Review

Eliezer Aharoni
The Non-Classic Bass Trombone (or Tuba):

Jerusalem, , Israel
Publisher: NogA Music
Date of Publication: 2008

Method book, two play-along compact discs included

Primary Genre: Study Material - method
Secondary Genre: Study Material - etude

Eliezer Aharoni’s 1975 book New Method for the Modern Bass Trombone remains an invaluable instructional source for players learning dependent and independent valve systems. Now the former bass trombonist of the Jerusalem Symphony Orchestra provides us with a new and quite comprehensive look at preparing to perform styles other than classical on the bass trombone.

Within the first 47 pages of this 160-page book, the author includes a valuable overview of important players, ensembles, genres, recordings, musical arrangements, and equipment. The next 10 pages offer thoughts on doubling and practice tips. The final seven pages are a fine bibliography and discography of resources. The book is not spiral-bound but stays open well on the music stand, and the font in the main text is appropriately large.

In the middle are some 100 pages of musical etudes, each notated wonderfully. A few technical studies quickly yield to musical demonstrations in the styles of ballad, Latin, waltz, funk, swing, bop, mixed-meter, blues, classically influenced phrases, bass lines, and even characteristic phrases with which the bass trombone often starts or stops the band. After 37 etudes by Aharoni, a “guest composers section” offers 37 more pages of compositions by others including some duets. The sum of etudes is a terrific practice resource for any bass trombonist and portrays not only originality but also tradition. For example, the piece “Bass Interlude” is profoundly influenced by Thad Jones’ famous “Tiptoe” trombone soli.

Compounding the value of this book are the two compact discs that accompany it. Tracks alternate between full recordings of accompaniment and bass trombone soloist (ably demonstrated by Micha Davis, bass trombonist with the Israel Philharmonic Orchestra) and tracks of accompaniment “minus one” so that you can try playing on your own. The recordings are well-made and will support yet challenge any user of this book. Aharoni notes that though this text is for the bass trombonist, tuba players will find benefit from the etudes. Plus, he “included a lot of information relevant to the tuba, especially in the bibliography/discography section.”

It is difficult to do anything other than stand and applaud the release of this book. Clearly it was birthed with tremendous forethought and care, and the quality of the product is superb. I have slight reservations about one element of the solo performance style on the compact discs: in most of the swing excerpts, I notice a slight separation or decay performed between the eighth notes' phrasing rather than a smooth line characteristic of jazz vocal and instrumental style. Some of the swing examples are also more triplety than in the tradition. That said, find me better-performed examples in any “non-classic bass trombone” method book! The musicianship is of stellar order. 

With Micha Davis’ contributions, Eliezer Aharoni has once again brought the world a book that should be on every bass trombonist’s practice stand, seeking to broaden musicians’ capacity to perform authentically in as many styles as possible.

-Antonio J. García
Virginia Commonwealth University