A Fascinating Look at Various and Bizarre Trombones. Sackbut

Total Page：16

File Type：pdf, Size：1020Kb

Various Trombones A fascinating look at various and bizarre trombones. Sackbut This is the trombone’s ancestor, the typical sliding brass from from 1400-1700. It has a tiny bell, like a trumpet. Piccolo Trombone Basically a slide trumpet with a larger bell. Soprano Trombone Slightly larger than the piccolo trombone. This video is a quick explanation on how to go about playing this unique instrument. Alto Trombone This is one size size smaller than the standard trombone – this instrument is widely used as a solo instrument and as a color instrument in trombone choirs. Alto Trombone Part 2 Here is the alto trombone played in a jazz context. Tenor Trombone Here is the standard trombone played REALLY fast! Tenor Trombone with trigger Here is a quick explanation of how the trigger functions on the standard trombone. Tenor & Bass Trombone Here’s a duet to the classic tune “Summertime” to show the difference between the tenor & bass trombone. Trombone Weirdness Trombone players are a peculiar bunch, as evidenced by this video. Bass Trombone The bass trombone is the 2nd most used trombone. It is used as a power bass instrument in many groups. Here is a basic explanation of the bass trombone. Contrabass Trombone A contrabass trombone is quite large, used mostly as a color instrument in a trombone choir, or as a specialty solo type instrument. Contrabass Trombone Here is a redesigned contrabass trombone with a wrap around double slide. The double slide is supposed to open up the sound and give the instrument more power. Tenor Trombone Here’s a standard tenor trombone with a wooden bell – weird! Pbone Here is a trombone that is made from plastic. There is an actual metal slide, encased in plastic – fantastic for school use. Since its plastic, it can come in any color! PVC-Bone Here is a homemade trombone made from PVC pipe. Plenty of plans for these on the internet. Valve Trombone This began as a concept instrument, valve trombones are widely used by brass players that want the trombone power, but are familiar with valve positions. Superbone Here is another concept instrument that combines valves and a slide to change keys. No practical use, but used as a novelty solo instrument. Buccin This bizarre trombone was most common in the early 1800’s. They are a trombone with the head of a dragon. Weird! Trombone Choir Here is a group of trombones of various shapes and sizes forming a trombone choir and playing the “Pink Panther Theme” Trombone Jazz Group Here is a famous jazz trombone group “Bonerama” performing at a Louisiana Jazz Festival. Tomorrow – French Horn .

Copy Link

Recommended publications

The Exotic Rhythms of Don Ellis a Dissertation Submitted to the Peabody Institute of the Johns Hopkins University in Partial Fu
THE EXOTIC RHYTHMS OF DON ELLIS A DISSERTATION SUBMITTED TO THE PEABODY INSTITUTE OF THE JOHNS HOPKINS UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS BY SEAN P. FENLON MAY 25, 2002 © Copyright 2002 Sean P. Fenlon All Rights Reserved ABSTRACT Fenlon, Sean P. The Exotic Rhythms of Don Ellis. Diss. The Peabody Institute of the Johns Hopkins University, 2002. This dissertation examines the rhythmic innovations of jazz musician and composer Don Ellis (1934-1978), both in Ellis’s theory and in his musical practice. It begins with a brief biographical overview of Ellis and his musical development. It then explores the historical development of jazz rhythms and meters, with special attention to Dave Brubeck and Stan Kenton, Ellis’s predecessors in the use of “exotic” rhythms. Three documents that Ellis wrote about his rhythmic theories are analyzed: “An Introduction to Indian Music for the Jazz Musician” (1965), The New Rhythm Book (1972), and Rhythm (c. 1973). Based on these sources a general framework is proposed that encompasses Ellis’s important concepts and innovations in rhythms. This framework is applied in a narrative analysis of “Strawberry Soup” (1971), one of Don Ellis’s most rhythmically-complex and also most-popular compositions. iii ACKNOWLEDGMENTS I wish to extend my heartfelt thanks to my dissertation advisor, Dr. John Spitzer, and other members of the Peabody staff that have endured my extended effort in completing this dissertation. Also, a special thanks goes out to Dr. H. Gene Griswold for his support during the early years of my music studies.
