1951—Rochester, New York

Bernard Rogers, professor at the Eastman School of Music, says the following about trombone in his orchestration text: “The trombone’s role is that of power, dignity, weight, and brilliance. Its tone is at once massive and pure, and despite its primitive slide principle, the instrument commands a subtle legato…. While it is possible to produce the tones above high B-flat as far as E-flat (as in Schumann’s Third Symphony), these notes are difficult technically and dynamically. [Footnote:] Jazz players display no fear of extremely high notes, but they often employ a special mouthpiece for trumpet and trombone…. In the top octave the trombone’s tone is clear and dazzling. High chords, in close position, have a fiery glow. This is the region in which the trombone excels in bold proclamation and vivid color. Open position also carries through with magnificent effect in simple chord forms. Dissonances, played forte, have savage power. United trombones lend immense impact to passages of stern nature. Deliberate movement suits them well; yet the instruments can move with astonishing speed in the upper half of their range. (During the time it took to reach the radio dial, we have heard a good part of the Flight of the Bumble Bee warbled by solo trombone!)… The instrument has a remarkable dynamic scale, and adds immeasurably to growing sonorities. Even greater than the horns and trumpets is its power of forte piano (fp) or of making suddenly swelling or decreasing dynamics” (Rogers 62).