Whether you’re just beginning your trombone journey or have been playing for decades, it’s important to look back and listen to the great players who shaped the instrument’s history.
Every slide movement, every lyrical phrase, and every expressive tone we play today stands on the foundation built by those who came before us.
One of the most influential figures in trombone history is Arthur Pryor — a performer whose dazzling technique and musical expression set a standard that trombonists still strive to reach more than a century later. Known as the “Paganini of the Trombone,” Pryor not only amazed audiences as the star soloist of the Sousa Band but also wrote solos that continue to challenge and inspire musicians of every generation.
By studying and listening to Pryor’s performances and compositions, trombonists young and old can gain a deeper appreciation for the artistry, creativity, and discipline that define true musicianship. His legacy reminds us that technical skill and expressive playing go hand in hand — and that excellence is built through listening, learning, and honoring the masters who paved the way.
Arthur Willard Pryor (1869–1942) was one of the most remarkable trombonists and band composers in American history. His dazzling technique, expressive playing, and contributions to both performance and composition made him a defining figure in early 20th-century band music. From his early years in Missouri to his legendary performances with John Philip Sousa’s band, Pryor’s career continues to inspire trombonists and musicians worldwide.
Early Life and Musical Beginnings
Arthur Pryor was born on September 22, 1869, in Saint Joseph, Missouri, into a musical family. His father, Samuel Pryor, was a respected bandleader and his first teacher. By the time Arthur was 11, he was already performing with his father’s band and demonstrating exceptional talent on the trombone.
It’s said that Pryor began learning trombone at age 11 on an instrument so large he had to stand on a pile of books to reach seventh position. His early training under his father’s direction helped him develop the solid fundamentals, strong tone, and technical command that would later set him apart.
Pryor’s musical education was primarily self-driven and experiential. While he didn’t attend a conservatory, his performing experience with local ensembles and his work as a conductor and arranger provided a rich foundation in harmony, orchestration, and musical leadership.
Arthur Pryor, Sousa Band, Trombone Solos
In 1892, Pryor’s extraordinary talent caught the attention of John Philip Sousa, the famous “March King.” Pryor joined the Sousa Band as its principal trombonist and featured soloist—a position he would hold for over a decade.
With Sousa’s ensemble, Pryor toured extensively across the United States and Europe, performing to sold-out audiences and helping to elevate the band’s international fame. His dazzling trombone solos became a highlight of every Sousa concert. Pryor’s technique, characterized by speed, clarity, and expressive phrasing, astonished listeners.
He was often called the “Paganini of the trombone” because of his virtuosic performances. In addition to his solo role, Pryor also served as assistant conductor, occasionally leading the band during tours when Sousa was unavailable.
Popularity Then and Now
During Pryor’s tenure, the Sousa Band was one of the most popular musical acts in the world—a cultural phenomenon before the age of radio. Crowds filled concert halls and outdoor pavilions to hear marches, light classics, and Pryor’s own trombone solos.
Today, while Sousa’s name remains synonymous with the American march, the live concert band tradition has largely moved into schools, universities, and community ensembles. Yet, Pryor’s influence continues to resonate: his compositions and arrangements are still performed by military, professional, and community bands across the country, and his solos are cornerstones of trombone repertoire.
Pryor as Composer and Band Leader
After leaving Sousa’s band in 1903, Pryor formed his own professional touring group, the Arthur Pryor Band, which became one of the premier concert bands of the early 1900s. His ensemble recorded extensively for the Victor Talking Machine Company, bringing band music—and his trombone artistry—to millions of listeners through the new technology of recorded sound.
As a composer and arranger, Pryor wrote over 300 works, including novelty tunes, marches, and solos. His compositions blended classical form with the popular styles of the day—ragtime, waltz, and light opera—creating music that was both virtuosic and entertaining.
Trombone Solos and Compositions
Arthur Pryor was not only a phenomenal performer but also a trailblazing composer for the trombone. His works helped define the instrument’s solo repertoire, combining brilliant technique with melodic charm.
Characteristics of His Writing
- Technical Brilliance: Demanding rapid articulation, flexibility, and high-range control.
- Expressive Melody: His lyrical lines show the trombone’s singing qualities.
- Entertainment Value: Many of his solos include humor, charm, or storytelling, connecting strongly with audiences.
- Pedagogical Significance: His solos are still used to develop phrasing, endurance, and stylistic understanding.
Notable Works
- Blue Bells of Scotland – His most famous solo; virtuosic and highly expressive.
- Thoughts of Love – A lyrical and expressive solo showcasing Pryor’s gift for beautiful melodies.
- Fantastic Polka – A dazzling technical showpiece featuring rapid passages,tonguing, and great slide work.
- The Patriot – A spirited and heroic solo combining lyrical themes with bold, patriotic character.
- The Whistler and His Dog – Playful and melodic, often performed by both bands and soloists.
- A Kansas Two-Step – Reflects early American syncopation and dance rhythms.
These compositions are frequently performed by college, universityand community bands world wide. These and many more remain as required trombone literature, used in recitals, auditions, and competitions around the world.
Why Trombonists Still Perform Arthur Pryor’s Solos
More than a century after Arthur Pryor first performed his brilliant trombone solos, his music remains a vital part of the instrument’s repertoire. Trombonists around the world — from students preparing for recitals to professionals performing in major concert halls — continue to play Pryor’s works for several important reasons.
- Technical Standards – Pryor’s solos demand exceptional slide technique, articulation, and flexibility. His solos challenge every aspect of a trombonist’s playing ability. Performing Pryor’s music helps players develop the technical mastery required to perform any style of trombone music.
- Musical Expression – His solos are full of emotion, humor, and character. His music reminds trombonists that great playing isn’t just about hitting the notes — it’s about telling a story through sound.
- They Are a Bridge to History – Performing Pryor’s music connects modern trombonists with the roots of American band and solo traditions. His works were among the first to feature the trombone as a true solo instrument rather than just part of the brass section. By playing his solos, musicians honor the artistry that helped shape modern trombone performance.
- Timeless Learning Tools -Teachers still assign Pryor’s pieces because they offer a complete musical education. A single Pryor solo can develop range, phrasing, endurance, tone, and style — all while engaging the player in a piece that audiences love to hear.
Recordings and Legacy
Arthur Pryor made several recordings between 1901 and 1910, both as a trombonist and as a conductor for the Victor Talking Machine Company. Though the recording technology of his day was primitive, these discs offer a rare glimpse into the performance style of early 20th-century band music—and Pryor’s fluid, vocal trombone sound.
Pryor passed away on June 18, 1942, in West Long Branch, New Jersey, but his legacy endures. His solos are studied by trombonists around the world, his band compositions are still performed, and his influence on American brass playing remains profound.
In Conclusion
Arthur Pryor, Sousa Band, Trombone Solos stand for a period in American popular music that is a “bye-gone-era”. We need to remember the past “superstars” that paved the road for future superstars of the trombone. The players and their music have set standards for us to play by.
Arthur Pryor’s legacy bridges the gap between 19th-century concert music and the early jazz era. We don’t hear his music every day, but it does keep alive the sound and spirit of the golden age of American bands.
If anything, listen to the great ones to motivate yourself to strive for excellence in your playing.
Related Material
Christian Lindberg: The Trombone Virtuoso