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Trombone
FromWikipedia,thefreeencyclopedia

Thetrombone(/trmbon/[1]Italianpronunciation:[trom
bone])isamusicalinstrumentinthebrassfamily.Like
allbrassinstruments,soundisproducedwhenthe
playersvibratinglips(embouchure)causetheair
columninsidetheinstrumenttovibrate.Nearlyall
tromboneshaveatelescopingslidemechanismthat
variesthelengthoftheinstrumenttochangethepitch.
Manymoderntrombonemodelsalsoutilizearotary
valveasameanstolowerpitchoftheinstrument.
Variantssuchthevalvetromboneandsuperbonehave
threevalveslikethoseonthetrumpet.
ThewordtrombonederivesfromItaliantromba
(trumpet)andone(asuffixmeaning"large"),sothe
namemeans"largetrumpet".Thetrombonehasa
predominantlycylindricalborelikeitsvalvedcounterpart
thebaritoneandincontrasttoitsconicalvalved
counterparts,theeuphoniumandthehorn.Themost
frequentlyencounteredtrombonesarethetenortrombone
andbasstrombone.Themostcommonvariant,thetenor,
isanontransposinginstrumentpitchedinB,anoctave
belowtheBtrumpetandanoctaveabovetheBtuba.
TheoncecommonEaltotrombonebecamelesswidely
usedasimprovementsintechniqueextendedtheupper
rangeofthetenor,butitisnowenjoyingaresurgence
duetoitslightersonoritywhichisappreciatedinmany
classicalandearlyromanticworks.Trombonemusic,
alongwithmusicforeuphoniumandtuba,istypically
writteninconcertpitchineitherbassortenorclef,
althoughexceptionsdooccur,notablyinalmostallbrass
bandmusicwheretenortromboneispresentedasaB
transposinginstrument,writtenintrebleclef.

Trombone

Atenortrombone
Brassinstrument
Classification

Wind
Brass
Aerophone

Hornbostel 423.22
Sachs
(Slidingaerophonesoundedbylip
classification movement)
Developed

frombasictrumpetswhenthelost
RomanEmpireartofbending
tubingwasrediscoveredinthe15th
century.Untiltheearly18thcentury
theinstrumentwascalledasackbut
Playingrange

Apersonwhoplaysthetromboneiscalledatrombonist
ortromboneplayer.
Relatedinstruments

Contents
1 Construction
2 History
https://en.wikipedia.org/wiki/Trombone

Sackbut
Buccin
Trumpet
BassTrumpet
Tromboon
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2.1 Etymology
2.2 RenaissanceandBaroqueperiods
2.3 Classicalperiod
2.4 Romanticperiod
2.4.1 19thcenturyorchestras

Cimbasso
Euphonium
Tuba
Morearticles
Listofclassicaltrombonists
Listofjazztrombonists
Typesoftrombone

2.4.2 19thcenturywindbands

Musicalinstruments

2.4.3 19thcenturypedagogy

Woodwinds
Brassinstruments

2.4.4 19thcenturyconstruction
2.5 Twentiethcentury
2.5.1 20thcenturyorchestras
2.5.2 20thcenturywindbands
2.5.3 20thcenturysoloand
chambermusic
2.5.4 UseoftheTromboneinJazz
2.5.5 20thcenturyconstruction

Cornet
Trumpet
Flugelhorn
Altohorn
Mellophone
Frenchhorn
Trombone
Baritone
Euphonium
Tuba
Percussion
Stringinstruments
Keyboards

2.6 Contemporaryuse
3 Types
4 Technique
4.1 Basicslidepositions
4.2 Partialsandintonation
4.3 Pedaltones
4.4 Glissando
4.5 Trills
4.6 Notation
4.6.1 Brassbands
4.7 Mutes

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4.7 Mutes
5 Variationsinconstruction
5.1 Bells
5.2 Valveattachments
5.2.1 Valves
5.2.2 Tubing
5.3 Tuning
5.4 Slides
5.5 Mouthpiece
5.6 Plastic
5.7 Regionalvariations
5.7.1 GermanyandAustria
5.7.2 France
6 Didactics
7 Manufacturers
8 Seealso
9 References
10 Furtherreading
11 Externallinks
11.1 SlidePositions

Construction
Thetromboneisapredominantlycylindricaltubebentintoanelongated"S"shape.Ratherthanbeing
completelycylindricalfromendtoend,thetubeisacomplexseriesoftaperswiththesmallestatthe
mouthpiecereceiverandthelargestjustbeforethebellflare.Thedesignofthesetapersaffectsthe
intonationoftheinstrument.Aswithotherbrassinstruments,soundisproducedbyblowingairthrough
pursedlipsproducingavibrationthatcreatesastandingwaveintheinstrument.
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Thedetachablecupshapedmouthpieceissimilarto
thatofthebaritonehornandcloselyrelatedtothatof
thetrumpet.Ithastheventuri:asmallconstrictionof
theaircolumnthataddsresistancegreatlyaffectingthe
toneoftheinstrument,andisinsertedintothe
mouthpiecereceiverintheslidesection.Theslide
sectionconsistsofaleadpipe,theinnerandouterslide
tubes,andthebracing,orstays.Modernstaysare
soldered,whilesackbuts(medievalprecursorsto
trombones)weremadewithloose,unsolderedstays
(thisremainedthepatternforGermantrombonesuntil
themid20thcentury).

Basictromboneanatomy

The'slide',themostdistinctivefeatureofthetrombone
(cf.valvetrombone),allowstheplayertoextendthe
lengthoftheaircolumn,loweringthepitch.To
preventfrictionfromslowingtheactionoftheslide,
additionalsleevesweredevelopedduringthe
Renaissance,andthesestockingsweresolderedonto
theendsoftheinnerslidetubes.Nowadays,the
stockingsareincorporatedintothemanufacturing
processoftheinnerslidetubesandrepresenta
fractionalwideningofthetubetoaccommodatethe
necessarymethodofalleviatingfriction.Thispartof
theslidemustbelubricatedfrequently.Additional
tubingconnectstheslidetothebelloftheinstrument
throughaneckpipe,andbellorbackbow(Ubend).Thejoint
connectingtheslideandbellsectionsisfurnishedwithaferruleto
securetheconnectionofthetwopartsoftheinstrument,though
oldermodelsfromtheearly20thcenturyandbeforewereusually
equippedwithfrictionjointsandnoancillarymechanismtotighten
thejoint.
Theadjustmentofintonationismostoftenaccomplishedwitha
tuningslidethatisashortslidebetweentheneckpipeandthebell
incorporatingthebellbow(Ubend)thisdevicewasdesignedby
theFrenchmakerFranoisRiedlockerduringtheearly19thcentury
andappliedtoFrenchandBritishdesignsandlaterinthecenturyto
GermanandAmericanmodels,thoughGermantromboneswere
builtwithouttuningslideswellintothe20thcentury.However,
trombonists,unlikeotherinstrumentalists,arenotsubjecttothe
intonationissuesresultingfromvalvedorkeyedinstruments,since
theycanadjustintonation"onthefly"bysubtlyalteringslide
positionswhennecessary.Forexample,secondposition"A"isnot
inexactlythesameplaceontheslideassecondposition"E."Many
typesoftrombonealsoincludeoneormorerotaryvalvesusedto

https://en.wikipedia.org/wiki/Trombone

1. tuningslide
2. counterweight
3. mouthpiece
4. slidelockring
5. bell
6. knob/bumper
7. waterkey/spitvalve
8. mainslide
9. secondslidebrace/stay
10. firstslidebrace/stay
11. belllocknut

Adisassembledtrombone.Fromleft
toright:mouthpiece,outerslide,bell
section,innerslide.

