"modern orchestra sounds out of tune, but it tunes perfectly well on in a sackbut choir if everyone plays natural harmonics. Plenty of musical understanding can be gathered from reading the original music print. Publishers such as SPES and Arnaldo Forni Edition provide facsimile copies of plenty of music for trombone from this era. To read these it one needs to become familiar with the old clefs, time signatures, ligatures and notational conventions of the era. The sound of sackbuts (and trombones) has long been thought especially solemn and noble, had an association with death and the afterlife. The instrument"
"Electronic sackbut The electronic sackbut is an instrument designed by Hugh Le Caine in the 1940s. The electronic sackbut had a feature which resembles what has become the modulation wheels on moderen synthesizers: The player used the left hand to modify the sound while the right hand was used to play the keyboard. This compares with today's synthesizers which have one or several modulation wheels to the left of the keyboard (often controlling modulation and pitch). The controller modified volume, pitch, and timbre. Thus it was one of the first electronic instruments to use a three-dimensional continuous controller to modify"
"the sources: it is either derived from the Middle French ""sacquer"" (to pull) and ""bouter"" (to push) or from the Spanish ""sacar"" (to draw or pull) and ""bucha"" (a tube or pipe). The term survives in numerous English spelling variations including sacbut, sackbutte, sagbut, shagbolt, sacabushe, shakbusse and shakbusshe. Closely related to ""sackbut"" was the name used in France: ""sacqueboute"" and in Spain, where it was ""sacabuche"". These terms were used in England and France until the 18th century. In Scotland in 1538 the slide instrument is referred to as ""draucht trumpet"" (drawn trumpet) as opposed to a ""weir trumpet"""
"Multimonica, Ondioline, and Clavioline. In the late 1940s, Canadian inventor and composer, Hugh Le Caine invented the ""Electronic Sackbut"", a voltage-controlled electronic musical instrument that provided the earliest real-time control of three aspects of sound (volume, pitch, and timbre)—corresponding to today's touch-sensitive keyboard, pitch and modulation controllers. The controllers were initially implemented as a ""multidimensional pressure keyboard"" in 1945, then changed to a group of dedicated controllers operated by left hand in 1948. In Japan, as early as in 1935, Yamaha released ""Magna organ"", a multi-timbral keyboard instrument based on electrically blown free reeds with pickups. It may have been"
"a portmanteau word of ""trombone"" and ""bassoon"". Schickele called it ""a hybrid—that's the nicer word—constructed from the parts of a bassoon and a trombone; it has all the disadvantages of both."" It is called for in the scores of Schickele's fictional composer P. D. Q. Bach in the oratorio ""The Seasonings"", in ""Serenude (for devious instruments)"", and in ""The Preachers of Crimetheus, II. The Lamentations of Jerry Maja"". A sackbut is a type of trombone from the Renaissance and Baroque eras, characterised by its small bell. A distinctive form of tenor trombone was popularized in France in the early 19th"
"the sound in a live situation. Such control is still rare in electronic instruments. Le Caine began working full-time in a new lab at the National Research Council of Canada in 1954, where he built over 20 different new instruments before his death in 1977. While he developed four models of the electronic sackbut, none ever saw commercial production. Electronic sackbut The electronic sackbut is an instrument designed by Hugh Le Caine in the 1940s. The electronic sackbut had a feature which resembles what has become the modulation wheels on moderen synthesizers: The player used the left hand to modify"
"and fanciful descriptions of instruments in the apocryphal letter of Saint Jerome, (""to Dardanus""). Among these is a , which resembles a somewhat primitive sackbut without the bell joint. In the 19th Century it was reproduced by Edmond de Coussemaker, Charles de la Croix and Eugène Emmanuel Viollet-le-Duc, and has given rise to endless discussions without leading to any satisfactory solution. Fabio Colonna created the pentecontachordon keyboard instrument which he called a sambuca. Sambuca (instrument) The sambuca (also ""sambute"", ""sambiut"", ""sambue"", ""sambuque"", or ""sambuke"") was an ancient stringed instrument of Asiatic origin. However, many other instruments have also been called"
