1790—Vienna, Austria

Johann Georg Albrechtsberger writes his treatise, Sämmtliche Schriften über Generalbass (Methods of harmony, figured bass, and composition), wherein he says the following about trombone: “The first trombone should go with the alto, the second with the tenor, and the third, which is now scarcely in use, with the vocal bass. This instrument requires rather slow than quick notes, and admits of but few forced notes, which the trumpets alone produce readily. A quick movement must never be given to it in obligato pieces” (Albrechtsberger 264). He also writes, “The Trombone (Posaunen, tromboni) are of three kinds: bass, tenor, and alto. In every position of the slide, the trombone yields four, five, or six different sounds….The compass of the bass trombone is from E1, through every semitone, up to G3; and of the alto trombone from F2 up to E-flat4. Braun and Frölich have written methods or schools. Ahlsdorf, Bolke, Braun, Dueller, Frölich, Hörbeder, Micke, Schmitt, Seeger, Segner, Ulbrich, etc. have handled this instrument skillfully” (Albrechtsberger 290).