[Show full text]
CURRICULUM VITAE Walter C. White
CURRICULUM VITAE Walter C. White Home Address: 23271 Rosewood Oak Park, MI 48237 (917) 273-7498 e-mail: [email protected] Website: www.walterwhite.com EDUCATION Banff Centre of Fine Arts Summer Jazz Institute – Advanced study of jazz performance, improvisation, composition, and 1985-1988 arranging. Performances with Dave Holland. Cecil Taylor, Muhal Richard Abrahms, David Liebman, (July/August) Richie Beirach, Kenny Wheeler, Pat LaBarbara, Julian Priester, Steve Coleman, Marvin Smith. The University of Miami 1983-1986 Studio Music and Jazz, Concert Jazz Band, Monk/Mingus Ensemble, Bebop Ensemble, ECM Ensemble, Trumpet. The Juilliard School 1981-1983 Classical Trumpet, Orchestral Performance, Juilliard Orchestra. Interlochen Arts Academy (High School Grades 10-12) 1978-1981 Trumpet, Band, Orchestra, Studio Orchestra, Brass Ensemble, Choir. Interlochen Arts Camp (formerly National Music Camp) 8-weeks Summers, Junior Orchestra (principal trumpet), Intermediate Band (1st Chair), Intermediate Orchestra (principal), 1975- 1979, H.S. Jazz Band (lead trumpet), World Youth Symphony Orchestra (section 78-79, principal ’81) 1981 Henry Ford Community College Summer Jazz Institute Summer Classes in improvisation, arranging, small group, and big band performance. 1980 Ferndale, Michigan, Public Schools (Grades K-9) 1968-1977 TEACHING ACCOMPLISHMENTS Rutgers University, Artist-in-residence Duties included coaching jazz combos, trumpet master 2009-2010 classes, arranging classes, big band rehearsals and sectionals, private lessons, and five performances with the Jazz Ensemble, including performances with Conrad Herwig, Wynton Marsalis, Jon Faddis, Terrell Stafford, Sean Jones, Tom ‘Bones’ Malone, Mike Williams, and Paquito D’Rivera Newark, NY, High School Jazz Program Three day residency with duties including general music clinics and demonstrations for primary and secondary students, coaching of Wind Ensemble, Choir, Jan 2011 Jazz Vocal Ensemble, and two performances with the High School Jazz Ensemble.
[Show full text]
Band Director's Catalog
BAND DIRECTor’s CATALOG We make legends. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV4230 1 TABLE OF CONTENTS Eb Soprano, Harmony & Eb Alto Clarinets ....... 10 Bb Bass, EEb Bass & BBb Bass Clarinets ........... 11 308 Student Instruments Step-Up & Pro Saxophones .............................. 12-13 Step-Up & Pro Bb Trumpets .............................. 14 Piccolos & Flutes ...................................................... 1 Step-Up & Pro Cornets ..................................... 14 Oboes & Clarinets .................................................... 2 C Trumpets, Harmony Trumpets, Flugelhorns .... 15 Saxophones .............................................................. 3 Step-Up & Pro Trombones ................................ 16-17 204 Trumpets & Cornets .................................................. 4 Alto, Valve & Bass Trombones .......................... 18 Trombones ............................................................... 5 Double Horns .................................................. 19 PICCOLOS Single Horns ............................................................ 5 Baritones & Euphoniums .................................. 20 Educational Drum, Bell and Combo Kits .................. 6 BBb Tubas - Three Valve .................................... 21 ARMSTRONG Mallet Instruments .................................................... 6 BBb & CC Tubas - Four Valve ............................ 21 204 “USA” – Silver-plated headjoint and body, silver-plated