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increasethelengthoftheinstrument(andthereforeloweritspitch)bydirectingtheairflowthrough
additionaltubing.Thisallowstheinstrumenttoreachnotesthatareotherwisenotpossiblewithoutthe
valveaswellasplayothernotesinalternatepositions.
Likethetrumpet,thetromboneisconsideredacylindricalbore
instrumentsinceithasextensivesectionsoftubing,principallyin
theslidesection,thatareofunchangingdiameter.Tenortrombones
typicallyhaveaboreof0.450"(smallbore)to0.547"(largeor
orchestralbore)aftertheleadpipeandthroughtheslide.Thebore
expandsthroughthebackboretothebell,whichistypicallybetween
7"and8".Anumberofcommonvariationsontrombone
constructionarenotedbelow.

History

Atenortrombonemouthpiece

Etymology
"Trombone"istheItalianwordforthesackbut,theearliestcommonformoftrombone,andisderivedfrom
trumpetintheLatintrombaordrompten,usedintheLowCountries.Thefirstrecordsofitbeingusedare
around1440,butitisnotclearwhetherthiswasjustanicknameforatrumpetplayer.In1487awriterlinks
thewordstromponeandsacquebouteandmentionstheinstrumentasplayingthecontratenorpartina
danceband.[2]

RenaissanceandBaroqueperiods
ThesackbutwasusedextensivelyacrossEuropefromitsappearanceinthe15thcenturytoadeclinein
mostplacesbythemidlate17thcentury.Itwasusedinoutdoorevents,inconcert,andinliturgical
settings.Alongwithtrumpeters,trombonistsinGermancitystateswereevenoccasionallyemployedas
civilofficials.Asofficials,thesetrombonistswereoftenrelegatedtostandingwatchinthecitytowersbut
wouldalsoheraldthearrivalofimportantpeopletothecity.Thisissimilartotheroleofamilitarybugler
andwasusedasasignofwealthandstrengthin16thcenturyGermancities.Thesetrombonistswere,
however,oftenviewedseparatelyfromthemorehighlyskilledtrombonistswhoplayedingroupssuchas
thealtacapellawindensemblesaswellasthefirst"orchestra"typeensemblesthatperformedinreligious
settingssuchasStMark'sBasilicainVeniceintheearly17thcentury.Famouscomposerswritingforthe
tromboneinthisperiodincludeGiovanniGabrieliandhisuncleAndreaGabrieli,ClaudioMonteverdiand
HeinrichSchtz.Therearealsosomesolopieceswrittenspecificallyfortromboneintheearly17th
century.
WhenthesackbutreturnedtocommonuseagaininEnglandinthe18thcentury,Italianmusicwasso
influentialthattheinstrumentbecameknownasthe"trombone",[3]althoughinsomecountriesthesame
namehasbeenappliedthroughoutitshistory,viz.ItaliantromboneandGermanPosaune.The17thcentury
trombonewasbuiltinslightlysmallerdimensionsthanmoderntrombones,andhadabellthatwasmore
conicalandlessflared.
DuringthelaterBaroqueperiod,JohannSebastianBachandGeorgeFriderichHandelusedtrombonesona
fewoccasions.Bachuseditinsomeofhiscantatas,evenhavingwrittenfor4trombones(withthe
extremelyraresopranotromboneplayingthecantusfirmus),whichinearliertimeswouldhavebeenplayed
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bycornett.HandeluseditintheDeathMarchfromSaul,Samson,andIsraelinEgypt,allofwhichwere
examplesofaneworatoriostyle,popularduringtheearly18thcentury.Distinctscorenotationsarerare,
sinceonlyafewprofessional"Stadtpfeiffer"oraltacappellamusicianswereavailableeverywhere.Handel,
forinstance,hadtoimporttrombonestoEnglandfromaRoyalcourtinHanover,Germanyinorderto
performoneofhislargercompositions.Therefore,trombonepartswereratherseldomgiven"solo"roles
thatwerenotsubstitutablewithotherinstruments.

Classicalperiod
TheuseofthetromboneintheClassicalerawasmostlylimitedtoAustria,wheretherepertoireof
trombonesoloandchamberliteraturehasitsbeginningswithcomposerssuchasLeopoldMozart,Georg
ChristophWagenseil,JohannAlbrechtsbergerandJohannErnstEberlinwhowerefeaturingtheinstrument,
ofteninpartnershipwithavoice.
JosephHaydnandWolfgangAmadeusMozartusedthetrombonesinanumberoftheirsacredworks,
includingtwoextendedduetswithvoicefromMozart,thebestknownbeingintheTubaMirumofhis
Requiem.Mozartalsousedtrombonesinseveralofhisoperas.Theinspirationformanyoftheseworksis
thoughtduetothevirtuosicplayersinthecourtsatViennaandSalzburg,includingThomasGschladtand
severalmembersofafamilynamedChristian.
ThetromboneretaineditstraditionalassociationswiththeoperahouseandtheChurchduringthe18th
centuryandwasusuallyemployedintheusualalto/tenor/basstriotosupportthelowervoicesofthechorus,
thoughViennesecourtorchestraKapellmeisterJohannJosephFuxrejectedanapplicationfromabass
trombonistin1726andrestrictedtheuseoftrombonestoaltoandtenoronly,whichremainedthecase
almostuntiltheturnofthe19thcenturyinVienna,afterwhichtimeasecondtenortrombonewasadded
whennecessary.
TheconstructionofthetrombonechangedrelativelylittlebetweentheBaroqueandClassicalperiodswith
themostobviousfeaturebeingtheslightlymoreflaredbell.
ThefirstuseofthetromboneasanindependentinstrumentinasymphonywasintheSymphonyinE
(1807)bytheSwedishcomposerJoachimNicolasEggert.[4]Thecomposertypicallycreditedwiththe
trombone'sintroductionintothesymphonyorchestra,however,wasLudwigvanBeethoven,whouseditin
thelastmovementofhisSymphonyNo.5inCminor(1808).Beethovenalsousedtrombonesinhis
SymphonyNo.6inFmajor("Pastoral")andSymphonyNo.9("Choral").

Romanticperiod
19thcenturyorchestras
ManycomposersweredirectlyinfluencedbyBeethoven'suseoftrombones,andtheybecamefully
integratedintheorchestrabythe1840s.Earlytomid19thcenturycomposerssuchasFranzSchubert,
FranzBerwald,RobertSchumann,FelixMendelssohnBartholdy,RichardWagner,HectorBerlioz,
GioacchinoRossini,GiuseppeVerdi,FranzLiszt,andCharlesGounod,includedtrombonesintheiroperas,
symphoniesandotherorchestralcompositions.

