Editing Sackbut (section)

====Solo====
The 17th century brings two pieces of real solo trombone repertoire.

[[Giovanni Martino Cesare]] wrote ''La Hieronyma,'' (Musikverlag Max Hieber, MH6012) the earliest known piece for accompanied solo trombone. It comes from Cesare's collection ''Musicali Melodie per voci et instrumenti a una, due, tre, quattro, cinque, e sei'' published in Munich 1621 of 28 pieces for a mixture of violins, cornetts, trombone, vocal soloists and organ continuo. The collection also contains ''La Bavara'' for four trombones.

The other solo trombone piece of the 17th century, ''Sonata trombone & basso'' (modern edition by H Weiner, Ensemble Publications), was written around 1665. This anonymous piece is also known as the 'St. Thomas Sonata' because it was kept in the library of the Saint Thomas Augustinian Monastery in Brno, Czech Republic.

[[Francesco Rognoni]] was another composer who specified the trombone in a set of divisions (variations) on the well-known song ''Suzanne ung jour'' (London Pro Musica, REP15). Rognoni was a master violin and gamba player whose treatise ''Selva di Varie passaggi secondo l'uso moderno'' (Milan 1620 and facsimile reprint by Arnaldo Forni Editore 2001) details improvisation of diminutions and Suzanne is given as one example. Although most diminutions are written for organ, string instruments or cornett, Suzanne is "per violone over Trombone alla bastarda". With virtuosic semiquaver passages across the range of the instrument, it reflects Praetorius' comments about the large range of the tenor and bass trombones, and good players of the Quartposaune (bass trombone in F) could play fast runs and leaps like a viola bastarda or cornetto. The term "bastarda" describes a technique that made variations on all the different voices of a part song, rather than just the melody or the bass: "considered illegitimate because it was not polyphonic".<ref>Selfridge-Field (1994), p.&nbsp;309.</ref>