Bass trombone. Trombone - musical instrument - history, photo, video

⁰

The four names that originally represented this large family - horns (or horns), trumpets, trombones and tubas - over time pretty much mixed up and presented to the descendants several characteristic hybrids, which, on the one hand, enriched the sound of a symphony orchestra, and on the other hand, added brilliance and melody to the sound of a military orchestra. ... Brass are necessary when it comes to conveying impressions of spaces of any, even unthinkable, scale ... The sound generator, as in the old days, is ... the lips of the performer.

Cornet

French name for the instrument cornet-a-piston- a horn with caps (piston valves). Designed in Paris in the 1820s. This is not a pipe, but a direct descendant of the post horn, therefore it can be considered related horn. The modern cornet, despite its compactness, "folded", is becoming more and more like a pipe.

The most famous feature of the instrument is its superiority over other brass instruments in playing music requiring great fluency and virtuosity.

The heroic intonations of the trumpet are absent from the cornet, but, on the other hand, it is capable of warmth and juicy softness of sound, associated only with the French horn. This determined his role and place in the orchestra: the cornet successfully leads the melodic line entrusted to him, moreover, in combination with other instruments, it sounds no worse than the trumpet.

Flugelhorn

The name of the instrument is formed from two German words: Flugel- "wing" and Horn- "horn". Its secret will be unraveled, one has only to take the flugelhorn in hand. The increased cross-section of the conical channel, wider than that of the pipe, the bell makes the second turn of the pipe deviate like the raised wing of a bird ready to take off. Flugelhorn, reminiscent of both a pipe and a cornet-a-piston, is indeed "winged". It is more often improvised than played from notes. Jazz trumpeters love the flugelhorn for its soft horn sound.

The instrument is more popular in Europe than in America. In Italy, for example, four of its rare varieties are still found.

Trombone

Trombone is an Italian word. trombe is a pipe, trombone is a big pipe). The English ancestor of the trombone was called sackbat (sacbat, sackbut) and was quite similar to the modern instrument. It is believed that over the past five hundred years, the trombone has not changed much. This is not entirely true. The dimensions of the instrument, the shape of the mouthpiece and the bell changed. Masters sought from the trombone the same as from other instruments - the perfect sound. The main distinguishing feature of the trombone is its movable knee, the wings. The slide is designed to change the pitch of the instrument. When it extends, the sound, as the air column lengthens, becomes lower.

The instrument's tube is mostly cylindrical, but closer to the bell it vigorously tapers. The mouthpiece is a shallow spherical cup, similar to the mouthpiece of a large trumpet, and differs from the mouthpieces of other brass instruments.

The sound of the trombone is powerful, distinct; at the same time, any gradation of a quiet sound is possible on a trombone. The instrument sounds heartfelt in sacred music, but is often associated with the realm of the supernatural (as, for example, in Mozart's Requiem and his opera Don Giovanni). If it is necessary to express sensations in the score of a musical work
anxiety, danger, doom, then the composer will most likely turn to the sound of a trombone. In jazz music, the trombone, on the other hand, often sounds rather carefree. Vocal imitation of the sound of a trombone, its expressive glissando and blues notes is almost the quintessence of the unique performing style of the legendary jazz musician (singer, trumpeter, trombonist) Louis
Armstrong (1901-1971).

Glissando seems to be a fairly natural touch for such a peculiar instrument as the trombone, but in academic music its use was not allowed for a long time and was considered a sign of bad taste. Alexander Glazunov (1865–1936) and Arnold Schoenberg (1874–1951) were the first authors to overcome this tradition completely independently of each other.

When playing, the instrument is held with the left hand by the stand of the mouthpiece of the pipe so that the mouthpiece rests on the lips. The right hand at the same time controls the wings with a separate spacer. There are seven positions for the backstage position during the game. At the first (highest) position, the rocker is fully retracted; at the seventh (lowest) position, it is fully extended; with each successive position, the sound decreases by a semitone.

On the U-shaped bend of the fixed (mouthpiece) part of the instrument there is a movable tuning crown. A counterweight is installed on the transverse strut, because the total length of all the tubes of the instrument is about three meters, and with the wings fully extended, the trombone begins, as they say, to “outweigh” the trombonist. The condensate outlet valve is located on the moving part of the tube - the wings.

