The Trombone Sample

The trombone is surely the most recognizable air current instrument. being the lone 1 with a true slide subdivision. The trombone has been in being for centuries under assorted signifiers and names. but has remained comparatively unchanged for a bulk of that clip.

In the fifteenth century. when trombones developed from the Renaissance slide cornet. they were called trombone in Italian and Posaune in German. merely as they are today. In English. nevertheless. they were known as sackbuts.

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The slide cornet was alone because its mouthpiece could telescope into the next lead pipe. thereby shortening the instrument and altering the pitch. The sackbut kept the sliding thought. but separated the skiding country from the bell ; that manner the bell ever remained the same distance from the oral cavity of the participant.

The oldest sackbut still in being today was built in 1551. The bell of the Renaissance instrument was smaller than today’s trombone. its walls were thinner and it had no H2O key. Most sackbuts were in B level ( really a really crisp A ) . similar to today’s tenor trombone. By 1650. the right manus clasp ( the vertical tubing that connects the two horizontal tubings of the slide ) was added. leting the right manus to put to death the skiding gesture more easy. Four sizes of sackbuts gave the instrumentalist considerable scope ; alto. tenor. bass and dual bass were all used.

By the mid 1550’s. composers realized that sackbuts blended good with the voice ; more and more church music was written for choir and accompanied by sackbuts and horns ( non the horn related to the valve cornet ) . For over 100 old ages. the sackbut was considered an ecclesiastical instrument. Andrea and Giovanni Gabrieli wrote many pieces specifically for St. Mark’s in Venice. which had two choir lofts confronting each other. Sackbuts and horns played to each other from these lofts known as cori spezzati.

The sound of the sackbut became associated with decease and the underworld ;Monteverdi used them for this really ground in his opera Orfeo ( Orpheus and the Underworld ) .

Although used in church musk ( peculiarly for duplicating the lower voices. ) and in little ensembles. the trombone did non go a portion of the orchestra until the eighteenth century. At this period the instrument had strong associations of the ecclesiastical of the supernatural. Gluck wrote for the traditional three of alto. tenor and bass ( e. g. in the oracle scene of Alceste ) . as did Gossec. who besides scored for the individual trombone joined to a bass portion. Mozart used trombones merely in his operas and sacred plants ; his dramatic usage of the instrument is peculiarly good exemplified by the supper scene of Don Giovanni. and he provided a ill-famed solo for the instrument in the ‘Tuba mirum’ of the Requiem ( non without case in point in his earlier church music ) . In Germany the reorganisation of military sets gave the trombone the function of beef uping the bass line. though the three was maintained in big foot sets every bit good as in the orchestra. Technical alterations included realignment of the old high A pitch ( of the tenor ) to concert and band pitch B flat. and credence or seven chromatic slide places alternatively of the old diatonic places. At the same clip the tendency in France and Germany was towards executing all orchestral trombone parts on the B level tenor instrument.

In the nineteenth century. Beethoven. Berlioz. and other composers included the trombone in their symphonic musics. Romantic composers considered the trombone capable of showing a wide scope of emotional state of affairss: Berlioz said the instrument could portray everything from ‘religious speech pattern. composure and enforcing … to wild blares of the orgy’ . With its formidable modesty of power it is non surprising that the trombone was sometimes. used as if volume were its chief property. After the rotary valve was patented in the mid 1800’s. the first B flat/F trombone was invented. An F fond regard added to the trombone allowed the participant extended scope. By dejecting the valve. the participant could do usage of the extra notes made possible by the excess tube. The valve trombone. besides invented at this clip. was popularized because it allowed cornet participants to ‘cross over’ more easy. but today its function is largely confined to the wind parlance.

Wind has had an tremendous influence on the popularity of the trombone and on the development of its technique. Glissandi. micro tones. multiphonics. vibrato and drawn-out scope are illustrations of the bequest of wind. Jazz trombone players. utilizing a assortment of deaf-and-dumb persons for expressive effects. have shown that a greater scope of timber is available than is normally employed even by modern symphonic composers. Vibrato. ever a proficient possibility has become portion of the trombone soloist’s manner. Slide technique has become more flexible. and the instrument’s scope has been extended at both terminals. doing the executable scope of the tenor trombone from E. the lowest pedal note. to G crisp or above. Although the trombone is now rarely heard in the concert hall as a solo instrument apart from wind. several 19th-century participants made reputes as soloists. including C. T. Queisser and F. A. Belcke in Germany. and in France A. G Dieppo. whose Methode ( 1840 ) indicates that he used a slide tenor of oddly slight proportions ( a dullard of 1 centimeters and bell of 12 centimeter ) .

Very narrow dullards are so found in some lasting Gallic trombones of the period. In the past 100 old ages. the size of the dullard and bell has increased. giving the trombone greater power and volume. The modern trombone is non truly all that different from its medieval ascendants. It still has the distinguishable S-shape. The proportions of the instrument are slightly different nevertheless. The modern trombone comes in assorted sizes. but in general is larger in bore than its predecessors. Its features are a cylindrical dullard. significance that the diameter of the tube stays comparatively the same throughout the length of the horn. a manus slide. and a bell subdivision that extends out proportionally about 1/3 of the length of the slide when assembled. The bell subdivision is different than that of the early trombone. The flair is now more sudden and closer to the terminal of the bell subdivision. instead than being funnel-like.

The three types of trombones most frequently used today are the alto trombone. tenor trombone. and bass trombone. Of these three. the most common is the tenor trombone. The tenor and bass trombones are typically in the key of B flat. The alto. more seldom used. is typically in the key of E level. or sometimes F. The alto. by its name. is the highest pitched trombone. There is besides a higher soprano trombone. which in world is a slide cornet.

These are seldom seen and if of all time used are typically played by a cornet participant due to the size of the mouthpiece. The tenor is the in-between pitched trombone. Its scope is frequently extended lower by an fond regard of excess tubing which is used by triping some type of valve. These fond regards normally pitch the trombone in the key of F. They are frequently referred to as an F trigger fond regard. or merely F-attachment. The bass trombone is the low instrument of the household. It is still in the key of B level like the tenor. but has a much larger dullard size. It besides frequently has two trigger fond regards if different keys. normally F and another key. widening its scope even lower. There is besides a lower bass fiddle trombone which is seldom used but is still a really interesting trombone.


Bate. Philip. The Trumpet and Trombone: An lineation of their history. development.

And building. New York: W. W. Norton. 1978

Priestely. Brian. The Sax and Brass Book: Saxs. Huntsman’s horns. and Trombones

In Jazz. Rock. and Pop. San Francisco. Calif. : Miller Freeman Books. 1998

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The Trombone Sample. (2017, Nov 05). Retrieved from