1928

Arthur Heacox of Oberlin Conservatory of Music writes in his orchestration text, “The trombone has remarkable dynamic versatility, ranging from a thrilling ff to a pp that can be made mysterious, plaintive, or even sinister. Though a good melodic instrument, it is not very flexible in tone production. The trill, and rapid scale passages should be avoided….It is in the symphony orchestra that the trombones come into their full glory, where it is customary to use three, with or without a tuba. Here a melody is seldom given to a trombone alone, but rather to all three of them in unison. In broad sustained chords—where trombones are at their best—the composer has an astonishing resource—a high light in his picture, and one requiring artistic handling” (Heacox 138).*