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Updated: June 15, 2025
He umpah umps with the conventional trombone fatalism. Whatever the tune, whatever the harmonies, trombone umpah umps regardless. Umpah ump is the soul of all things. Cadenzas, glissandos, arpeggios, chromatics, syncopations, blue melodies these are the embroidery of sound. From year to year these change, these pass. Only the umpah ump remains.
There are several verses which vary but little in the music, except for the changes in the reiterated staccato tones which are made greater or less in number to accommodate the difference in number of syllables. With the exception of those starting the glissandos or trills, the repeated tones were given with a very decided staccato punch. Much of the intonation is vague.
Worthy of especial mention are the delicious "Stars and Angels;" the delightful "A Carriage to Ride In;" "Good King Arthur," a captivating melody, well built on an accompaniment of "God Save the King;" "Birdie's Burial," an elegy of the most sincere pathos, quite worthy of a larger cause, if, indeed, any grief is greater than the first sorrows of childhood; the surprisingly droll "Barley Romance;" "The Broom and the Rod," with its programmatic glissandos to give things a clean sweep; and other delights like the "Rain Song," "The Tomtit Gray," "Mamma's Birthday," and "Christmas at the Door."
Sign, a straight line drawn obliquely downward beneath the group. Upward Glissandos. An even sliding of the voice upward without sounding any of the intermediate tones. Sign, a straight line drawn obliquely upward beneath the group. Groups of five seem to have no terrors for these people.
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