Appendix 3

Page 8 of 8

Footnotes

For the sake of continuity, a number of questions were intentionally similar to those posed by Dr Mark Hartman in his survey of US trombonists conducted in 1985 (see Hartman, The Use of the Alto Trombone in Symphonic and Operatic Orchestral Literature, DMA dissertation, Arizona State University, 1985). While responses regarding performance practice were generally not unalike on both sides of the Atlantic, the salient difference appears to be the greater acceptance of the alto by the British players surveyed in 1994 as opposed to the US players surveyed in 1985, or even those questioned by David Mathie in 1993 (see Mathie, The Alto Trombone: Current Use and Performance Trends, University of Georgia DMA, 1993).

‹‹ Appendix 2 | Table of Contents | Music Examples ››

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Featured Articles 1
Featured Articles 2
Featured Articles 3

mike-hext

Crossing the Great Divide: Michael Hext expounds on being both a jazz and classical trombonist.

sam-burtis-1

New York, New York: Recently interviewed, Sam Burtis reveals to David Lalljee the intricacies of the life of a New York studio musician.

future-is-low

Adrian Cleverley reports on Chris Stearn's Contrabass Trombone Masterclass at Trinity College of Music.

don-lusher-colour-1

Don Lusher: Sheila Tracy has penned a fitting tribute and obituary for the man who inspired generations of young trombonists.

grinsted

The Improved Trombone: an essay in Edwardian ingenuity Innovation or flop?

altposaune

Rob Slocombe investigates the Fall and Rise of the Alto Trombone.

beethoven

God's Trombones: Peter Bassano has researched Beethoven's Vier Equale.

arthur-wilson

Arthur Wilson: With the passing of Arthur (21 Jun 1927 – 10 Jul 2010) after a long battle with Parkinson's Disease, the music profession has lost one of its finest symphonic trombone players and teachers.

Arthur's career spanned more than 50 years. His loss will be deeply felt by hundreds of friends, colleagues and ex-students.