[Show full text]
Claimed Studios Self Reliance Music 779
I / * A~V &-2'5:~J~)0 BART CLAHI I.t PT. BT I5'HER "'XEAXBKRS A%9 . AFi&Lkz.TKB 'GMIG'GCIKXIKS 'I . K IUOF IH I tt J It, I I" I, I ,I I I 681 P U B L I S H E R P1NK FLOWER MUS1C PINK FOLDER MUSIC PUBLISH1NG PINK GARDENIA MUSIC PINK HAT MUSIC PUBLISHING CO PINK 1NK MUSIC PINK 1S MELON PUBL1SHING PINK LAVA PINK LION MUSIC PINK NOTES MUS1C PUBLISHING PINK PANNA MUSIC PUBLISHING P1NK PANTHER MUSIC PINK PASSION MUZICK PINK PEN PUBLISHZNG PINK PET MUSIC PINK PLANET PINK POCKETS PUBLISHING PINK RAMBLER MUSIC PINK REVOLVER PINK ROCK PINK SAFFIRE MUSIC PINK SHOES PRODUCTIONS PINK SLIP PUBLISHING PINK SOUNDS MUSIC PINK SUEDE MUSIC PINK SUGAR PINK TENNiS SHOES PRODUCTIONS PiNK TOWEL MUSIC PINK TOWER MUSIC PINK TRAX PINKARD AND PZNKARD MUSIC PINKER TONES PINKKITTI PUBLISH1NG PINKKNEE PUBLISH1NG COMPANY PINKY AND THE BRI MUSIC PINKY FOR THE MINGE PINKY TOES MUSIC P1NKY UNDERGROUND PINKYS PLAYHOUSE PZNN PEAT PRODUCTIONS PINNA PUBLISHING PINNACLE HDUSE PUBLISHING PINOT AURORA PINPOINT HITS PINS AND NEEDLES 1N COGNITO PINSPOTTER MUSIC ZNC PZNSTR1PE CRAWDADDY MUSIC PINT PUBLISHING PINTCH HARD PUBLISHING PINTERNET PUBLZSH1NG P1NTOLOGY PUBLISHING PZO MUSIC PUBLISHING CO PION PIONEER ARTISTS MUSIC P10TR BAL MUSIC PIOUS PUBLISHING PIP'S PUBLISHING PIPCOE MUSIC PIPE DREAMER PUBLISHING PIPE MANIC P1PE MUSIC INTERNATIONAL PIPE OF LIFE PUBLISHING P1PE PICTURES PUBLISHING 882 P U B L I S H E R PIPERMAN PUBLISHING P1PEY MIPEY PUBLISHING CO PIPFIRD MUSIC PIPIN HOT PIRANA NIGAHS MUSIC PIRANAHS ON WAX PIRANHA NOSE PUBL1SHING P1RATA MUSIC PIRHANA GIRL PRODUCTIONS PIRiN
[Show full text]
Homer Rodeheaver: Reverend Trombone Douglas Yeo Historic
Homer Rodeheaver: Reverend Trombone Douglas Yeo Historic Brass Society Journal (peer-reviewed) Volume 27, 2015 The Historic Brass Society Journal (ISSN1045-4616) is published annually by the Historic Brass Society, Inc. 148 W. 23rd Street, #5F New York, NY 10011 USA YEO 1 Homer Rodeheaver: Reverend Trombone Douglas Yeo Introduction Since his death in 1955, Homer Rodeheaver (1880–1955) has slipped into obscurity, an astonishing fact given that he played the trombone for as many as 100 million people in his lifetime. While not nearly so accomplished as the great trombone soloists of the nineteenth and early twentieth centuries such as Arthur Pryor, Simone Mantia, and Leo Zimmerman, Rodeheaver’s use of the trombone in Christian evangelistic meetings—par- ticularly during the years (1910–30) when he was song leader for William Ashley “Billy” Sunday—had an impact on American religious and secular culture that continues today. Rodeheaver’s tree of influence includes many other trombone-playing evangelists and song leaders, including Clifford Barrows, song leader for the evangelistic crusades1 of William Franklin “Billy” Graham. While Homer Rodeheaver was one of the most successful publishers of Christian songbooks and hymnals of the modern era—he owned copyrights to many of the most popular gospel2 songs of the first half of the twentieth century—and was the owner of and a recording artist with one of the first record companies devoted primarily to Christian music, the focus of this article is on Rodeheaver as trombonist and trombone icon, his use of the trombone as a tool in leading large congregations in singing, the particular instruments he used, his trombone recordings, and his legacy and influence in inspiring and encouraging others to utilize the trombone as a tool for large-scale Christian evangelism.
