1619—Wolfenbüttel, Germany

In the third volume of his treatise, Syntagma Musicum, Michael Praetorius discusses use of alto trombone in several different settings. The first is in the context of the cornett and violin choir: “But if another C-3 clef is used besides the one for the basset and other clefs noted above, it is better to use a sackbut together with the cornetts (if an alto sackbut player who plays really well is available), and a Viol da bratio…” (Praetorius III Kite-Powell 159). Later he mentions alto trombone in the context of choirs of trombones and curtals, naming it as a possible instrument for the top voice of an ensemble “with six sackbuts, curtals, or shawms” (Praetorius III Kite-Powell 165), in addition to stating, “Not everyone playing in the alto clef on the ordinary tenor sackbut can reach g’ and a’ lamire and even fewer on a chorist [double] curtal. If the first part is intended to be played a fourth or fifth lower as an alto, that part must be played either on an alto sackbut or treble [single] curtal…or sung by an alto” (Praetorius III Kite-Powell 167). He also points out that alto trombone is referred to as trombone picciolo in Italian (Praetorius III Kite-Powell 132).