1.
Franz Schubert
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Franz Peter Schubert was an Austrian composer. Schubert died before his 32nd birthday, but was prolific during his lifetime. His output consists of six hundred secular vocal works, seven complete symphonies, sacred music, operas, incidental music. Appreciation of his music while he was alive was limited to a small circle of admirers in Vienna. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms, today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the most frequently performed composers of the early nineteenth century. Schubert was born in Himmelpfortgrund, Vienna, Archduchy of Austria on 31 January 1797, of Franz Theodors fourteen children, nine died in infancy. Their father was a teacher, and his school in Lichtental had numerous students in attendance. Though he was not recognised or even trained as a musician. At age six, Franz began to receive instruction from his father. His formal musical education started around the same time and his father taught him basic violin technique, and his brother Ignaz gave him piano lessons. The boy seemed to more from an acquaintance with a friendly joiners apprentice who took him to a neighbouring pianoforte warehouse where Franz could practice on better instruments. He also played viola in the string quartet, with brothers Ferdinand and Ignaz on first and second violin. Franz wrote his earliest string quartets for this ensemble, young Schubert first came to the attention of Antonio Salieri, then Viennas leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt through a choir scholarship, at the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, and the symphonies of Joseph Haydn and his younger brother Michael. His exposure to these and lesser works, combined with occasional visits to the opera, one important musical influence came from the songs by Johann Rudolf Zumsteeg, an important Lieder composer of the time. The precocious young student wanted to modernize them, as reported by Joseph von Spaun, Schuberts friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life. In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper, in the meantime, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikts orchestra, and Salieri decided to start training him privately in music theory, for male voices and orchestra, and his first symphony
2.
Robert Schumann
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Robert Schumann was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era, Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, Schumann then focused his musical energies on composing. Works such as Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and his writings about music appeared mostly in the Neue Zeitschrift für Musik, a Leipzig-based publication which he jointly founded. In 1840, Schumann married Friedrich Wiecks daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favor of Clara and Robert. Clara also composed music and had a concert career as a pianist. After a suicide attempt in 1854, Schumann was admitted to an asylum, at his own request. Diagnosed with psychotic melancholia, Schumann died two years later in 1856 without having recovered from his mental illness, Schumann was born in Zwickau, in the Kingdom of Saxony, the fifth and last child of Johanna Christiane and August Schumann. Schumann began receiving general musical and piano instruction at the age of seven from Johann Gottfried Kuntzsch, the boy immediately developed a love of music and worked at creating musical compositions himself, without the aid of Kuntzsch. Even though he often disregarded the principles of composition, he created works regarded as admirable for his age. At age 14, Schumann wrote an essay on the aesthetics of music and also contributed to a volume, edited by his father, titled Portraits of Famous Men. While still at school in Zwickau, he read the works of the German poet-philosophers Schiller and Goethe, as well as Byron and the Greek tragedians. His most powerful and permanent literary inspiration was Jean Paul, a German writer whose influence is seen in Schumanns youthful novels Juniusabende, completed in 1826, and Selene. Schumanns interest in music was sparked by seeing a performance of Ignaz Moscheles playing at Karlsbad and his father, who had encouraged the boys musical aspirations, died in 1826 when Schumann was 16. Neither his mother nor his guardian thereafter encouraged a career in music, in 1828 Schumann left school, and after a tour during which he met Heinrich Heine in Munich, he went to Leipzig to study law. In 1829 his law studies continued in Heidelberg, where he became a member of Corps Saxo-Borussia Heidelberg. During Eastertide 1830 he heard the Italian violinist, violist, guitarist, in July he wrote to his mother, My whole life has been a struggle between Poetry and Prose, or call it Music and Law. During his studies with Wieck, it has claimed that Schumann permanently injured a finger on his right hand
3.