[Show full text]
Paul Hindemith'in Trompet Ve Piyano Sonati'nin Form Ve
Hacettepe Üniversitesi Güzel Sanatlar Enstitüsü Üflemeli ve Vurmalı Çalgılar Anasanat Dalı PAUL HINDEMITH’İN TROMPET VE PİYANO SONATI’NIN FORM VE İCRA YÖNÜNDEN İNCELENMESİ Deniz BOZALP Yüksek Lisans Sanat Çalışması Raporu Ankara, 2018 PAUL HINDEMITH’İN TROMPET VE PİYANO SONATI’NIN FORM VE İCRA YÖNÜNDEN İNCELENMESİ Deniz BOZALP Hacettepe Üniversitesi Güzel Sanatlar Enstitüsü Üflemeli ve Vurmalı Çalgılar Anasanat Dalı Yüksek Lisans Sanat Çalışması Raporu Ankara, 2018 v TEŞEKKÜR Başta bu çalışmada engin deneyimleri ile bana yol gösteren danışmanım Doç. Burak Karaağaç olmak üzere, çalışmalarım boyunca beni her daim destekleyen aileme ve dostlarıma sonsuz teşekkürlerimi bir borç bilirim. vi ÖZET BOZALP, Deniz, Paul Hindemith Trompet ve Piyano için Sonatın Form ve İcra Yönünden İncelenmesi, Yüksek Lisans Sanat Çalışması Raporu, Ankara, 2018. Paul Hindemith, modern müziğin en önemli bestecilerinden biridir. Bestecinin matematiksel olarak deha sayılabilecek bir yazım stili vardır (Dinç, 2008). “Belki de bu yüzdendir ki Mustafa Kemal Atatürk’ün daveti üzerine 1935 yılında Türkiye’ye gelmiş ve müzik yaşamının daha kapsamlı bir biçimde örgütlenip organize edilmesi hususunda danışman olarak görev yapmıştır” (Say,1998). Paul Hindemith, ülkemizde çalışacak sanatçı kadrolarını da kendisi belirleyerek 1935-37 yılları arasında Ankara’da o zamanki adı Devlet Konservatuvarı olan okulumuzu en ince ayrıntısına dek tasarlayıp kurmuştu Eğitim sistemimizde ve tarihimizde oldukça emeği olan bestecinin bu başarılarının tohumları aslında çok küçük yaşta atılmıştır. Henüz çocukken keman çalışmalarına başlayan Paul Hindemith, Frankfurt Konservatuvarı’na girerek ileri keman, orkestra şefliği ve kompozisyon dersleri almış ve 1914 de yardımcı şef, 1917 de ise konzertmeister olarak Frankfurt Opera Orkestrası’nda önemli pozisyonlarda görev yapmıştır. Aynı yıldan 1940 yılına kadar gerek besteciliği, gerek kemancılığı, gerek eğitimci yönü, gerekse viyolacılığı ve orkestra şefliği ile uluslararası müzik çevrelerinde büyük başarılar elde etmiştir.
[Show full text]
Characterization And' Taxonomy Acoustical Standpoint
Characterization and' Taxonomy of Historic Brass Musical Instruments from ae Acoustical Standpoint Arnold Myers Ph.D. The University of Edinburgh 1998 I" V *\- Abstract The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined. Declaration I declare that this thesis has been composed by me and that the work is my own. ? r % *} Acknowledgements I have been encouraged and helped by many in my investigations. My supervisors, D. Murray Campbell in the Department of Physics and Astronomy Christopher D.S. Field, and John Kitchen in the Faculty of Music have provided wise guidance whenever needed. Raymond Parks, Research Fellow in Fluid Dynamics, Department of Physics and Astronomy, University of Edinburgh, has given unfailing support, and has been responsible for much of the measuring equipment I have used. David Sharp has used the pulse reflectornetry techniques developed in the course of his own research to obtain bore reconstructions of numerous specimens for me. Herbert Heyde kindly discussed the measurement of historic brass instruments with me. Stewart Benzie has carried out instrument repairs for me and made the crook described in Chapter 5. I am grateful to the curators of many museums for allowing me access to the historic instruments in their care.
