is mostly about tradition more than
anything else, and also that the number of instrument choices is
limited.
That's not strictly true. The addition of an F trigger affects the
way the horn blows, and most agree that the effect is negative, so
they avoid it for that reason. The ones who choose a F trigger do so
knowing what the tradeoff is.
If you doubt this, try one of the Bach 42s that have a removable
trigger section. The straight horn is noticeably freer-blowing, even
to a guy like me who has played trigger horns for his entire career
and is used to it. I also noticed the effect is more pronounced in
the higher register, so someone who doesn't need the extra few low
notes or the easier agility in the low register is more likely to
choose a straight horn, like a jazz or lead player.
I know many bass trombonists who prefer "stacked" to "in-line"
because the response of the instrument when the F key is not pressed
is superior (only one valve to go through.) Some guys are even
playing straight BASS trombones (yes, in Bb!) when the repertoire
permits!
Probably 95% of the trigger trombones in existence are "large bore
symphonic tenors", which really shouldn't be used in a big band.
Hmm. Don't tell that to Slide Hampton, Robin Eubanks, the late Jimmy
Knepper, or several local trombone gods here, who use their big horns
all the time, even on the lead chair in a big band. It's hard work,
but there is no real reason not to use the instrument that you are
most comfortable with.
There is nothing about the F attachment that inhibits jazz soloing
in any way.
Some would disagree (see my earlier paragraph.)
But the real issue is whether the notes below E should have been
included in a definitive sample set, and the answer is of course yes!
Christopher
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