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The19thcenturyalsosawtheerosionofthetraditionalalto/tenor/basstrombonetriointheorchestra.While
thetrombonetriohadbeenpairedwithoneortwocornettsduringtheRenaissanceandearlyBaroque
periods,thedisappearanceofthecornettasapartnerandeventualreplacementbyoboeandclarinetdidnot
fundamentallyaltertheraisond'treforthetrombones,whichwastosupportthealto,tenorandbassvoices
ofthechorus(typicallyinanecclesiasticalsetting),whoseharmonicmovinglinesweremoredifficultto
pickoutthanthemelodicsopranoline.Theintroductionofthetrombonesintotheorchestra,however,
alliedthemmorecloselywiththetrumpetsanditdidnottakelongforanadditionaltenortromboneto
replacethealto.TheGermansandAustriansheldontothealtotrombonesomewhatlongerthantheFrench,
whocametopreferasectionofthreetenortrombonesuntilaftertheSecondWorldWar.Inothercountries,
thetriooftwotenortrombonesandonebassbecamestandardbyaboutthemid19thcentury.
Bythetimethetrombonegainedafootingintheorchestraandopera,trombonistswerenolongerusually
employedbyacathedralorcourtorchestra,andsowereexpectedtoprovidetheirowninstrument.Military
musicianswereprovidedwithinstruments,andinstrumentslikethelongForEbasstromboneremainedin
militaryuseuntilaroundtheFirstWorldWar.However,orchestralmusiciansadoptedthetromboneversion
withthewidestrangethattheycouldeasilyapplytoanyofthethreetrombonepartsthattypicallyappeared
inscoresthetenortrombone.Theappearanceofvalvetrombonesinthemid19thcenturydidlittletoalter
themakeupoftheorchestraltrombonesectionthoughitwasoustedfromorchestrasinGermanyand
France,thevalvetromboneremainedpopularalmostentirelytotheexclusionoftheslideinstrumentin
countriessuchasItalyandBohemia,andcomposerssuchasGiuseppeVerdi,GiacomoPuccini,Bedich
Smetana,andAntonnDvokscoredforavalvetrombonesection.
Especiallywiththeophicleide,orlaterthetubasubjoinedtothetrombonetrioduringthe19thcentury,parts
scoredforthebasstrombonerarelydescendedaslowaspartsscoredbeforetheadditionofeitherofthese
newlowbrassinstruments.Onlyintheearly20thcenturydiditregainadegreeofindependence.
Experimentswithdifferentconstitutionsofthetrombonesectionduringthe19thandearly20thcenturies,
includingRichardWagner'sadditionofacontrabasstromboneinDerRingdesNibelungenandGustav
Mahler'sandRichardStrauss'occasionalaugmentationbyaddingasecondbasstrombonetotheusualtrio
oftwotenortrombonesandonebasstrombone,havenothadanylastingeffectthemajorityoforchestral
worksarestillscoredfortheusualmidtolate19thcenturylowbrasssectionoftwotenortrombones,one
basstromboneandonetuba.
19thcenturywindbands
TromboneshavebeenapartofthelargewindbandsinceitsinceptionasanensembleduringtheFrench
Revolutionof1791.Overthecourseofthe19thcenturyvariouswindbandtraditionswereestablished,
includingmilitarybands,brassbands(primarilyintheUK),townbands(primarilyintheUS),andcircus
bands.Someofthesegroups,especiallymilitarybandsinEurope,madeuseofrearfacingtrombones,
wherethebellsectionpointedbehindtheplayer'sleftshoulder.
Thesedifferentwindbandsallplayedalimitedrepertoirewithfeworiginalcompositionsthatconsisted
mainlyoforchestraltranscriptions,arrangementsofpopularandpatriotictunes,andfeaturepiecesfor
soloists(usuallycornetists,singers,andviolinists).AnotableworkoriginallyforwindbandisHector
Berlioz's1840Grandesymphoniefunbreettriomphale,whichusesatrombonesolofortheentiresecond
movement.
Towardtheendofthe19thcentury,trombonevirtuosibeganappearingassoloistsinAmericanwindbands.
ThemostnotablewasArthurPryor,whoplayedwiththeSousaBandandlaterformedhisown.
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19thcenturypedagogy
IntheRomanticera,Leipzigbecameacentreoftrombonepedagogy.Thetrombonebegantobetaughtat
thenewMusikhochschulefoundedbyFelixMendelssohnBartholdy.Later,theParisConservatoryandits
yearlyconcourswouldalsocontributetotromboneeducation.AttheLeipzigacademy,Mendelssohn'sbass
trombonist,KarlTraugottQueisser,wasthefirstinalonglineofdistinguishedprofessorsoftrombone.
SeveralcomposerspennedworksforQuiesser,includingFerdinandDavid(Mendelssohn'sconcertmaster)
whowrotein1837theConcertinoforTromboneandOrchestra,ErnstSachseandFriedrichAugustBelcke,
whosesoloworksallremainpopulartodayinGermany.Queisseralmostsinglehandedlyhelpedto
reestablishthereputationofthetromboneinGermanyandbeganatraditionintromboneplayingthatisstill
practisedtheretoday.HechampionedandpopularisedChristianFriedrichSattler'snewtenorbasstrombone
duringthe1840s,leadingtoitswidespreaduseinorchestrasthroughoutGermanyandAustria.
19thcenturyconstruction
Sattlerhadagreatinfluenceontrombonedesign.Heintroducedasignificantwideningofthebore(the
mostimportantsincetheRenaissance),theinnovationsofSchlangenverzierungen(snakedecorations),the
bellgarland,andthewidebellflarefeaturesstillfoundonGermanmadetrombonestodaythatwere
widelycopiedduringthe19thcentury.
Thetrombonewasfurtherimprovedinthe19thcenturywiththeadditionof"stockings"attheendofthe
innerslidetoreducefriction,thedevelopmentofthewaterkeytoexpelcondensationfromthehorn,and
theoccasionaladditionofavalvethat,intentionally,onlywastobesetonoroff,butlaterwastobecome
thenowregularFvalve.Additionally,thevalvetrombonecamearoundthe1850sshortlyafterthe
inventionofvalves,andwasincommonuseinItalyandAustriainthesecondhalfofthecentury.