[Show full text]
MEISTERINSTRUMENTE Handcrafted Brass
MEISTERINSTRUMENTE handcrafted brass. A SYNTHESIS OF PASSION AND CRAFTSMANSHIP Wenn sich ein kleiner Musikali- reichische Musikhaus Schagerl gewöhnlicher Klang- und Ferti- enhandel mit Reparaturwerkstatt in Hörsdorf bei Mank, im Be- gungsqualität Orchestermusiker zu einer der weltweit bekanntes- zirk Melk seit drei Generationen aus aller Welt. 700 Instrumente ten Instrumentenmanufakturen ein- und dasselbe Firmenmotto verlassen mittlerweile jährlich entwickelt, steckt neben einer pflegt: In quality we trust! Die die Schagerl-Werkstätten und unbändigen Leidenschaft fürs hier von Meisterhand gefertig- etwa 90 Prozent davon gehen als Musizieren auch eines dahinter: ten Instrumente sind allesamt österreichische Exportschlager kompromisslose Qualität. Und so komplett in Eigenbau hergestellt rund um den Globus. IN QUALITY WE TRUST kommt es, dass das niederöster- und begeistern mit ihrer außer- A small music store with a re- the district of Melk, has main- workmanship. Seven hundred # MEISTERINSTRUMENTE pair shop grows into one of the tained the same company motto instruments leave the Schagerl world’s most well-known inst- for three generations: “In Qua- workshop each year, and ap- rument manufacturers. Powe- lity We Trust!” Instruments, proximately 90% become global red by an irrepressible passion built entirely “in-house”, and Austrian Export merchandise. for music and a belief in un- prepared by Master Craftsmen, compromising quality, Musik- inspire orchestral musicians haus Schagerl, in Lower-Aus- throughout the world with their tria, in Hörsdorf bei Mank, in exceptional sound quality and ROTARY VALVE TRUMPETS Die perfekte Balance in allen Registern, die leichte Ansprache und der Model „Berlin“Bb dunkle Klang ist ein unverwechselbares Merkmal dieser Modell-Reihe. Das Model „Berlin“ wurde in enger Zusammenarbeit mit Gábor Tarkövi (Solotrompeter der Berliner Philharmoniker) enwickelt: „Die „Berlin“ Bb und C Trompeten spielen sich sehr leicht, haben ein ausgewogenen, breiten, brillanter Klang gepaart mit einer ex- zellenten Stimmung.
[Show full text]
The Daily Egyptian, January 30, 1974
Southern Illinois University Carbondale OpenSIUC January 1974 1-30-1974 The aiD ly Egyptian, January 30, 1974 Daily Egyptian Staff Follow this and additional works at: http://opensiuc.lib.siu.edu/de_January1974 Volume 55, Issue 88 Recommended Citation , . "The aiD ly Egyptian, January 30, 1974." (Jan 1974). This Article is brought to you for free and open access by OpenSIUC. It has been accepted for inclusion in January 1974 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. /' :'DaiJy"Egyptian., Wednesllay. .........-y Xl. 1974, 11'01. ~, ..." 88 Southern OJinois University --------------------J Closed hearing of J-Boar~ adjourfis early By Terry MartiD signed affidavils from those named as _ tion papers, they then went to a second, stud~ts a101l8 with Harris and Ms. Dally Egypdaa Staff Wriler defendants showing they were aware of noor conference room to discuss the ' Young discuss the matter without he or the legal action being taken against possible legal action and talk about Gruny in the room. The sludent trustee Judicial Board's them, James R. Kerley , Jackson some sort of oompromise. Immediatery aner Huffman, Gruny closed heari~ TU'e$day night broke up Counly Circuil clerk said. Lohrmann pointed out to the lawyers and a Daily Egyptian reporter left the shortly aner It started when witnesses 'When the three stUdents heard of this that all the three students were Lrying room, so did Harris and Ms. Young. failed to show up ~nd Matthew Rich, faci they notified those named in the Lo do is to take some ~rt of appropriate "How do you expect me to deal with studf!1t trustee elect, refused 10 start suit and representatives.(lf SlU rushed action and that other lawyers in the these people when they won 't even the p~sentation of his case, .