In a modern orchestra, the trombone group usually consists of three instruments; these are two tenor and one bass trombones.

The range of the trombone is about 2.5 octaves, the tenor tuning is in B, the bass tuning is in F (one fourth lower).

Tenor bass trombone- the most important of the generic instruments of the trombone group - is a tenor trombone in B with the so-called quarter valve - a device consisting of an additional tube loop built into the U-shaped knee to ensure the extraction of the fundamental tone F when connected. The connection is made by a rotary valve controlled by the left
thumb and acting like a horn valve.

The tenor bass trombone, intended mainly for playing low parts of the bass trombone, has an enlarged channel and a tube equipped with a small rocker. The quarter valve actually turns one instrument into two or even three, if we consider the additional crown E present in the design of the instrument. In terms of significance, this is comparable to the invention of the double horn, because with the help of the quarter valve, unlimited access is provided to both the tenor and bass registers.

Horn (French horn)

If the sound of the trumpet sets off heroic motives, the sound of the trombone - the spiritual and otherworldly beginnings, then the sphere of the French horn is magic. Almost all over the world, the horn (which literally means “forest horn” in German) is for some reason called the “French horn”. France is considered an exception, where it is fundamentally not called that. It is authentically known that the horn was created and developed mainly in Germany, so it would be more reasonable to call it the "German horn".

The forerunners of the modern horn are the hunting horn, and after it the so-called natural horn.

The valve, or chromatic, horn was invented by the Silesian masters Stölzel and Blumel in 1818 and patented at the same time. Two years later, the news of the new "German horn", and the horn itself, reached Paris, where the French musician Pierre-Joseph-Emile Meyfred (1791-1867) improved the instrument somewhat. And only in 1835, that is, 15 years later, the valve horn appeared in the orchestra. In early scores by Wagner, natural and valve horns are used together. One of the first major works intended specifically for the valve horn with piano - Schumann's Adagio and Allegro (Op. 70) dates from

1849, but twenty years later, composers still turned to the natural prototype of the instrument. Especially when the sound of the orchestra had to recreate the atmosphere of the original "forest romance".

The warm and velvety tone of the French horn is difficult to confuse with the sound of other brass instruments, but the color possibilities of the instrument can also be expanded through a special technique - inserting the hand into the bell during playing. As a result, closed, or stalled, sounds are obtained - even more unusual, mysterious, creating a curious spatial effect of an instantaneous distance of the instrument.

The modern valve horn has an impressive range (3.5 octaves), and this is due to the fact that it is, as it were, two instruments “fitted” one into the other. The instrument that has now established itself in the orchestra is the result of the combination of its closest predecessors: the horn in B and the horn in F. The total length of the tube due to this combination is 518 centimeters. The instrument has three main valves, which, with the help of rotary levers, control twice the number of valve tubes. The fourth valve, additional, is actuated by the thumb, providing switching from F to B and vice versa. Switching can occur at any time and in any register of the range. Mouthpiece - conical,
funnel-shaped, different from the mouthpieces of other brass instruments.

In symphonic scores of the 19th and 20th centuries, four horns most often appear, two of which are assigned high, and the other two low parts. In large orchestras, the number of horns can increase to six or eight.

Baritone

The name "baritone" is most often applied to this brass instrument, but it happens to be called both "tenor" and "tenor tuba". In the 30s and 40s of the 19th century, when the design of the baritone was just taking shape, another name was coined for it - euphonium(from the Greek "euphonos", which means " harmonious”, “sweet-voiced”).

The vocation of the baritone is not only military music. The instrument is widely used in brass bands, where its characteristic tone can also be heard in solo episodes. Just like in the name, there are various variations in the design of the instrument. There are 3, 4 and even 5-valve baritones. Each of the additional valves opens a sidebar, due to which the tone of the instrument is slightly lowered. With a total length of all tubes within three meters, the baritone is quite compact - about 60-70 centimeters in length.

The mouthpiece of the baritone and related variations is bowl-shaped and rather deep compared even to the mouthpiece of a trombone, which helps to give the instrument's characteristic soft and spicy tone.