"singly, often self-accompanied with a drone, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into ""haut"" (loud, shrill, outdoor instruments) and ""bas"" (quieter, more intimate instruments) . Only two groups of instruments could play freely in both types of ensembles: the cornett and sackbut, and the tabor and tambourine . At the beginning of the 16th century, instruments were considered to be less important than voices. They were used for dances and to accompany vocal music . Instrumental music remained subordinated to vocal music, and"
"who brought musicians with her. """"Shakbusshe"""" is similar to """"sacabuche"""", attested in Spain as early as 1478. The French equivalent """"saqueboute"""" appears in 1466. The German """"Posaune"""" long predates the invention of the slide and could refer to a natural trumpet as late as the early fifteenth century. Both towns and courts sponsored bands of shawms and trombone. The most famous and influential served the Duke of Burgundy. The trombone's principal role was the contratenor part in a dance band. The sackbut was used extensively across Europe, from its appearance in the 15th century to a decline in most places"
"the late 15th century, this instrument had been named the sackbut). Not only is this a rare case of a specific instrument being required in an early 15th-century composition, but the piece contains notes outside of the gamut, the range of pitches to which most music of the time was restricted: the part for ""contra tenor trompette"" goes down to D below the bass staff. It has been suggested that Fontaine may not have written this part, since it appears only in one of the sources in which the rondeau survives, the Escorial V.III.24 manuscript. Most of Fontaine's pieces are"
"wind ensembles and the first orchestral ensembles. These performed in religious settings, such as St Mark's Basilica in Venice in the early 17th century. Composers who wrote for trombone during this period include Claudio Monteverdi, Heinrich Schütz, Giovanni Gabrieli and his uncle Andrea Gabrieli. The trombone doubled voice parts in sacred works, but there are also solo pieces written for trombone in the early 17th century. When the sackbut returned to common use in England in the 18th century, Italian music was so influential that the instrument became known as the ""trombone"", although in some countries the same name has"
"Egypt (to me an odd subject) ... He has had an instrument made after the manner of Tubal-cain's, the inventor of music."" (referring to the specially-built carillon. Going on to an attempt to describe a trombone, an instrument she had obviously never seen, she writes:) ""He has also introduced the sackbut, a kind of trumpet,with more variety of notes,& it is 7 or 8-foot long,& draws in like a perspective glass, so may be shortened to 3-foot as the player chuses, or thrown out to its full length; despise not this description for I write from his own words."" In"
"Alta cappella An alta cappella or alta musica (Italian), alta musique (French) or just alta was a kind of town wind band found throughout continental Europe from the thirteenth to the eighteenth centuries, which typically consisted of shawms and slide trumpets or sackbuts. Waits were the British equivalent. These were not found anywhere outside of Europe. ""Alta musique"" in general refers to the ""loud music"" of instruments like shawms, sackbuts, trumpets, and drums, in contrast to ""basse musique"", the ""soft music"" of recorders, viols, fiddles, harps, psalteries, and the like. These ensembles first appeared in Europe in the thirteenth century,"
"represented by only a few existing instruments. There is an original instrument made by Georg Nicolaus Öller built in Stockholm in 1639 and housed in the Scenkonstmuseet. In addition, Ewald Meinl has made a modern copy of this instrument, and it is currently owned and played by Wim Becu. The bore size of renaissance/baroque trombones is approximately and the bell rarely more than in diameter. This compares with modern tenor trombones, which commonly have bores to and bells to . Modern reproductions of sackbuts sacrifice some authenticity to harness manufacturing techniques and inventions that make them more comfortable for modern"
"Electronic Sackbut, now recognised to be one of the first synthesizers. After the success of public demonstrations of his instruments, he was permitted to move his musical activities to the NRC and to work on them full-time in 1954, where he gained funding in order to open ELMUS, the Canadian Electronic Music Laboratory. Over the next twenty years, he built over twenty-two different new instruments and helped Canadian universities establish their own studios in the new electronic music medium. One of Le Caine's most notable inventions was the Special Purpose Tape Recorder (later renamed the ""Multi-track.""). Experiments with his recorder"