[Show full text]
The Brass Instrument Collection of the Metropolitan Museum of Art in New York
113 THE BRASS INSTRUMENT COLLECTION OF THE METROPOLITAN MUSEUM OF ART IN NEW YORK HERBERT HEYDE The Metropolitan Museum of Art houses a large, comprehensive collection of musical instruments. Managed by one of seventeen curatorial departments, the Musical Instruments Department, it contains approximately 4,500 instruments. Roughly forty percent of them are of western, the rest of non-western origin. The Egyptian, Islamic, Arms and Armor, Medieval Departments, and a few other departments, house some additional instruments. Another resource consists of iconographic representations of musical instruments that are to be found in almost all departments. They are included in The Performing Arts Index of RIdIM.1 The western brass, or “lip-vibrated” instruments of the Musical Instruments Department amount to only 283 items—an indication that this ﬁ eld was never a priority of the museum’s collecting activities. The basis of The Metropolitan Museum of Art musical instruments collection was provided by Mary Elisabeth Adams Brown (1842-1918), who donated her collection from 1889 in successive installments in the name of her husband, John Crosby Brown. Beginning with 276 instruments in 1889, the gift ultimately amounted to more than 3400 items in 1918. To be precise, before Brown’s donation there was already a collection of forty-four instruments in the museum, given by Joseph William Drexel (1833-1888), a wealthy amateur musician and philanthropist in New York. The Brown family, of British origin, engaged in international banking and graciously supported American culture, including education and theology. Besides musical instruments, Mrs. Brown collected lace, embroidery, and portraits of musicians, which are now kept in the Prints and Drawings Department of The Metropolitan Museum of Art.2 A few years after the Crosby Brown collection began to arrive in 1889, the museum provided gallery space for its public display.
[Show full text]
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may t>e from any type of computer printer. The quality of this reproduction is dependent upon the quaiity of the copy sutunitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Ptratographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are availat>le for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMI' UNIVERSITE OF OKLAHOMA GRADUATE COLLEGE THE ART OP TENOR/HASS TROMBONE DOUBLING: AN EXAMINATION OF THE PERFORMANCE PHILOSOPHIES AND PRACTICES OF THREE SELECTED TROMBONISTS A DOCUMENT SUBMITTED TO THE GRADUATE FACULTE in partial fulfillment of fiie requirements for the degree of DOCTOR OF MUSICAL ARTS By LAWRENCE JOHN PEARCE Lawton, Oklahoma 2002 UMI Number; 3040844 UMI UMI Microform 3040844 Copyright 2002 by ProQuest Information and Learning Company.
[Show full text]
Performing on the Trombone: a Chronological Survey David M
Performance Practice Review Volume 9 Article 6 Number 2 Fall Performing on the Trombone: A Chronological Survey David M. Guion Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Guion, David M. (1996) "Performing on the Trombone: A Chronological Survey," Performance Practice Review: Vol. 9: No. 2, Article 6. DOI: 10.5642/perfpr.199609.02.06 Available at: http://scholarship.claremont.edu/ppr/vol9/iss2/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Performing on the Trombone: a Chronological Survey David M. Guion The trombone is one of the oldest wind instruments currently in use. The trumpet, horn, and flute have a longer history, but have changed in construction and playing technique far more than the trombone, which reached its present form sometime in the 15 century. The name "trombone," Italian for "big trumpet," is attested as early as 1439. The German word Posaune may have referred to an instru- ment with a slide as early as 1363.1 The old English word "sack- but," on the other hand, first appeared in 1495, and cognate terms appeared in Spain and France not much earlier than that. Therefore the confusing and misleading practice of referring to a baroque-style trombone as a sackbut should be abandoned. Using two words for a trombone wrongly implies two different instruments, and at times leads to the erroneous notion that the sackbut is the "forerunner" of the trombone.
[Show full text]