Twentiethcentury
20thcenturyorchestras
Inthe20thcenturythetrombonemaintaineditsimportantplaceintheorchestrawithprominentpartsin
worksbyRichardStrauss,GustavMahler,ArnoldSchoenberg,AlbanBerg,MauriceRavel,Darius
Milhaud,OlivierMessiaen,IgorStravinsky,DmitriShostakovich,SergeiRachmaninov,SergeiProkofiev,
OttorinoRespighi,EdwardElgar,GustavHolst,RalphVaughanWilliams,BenjaminBritten,William
Walton,JeanSibelius,CarlNielsen,LeoJanek,GeorgeGershwin,AaronCopland,LeonardBernstein
andBlaBartk.
Withtheriseofrecordedmusicandmusicschools,orchestraltrombonesectionsaroundtheworldbeganto
haveamoreconsistentideaofastandardtrombonesound.Britishorchestrasabandonedtheuseofsmall
boretenorsandGbassesinfavorofanAmerican/GermanapproachoflargeboretenorsandBbassesin
the1940s.Frenchorchestrasdidthesameinthe1960s.
20thcenturywindbands
Duringthefirsthalfofthecentury,touringandcommunityconcertbandslosttheirpopularityintheUnited
Statesandweregreatlyreducedinnumber.However,withthedevelopmentofmusiceducationinthe
publicschoolsystem,highschoolanduniversitymarchingbandsandconcertbandsbecameubiquitousin
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theUS.
Atypicalconcertbandtrombonesectionconsistsoftwotenortrombonesandonebasstrombone,butusing
multipleplayersperpartiscommonpractice,especiallyinpublicschoolsettings.
20thcenturysoloandchambermusic
Inthesecondhalfofthecentury,newcomposersbegangivingbacktothetrombonealevelofimportance
insoloandchambermusic.PiecessuchasEdgardVarse'sOctandre,PaulHindemith'sSonata,Charles
Wuorinen'sTromboneTrioandLucianoBerio'sSequenzaVledthewayforlesserknowncomposersto
buildawiderrepertoire.PopularchoicesforrecitalmusictodayincludeStjepanSulek'sVoxGabrieli,
JacquesCasterde'sSonatineandJeanMichelDefaye'sDeuxDanses.Somewellknowntrombone
concertosfromthisperiodincludeworksbyPascalDusapin,DerekBourgeois,LarsErikLarsson,Launy
Grndahl,NinoRota,ChristopherRouseandHenriTomasi.JanSandstrmcomposedtwoconcertostobe
performedbyChristianLindberg,hisTromboneConcertoNo.1(1990)iscalledMotorbikeOdysseyor
MotorbikeConcerto.In19956,JohandeMeijwrotehisTBoneConcertofortromboneandconcertband.
ArtistssuchasMarkHetzlerhaverecordedworksfromBerg,Webern,andStravinskytranscribedfrom
otherinstruments(suchasoboe,clarinetandstrings)toshowthedifficulty,versatilityandrangeofsolo
musicthetrombonecanhandleverysensitively.[5]
UseoftheTromboneinJazz
IntheDixielanderaofjazzinthe1900stheusuallypresentinthe"Dixie"groupstoassistintheBassor
Tubaplayer'sjobofoutliningthechordsfortheotherinstrumentstoimproviseover.Itwasnotuntilthe
"BigBand"eraofSwingcameaboutinthemid1920sthatthetrombonebegantobeusedasasolo
instrument.PrimeexamplesofearlytrombonesoloistsareJackTeagardenandJ.J.Johnson.Thesearesome
oftheplayersthatbroughtjazztromboneintothespotlightasaninstrumentofsoulfulexpression,butalso
oneoftechnicalskill.[6][7]
20thcenturyconstruction
Numerouschangesinconstructionhaveoccurredduringthe20thcentury,includingtheuseofdifferent
materials,increasesinmouthpiece,boreandbelldimensions,newvalvetypesanddifferentmutetypes.
Despitetheuniversalswitchtoalargersizedhornthough,manyEuropeantrombonemakersstilltendto
preferaslightlysmallerborethattheirAmericancounterparts.Oneofthemostsignificantchangestothe
tromboneistheincreasedpopularityoftheFAttachmenttrigger.Allthewaythroughthemid20thcentury
itwascommontoseeorchestraltromboneplayersusinginstrumentsthatdidnotincludethetriggermostly
becauseofalackofaneedforone.However,as20thcenturycomposerssuchasMahlerbecamemore
popular,tenortrombonepartsbegantoextenddownintolowerrangesthatnecessitatedtheuseofatrigger.
Whilesometrombonistsstillprefer"straight"trombonemodelsthatdonothavetriggers,mosthave
adoptedthenewstandardforitsconvenienceandgeneralversatility.

Contemporaryuse
Today,thetrombonecanbefoundinwindensembles/concertbands,symphonyorchestras,marching
bands,militarybands,brassbands,andbrasschoirs.Inchambermusic,itisusedinbrassquintets,quartets,
ortrios,ortrombonetrios,quartets,orchoirs.Thesizeofatrombonechoircanvarygreatlyfromfiveorsix
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totwentyormoremembers.
Trombonesarealsocommoninswing,jazz,merengue,salsa(e.g.,JimmyBosch,LuisBonilla,andWillie
Coln),R&B,ska(e.g.,DonDrummond),andNewOrleansbrassbands.

Types
Themostfrequentlyencounteredtrombonestodayarethetenorand
bass,thoughaswithmanyotherRenaissanceinstruments,the
trombonehasbeenbuiltinsizesfrompiccolotocontrabass.
Trombonesareusuallyconstructedwithaslidethatisusedto
changethepitch.Valvetrombonesusethreevalves(singlyorin
combination)insteadoftheslide.Thevalvesfollowthesame
schemaasothervalvedinstrumentsthefirstvalvelowersthepitch
by1step,thesecondvalveby1/2step,andthethirdvalveby11/2
steps.

ThetrombonesectionoftheEau
ClaireMunicipalBandisfeaturedata
FourthofJulycelebrationinOwen
Park.

Someslidetromboneshaveoneor(lessfrequently)tworotary
valvesoperatedbyalefthandthumbtrigger.ThesinglerotaryvalveispartoftheFattachment,which
addsalengthoftubingtolowertheinstrument'sfundamentalpitchfromBtoF.Somebasstrombones
haveasecondtriggerwithadifferentlengthoftubing.Thesecondtriggerfacilitatesplayingtheotherwise
problematiclowB.

Technique
Basicslidepositions
ThemodernsystemofsevenchromaticslidepositionsonatenortromboneinBwasfirstdescribedby
AndreBrauncirca1795.[8]In1811JosephFrhlichwroteonthedifferencesbetweenthemodernsystem
andanoldsystemwherefourdiatonicslidepositionswereusedandthetrombonewasusuallykeyedto
A.[9]Tocomparebetweenthetwostylesthechartbelowmaybehelpful(takenoteforexample,intheold
systemcontemporary1stpositionwasconsidered"drawnpast"thencurrent1st).[9]Inthemodernsystem,
eachsuccessivepositionoutward(approximately3.25")willproduceanotewhichisonesemitonelower
whenplayedinthesamepartial.
Newsystem 1 2 3 4 5 6 7
Oldsystem 1 2 3 4

Partialsandintonation
Aswithallbrassinstruments,progressivetighteningofthelipsandincreasedairpressureallowtheplayer
tomovetodifferentpartialintheharmonicseries.Inthefirstposition(alsocalledclosedposition)onaB
trombone,thenotesintheharmonicseriesbeginwithB2(oneoctavehigherthanthepedalB1),F3(a
perfectfifthhigherthanthepreviouspartial),B3(aperfectfourthhigher),D4(amajorthirdhigher),and
F4(aminorthirdhigher).
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F4marksthesixthpartial,orthefifthovertone.Notesonthe
nextpartial,forexampleA4(aminorthirdhigher)infirst
position,tendtobeoutoftuneinregardstothetwelvetone
equaltemperamentscale.A4inparticular,whichisatthe
seventhpartial(sixthovertone)isnearlyalways31cents,or
aboutonethirdofasemitone,flatoftheminorseventh.Onthe
slidetrombone,suchdeviationsfromintonationarecorrected
forbyslightlyadjustingtheslideorbyusinganalternate
position.[10]ItshouldbenotedthatthoughmuchofWestern
musichasadoptedtheeventemperedscale,ithasbeenthe
practiceinGermanyandAustriatoplaythesenotesinposition,
wheretheywillhavejustintonation(seeharmonicseventhas
wellforA4).