Felix Mendelssohn
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Jakob Ludwig Felix Mendelssohn Bartholdy, born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. A grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family and he was brought up without religion until the age of seven, when he was baptised as a Reformed Christian. Mendelssohn was recognised early as a prodigy, but his parents were cautious. Mendelssohn enjoyed early success in Germany, where he revived interest in the music of Johann Sebastian Bach. The Leipzig Conservatoire, which he founded, became a bastion of this anti-radical outlook, Mendelssohn wrote symphonies, concerti, oratorios, piano music and chamber music. His Songs Without Words are his most famous solo piano compositions and he is now among the most popular composers of the Romantic era. Mendelssohns father was the banker Abraham Mendelssohn, the son of the German Jewish philosopher Moses Mendelssohn and his mother was Lea Salomon, a member of the Itzig family and a sister of Jakob Salomon Bartholdy. Mendelssohn was the second of four children, his older sister Fanny also displayed exceptional, the family moved to Berlin in 1811, leaving Hamburg in disguise fearing French revenge for the Mendelssohn banks role in breaking Napoleons Continental System blockade. Abraham and Lea Mendelssohn sought to give their children – Fanny, Felix, Paul, Fanny became a well-known pianist and amateur composer, originally Abraham had thought that she, rather than Felix, would be the more musical. However, at time, it was not considered proper, by either Abraham or Felix, for a woman to have a career in music, so Fanny remained an active. Abraham was also disinclined to allow Felix to follow a career until it became clear that he seriously intended to dedicate himself to it. Mendelssohn grew up in an intellectual environment, Sarah Rothenburg wrote of the household that Europe came to their living room. Abraham Mendelssohn renounced the Jewish religion, he and his wife decided not to have Felix circumcised. Felix and his siblings were first brought up without religious education, Abraham and his wife Lea were themselves baptised in 1822, formally adopting the surname Mendelssohn Bartholdy for themselves and their children. The name Bartholdy was added at the suggestion of Leas brother, Jakob Salomon Bartholdy, in 1829, his sister Fanny wrote to him of Bartholdy this name that we all dislike. Like Wolfgang Amadeus Mozart before him, Mendelssohn was regarded as a child prodigy and he began taking piano lessons from his mother when he was six, and at seven was tutored by Marie Bigot in Paris. After the family moved to Berlin, all four Mendelssohn children studied piano with Ludwig Berger, from at least May 1819 Felix studied counterpoint and composition with Carl Friedrich Zelter in Berlin. This was an important influence on his future career, Zelter had almost certainly been recommended as a teacher by his aunt Sarah Levy, who had been a pupil of W. F. Bach and a patron of C. P. E. Bach
4.
Gewandhaus
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Gewandhaus is a concert hall in Leipzig, Germany, the home of the Leipzig Gewandhaus Orchestra. Todays hall is the third to bear this name, like the second, the first concert hall was constructed in 1781 by architect Johann Carl Friedrich Dauthe inside the Gewandhaus, a building used by cloth merchants. The second Gewandhaus was designed by Martin Gropius and it opened on 11 December 1884, and had a main concert hall and a chamber music hall. It was destroyed in the fire-bombings of World War II between 1943 and 1944, the third Gewandhaus on Augustusplatz opened on 8 October 1981, two hundred years after the Leipzig Gewandhaus Orchestra moved into the original hall. The hall contains an organ, Schuke, Potsdam IV-92-6638. List of concert halls Leo Beranek, Concert Halls and Opera Houses, Musics, Acoustics, history of the Gewandhaus from the official site
5.
Ludwig van Beethoven
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Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he one of the most famous. His best-known compositions include 9 symphonies,5 piano concertos,1 violin concerto,32 piano sonatas,16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn and he lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost completely deaf. In 1811 he gave up conducting and performing in public but continued to compose, many of his most admired works come from these last 15 years of his life. Beethoven was the grandson of Ludwig van Beethoven, a musician from the town of Mechelen in the Duchy of Brabant in the Flemish region of what is now Belgium, who at the age of twenty moved to Bonn. Ludwig was employed as a singer at the court of the Elector of Cologne, eventually rising to become, in 1761. The portrait he commissioned of himself towards the end of his life remained proudly displayed in his grandsons rooms as a talisman of his musical heritage. Ludwig had one son, Johann, who worked as a tenor in the musical establishment and gave keyboard. Johann married Maria Magdalena Keverich in 1767, she was the daughter of Johann Heinrich Keverich, Beethoven was born of this marriage in Bonn. There is no record of the date of his birth, however. Of the seven children born to Johann van Beethoven, only Ludwig, the second-born, caspar Anton Carl was born on 8 April 1774, and Nikolaus Johann, the youngest, was born on 2 October 1776. Beethovens first music teacher was his father and he later had other local teachers, the court organist Gilles van den Eeden, Tobias Friedrich Pfeiffer, and Franz Rovantini. Beethovens musical talent was obvious at a young age, some time after 1779, Beethoven began his studies with his most important teacher in Bonn, Christian Gottlob Neefe, who was appointed the Courts Organist in that year. Neefe taught Beethoven composition, and by March 1783 had helped him write his first published composition, Beethoven soon began working with Neefe as assistant organist, at first unpaid, and then as a paid employee of the court chapel conducted by the Kapellmeister Andrea Luchesi. His first three piano sonatas, named Kurfürst for their dedication to the Elector Maximilian Friedrich, were published in 1783, Maximilian Frederick noticed Beethovens talent early, and subsidised and encouraged the young mans musical studies. Maximilian Fredericks successor as the Elector of Bonn was Maximilian Francis, the youngest son of Empress Maria Theresa of Austria, echoing changes made in Vienna by his brother Joseph, he introduced reforms based on Enlightenment philosophy, with increased support for education and the arts
6.