Tuba

Latin word for tuba tuba) translates as " pipe". Well, let's assume that out of respect for the lowest voice among all brass, this instrument is called by its Latin name.

Due to the wide conical channel, wide bell and deep bowl-shaped mouthpiece, the tuba has not only the lowest, but also an unusually soft, deep tone, similar to the timbre of a horn rather than a trombone or trumpet. The tube is distinguished by its size. It is the largest instrument in its group and one of the largest wind instruments in the orchestra.

In ancient Rome, a tuba was a bronze cylindrical and straight wind instrument up to one and a half meters long, used in military and ceremonial use. The modern tuba is one of the youngest members of the family. It was born already with a full-fledged valve system (the number of valves is 3 - 4, less often 5 or 6).

The tuba was introduced into the symphony orchestra by Richard Wagner. Tuba solos are found in orchestral scores by Gustav Mahler, Richard Strauss, Maurice Ravel and other authors. In the 20th century, the tuba sonata was written for the first time. Its author is the German composer Paul Hindemith (1895-1963).

Wagner tuba (Wagner tuba)

An instrument with this name really owes its birth to maestro Richard Wagner. The composer needed a kind of sound "connecting
link" between horns and trombones for the performance of his impressive opera cycle "Ring of the Nibelungen" (1876). As conceived by Wagner, horn players were supposed to play such tubas. The gloomy and majestic sound of the instrument repeatedly attracted the attention of composers of the 19th and 20th centuries - Bruckner, R. Strauss, Stravinsky and others. The conical channel of the Wagner tube expands gradually and passes into a beveled long bell; while playing, the instrument is held on the lap. The range of the Wagner tuba is about three octaves, the system varies: there are tenor instruments in B and bass instruments in F. In the scores of the operas of the Wagnerian "Ring" ("Gold of the Rhine", "Valkyrie", "Siegfried", "Sunset of the Gods"), a quartet of Wagner tubas appears: two tenor and two bass instruments.

Sousaphone

Sousaphone (souzaphone) - a brass instrument, a kind of bass tuba in Es or B tuning with three or four valves - is named after its inventor, American conductor John Sousa. The sousaphone is used in military brass bands and looks and sounds great even on the march. Its bell shines like the sun, towering over the performer's head. And a long four-five and a half meter tube encircles it like a mythical snake. The sousaphone has been produced since 1898, and recently the instrument's main tube has been made from fiberglass.

Lev Zalessky.

It differs from other brass instruments by the presence of a backstage - a special movable U-shaped tube, with the help of which the musician changes the volume of air contained in the instrument, thus achieving the ability to play the sounds of a chromatic scale (valves serve this purpose on the trumpet, horn and tuba). As with other brass instruments, the basic principle of playing the trombone is to obtain harmonic consonances by changing the position of the lips and changing the length of the air column in the instrument, achieved using the wings. When playing, the rocker slides out with the right hand, while the left hand supports the instrument. The trombone has seven positions (slide positions), each of which lowers the instrument's pitch by half a step.

Trombone range - from G1 before f² skipping sounds between B1 And E(b-flat contra-octave - mi large octave). This interval (except for the note H1, that is, si counteroctaves) is filled in with a quarter valve. The trombone is a non-transposing instrument, so its part is always recorded in accordance with the actual sound.

The trombone has a bright, brilliant timbre in the middle and upper registers, gloomy in the lower.

The trombone is a versatile and technically flexible instrument. On the trombone, it is possible to use a mute, a special effect - glissando - is achieved by sliding the backstage.

One of the best trombonists of our time, Christian Lindberg, performs two pieces from Prokofiev's Romeo and Juliet: "Dance of the Knights" and " Juliet is a girl

The appearance of the trombone dates back to the 15th century. During its existence, the trombone has practically not undergone radical changes in its design. It is generally accepted that the direct predecessors of this instrument were rocker pipes, when playing on which the musician had the opportunity to move the pipe of the instrument, thus obtaining a chromatic scale. Such pipes were made to double the voices of the church choir, given the similarity of the timbre of the pipe with the human voice. It was only necessary to make the similarity of intonation, for which they made a stage, giving chromatism and vibrato.

