The work begins slowly and is marked Noble, Lyrical and Elegiac. In particular the elegiac aspects of the piece explore not only the calm reverence usually associated with such music, but also the more muscular, rougher, sharper memories that such a colorful character would evoke. The marimba uses a "spiccato" technique, muted playing over the nodes of the bars and varying speed in the rolls as expressive elements gleaned from Benson's many years experience as a percussionist. Taking an inclusive approach to trombone technique, the work makes rather uninhibited use of such sonorities as quarter tones, glissandi and explosive rips to come to terms with the passing of an internationally recognized teacher, one who always remained open to the many uses to which his teachings were put by the great variety of student careers he saw come to fruition. The work ends with an original chorale, recalling Mr. Remington's devotion to the trombone choir which he pioneered, and whose performance of Bach chorales he loved to conduct while singing, "tah, tah, taaahh," as was his irrestible wont in lessons and concerts alike.