Flute
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The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening, according to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a player, flautist, flutist or, less commonly. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found, a number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a musical tradition existed from the earliest period of modern human presence in Europe. Flutes, including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, the English verb flout has the same linguistic root, and the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced phonologically impossible or inadmissable, the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucers The Hous of Fame, today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or simply a flute player. Flutist dates back to at least 1603, the earliest quote cited by the Oxford English Dictionary, flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist. The oldest flute ever discovered may be a fragment of the femur of a cave bear. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, the five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the officially published their findings in the journal Nature. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels, on announcing the discovery, scientists suggested that the finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe. Scientists have also suggested that the discovery of the flute may help to explain the probable behavioural and cognitive gulf between Neanderthals and early modern human. A three-holed flute,18.7 cm long, made from a mammoth tusk was discovered in 2004, the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty and it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flutes side instead of the top
7.
Oboe
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Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch
8.
Clarinet
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The clarinet is a musical-instrument family belonging to the group known as the woodwind instruments. It has a mouthpiece, a straight cylindrical tube with an almost cylindrical bore. A person who plays a clarinet is called a clarinetist, the word clarinet may have entered the English language via the French clarinette, or from Provençal clarin, oboe. It would seem however that its roots are to be found amongst some of the various names for trumpets used around the renaissance. Clarion, clarin and the Italian clarino are all derived from the medieval term claro which referred to a form of trumpet. This is probably the origin of the Italian clarinetto, itself a diminutive of clarino, according to Johann Gottfried Walther, writing in 1732, the reason for the name is that it sounded from far off not unlike a trumpet. The English form clarinet is found as early as 1733, while the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. The trumpet parts that required this speciality were known by the term clarino, Johann Christoph Denner is generally believed to have invented the clarinet in Germany around the year 1700 by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve the tone and these days the most popular clarinet is the B♭ clarinet. However, the clarinet in A, just a lower, is commonly used in orchestral music. Since the middle of the 19th century the clarinet has become an essential addition to the orchestra. The clarinet family ranges from the BBB♭ octo-contrabass to the A♭ piccolo clarinet, the clarinet has proved to be an exceptionally flexible instrument, equally at home in the classical repertoire as in concert bands, military bands, marching bands, klezmer, and jazz. The cylindrical bore is primarily responsible for the clarinets distinctive timbre, the tone quality can vary greatly with the musician, the music, the instrument, the mouthpiece, and the reed. The most prominent were the German/Viennese traditions and the French school, the latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of clarinet playing available, the modern clarinetist has a diverse palette of acceptable tone qualities to choose from. The A clarinet and B♭ clarinet have nearly the same bore, orchestral players using the A and B♭ instruments in the same concert could use the same mouthpiece for both. The A and the B♭ instruments have nearly identical tonal quality, the tone of the E♭ clarinet is brighter than that of the lower clarinets and can be heard even through loud orchestral or concert band textures. The bass clarinet has a deep, mellow sound, while the alto clarinet is similar in tone to the bass
9.
Bassoon
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The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its form in the 19th century, the bassoon figures prominently in orchestral, concert band. The bassoon is an instrument known for its distinctive tone color, wide range, variety of character. Listeners often compare its warm, dark, reedy timbre to that of a baritone voice. Someone who plays the bassoon is called a bassoonist, the word bassoon comes from French basson and from Italian bassone. However, the Italian name for the instrument is fagotto. B♭1–C5 The range of the bassoon begins at B♭1 and extends upward over three octaves, roughly to the G above the treble staff, higher notes are possible but difficult to produce, and rarely called for, orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinskys famously difficult opening solo in The Rite of Spring only ascends to D5, a1 is possible with a special extension to the instrument—see Extended techniques below. The bassoon disassembles into six pieces, including the reed. Bassoons are double reed instruments like the oboe and the English horn, a modern beginners bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning and this ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture, the end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket, the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint, bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m tall, there are also short-reach bassoons made for the benefit of young or petite players. The origins of the dulcian are obscure, but by the century it was available in as many as eight different sizes. Otherwise, dulcian technique was rather primitive, with eight finger holes, the dulcian came to be known as fagotto in Italy. However, the etymology that equates fagotto with bundle of sticks is somewhat misleading
10.