The first instruments, which were essentially trombones, were called sacbuts (from the French saquer - to pull towards oneself, bouter - to push away from oneself). They were smaller than modern instruments in size and had several varieties of singing voice registers that doubled and imitated the timbre: soprano, alto, tenor and bass.

Sakbuts, thanks to the chromatic scale, immediately became permanent members of orchestras.

Small improvements in sacbuts led to the appearance in the 17th century of almost modern instruments, to which the Italian word trombone was already applied at that time.

By the middle of the 18th century, church music was the main area of use of trombones: most often these instruments were entrusted with duplicating singing voices. The trombone became a permanent member of the orchestra only at the turn of the 18th-19th centuries. As a rule, the orchestra consisted of three trombones: alto, tenor and bass (since it was difficult to play cleanly on a soprano trombone with its small backstage). At the same time, the trombone abruptly changed its role. From playing in high registers, where his solemn timbre merged with the brilliant timbre of church singers, he moved to a gloomy low register, leaving the upper tessitura to trumpets and horns. In the era of romanticism, composers drew attention to the expressive possibilities of the trombone. Berlioz wrote that this instrument had a noble and majestic sound, and entrusted it with a large solo in the second movement of the Funeral and Triumphal Symphony.

The tool exists in several varieties that form a family. Nowadays, the main representative of the family, the tenor trombone, is mainly used. As a rule, the word "trombone" refers to this variety, so the word "tenor" is often omitted. Alto and bass trombones are used less frequently, soprano and contrabass trombones are almost never used. Typical for the orchestra is a trio of trombones with a tuba (2 tenors + 1 tenorbass) and a trombone quartet with a contrabass trombone (the tuba is released for playing bass for horns and Wagner tubas).

In execution Christian Lindberg and Hakan Hardenberger (trumpet)Listen to "Aria with a Flower" from Bizet's "Carmen"

trombone (Italian, French, English), Posaune (German)

The trombone has a bright, brilliant timbre in the middle and upper registers, gloomy in the lower.

The trombone is a versatile and technically flexible instrument. On the trombone, it is possible to use a mute, a special effect - glissando - is achieved by sliding the backstage.

One of the best trombonists of our time, Christian Lindberg, performs two pieces from Prokofiev's Romeo and Juliet: "Dance of the Knights" and " Juliet is a girl

Sakbuts, thanks to the chromatic scale, immediately became permanent members of orchestras.

Small improvements in sacbuts led to the appearance in the 17th century of almost modern instruments, to which the Italian word trombone was already applied at that time.

Trumpet and trombone

The most paradoxical thing is that wind players do not understand anything about strings, wood - about brass, all together - about drums, and the conductor believes only in his own illusions.

Accidentally heard phrase

The darkest company for me is trumpeters and trombonists. Although, it would seem, here they are, sitting side by side. And you can hear them well. But when you find out, for example, that a trumpeter cannot play after eating herring, it becomes clear how much you do not understand them. Of course, the trumpeter will patiently explain to you that from salty and - more individually - spicy, astringent like persimmon and something else, that small vibration of the lips, which creates the sound, disappears. Of course, I can imagine, even from my own experience, the whole complex of sensations after anesthesia at the dentist and its consequences for the performer... But these features... And it's clear from the facial expression that they are not flirting. Not at all.

It is a pity to look at these unfortunate. Their faces are distorted as if by a spasm in terrible tension, and blood is about to gush from their lips. And many of these unfortunate people end up with an evil consumption.

François Joseph Garnier (1759-1825).

This, by the way, is the oboist writing about trumpeters

Modern ones seem to look better. But you look at them all the same with some apprehension and sympathy. Because in any work they are always at the forefront. That's how it happened historically. Since biblical times. Of course, the trumpet near Jericho was structurally different, but in the images of the Archangel Gabriel with the trumpet that will blow on the Day of Judgment, it is quite recognizable even without the valve mechanism, which appeared much later than most images in Gothic temples.

It is impossible for a trumpeter to hide in the orchestral mass, although one is often amazed when one hears a quiet, warm and soft sound of a trumpet, and even in the middle of a chord.

