The "Prelude" examines the bittersweet nature of the trombone slide, which gives each note the capacity for perfect intonation while providing the player with no shortcuts toward achieving that goal.

 

In the "Invention" we see that the trombone can effect playful and humorous textures without resorting to the stereotypical glissando. The performers are challenged to keep a light character while the harmonic material is quite dissonant.

In the "Interlude", the performers are required to hum while playing. This technique is uniquely effective on the instrument because the trombone's timbre so closely resembles that of the human voice. The harmonic and melodic material hearkens back to the instrument's earliest roles in the church, when it simply doubled vocal chant.

The "Caper" attempts to dispel, at least temporarily, the trombone's reputation as an inarticulate instrument, and takes full advantage of its capacity for theater and contrast.