Trombonefirstpositionharmonicseries,
"whereadditionalovertonesmaybeused
tostretchtheupperrangeabithigher."[10]

Tromboneseventhpositionharmonic

ThenexthigherpartialsB4(amajorsecondhigher),C5(a
series. [10]
majorsecondhigher),D5(amajorsecondhigher)donot
requiremuchadjustmentforeventemperedintonation,butE
(aminorsecondhigher)isalmostexactlyaquartertonehigherthanitwouldbeintwelvetoneequal
temperament.EandF5(amajorsecondhigher)atthenextpartialareveryhighnotesaveryskilledplayer
withahighlydevelopedfacialmusculatureanddiaphragmcangoevenhighertoG5,A5,B5andbeyond.
Thehigherintheharmonicseriesanytwosuccessivenotesare,
theclosertheytendtobe(asevidencedbytheprogressively
smallerintervalsnotedabove).Abyproductofthisisthe
relativelyfewmotionsneededtomovebetweennotesinthe
TrombonewithFattachmentslideposition
higherrangesofthetrombone.Inthelowerrange,significant
secondharmonics. [10]
movementoftheslideisrequiredbetweenpositions,which
becomesmoreexaggeratedonlowerpitchedtrombones,butfor
highernotestheplayerneedonlyusethefirstfourpositionsoftheslidesincethepartialsarecloser
together,allowinghighernotesinalternatepositions.Asanexample,F4(atthebottomofthetrebleclef)
maybeplayedinfirst,fourthorsixthpositiononaBtrombone.ThenoteE1(orthelowestEona
standard88keypianokeyboard)isthelowestattainablenoteona9'Btenortrombone,requiringafull
2.24moftubing.OntromboneswithoutanFattachment,thereisagapbetweenB1(thefundamentalin
firstposition)andE2(thefirstharmonicinseventhposition).Skilledplayerscanproduce"falset"notes
betweenthese,butthesoundisrelativelyweakandnotusuallyusedinperformance.TheadditionofanF
attachmentallowsforintermediatenotestobeplayedwithmoreclarity.

Pedaltones
ThepedaltoneonBisfrequentlyseenincommercialscoring
butmuchlessofteninsymphonicmusicwhilenotesbelowthat
arecalledforonlyrarelyasthey"becomeincreasinglydifficult
toproduceandinsecureinquality"withAorGbeingthe
bottomlimitformosttrombonists.[10]However,some
contemporaryorchestralwritingandsoloswillcallfornotesas
lowasapedalFonthebasstrombone.
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Glissando
Thetromboneisoneofthefewwindinstrumentsthatcanproduceatrueglissando,bymovingtheslide
withoutinterruptingtheairfloworsoundproduction.Everypitchinaglissandomusthavethesame
harmonicnumber,andatritoneisthelargestintervalthatcanbeperformedasaglissando.[11]'Harmonic',
'inverted','broken'or'false'glissandosarethosethatcrossoneormoreharmonicseries,requiringa
simulatedorfakedglissandoeffect.[12]

Trills
Trills,thoughgenerallysimplewithvalves,aredifficultontheslidetrombone.Trillstendtobeeasiestand
mosteffectivehigherintheharmonicseriesbecausethedistancebetweennotesismuchsmallerandslide
movementisminimal.Forexample,atrillonB3C4isvirtuallyimpossibleastheslidemustmovetwo
positions(either1stto3rdor5thto3rd),howeveratanoctavehigher(B4C5)thenotescanbothbe
achievedin1stpositionasaliptrill.Thus,themostconvincingtrillstendtobeabovethefirstoctaveanda
halfofthetenor'srange.[13]TrillsaremostcommonlyfoundinearlyBaroqueandClassicalmusicforthe
tromboneasameansofornamentation,however,somemoremodernpieceswillcallfortrillsaswell.

Notation
Unlikemostotherbrassinstrumentsinanorchestralsetting,thetromboneisnotusuallyconsidereda
transposinginstrument.Priortotheinventionofvalvesystems,mostbrassinstrumentswerelimitedto
playingoneovertoneseriesatatimealteringthepitchoftheinstrumentrequiredmanuallyreplacinga
sectionoftubing(calleda"crook")orpickingupaninstrumentofdifferentlength.Theirpartswere
transposedaccordingtowhichcrookorlengthofinstrumenttheyusedatanygiventime,sothata
particularnoteonthestaffalwayscorrespondedtoaparticularpartialontheinstrument.Trombones,onthe
otherhand,haveusedslidessincetheirinception.Assuch,theyhavealwaysbeenfullychromatic,sono
suchtraditiontookhold,andtrombonepartshavealwaysbeennotatedatconcertpitch(withoneexception,
discussedbelow).Also,itwasquitecommonfortrombonestodoublechoirpartsreadinginconcertpitch
meanttherewasnoneedfordedicatedtromboneparts.
Trombonepartsaretypicallynotatedinbassclef,thoughsometimesalsowrittenintenorcleforaltoclef.
Theuseofaltoclefisusuallyconfinedtoorchestralfirsttromboneparts,withthesecondtrombonepart
writtenintenorclefandthethird(bass)partinbassclef.Asthealtotrombonedeclinedinpopularityduring
the19thcentury,thispracticewasgraduallyabandonedandfirsttrombonepartscametobenotatedinthe
tenororbassclef.SomeRussianandEasternEuropeancomposerswrotefirstandsecondtenortrombone
partsononealtoclefstaff(theGermanRobertSchumannwasthefirsttodothis).Examplesofthispractice
areevidentinscoresbyIgorStravinsky,SergeiProkofiev,DmitriShostakovich.Trombonepartsmay
containbothbassandtenorcleforbassandaltoclefsections.Trombonepartsinbandmusicarenearly
exclusivelynotatedinbassclef.Therareexceptionsareincontemporaryworksintendedforhighlevel
windbands.
Anaccomplishedperformertodayisexpectedtobeproficientinreadingpartsnotatedinbassclef,tenor
clef,altoclef,and(morerarely)trebleclefinC,withtheBritishbrassbandperformerexpectedtohandle
trebleclefinBaswell.
Brassbands
Inbrassbandmusic,thetenortromboneistreatedasatransposinginstrumentinBandreadsthetreble

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Inbrassbandmusic,thetenortromboneistreatedasatransposinginstrumentinBandreadsthetreble
clef(whilethebasstromboneusesthebassclefinconcertpitch,asinorchestralandconcertbandmusic).
Thisputsthenotesinexactlythesamestaffpositionastheywouldbeifthemusicwerewrittenina(non
transposing)tenorclef,althoughthekeysignatureandsomeaccidentalsmustbeadjusted.Thisisnomere
coincidence,forbrassbandsusedtoemployasectionofalto,tenorandbasstrombonesintheearlytomid
19thcentury,laterreplacingthealtowithatenortrombone,allthewhilenotatedinthecorrespondingclefs.
Eventually,intheearly20thcentury,musiciansdecidedtoreplacethetenorclefwiththetransposingB
treblecleftoaidnewstarterstointegratemorequicklyandeffectivelyintothebrassbandthoughthebass
trombone,theninG,remainednotatedinconcertpitchbassclef.(CompanybandsusedBandEtreble
clefnotationformanyinstrumentsinthebandtoallowplayerstomoreeasilyswitchinstrumentswhen
personnelchanged.)

