1914—England

Cecil Forsyth, in his book Orchestration, says, “It is worth noting that the Trombone player depends solely on his ear for his correct intonation….He makes his notes just as the String-player makes his. Thus he has the opportunity of a nice accuracy in judgment, and it is only necessary to hear four clever Trombone-players exercising this judgment by playing an ‘equale’ in the pure untempered scale to be made aware how delightfully musical is the essential character of the instrument” (Forsyth 139).