. Orchestration . dim. In this connection the student should examine the score of Schu-berts Mass in E\>. It contains a good deal of vocal accompanimentin the old-fashioned German way, and of Trombone part-writing withHorns and Wood-Wind. In particular there is a surprisingly modernstroke at the opening of the Sanctus. The key of the movement isEb. The Chorus repeats the word Sanctus on the ascending notes G,BiJ, and D, harmonized by chords of Eb major, B minor and G Trombones enter on the second—the B minor—chord thus: EXAMPLE 81. Alto, Tenor, Trombones. Bass Adagio Schubert. Mas
. Orchestration . dim. In this connection the student should examine the score of Schu-berts Mass in E\>. It contains a good deal of vocal accompanimentin the old-fashioned German way, and of Trombone part-writing withHorns and Wood-Wind. In particular there is a surprisingly modernstroke at the opening of the Sanctus. The key of the movement isEb. The Chorus repeats the word Sanctus on the ascending notes G,BiJ, and D, harmonized by chords of Eb major, B minor and G Trombones enter on the second—the B minor—chord thus: EXAMPLE 81. Alto, Tenor, Trombones. Bass Adagio Schubert. Mass in Ek. THE TROMBONES 149 It must be confessed that when not using the Trombones in harmonyone runs certain risks. Against Wagners brilliant solo use of theTrombones in the Tannhduser Overture and the Prelude to Act III. ofLohengrin, and against Schuberts wonderful solo-passage for threeTrombones in unison (C major Symphony), one must set the dread-ful Tuba Mirum of Mozart. Only the first three bars appear tohave been written by one who understood the instrument. EXAMPLE 82. Andante. Trombone Solo. Bass Voice. afe j Mozart. Requiem. as ^1 m £ m &c. mi-rum spar-gens The rest might better be described as Tuba dirum spargens is a sample : EXAMPLE 83. Trombone Solo. Bass Voice. w«r r j fi Mozart. Requiem.
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