Mutes
Avarietyofmutescanbeusedwiththetrombonetoalteritstimbre.Manyareheldinplacewiththeuseof
corkgrips,includingthestraight,cup,harmonandpixiemutes.Somefitoverthebell,likethebucketmute.
Inadditiontothis,mutescanbeheldinfrontofthebellandmovedtocovermoreorlessareaforawah
waheffect.Mutesusedinthiswayincludethe"hat"(ametalmuteshapedlikeabowler)andplunger
(whichlookslike,andoftenis,therubbersuctioncupfromasinkortoiletplunger),asoundfeaturedasthe
voicesofadultsinthePeanutscartoons.

Variationsinconstruction
Bells
Trombonebells(andsometimesslides)maybeconstructedofdifferentbrassmixtures.Somesaythat
materialsaffecttonequalityandtimbre.Themostcommonmaterialisyellowbrass(70%copper,30%
zinc),butothermaterialsincluderosebrass(85%copper,15%zinc)andredbrass(90%copper,10%zinc).
Somemanufacturersofferinterchangeablebells.Tenortrombonebellsareusuallybetween7and9inches
indiameter,themostcommonbeingsizesfrom7to8inches.Thesmallestsizesarefoundinsmalljazz
trombonesandoldernarrowboreinstruments,whilethelargersizesarecommoninorchestralmodels.Bass
trombonebellscanbeaslargeas10"ormore,thoughusuallyeither9inor10indiameter.Thebell
maybeconstructedoutoftwoseparatebrasssheetsoroutofonesinglepieceofmetalandhammeredona
mandreluntilthepartisshapedcorrectly.Theedgeofthebellmaybefinishedwithorwithoutapieceof
bellwiretosecureit,whichalsoaffectsthetonequalitymostbellsarebuiltwithbellwire.Occasionally,
trombonebellsaremadefromsolidsterlingsilver.

Valveattachments
Manytromboneshavevalveattachmentstoaidinincreasingtherangeoftheinstrumentwhilealso
allowingalternateslidepositionsfordifficultmusicpassages.Inaddition,valveattachmentsmaketrills
mucheasier.Valveattachmentsappearonalto,tenor,bass,andcontrabasstrombones.Itisrareonthealto,
butwhentheinstrumentdoeshaveit,thevalveattachmentchangesthekeyoftheinstrumentfromEto
B,allowingthealtotrombonetoplayinthetenortrombonerange.Tenortrombonescommonlyhavevalve
attachments,themostcommonbeingtheFattachment,whichchangesthepitchoftheinstrumentfromB
toF,increasingtherangeoftheinstrumentdownwardandallowingalternateslidepositionsfornotesin6th
or7thposition.
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BasstrombonesalsoverycommonlyhaveFattachments,which
serveexactlythesamefunctionasonthetenortrombone.Some
singlevalvebasstromboneshaveEattachmentsinsteadofF
attachments,orsometimesthereisextratubingontheFAttachment
toallowittobeusedasanEattachmentifdesired.However,many
basstromboneshaveasecondvalveattachmentinstead,which
increasestheirrangedownwardevenmore.Themostcommon
secondvalveattachmentistheGattachment,whichchangesthe
instrument'skeytoDwhenusedincombinationwiththeF
Attachment(orDifusedwiththelesscommonEattachment).
ThereareotherconfigurationsotherthantheGattachment
however.

Thestandardrotaryvalve,likethe
oneseenonthistenortrombone,is
themostcommonvalvetypeseenon
slidetrombonestoday.

Thetwovalvesonabasstrombonecaneitherbeindependentor
dependent.Doublerotordependentvalvebasstromboneswere
createdinthelate1950s,anddoublerotorindependentvalvebass
tromboneswerecreatedinthelate1960s/early1970s.Dependent
meansthatthesecondvalveonlyworkswhenusedincombination
withthefirst,asitislocateddirectlyontheForEAttachment
tubing.Newerbasstromboneshaveindependent(inline)valves
instead,meaningthatthesecondvalveislocatedontheneckpipeof
theinstrumentandcanthereforeoperateindependentlyofthe
other.[14]Contrabasstrombonesalsocanhavevalveattachments.
ContrabasstrombonesinthekeyofFtypicallyhavetwovalves
tunedtoCandDrespectively.ContrabasstrombonesinBBon
theotherhandtypicallyonlyhaveonevalve,whichistunedtoF,
thoughsomehaveasecondvalvetunedtoG.
TheThayervalveisanadvanced,
Themostcommontypeofvalveseenforvalveattachmentsisthe
conicallyshapedrotaryvalvethathas
rotaryvalve.Sometromboneshavepistonvalvesusedinsteadof
becomeverypopularinrecent
rotaryvalvesforvalveattachments,butitisveryrareandistoday
trombonedesignduetotheopenair
consideredunconventional.Manyvariationsoftherotaryvalvehave
flowitallows.TheThayervalve
beeninventedinthepasthalfcenturysuchastheThayerValveor
bendstheairflowingthroughthe
AxialFlowValve,theHagmannvalve,theGreenhoerotor,and
tromboneaslittleas25degrees.
severalothers,allofwhichweredesignedtogivethetrombonea
moreopen,freesoundthanaconventionalrotaryvalvewould
allow.Manyofthesenewtrombonevalvedesignshaveenjoyedgreatsuccessonthemarket,butthe
standardrotaryvalveremainsthemostcommonfortrombonevalveattachments.

Valves
Sometromboneshavevalvesinsteadofaslide(seevalvetrombone).Theseareusuallyrotaryvalves,or
pistonvalves.
Tubing

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Moreoftenthannot,tenortromboneswithanFattachment,or
trigger,havealargerborethroughtheattachmentthanthroughthe
'straight'section(theportionofthetrombonethroughwhichtheair
flowswhentheattachmentisnotengaged).Typically,fororchestral
instruments,theslideboreis0.547"andtheattachmenttubingbore
is0.562".Awidevarietyofvalveattachmentsandcombinationsare
available.Valveattachmenttubingusuallyincorporatesasmall
tuningslidesothattheattachmenttubingcanbetunedseparately
fromtherestoftheinstrument.MostB/Ftenorandbasstrombones
includeatuningslidelongenoughtolowerthepitchtoEwiththe
valvetubingengaged,enablingtheproductionofB2.
Whereasolderinstrumentsfittedwithvalveattachmentsusuallyhad
thetubingcoiledrathertightlyinthebellsection(closedwrapor
traditionalwrap),moderninstrumentsusuallyhavethetubingkept
asfreeaspossibleoftightbendsinthetubing(openwrap),resulting
inafreerresponsewiththevalveattachmenttubingengaged.While
openwraptubingdoesofferamoreopensound,thetubing
sticksoutfrombehindthebellandismorevulnerableto
damage.Forthatreason,closedwraptubingremainsmore
popularintrombonesusedinmarchingbandsorother
ensembleswherethetrombonemaybemoreproneto
damage.

