Trombone quartet placement that benefits both audience and players

This is an important topic to ponder when you have a regularly performing group that needs to properly arrange its members on a stage.

 

Flat, curved, widely spaced, or shoulder to shoulder? Once long ago we were having an ongoing discussion on what shape configuration was optimal for hearing a blended trombone quartet sound.  This was in Steve Lange’s basement where we would rehearse most Monday mornings on our designated off day. We had multiple considerations but ultimately decided on what we called the flying wedge, allowing each trombone part aural crossover for the listener to enjoy live.

 

So what is the flying wedge actually? Simply put, the outer players, bass and first trombone, are equidistant apart with the inner players closer together forming the wedge part.  My handy adjustment tool was to use my hand slide as a ruler for measuring between music stands, giving an easy way to get the spacing right.  One hand slide between each stand.

 

But wait there’s more:

 

One last tip deals with acoustical considerations for the part writing, especially when scored antiphonally.  For the piece Hereafter, Amanda and I move to the outside position mainly for the drone section but also the overlapping musical line.  Earlier on the Anthony Plog Quartet, we used this same adjustment.