Here's something that I've been wondering about for a while: When writing a test-piece, one writes to test (I would presume). Every other part in the band seems to be considered fair game for a bit of technical shenanigans that the players concerned will just have to practise hard on; but the Bass Trombone? A few examples aside*, the part in a Championship section test-piece is almost always ludicrously easy - it is very frustrating to be bored while sight-reading a part through perfectly**, listening to everyone else doing their best to run up, down and round about, and in general get to grips with a lot of tricky meaty stuff. You know that you've got a month coming up during which you'll be doing nothing but playing the same easy things over and over again while others have more fun around you... Where are the crucial wobbly bits? Where are the big lyrical solos? The big technical solos? The big solos of any kind? Every other instrument in the band can point to several pieces that are real showcases for their instrument - where is the equivalent serious band literature that will really seriously challenge the Bass Trombone? I'm not convinced that it's out there at all - and why not? Why do a substantial proportion of composers not assume that the part will be played in a top section band with any degree of proficiency? Even when some trust is shown in the player, the Tenor parts are almost always harder than the Bass one! Am I really correct? Do composers actually shy away from writing too much of importance for the Bass Trom? Dave * e.g. The Devil and the Deep Blue Sea - Bourgeois The Year of the Dragon - Sparke Variations on an Enigma - Sparke are all that spring to mind straight away as having sections that are technically significantly harder than average. I believe Masquerade has some tricky stuff, though I've not played it. ** Not blowing my own trumpet particularly - many of them really are this simple and unexposed.