Jazz trombone

Trombone first saw use in the jazz world with its entrance into traditional jazz where it played along with the chord changes, often connecting the seven to third or third to root resolutions of cadences, allowing the other musicians of the group to improvise along with it. In a standard dixie group, the players marched through the streets or were hauled around, playing in an open trailer. The trombone having a slide instead of valves or strings or holes for playing had difficult positioning themselves, and tended to sit in the back of the trailer, gaining the name "Tailgate Trombone". This style of playing included many trombone specific techniques such as growling, scoops, falls, and slides. These factors provided traditional jazz with its well known, almost "dirty" feel. The most famous tailgate trombonist was Edward "Kid" Ory. Even though the trombone was finally featured in jazz at this point, it was not until the swing era of jazz that the trombone actually stepped into the spotlight.

The swing era of jazz reached its peak in the 1930s, where the trombone was then popular. In a standard swing band there were 5 saxophones, 4 trumpets, 3 or 4 trombones and a rhythm section. This is when trombone started to stand out as a solo instrument, with players such as Jack Teagarden. Characteristic of the Teagarden style of trombone playing is a clean articulation, excellent high register and limited slide movement. This often results in pentatonic scales. Other famous trombone soloists in swing bands were Tricky Sam Nanton and Lawrence Brown in the Ellington Band, and Dickie Wells and Vic Dickenson in the Count Basie Orchestra.[1] Several trombonists (e.g. Tommy Dorsey, Trummy Young) began to form their own swing bands, and allowed themselves to show off their instrument that had before been hidden behind the rest of the horns.[2] When this happened, the standard style of playing switched away from the "tailgate trombone" style, and moved towards a lyrical and smooth form of playing. This revolutionized jazz trombone in a way that no player had thought possible before. This helped move trombone into the spotlight,[3] as it became an instrument of lyrical, smooth, soft playing that people enjoyed listening to.

As the era of swing jazz ended, the new style of bebop jazz emerged from the early 1940s. Bebop was a faster form of swing that was played for its own sake, as opposed to swing jazz, which was played for dancing. In this era, the trombone was less often played as a solo instrument, as many of the passages in the music were too technically fast for the playing style that had developed during the swing era, as that style was held back by the slide more so.[4] The leading trombonists at the time also worked on adapting and creating a new style to follow the fast-paced bebop. The driving force of this stylistic movement was J.J. Johnson.[5] He followed the influences of bebop jazz innovators Charlie Parker and Dizzy Gillespie while adding his own, smooth, slower form of playing over the fast tracks of bebop. J.J. Johnson eliminated mast of the glissando's, rips and such from his playing, replacing it with a more precisely articulated style, enlivened by extended chords and alterations characteristic of bebop. Although this level of slide trombone virtuosity had been previously displayed in brass bands by the likes of Arthur Pryor it was new to jazz trombone.

The trombone, like most other brass instruments uses mutes from time to time in music in order to get a certain sound. There are many different types of mutes for different situations or desired sounds to be put out.

• Plunger Mute - A plunger mute is a plunger head that covers all or part of the open portion of the bell, this gives the "wah wah" sound. One distinct example of this sound effect is the sound that adults make when they talk in the Peanuts cartoons.
• Cup Mute - The cup mute is a mute that sticks to the inside of the brass bell, and completely covers it with its distinct cup shape. This specific mute gives a sound similar to that of a full cover plunger mute. Typical use during smoother and lyrical jazz playing.
• Bucket Mute - The bucket mute is a mute that is normally shaped like a bucket that clips on to the trombone bell, and is filled with some form of dampening material in order to reduce the overall sound output of the instrument it is over. It is primarily used in soft ballads in jazz. The Bucket Mute effect is also possible to achieve by playing into a music stand.

There are different techniques to change the sound that comes out of the bell of the trombone, these can create very interesting effects in playing certain jazz licks, or even just during an improvised solo.

• Growling - Growling is a technique that where a type of guttural throat sound is produced while playing a pitch, creating divided sound with the pitch. Primary examples of this are found in Dixieland/New Orleans jazz trombone parts, and in the Ellington Band by growl specialists Tricky Sam Nanton and Quentin Jackson.
• Glissando - A glissando is an unarticulated movement from one note to another. Trombone is one of the few instruments that can put into effect a true glissando, or an undisturbed movement from one pitch to the next (within a tritone movement at the most) simply by moving from an outer slide position to an inner slide position without change of partial. This is another example most common in Dixieland.
• Scoops and Falls - Scoops and Falls are a form of technique where you approach or move away from the intended pitch, usually marked with a curved line in the sheet music heading up to going from the note head, depending on which one it is. A scoop is done by very quickly moving from an outside slide position to a close inner slide position (ex. Position 2 to Position 1), while a fall is the exact opposite motion. (inner position to outer position, ex. Position 1 to Position 2). Very common in Dixieland and in Swing Era jazz.
• Multiphonics - Multiphonics is a technique that is much more common in newer age jazz, as it creates such a distinct sound. The most famous exponent of this technique is the German trombonist Albert Mangelsdorff. Multiphonics are performed on the trombone by playing a pitch, and then humming an interval above the pitch being played. This causes both pitches to come out the bell at the same time, therefore playing multiple pitches. The two pitches interfere in the instrument, creating a third tone, the difference tone.