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Updated: June 5, 2025
"I only know to play the B-flat trombone louder as any man in the world." Average Jones paid him a lump sum, dismissed him and returned to the Cosmic Club, there to ponder the problem. What next?
It is an arpeggio of the chord of B-flat; it leaps up merrily, and has a characteristic delightful little twist at the end, and in the leap and in the twist lay possibilities of a kind that he made full use of only in his maturer style.
It is made up mostly of the tones A, C, D, and E. These tones belong to the pentatonic scales of C major and its relative minor A. In tonality, the song cannot be considered as belonging to either of these keys, as there is a very distinct feeling of B-flat in it, notwithstanding that the tone is seldom dwelt upon, but passed over quickly, almost glissando, in nearly every place where it occurs.
With a few such elemental groups of his own invention at command, any singer would be well equipped to extemporize for the delectation of his host and the entertainment of the other guests. The song is exceptional for strongly accented notes. The triplets giving the value of three quarter notes in the time of two are rather unusual in modern music. It is cast in the natural minor scale of B-flat.
The overture, beginning with an adagio movement in B-flat minor, gives expression to the vague yearnings of that time of doubt and hesitancy when the "oracles were dumb," and the dawning of a new era of stronger and diviner faith was matter of presentiment rather than of definite hope or expectation.
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