French horn
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The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ is the horn most often used by players in professional orchestras, a musician who plays any kind of horn is generally referred to as a horn player. Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves, the backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound, in concert situations, in contrast to the more piercing quality of the trumpet. A horn without valves is known as a horn, changing pitch along the natural harmonics of the instrument. Pitch may also be controlled by the position of the hand in the bell, the pitch of any note can easily be raised or lowered by adjusting the hand position in the bell. Three valves control the flow of air in the single horn, the more common double horn has a fourth valve, usually operated by the thumb, which routes the air to one set of tubing tuned to F or another tuned to B♭. Triple horns with five valves are made, tuned in F, B♭. Also common are descant doubles, which typically provide B♭ and alto F branches and this configuration provides a high-range horn while avoiding the additional complexity and weight of a triple. A crucial element in playing the horn deals with the mouthpiece, when playing higher notes, the majority of players exert a small degree of additional pressure on the lips using the mouthpiece. It is the goal of all serious brass musicians to develop their technique such that additional mouthpiece pressure is avoided altogether, or at the very least, the name French horn is found only in English, first coming into use in the late 17th century. At that time, French makers were preeminent in the manufacture of hunting horns, as a result, these instruments were often called, even in English, by their French names, trompe de chasse or cor de chasse. The International Horn Society has recommended since 1971 that the instrument be simply called the horn, there is also a more specific use of French horn to describe a particular horn type, differentiated from the German horn and Vienna horn. In this sense, French horn refers to an instrument with three Périnet valves. It retains the narrow bell-throat and mouthpipe crooks of the orchestral hand horn of the late 18th century, and most often has an ascending third valve. This is a whole-tone valve arranged so that with the valve in the up position the valve loop is engaged, the horn is the third-highest-sounding instrument in the brass family, below the trumpet and the cornet. Horns are mostly tuned in B♭ or F, or a combination of both, in some traditions, novice players use a single horn in F, while others prefer the B♭ horn. The F horn is used more commonly than the B♭ horn, sound is produced by vibrating the players lips into the mouthpiece of the instrument. Different partials in the series can be played by adjusting the air pressure and lip tension
11.
Trumpet
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A trumpet is a musical instrument commonly used in classical and jazz ensembles. The trumpet group contains the instruments with the highest register in the brass family, trumpets are used in art music styles, for instance in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played by blowing air through almost-closed lips, producing a sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, there are many distinct types of trumpet, with the most common being pitched in B♭, having a tubing length of about 1.48 m. Early trumpets did not provide means to change the length of tubing, most trumpets have valves of the piston type, while some have the rotary type. The use of rotary-valved trumpets is more common in orchestral settings, each valve, when engaged, increases the length of tubing, lowering the pitch of the instrument. A musician who plays the trumpet is called a trumpet player or trumpeter, the earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from Tutankhamuns grave in Egypt, bronze lurs from Scandinavia, trumpets from the Oxus civilization of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder. The Shofar, made from a ram horn and the Hatzotzeroth and they were played in Solomons Temple around 3000 years ago. They were said to be used to blow down the walls of Jericho and they are still used on certain religious days. The Salpinx was a straight trumpet 62 inches long, made of bone or bronze, Salpinx contests were a part of the original Olympic Games. The Moche people of ancient Peru depicted trumpets in their art going back to AD300, the earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense, and the modern bugle continues this signaling tradition. Improvements to instrument design and metal making in the late Middle Ages, the natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the instrument, the development of the upper, clarino register by specialist trumpeters—notably Cesare Bendinelli—would lend itself well to the Baroque era, also known as the Golden Age of the natural trumpet. During this period, a vast body of music was written for virtuoso trumpeters, the art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. The melody-dominated homophony of the classical and romantic periods relegated the trumpet to a role by most major composers owing to the limitations of the natural trumpet. Berlioz wrote in 1844, Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded. The attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, the symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets
12.
Trombone
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The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models also utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape. Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone also include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section