And yet you can’t argue against nature: the trumpet has a reputation as a solo and festive instrument, perhaps, since the time of Monteverdi (in fact, from earlier times, but if we talk about an orchestra, then it’s probably fair to count from somewhere there).

The trumpet is perhaps one of those few instruments of the orchestra that have a fairly clear and unambiguous complex of symbolism associated with it. Suffice it to recall March from Aida by G. Verdi or Scriabin's Posma of Ecstasy.

And every time a trumpeter plays a solo, whether it's Gershwin's "An American in Paris" or "Neapolitan Dance" from "Swan" (well, what is written for cornet - the same people play), you look at him with admiration. And when two trumpets play solo octaves, and this is often found in them - from Verdi to Tchaikovsky - there is a feeling of something absolutely unattainable.

Actually, the trumpet, like “iron”, fits into the general range of brass instruments: the same acoustic features and the same struggle of musical masters to ensure that the entire chromatic scale can be performed on the trumpet. But all the fanfares and signals associated with us with the image of the trumpet have their origin there, in natural trumpets, which were played by signalmen in the army, in knightly tournaments and city towers.

Brief hysterical retreat

And let them know! All these performers on trumpets, horns, trombones and tubas. Let them know that it is impossible to enter all this from outside. And understand too. And they can't explain. Even though they tried many times. I take all the blame.

Because in addition to the basic instruments listed above, there is a whole company of saxhorns that live in brass bands: alto, tenor, baritone and a very similar euphonium, on which, by the way, not as tormented as usual, they perform solo tubas from “Pictures at an Exhibition” by Mussorgsky - Ravel. And there is also a sousaphone - a bass instrument resembling a pipe worn by a musician from a giant gramophone. It was invented by the same John Philip Sousa, who is also famous for his march “Stars and Stripes Forever”. And in nature there are such instruments as flugelhorn, similar to a pipe, but sounding somewhat softer, fanfare - a natural instrument used exactly as the name implies (by the way, one of the versions of the fanfare was modernized especially for the premiere of "Aida" in 1871), helicon, which hangs on the musician's shoulder. In addition, one has to take into account such extinct products as the ophicleid, a nightmarish device that was supplanted by the tuba in the time of Berlioz, but the parts written for it, of course, still exist in the immortal works of the classics. (Including, by the way, in Verdi's Requiem, and this is almost our day: 1874.) And there are also a number of Richard Wagner's fantasies embodied in the score and metal, such as, for example, the family of Wagner tubes (that's what they are called) or the contrabass trombone from the Ring of the Nibelungen. I didn’t mention that each of the instruments has a bunch of modifications in different tunings (or did I mention? .. yes, it’s not long to go crazy here). And when they told me about the soprano trombone, I was completely sad, because they finished me off with the fact that trumpeters play on it, because, you see, the mouthpiece is closer to them in size. Completely crazy, I asked: “But what about the backstage? They are used to valves!” To which he received a phlegmatic answer: “Well, they must have a hearing ...”

Now, I suppose you have already guessed that the bass trumpet is played by trombonists. Absolutely logical decision, isn't it?

D'Artagnan felt himself growing dull; it seemed to him that he was in a lunatic asylum, and that now he, too, would go mad, just as those who were before him had already gone mad. But he was forced to remain silent, because he did not understand at all what was at stake.

A. Dumas. Three Musketeers

P.S. And can I not talk about mute? ..

From the book My brother Yuri author Gagarin Valentin Alekseevich

Trumpet deal! Yura brought this trumpet from school. It was old and unattractive: there was a dent on one side, a patch on the other, the mouthpiece was completely peeled off.

From the book Raisins from a roll author Shenderovich Victor Anatolievich

Trumpet A separate page in the future saga about the "zoolet" of St. Petersburg is the history of the restoration of the aforementioned Konstantinovsky Palace with its transformation, of course, into the presidential residence: We will not talk about the estimate so as not to upset state employees. It's about something else.

