Lusher's Rhapsody

Gordon Langford : Rhapsody for Trombone

I have chosen to conclude my mini series of 'Slide Rules' with a work that has
established itself as one of the most popular and accessible pieces for solo trombone
and brass band. However, despite the familiar idiom and obvious suitability for the
instrument (the composer is a trombonist), it still presents the soloist (and band for
that matter) with a considerable challenge to find it's subtleties and produce a
performance that is more than perfunctory. Lasting around twelve minutes, it is much
more substantial than the usual 'four minute mile' to which audiences are accustomed
and presents the soloist with a number of stylistic and technical challenges in addition
to that of stamina.

Gordon Coleman was born in North London in 1930 and after beginning piano
lessons at the age of five, went on to study composition, piano and trombone at the
Royal Academy of Music. Common practice at the time, particularly for composers
of 'light music' was to write under a pseudonym, so taking the advice of his
composition teacher he added the surname Langford. Following in the path of other
British 'popular music greats' such as Noel Coward, Ivor Novello, Eric Coates, Albert
Ketelby and Haydn Wood, Langford has produced compositions and arrangements
for film, theatre, television, radio and of course an enormous volume of work for
brass band. For many years associated with the BBC radio programme 'Friday Night
is Music Night', Langford's imaginative and ingenious technique is familiar to
millions and not least the brass band movement which has shown a voracious appetite
for his tuneful and beautifully crafted music for over forty years.

Dating from 1975 the Rhapsody was the result of a commission by Geoffrey Brand
for a new work for trombone to be performed by Don Lusher at the National Brass
Band Finals Gala Concert at the Royal Albert Hall. Though no stranger to bands (Don
had been brought up in the Salvation Army) this was a great honour and refreshing
change for the 'doyen of trombone swing'. Born in Peterborough in 1923, the young
Don was passionate about the sound of the brass band and had tried out most band
instruments by the time he settled on the trombone at the age of six. The rest is
history. Don was, until his recent death in 2006 simply the best ambassador for the
trombone in jazz and light music one could ever imagine. A former member of the
great Ted Heath Band, leader of his own Big Band (which featured many former Ted
Heath players) and passionate British Trombone Society member (twice President),
Don inspired generations of players and listeners alike.

Don's unique and distinctive style undoubtedly influenced the composition of this
work, making it very much 'Lusher's Rhapsody', with the question of 'vibrato' perhaps
presenting the most intriguing subject for discussion. Like many players both past
and present, Don was unquestionably influenced by the great Tommy Dorsey, whose
extremely fast slide vibrato helped produce the fluid, singing, melodic qualities both
players are so well known for. The question of vibrato on the trombone is one that
should be viewed from both a practical and stylistic standpoint. Practically speaking,
it is generally agreed that slide vibrato is more awkward to achieve on the heavier
large bore slides and so choice of equipment may influence a player's desire in this
area. However, one must also bare in mind that a true slide vibrato (i.e. raising and
lowering the pitch of a note) is impossible in 1st position. Study of the great jazz
ballad trombonists (Dorsey, Lusher, Jiggs Whigham) will reveal avoidance of 1st
position and fluent use of alternate positions for this reason.

The most frequently asked questions are when to use vibrato and how much to use ?
As demonstrated by performers in all styles of music, this oscillation of pitch is a tool
to assist in the tonal colouring of certain notes to convey the emotions that the
harmony and melodic intervals have inspired within the performer. Generally
speaking, the longer the note the more appropriate it is to colour. Given the close
relationship between brass instruments and the human voice, compare the different
ways performers such as 'vocal jazz legend' Ella Fitzgerald and 'classical diva' Maria
Callas use vibrato and even Callas' choice of vibrato in a Mozart aria compared to the
music of Puccini. A favoured technique with vibrato to be found among light music
vocalists is to start the note 'straight' and then introduce a gradually widening and
quickening oscillation.

A good example of emotionally inspiring harmonies and intervals occurs in the

introduction to this work. Try and employ a mixture of slide and lip vibrato plus tonal
and dynamic colour to reproduce my suggestions in Fig. 1. If you don't agree then
listen to your own emotions and create something unique.
To achieve a really smooth and fluid legato at Fig. 34 (The Big Tune), one should try
and stay on the same harmonic as much as possible, freely using alternate positions
and thus integrating opportunities for slide vibrato and tasteful 'smears'.

Performers must take great care to control breath when negotiating the many long
passages in this work and not spoiling them with unnecessary and obtrusive intakes
of air. Remember to conserve air at the beginning of a phrase and not to play the high
concert 'Cs'(in particular) too loudly. A simple 'ping' with the help of the tongue will
achieve a ringing quality to the high register and not use up too much air. Given the
ear's preference for the higher frequencies, a modest, singing 'mf' should also be quite
sufficient to achieve the passage from bar 106-112 in one breath.

The charming 9/8 'Siciliana' section at Fig. 127 will be enhanced by careful attention
to the printed phrase marks and additional expression inspired by the the harmonic
structure. To achieve clear definition, try the downward arpeggio in bars 144 and 146
all in 7th position and only move back to 'home' positions as the passage rises and as
harmonics and slide positions get closer together.

A most refreshing and original touch to this work and one obviously intended to show
off the talents of the soloist at it's première, is the improvised cadenza. Taking the
percussive ostinato as a guide, one can (in the true tradition of a cadenza) employ all
your favourite tricks (especially the ones you are good at) using the thematic material
within the whole the work as your inspiration. If you don't trust your memory, when
you have got it right, just write it down. I have my own cadenza for this piece which I
wrote down as guide if anyone is interested.

There are quite a number of recordings of this piece if one cares to 'surf the net' but
without 'road testing' them all I can safely recommend Don's own distinct and unique
recording with Roy Newsome and Black Dyke from 1976 and Brett Baker's
intelligent and refined account with Faireys under James Gourlay of 1996.
For those of you who are still with me at the conclusion of this series, I hope I have
been able to shed some light on historical background and provide an insight into
musical and technical demands on the trombonist with the benefit of my experience.
Given the unquestionable versatility of the trombone, appearing as it does in so many
musical genres, I believe approach is universal and wish all readers success in their
musical endeavours.