"first went into production in 1983. It is a three-valve trumpet with an angled bell and the addition of a trombone-style slide. It was invented by jazz musician Maynard Ferguson (who first commissioned and played the instrument) and instrument designer Larry Ramirez. While still a specialist instrument, it has a slowly growing number of players. Slide trumpet The slide trumpet is a type of trumpet that is fitted with a slide much like a trombone. Eventually, the slide trumpet evolved into the sackbut, which evolved into the modern-day trombone. The key difference between these two instruments is that the slide"
"Slide trumpet The slide trumpet is a type of trumpet that is fitted with a slide much like a trombone. Eventually, the slide trumpet evolved into the sackbut, which evolved into the modern-day trombone. The key difference between these two instruments is that the slide trumpet possesses only a ""single"" slide joint, rather than the ""double"" slide joint of the sackbut / trombone. The slide trumpet grew out of the war trumpet as used and developed in Western and Central Europe: Don Smithers in ""The Music and History of the Baroque Trumpet before 1721"", argues that the slide grew out"
"in 1476, the sambuca is described as a cithara, which in that century was generally glossed ""harp"": In ""Tristan und Isolde"" (bars 7563-72) when the knight is enumerating to King Marke all the instruments upon which he can play, the ""sambiut"" is the last mentioned: A Latin–French glossary has the equivalence Psalterium = . During the later Middle Ages was often translated ""sackbut"" in the vocabularies, whether merely from the phonetic similarity of the two words has not yet been established. The great Boulogne Psalter (11th Century) contains many fanciful instruments which are evidently intended to illustrate the equally vague"
"Sambuca (instrument) The sambuca (also ""sambute"", ""sambiut"", ""sambue"", ""sambuque"", or ""sambuke"") was an ancient stringed instrument of Asiatic origin. However, many other instruments have also been called a ""sambuca"". The original sambuca is generally supposed to have been a small triangular harp of shrill tone., probably identical with the Phoenician and the Aramaic ""sabbkā"", the Greek form being or . The sambuca has been compared to the siege engine of the same name by some classical writers; Polybius likens it to a rope ladder; others describe it as boat-shaped. Among the musical instruments known, the Egyptian ""nanga"" best answers to"
"A small bass (or tenor-sized viol tuned as a bass) was often employed to play polyphonic music, ""Lyra-Way."" When used in this fashion, the instrument was called ""lyra viol."" The common wind instruments included the shawms, recorders, cornetts, sackbuts (trombones), krumhorns and flutes (which were known as 'piffari'.) The trumpets and piffari were used for the announcement of the arrival of royalty and during military exercises. The shawms, cornetti and sackbuts were used in loud consorts. The flute had a sweet and solemn tone, the recorder had a more rich sound, but because of the windway (which directed the breath"
"Barbiton The barbiton, or barbitos (Gr: βάρβιτον or βάρβιτος; Lat. ""barbitus""), is an ancient stringed instrument known from Greek and Roman classics related to the lyre. The barbat or ""barbud"", also sometimes called ""barbiton"", is an unrelated lute-like instrument derived from Persia. The Greek instrument was a bass version of the kithara, and belonged in the zither family, but in medieval times, the same name was used to refer to a different instrument that was a variety of lute. Theocritus (xvi. 45), the Sicilian poet, calls the barbitos an instrument of many strings, i.e. more than seven, which was by"
"thread-wrapped shank. Because it lacks a little-finger hole at the bottom, its lowest note is the A below middle C, though another tone lower could be produced by slackening the lips to flatten the note. At least three existing specimens of bass cornett reside in the collection of the Musée de la Musique, Paris (see ""external links"" below). Historically, two cornetts were frequently used in consort with three sackbuts, often to double a church choir. This was particularly popular in Venetian churches such as the Basilica San Marco, where extensive instrumental accompaniment was encouraged, particularly in use with antiphonal choirs."
