Der wechselseitige Einfluß
von Jazz und Klassik in bezug auf die Entwicklung der Posaunenspieltechnik (Posaunenspielliteratur)
The trombone, although an instrument of ancient origin, has only recently emerged as a solo instrument of importance. Bach, Handel, Haydn, Mozart and most other seventeenth and eighteenth-century masters favored the natural trumpets and valveless horns instead of the chromatic trombone. It was mainly Gustav Mahler who brought forward the trombone from the back of the orchestra into an occasional solo position.
Around 1880, euphonium and valve trombone were essential in American brass-bands. The trombone, because of its difficult technique, was an exotic instrument. Arthur Pryor, who can be called the first cross-over trombone player, played this instrument with extraordinary technique and influenced Glenn Miller and Tommy Dorsey with his warm, singing sound. He also used multiphonic sounds in his performances. Due to this, playing with such a technique was not an innovation of jazz performers in the 1970s (Thelin, Mangelsdorff).
Performers and composers have been greatly influenced by the modifications and extensions of range, technique and expressive tone colours that jazz artists have developed. Especially French composers like Jean Michel Defaye (»Deux Dances«, 1954), Eugene Bozza (»Ballade«, 1944), Darius Milhaud (»Concertino d’Hiver«, 1955) and Henri Tomasi (»Concerto«, 1958) work with difficult playing techniques, such as large intervals, long phrases, rapidly detached notes and overall endurance in their compositions.