From the book Landing Privilege author Osipenko Vladimir Vasilievich

Drainpipe If drainpipes disappear in a city in the middle of winter, it means that the military is preparing for a field exit. Folk sign The winters of the late seventies in Lithuania were distinguished by Siberian frosts and heavy snowfalls. The fourth hour we compete with the wind, who is faster:

From the book Winter in the country "Tender May" the author Razin Andrey

Pipe in Nadym My most vivid childhood memory is the congress of the entire Svetlograd orphanage to write a letter to Alla Borisovna Pugacheva. Usually in the orphanage they were not interested in such trifles, and all the fun revolved around playing war. True, from ordinary

From the book Tank Destroyers author Zyuskin Vladimir Konstantinovich

On sight - a pipe The enemy, knocked out of Kharkov, reluctantly retreated to the west. Roll back a few kilometers - gain a foothold. And fenced off with a wall of fire. At the next such stage, battalion commander Khalturin left in the ranks of the advancing infantry (he often did this to correct fire

From the book Hohmo sapiens. Notes of a drinking provincial author Glazer Vladimir

CASE - PIPE The cold summer of 1968 inexorably came after the sunny "Prague Spring". Our family rented an abandoned dacha on the cheap, or rather, for free, from the neighbors in the communal apartment of the Gali-Valera Osokin-Lomovtsevs. This is not one surname, but two, inextricably linked

From the book Prison and Freedom author Khodorkovsky Mikhail

Pipe to China In February 1999, Khodorkovsky and his team arrived at the Institute of Petroleum Geology and Geophysics of the Siberian Branch of the Russian Academy of Sciences, located in Novosibirsk. It is believed that he was the first of the Russian major oil players who started

From the book Trumpeters sound the alarm author Dubinsky Ilya Vladimirovich

The Miracle Trumpet of Afinus Skavridi Ahead of them stood a huge Stetkovtsy - the sixth line of Paliy's defense. Our forces were running out, but the bandits were even worse off. Expecting a well-deserved retribution, they fought back with particular tenacity, using as shelters

From the book Steel Coffins of the Reich author Kurushin Mikhail Yurievich

"STEEL PIPE" AND ITS RESIDENTS "Serving on a submarine requires great independence from a sailor and sets before him tasks that require high skill and fearlessness. A one-of-a-kind maritime friendship that grows out of a common destiny, out of

From the Wright Brothers author Charnley Mitchell

WIND PIPE Chanute's words made the brothers take a somewhat different look at their invention. Gradually, they became more aeronautical engineers than athletes. They began to justify the solution of their problems even more strictly, and this, over time, taught them

From the book Guide to the Orchestra and Its Backyards author Zisman Vladimir Alexandrovich

Trombone The trombone is the only orchestral wind instrument that was mechanically perfect even before organized bands arose. A. Kars. History of orchestration So, where should we start: with trombones or with trombonists? Because both are enough

From the book Tsiolkovsky author Vorobyov Boris Nikitovich

CHAPTER IX THE FIRST WINDTUNNEL IN RUSSIA The study of air resistance now began to occupy all of Tsiolkovsky's attention. He was deeply convinced that an accurate, scientific explanation of this issue would prove definitively the citizenship rights of airships as aircraft.

From the book Stubborn Classic. Collected Poems (1889–1934) author Shestakov Dmitry Petrovich

From the author's book

XXVI. Trumpet In your verses, not only singing: They have a call, they have a struggle, And the irresistible trumpet calls the will to battle. For everything with which the heart is sorry to part, With which all the shrines have merged with us, - You fight, you do not want to surrender, As we, weak-willed, surrendered. January 30

Trombone at Wikimedia Commons

In the same year, the Leipzig music master Christan Zatler invented the quarter valve, which made it possible to lower the sounds of the trombone by a fourth, which made it possible to extract sounds from the so-called "dead zone" (a segment of the scale that is inaccessible due to the design features of the trombone). Attempts were made to adapt a valve system to the trombone like a trumpet and horn mechanism, but this innovation did not gain popularity due to the fact that such instruments, although they gained in technical mobility, significantly lost in sound (their timbre approached the hard and gloomy timbre of a bass trumpet).

In the second half of the 19th century, powerful, compared to the past, manufactories for the production of tools were formed - Bach, Holton, Conn, King - in the USA, Heckel, Zimmerman, Besson, Courtois - in Europe. Some varieties of trombone, for example, alto and contrabass, are going out of practice.