TheHagmannvalveisarotaryvalve
variationthathasbecomepopularin
recentyears.Itwasinvented
followingtheThayervalveasa
responsetomaintenanceissuesofthe
Thayervalve.

Tuning
Sometrombonesaretunedthroughamechanisminthe
slidesectionratherthanviaaseparatetuningslideinthe
bellsection.Thismethodpreservesasmootherexpansion
Avalvetrombone
fromthestartofthebellsectiontothebellflare.Thetuning
slideinthebellsectionrequirestwoportionsofcylindrical
tubinginanotherwiseconicalpartoftheinstrument,whichaffectsthetonequality.Tuningthetrombone
enablesittoplaywithotherinstrumentswhichisessentialforthetrombone.

Slides
Commonandpopularboresizesfortromboneslidesare0.500",0.508",0.525"and0.547"fortenor
trombones,and0.562"forbasstrombones.Theslidemayalsobebuiltwithadualboreconfiguration,in
whichtheboreofthesecondlegoftheslideisslightlylargerthantheboreofthefirstleg,producingastep
wiseconicaleffect.Themostcommondualborecombinationsare0.481"0.491",0.500"0.508",
0.508"0.525",0.525"0.547",0.547"0.562"fortenortrombones,and0.562"0.578"forbasstrombones.

Mouthpiece
Themouthpieceisaseparatepartofthetromboneandcanbeinterchangedwithsimilarlysizedtrombones
fromdifferentmanufacturers.Availablemouthpiecesfortrombone(aswithallbrassinstruments)varyin
materialcomposition,length,diameter,rimshape,cupdepth,throatentrance,venturiaperture,venturi
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profile,outsidedesignandotherfactors.Variationsinmouthpiececonstructionaffecttheindividualplayer's
abilitytomakealipsealandproduceareliabletone,thetimbreofthattone,itsvolume,theplayer's
subjectivelevelofcomfort,andtheinstrument'splayabilityinagivenpitchrange.
Mouthpieceselectionisahighlypersonaldecision.Thus,asymphonictrombonistmightprefera
mouthpiecewithadeepercupandsharperinnerrimshapeinordertoproducearichsymphonictone
quality,whileajazztrombonistmightchooseashallowercupforbrightertoneandeasierproductionof
highernotes.Further,forcertaincompositions,thesechoicesbetweentwosuchperformerscouldeasilybe
reversed.
Somemouthpiecemakersnowoffermouthpiecesthatfeatureremovablerimsandcupsallowingplayersto
furthercustomizeandadjusttheirmouthpiecetotheirpreference.

Plastic
Instrumentsmademostlyfromplastic,includingthepBoneandtheTrombaplastictrombone,emergedin
the2010sasacheaperandmorerobustalternativetobrass.[15][16]Plasticinstrumentscouldcomeinalmost
anycolourbutthesoundplasticinstrumentsproduceisdifferentfromtheoneofbrass,lacquer,goldor
silver.Whileoriginallyseenasagimmick,theseplasticmodelshavefoundincreasingpopularityofthelast
decadeandarenowviewedaspracticetoolsthatmakeformoreconvenienttravelaswellasacheaper
optionforbeginningplayersnotlookingtoinvestsomuchinatrombonerightaway.Manufacturersnow
producelargeboremodelswithtriggersaswellassmalleraltomodels.

Regionalvariations
GermanyandAustria
Germantromboneshavebeenbuiltinawidevarietyofboreandbellsizes.ThetraditionalGerman
KonzertposaunecandiffersubstantiallyfromAmericandesignsinmanyaspects.Themouthpieceis
typicallyrathersmallandisplacedintoaslidesectionwithaverylongleadpipeofatleast12"24".The
wholeinstrumentisoftenmadeofgoldbrass,anditssoundisusuallydarkercomparedwithBritish,French
orAmericandesigns.Whiletheirboresizeswereconsideredlargeinthe19thcentury,Germantrombones
havealteredverylittleoverthelast150yearsandarenowtypicallysomewhatsmallerthantheirAmerican
counterparts.BellsizesremainverylargeinallsizesofGermantromboneandabasstrombonebellmay
exceed10"indiameter.
Valveattachmentsintenorandbasstromboneswerefirstseeninthemid19thcentury,originallyonthe
tenorBtrombone.Before1850,basstrombonepartsweremostlyplayedonaslightlylongerFbass
trombone(afourthlower).Thefirstvalvewassimplyafourthvalve,orinGerman"Quartventil",built
ontoaBtenortrombone,toallowplayinginlowF.Thisvalvewasfirstbuiltwithoutareturnspring,and
wasonlyintendedtosettheinstrumentinBorFforextendedpassages.Sincethemid20thcentury,
moderninstrumentsuseatriggertoengagethevalvewhileplaying.
AswithotherGermanandAustrianbrassinstruments,rotaryvalvesareusedtotheexclusionofalmostall
othertypesofvalve,eveninvalvetrombones.OtherfeaturesoftenfoundonGermantrombonesinclude
longwaterkeysandsnakedecorationsontheslideandbellUbows.

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Sincearound1925,whenJazz.musicbecamepopular,Germanyhasbeenselling"Americantrombones"as
well.MosttrombonesplayedinGermanytoday,especiallybyamateurs,arebuiltintheAmericanfashion,
asthosearemuchmorewidelyavailable,andthusfarcheaper.
France
FrenchtromboneswerebuiltintheverysmallestboresizesuptotheendoftheSecondWorldWarand
whilstothersizesweremadethere,theFrenchusuallypreferredthetenortrombonetoanyothersize.
Frenchmusic,therefore,usuallyemployedasectionofthreetenortrombonesuptothemid20thcentury.
TenortrombonesproducedinFranceduringthe19thandearly20thcenturiesfeaturedboresizesofaround
0.450",smallbellsofnotmorethan6"indiameter,aswellasafunnelshapedmouthpieceslightlylarger
thanthatofthecornetorhorn.FrenchtenortromboneswerebuiltinbothCandB,altosinD,sopranosin
F,piccolosinhighB,bassesinGandE,contrabassesinB.

Didactics
Inrecentyears,severalmakershavebeguntomarketcompactB/Ctrombonesthatareespeciallywell
suitedforyoungchildrenlearningtoplaythetrombonewhocannotreachtheouterslidepositionsoffull
lengthinstruments.ThefundamentalnoteoftheunenhancedlengthisC,buttheshortvalvedattachment
thatputstheinstrumentinBisopenwhenthetriggerisnotdepressed.Whilesuchinstrumentshaveno
seventhslideposition,CandBnaturalmaybecomfortablyaccessedonthefirstandsecondpositionsby
usingthetrigger.Asimilardesign("Preachermodel")wasmarketedbyC.G.Conninthe1920s,alsounder
theWurlitzerlabel.Currently,B/Ctrombonesareavailablefrommanymanufacturers,includingGerman
makersGnterFrost,TheinandHelmutVoigt,aswellastheYamahaCorporation.[17]

Manufacturers
Trombonesinslideandvalveconfigurationhavebeenmadebyavastarrayofmusicalinstrument
manufacturers.Forthebrassbandsofthelate19thandearly20thcentury,prominentAmerican
manufacturersincludedGravesandSons,E.G.WrightandCompany,TheBostonMusicalInstrument
Company,E.A.CouturierCo.,Ltd.,H.N.WhiteCompany,J.W.York,andC.G.Conn,Ltd..Inthe21st
century,leadingmainstreammanufacturersoftrombonesincludeF.E.Olds,VincentBach,KingMusical
Instruments,Conn,F.A.Reynolds,YamahaMusicalInstrumentsandJupiterBandInstruments.

Seealso
Aequale
Shoutband
Trombetto
Tromboonexperimentalmusicalinstrument,hybridoftromboneandbassoon

References
1. pronunciationoftromboneintheOxfordLearner'sDictionaries
(http://www.oxfordlearnersdictionaries.com/pronunciation/english/trombone)
2. Herbert(2006),p.59.
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3. Guion,DavidM.(1988).TheTrombone:ItsHistoryandMusic,16971811,p.3.Musicology:ABookSeries,
Vol.VI.GordonandBreach.ISBN2881242111."Manymodernmusiciansprefertousetheword'sackbut'
whenreferringtotheBaroquetrombone.AllotherinstrumentsinconstantusesincetheBaroquehavechanged
more...Inresponsetothenumberoftimespeopleincludingmusicians,haveaskedifthesackbutissomethinglike
atrombone,Ihavestoppedusingthismisleadingword."
4. Kallai,Avishai."BiographyofJoachimNikolasEggert".Musicalics.Archivedfromtheoriginalon8November
2014.
5. 20thCenturyArchitects,CDRecording,SummitRecords(http://summitrecords.com/product.tmpl?SKU=361)
6. http://www.allaboutjazz.com/trombonebybobbernotas.php#.VERSjPBXuY
7. http://trombone.org/articles/library/evojazz1.asp
8. Weiner,H.(1993).AndrBraunsGammeetMthodepourlesTrombonnes:TheEarliestModernTrombone
MethodRediscovered.HistoricBrassSocietyJournal,5,288308.
9. Guion(1988),p.93.
10. KennanandGrantham(2002).TheTechniqueofOrchestration,p.148149.ISBN0130407712.
11. KennanandGrantham(2002),p.151.
12. Herbert,Trevor(2006).TheTrombone,p.40.ISBN0300100957.
13. Herbert(2006),p.43.
14. http://www.yeodoug.com/resources/faq/faq_text/valves.html
15. "pBoneplastictrombone".JazzwiseMagazine.20June2013.Archivedfromtheoriginalon8July2013.
Retrieved8July2013.
16. "KorgUKtakesondistributionofTromba".MusicalInstrumentProfessional.2May2013.Retrieved12July
2013.
17. YamahaCatalogYSL350C(http://www.yamaha.com/yamahavgn/CDA/ContentDetail/ModelSeriesDetail.html?
CNTID=2265&CTID=242600)withascendingBb/Crotor

Furtherreading
Adey,Christopher(1998).OrchestralPerformance.London:Faber&Faber.ISBN0571177247.
Baines,Anthony(1980).BrassInstruments:TheirHistoryandDevelopment.London:Faber&
Faber.ISBN0571115713.
Bate,Philip(1978).TheTrumpetandTrombone.London:ErnestBenn.ISBN0510364136.
Blatter,Alfred(1997).InstrumentationandOrchestration.Belmont:Schirmer.ISBN0534251870.
DelMar,Norman(1983).AnatomyoftheOrchestra.London:Faber&Faber.ISBN0520050622.
Bluhme,Friedrich,ed.(1962).DieMusikinGeschichteundGegenwart.Kassel:Brenreiter.
Lavignac,Albert,ed.(1927).EncyclopdiedelamusiqueetDictionnaireduConservatoire.Paris:
Delagrave.
Gregory,Robin(1973).TheTrombone:TheInstrumentanditsMusic.London:Faber&Faber.
ISBN0571088163.
Herbert,TrevorandWallace,John,ed.(1997).TheCambridgeCompaniontoBrassInstruments.
CambridgeCompanionstoMusic.Cambridge:CambridgeUniversityPress.ISBN0521565227.
Herbert,Trevor(2006).TheTrombone(YaleMusicalInstrumentSeries).London:YaleUniversity
Press.ISBN0300100957.
Kunitz,Hans(1959).DieInstrumentation:Teil8Posaune.Leipzig:Breitkopf&Hrtel.ISBN3
733000099.
Maxted,George(1970).TalkingabouttheTrombone.London:JohnBaker.ISBN0212983601.
Montagu,Jeremy(1979).TheWorldofBaroque&ClassicalMusicalInstruments.NewYork:The
OverlookPress.ISBN0879510897.
Montagu,Jeremy(1976).TheWorldofMedieval&RenaissanceMusicalInstruments.NewYork:
TheOverlookPress.ISBN0879510455.
Montagu,Jeremy(1981).TheWorldofRomantic&ModernMusicalInstruments.London:David&
Charles.ISBN0715379941.
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Sadie,StanleyandTyrrell,John,ed.(2001).TheNewGroveDictionaryofMusicandMusicians.
London:Macmillan.ISBN0195170679.
Wick,Denis(1984).TromboneTechnique.Oxford:OxfordUniversityPress.ISBN0193223783.

Externallinks
TromboneHistoryTimeline
(http://www.kimballtrombone.com/trombonehistory
timeline/)byWillKimballAssociateProfessorofTrombone
atBrighamYoungUniversity
InternationalTromboneAssociation
(http://www.trombone.net/)
OnlineTromboneJournal(http://www.trombone.org/)
SourcesforthePrescribedSheetMusicfortheABRSM
practicalexams

WikimediaCommonshas
mediarelatedtoTrombones.
Lookuptrombonein
Wiktionary,thefree
dictionary.
Wikisourcehasthetextof
the1911Encyclopdia
Britannicaarticle
Trombone.

(http://royalschoolsources.com/brass/trombone/trombone.html)
AcousticsofBrassInstruments(http://newt.phys.unsw.edu.au/jw/brassacoustics.html)fromMusic
Acoustics(http://www.phys.unsw.edu.au/music)attheUniversityofNewSouthWales.
cdstrombone.com(http://www.cdstrombone.com/)"Discsoftrombone"
AbouttheTrombone(http://www.classicol.com/classical.cfm?
music=instrumentInfo&section=Trombone&title=About%20The%20Trombone)fromclassicol.com
NPRstoryabouttrombonebands(http://www.npr.org/templates/story/story.php?storyId=1321215)
(2003)
TwoFrequenciesTrombone(http://www.twofrequencies.com/scott/instruction/atrombone.pdf)

SlidePositions
ChristianE.Waage(2009)."SlidePositionChart"
(http://www.yeodoug.com/resources/faq/faq_images/slide_chart_03.jpg),YeoDoug.com
AntonioJ.Garca.(1997)."ChoosingAlternatePositionsforBebopLines"
(http://www.garciamusic.com/educator/articles/alt.positions.html),GarciaMusic.com.
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Categories: Brassinstruments Continuouspitchinstruments Bflatinstruments Bass(sound)
Jazzinstruments Trombones
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