"before he took it up in 1957. Thus he has been considered as the founder of the sato and its playing style and technique. Sato (instrument) The sato is a bowed tanbur, or long-necked lute, played by performers of Central Asian classical and folk music, mainly in Uzbekistan. It has five strings. When plucked, the top string is pressed to the neck to produce a melody; the other four strings are drone strings. Frets on the neck are made of tied string. The soundboard has holes drilled in it for sound holes. It is made from mulberry wood. Famous uzbek"
"taken from the ceremonial loud bands of the Arab World, consisting of small shawms, nakers, and other percussion, together with pairs of straight trumpets functioning as something of a cross between drone and percussion. In Europe, these instruments were sometimes augmented by bagpipes and pipe and tabor. By the fifteenth century, these bands had come mainly to consist of three musicians, two playing shawms and the other a slide trumpet or (later) sackbut, but in the sixteenth century the size gradually increased and the instrumentation became more varied. After about 1500 in Germany, the ""alta"" developed into the kind of"
"Rackett The rackett, cervelas, or Sausage Bassoon is a Renaissance-era double reed wind instrument, introduced late in the sixteenth century and already superseded by bassoons at the end of the seventeenth century. There are four sizes of rackett, in a family ranging from discant (soprano), tenor-alto, bass to great bass. Relative to their pitch, racketts are quite small (the discant rackett is only 4½ inches long, yet its lowest note is G2. This is achieved through its ingenious construction; the body consists of a solid wooden cylinder into which nine parallel bores are drilled. These are connected alternately at the"
"reduction in the size of the fingerholes. This also extended the range, enabling the performer to play the notes in the second octave. Larger sizes of shawm were built, down to the great bass in Bb, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy, which made them somewhat rare. The smaller sizes of shawm, chiefly the soprano, alto and sometimes the tenor, were more often coupled with the Renaissance trombone, or sackbut, and the majestic sound of this ensemble was much in demand by civic authorities. The shawm became standard equipment"
"Renaissance tended to function as the soprano member of the sackbut family, survived in the early seventeenth century as a solo instrument, even having a large repertoire rivaling that of the violin, but eventually disappeared as well. However, Renaissance instruments did not vanish from use quickly; contemporary references indicate such instruments survived in chamber or military contexts well throughout the seventeenth century and even into the eighteenth. As a general rule, however, one can see in the Baroque an overwhelming preference for those instruments that were capable of carrying a melodic line alone: those that were louder and higher, that"
"Barbat (lute) The barbat () or ""barbud"" was a lute of Central Asian or Greater Iranian or Persian origin. The barbat was an important instrument of the Ghassanids in pre-Islamic times and of the Syrians in early Islamic times. It was characterized as carved from a single piece of wood, including the neck and a wooden sound board. It would be ancestral to the wood-topped oud, pipa and biwa and the skin-topped Yemeni qanbus. Although the original barbat disappeared, modern musicians have re-created the instrument, looking at historical images for details. The modern re-created instrument (Persian Barbat) resembles the oud,"
"previously heavy instrument (the Taus). This attempt was intended to 'scale down' the taus into what is now known to be the Dilruba. This made it more convenient for the Sikh army to carry the instrument on horseback. Taus (instrument) The Taus ( ; Persian word meaning ""peacock"") is a Punjabi bowed string instrument, invented by Guru Hargobind, the sixth Guru of the Sikhs. From this instrument originates the lighter Dilruba. It has a peacock body and a neck with 20 heavy metal frets. This neck holds on a long wooden rack 28-30 strings and the instrument is played with"
"becoming prevalent by the later 13th and early 14th century. Many instruments originated during the Renaissance; others were variations of, or improvements upon, instruments that had existed previously. Some have survived to the present day; others have disappeared, only to be re-created in order to perform music on period instruments. As in the modern day, instruments may be classified as brass, strings, percussion, and woodwind. Brass instruments in the Renaissance were traditionally played by professionals who were members of Guilds and they included the slide trumpet, the wooden cornet, the valveless trumpet and the sackbut. Stringed instruments included the viol,"
"Sato (instrument) The sato is a bowed tanbur, or long-necked lute, played by performers of Central Asian classical and folk music, mainly in Uzbekistan. It has five strings. When plucked, the top string is pressed to the neck to produce a melody; the other four strings are drone strings. Frets on the neck are made of tied string. The soundboard has holes drilled in it for sound holes. It is made from mulberry wood. Famous uzbek musician Turgun Alimatov is solely responisible for reviving the art of playing the sato, as it had completely disappeared for a number of centuries"
"these descriptions, which are doubtless responsible for the medieval drawings representing the sambuca as a kind of tambourine, for Isidore of Seville elsewhere defines the symphonia as a tambourine. The is mentioned in the Bible ( verses 5 to 15). In the King James Bible it is erroneously translated as ""sackbut"". During the Middle Ages the word ""sambuca"" was applied to: In an old glossary article on (flute), the sambuca is said to be a kind of flute: Isidore of Seville describes it in his Etymologiae as: In a glossary by Papias of Lombardy (""c."" 1053), first printed at Milan"
"Saxonette A saxonette is a soprano clarinet in C, A, or B that has both a curved barrel and an upturned bell, both usually made of metal. It has the approximate overall shape of a saxophone, but unlike that instrument it has a cylindrical bore and overblows by a twelfth. The instrument is also known as the 'Claribel' and 'Clariphon'. First Produced by Buescher Band Instrument Company between 1918 and 1921 under the name Clariphone. Saxonettes were first produced by the Buescher Band Instrument Company between 1918 and 1921 under the name ""Clariphon"". They are almost always simple (Albert) system,"