In the 20th century, thanks to the development of the performing school and the improvement of instrument production technologies, the trombone became a very popular instrument. Composers create numerous concert literature for it, trombone occupies a significant place in jazz and related genres. Since the late 1980s, there has been a revival of interest in antique trombones (sacbuts) and obsolete varieties of trombone. However, only three new varieties are used in symphony orchestras: Tenor trombone (the first can be written in the alto key, then the trombonist uses a smaller mouthpiece for high notes, such a pseudo-alto trombone is typical for the first batch of jazz orchestras). Tenor Quarter-valve bass trombone (replaces the obsolete bass trombone, but does not have the B counter-octave sound). And the TenorContrabass trombone with a double action quartile, replacing the contrabass trombone introduced by Wagner, but obsolete and having its entire scale from the counter-octave mi-fa. The timbres of bass and especially contrabass trombones are more severe than those of tenor trombones, however, the trio and quartet (especially the quintet) of trombones sound together (unlike pipes, each type of which is sharply individual, especially alto and bass pipes). Typical for the orchestra is a trio of trombones with a tuba (2 tenors + 1 tenorbass) and a trombone quartet with a contrabass trombone (the tuba is released for playing bass for horns and Wagner tubas).

The structure of the trombone

crown of the general system tuning slide)
mouthpiece (English) mouthpiece)
bell (english) bell)
liquid drain valve water key)
backstage (English) main slide)
the second stand of the backstage (eng. second slide brace)
the first stand of the backstage (eng. first slide brace)
o-ring backstage slide lock ring)

Trombone technique

The principle of sound extraction

As with other brass instruments, the basic principle of playing the trombone is to obtain harmonic consonances by changing the position of the lips and changing the length of the air column in the instrument, achieved using the wings.

When playing, the rocker slides out with the right hand, while the left hand supports the instrument.

On the trombone there are seven positions(slide positions), each of which lowers the instrument's pitch by half a step. Each position corresponds to a certain combination of valves on valved instruments (including valve trombone). In the first position, the link is not extended, in the seventh position it is extended to the maximum possible distance. The table shows the correspondence between trombone positions and the use of valves on other brass instruments. Basic tone- the sound resulting from the vibration of a full column of air in the instrument. On a trombone, the fundamental tone can only be obtained in the first three or four positions. It is called pedal sound and it doesn't sound loud.

Use of a quarter valve

Some trombones have an additional crown that lowers the entire scale of the trombone down a fourth. This crown is activated by a special lever, the so-called quarter valve, which is pressed by pulling a special chain attached to the thumb of the left hand. A trombone with a quarter valve is essentially a combination of a tenor and bass instrument and is sometimes called tenor bass trombone.

When the quarter valve is turned on, the trombone gives only six positions, since the extension of the wings to each subsequent position requires more space due to the increase in the length of the trombone tube.

Glissando

Glissando - a technique in which the wings move smoothly from one position to another, while the musician does not interrupt the sound. Used for special sound effects.

Outstanding trombonists

Notes

Bibliography

Sumerkin V.V. Trombone. - M.: Music, 1975

Links

Brassmusic. Ru - Site for musicians and about musicians, brass players.

Symphony orchestra instruments
Main cast
Woodwinds	Flute Oboe Clarinet Bassoon
Brass	Horn Trumpet Trombone tuba
Drums	Timpani Triangle Snare drum Cymbals Bass drum
plucked strings	Harp
Bowed strings	Violin Viola Cello Double bass
Extended squad
Woodwinds	Piccolo Flute Alto Cor anglais Piano Clarinet Bass Clarinet Contrabassoon Saxophone
Brass	Piccolo Trumpet Cornet Flugelhorn Euphonium
Drums	Tambourine Castanets Tam-tam Bells Glockenspiel Xylophone Vibraphone Marimba Flexatone Clapperboard Ratchet Wooden box Temple block
Keyboards	Piano Organ Harpsichord Celesta

Wind musical instruments
Wooden
Copper
Keyboards
Details

Wikimedia Foundation. 2010 .

Synonyms: