Latest the role of drum major, percussion instrument and few selected brass instrument in a marching band by jumare james

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument
In a Marching Band
Written & Compiled By Jumare James [Corporal]
Email: ameyejumare@gmail.comMobile Number: 07067447270 Page
i
THE ROLES OF DRUM MAJOR, MARCHING PERCUSSION INSTRUMENTS AND
FEW SELECTED BRASS INSTRUMENT IN A MARCHING BAND
BY
JUMARE JAMES (CPL)
10TH SAMARU BATTALION COMPANY ECWA BISHARA NO.1 HAYING DOGO
SAMARU ZARIA, KADUNA NIGERIA.
Mobile Number: 07067447270, 09086965961
Email: Ameyejumare@gmail.com
NOVEMBER, 2015

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DEDICATION
This project work is dedicated to God Almighty, to my two wonderful younger brothers Jumare
Jacob and Jumare Joel, to all lovers of music, and to all my fellow Boys Brigade Nigeria
Members and beyond. Love you all.

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ABSTRACT
This project titled “The Roles of Drum Major, Marching Percussion Instruments and Few
Selected Brass in a Marching Band” is trying to teach us the importance of all the instruments
that consist and make up a marching band. The project highlights the roles and importance of all
this instruments in a marching band. This project is aimed at teaching the roles and uses of few
selected instruments that make up a marching band in details.

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ACKNOWLEDGEMENT
It has not been easy but with God all things are possible. I want to use this medium to thank God
for giving me the grace to come up with something like this and for his grace to reach this far.
I want to thank the Boys Brigade, the Boys Brigade Nigeria, the Boys Brigade Kaduna State
Council, the Boys Brigade Samaru Battalion Council, if not for you I wouldn’t have reached this
level thank you so much I really appreciate you all.
I would like to thank my supervisor who has always been there for me, in person of Mr. Esthon
Emmanuel who has been a very wonderful guide and teacher to me am grateful sir for taking
your time to go through this work and make necessary correction make the lord God in heaven
continue to bless you.
Furthermore, I would like to use this medium to show my gratitude to my parents Mr. & Mrs.
Jumare M. Gujere, they have been the best parent, Dad and Mum I want to use this medium to
say am grateful for your encouragement and support am so grateful. I want to use this medium to
say thank you for making me feel special and making me known that everything is possible with
God and hard work. Thank you so much.
I want to use this medium to thank the instructors that trained me to this present stage, I want to
say thank you to Mr. David Edward, Mr. Emmanuel Ambi, Mr. Steven Ache Aku, Mr. Victor
Egwa, Mr. Aranda Avindia Musa (Arasax) and others am so grateful for the knowledge you
bestowed in me may the Lord God in his infinite mercy reward and be with you all.
I want to thank the excos of my company 10th Samaru Battalion Company, Ecwa Bishara No.1
Haying Dogo Samaru Zaria, from the chaplain to the least ranking Boy I want to say a big thank
you for believing in me am so grateful.
I want to thank my special set of friends and all my friends who were always there for me in
person of Grace Yahaya (Shamzy), Moolom Bukkaiah (Buks), Suleiman Yohanna Kafarma
(Sniper), Augustine Dashe (Mancho), Meshack John Gyes (MJ Sticks), Hosea Zachariah (B:Boi)
and to all my well wishers am grateful all.

In a Marching Band
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TABLE OF CONTENTS
Marching Band - - - - - - - - - 1
The Drum Major - - - - - - - - -
Role and Responsibilities of the Assistant Drum Major - - - -
Characteristics of a Successful Drum Major - - - - - -
Replacement - - - - - - - - - -
Selecting the Drum Major - - - - - - - -
The Drum Major Mace - - - - - - - -
The Marching Percussion Instruments in a Marching Band - - - -
Marching Snare Drums - - - - - - - -
Marching Tenor Drums - - - - - - - -
Marching Bass Drums - - - - - - - -
Stick Heights - - - - - - - - - -
Cymbals - - - - - - - - - -
The Role of Brass Instrument in A Marching Band - - - - -
The Brass Instrument - - - - - - - - -
Families of Brass Instrument - - - - - - - -
Trumpet as an Brass Instrument - - - - - - -
Trombone as a Brass Instrument - - - - - - -
Baritone Horn as a Brass Instrument - - - - - - -
Clarinet as a Brass Instrument - - - - - - - -
Cornet as a Brass Instrument - - - - - - - -

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Flugelhorn - - - - - - - - - -
Etymology - - - - - - - - - -
Structure and variants - - - - - - - - -
Timbre - - - - - - - - - - -
Use - - - - - - - - - - -
Saxophone as a Brass Instrument - - - - - - -
History - - - - - - - - - -
The Saxophone family - - - - - - - -
Description - - - - - - - - - -
Materials - - - - - - - - - -
Mouthpiece and reed - - - - - - - - -
Composition - - - - - - - - - -
Euphonium - - - - - - - - - -
Name recognition and misconceptions - - - - - -
History and development - - - - - - - -
Construction and general characteristics - - - - - -
Double-belled euphonium - - - - - - - -
Marching euphonium - - - - - - - - -
Five valve euphonium - - - - - - - - -

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MARCHING BAND
Marching band is a sport in which instrumental musicians perform outdoors for the purpose of
entertainment, exercise, and sometimes for competition. Instrumentation typically includes brass,
woodwinds, and percussion instruments. Most marching bands use some kind of uniform (often
of a military style) that include the school or organization's name or symbol, shakos, pith
helmets, feather plumes, gloves, and sometimes gauntlets, sashes, and/or capes.
Marching bands are generally categorized by function, size, age, gender, instruments and by the
style of show they perform. In addition to traditional parade performances, many marching bands
also perform field shows at special events like competitions. Increasingly, marching bands are
performing indoor concerts that implement many of the songs, traditions, and flair from outside
performances.
THE DRUM MAJOR
A drum major or Field Commander is the leader of a marching band, drum and bugle corps, or
pipe band, usually positioned at the head of the band or corps. The drum major is the leader of the
marching band during rehearsals and in performance. His/her job is to carry-out the instructions of the
band director and other instructional staff regarding what needs to be done with the band. The drum
major, who is often dressed in more ornate clothing than the rest of the band or corps, is
responsible for providing commands to the ensemble, and leads them while marching, and
directs them what to play, when to play, and what time to keep. The commands may be given
either verbally, through hand gestures, using a whistle or a baton, or with a mace in the military.
Image of Drum Major
ROLES AND RESPONSIBILITY OF THE DRUM MAJOR IN A MARCHING BAND
1. Getting the band out to the rehearsal area, into the proper formation and ready to begin
rehearsal.
2. Taking the band through warm-up exercises.
3. Leading the band through practice runs.
4. Helping rehearsals run smoothly and productively

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5. Leading the band in performance
6. Adding to the overall showmanship of the band during performance with their
performance as the drum major.
7. Setting the standard for discipline, bearing, and conduct for the members of the band to
follow
8. Assisting in teaching marching to other members of the band (New Members)
9. Acting as the band’s representative at award ceremonies and special functions
THE ASSISTANT DRUM MAJOR:
The assistant drum major is the next-in-command behind the drum major. He/she
assumes the drum major role whenever the drum major is not present or is unable to perform.
He/she must be able to march as a regular member of the band, as well as step into the drum
major's job at a moment's notice. He/she may also be asked to help during rehearsals.
CHARACTERISTICS OF A SUCCESSFUL DRUM MAJOR
Effective drum majors have a number of things in common:
 They have a good and sound understanding of music
 They are skilled as a field conductor
 They have developed a high level of skill with a drum major baton or mace
 They have exceptional marching technique
 Their vocal commands are loud and easily understood
 They are highly responsible and reliable
 They are dedicated to having the band succeed
 They work well with both the band director and the membership of the band
 They know how to teach and assist other members of the band
 They have the ability to inspire the band in performance
TYPICAL TERM OF OFFICE
Both the drum major and assistant drum major are selected for one year. They must tryout and
earn their positions each year.
REPLACEMENT

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If the director feels that any drum major is not performing their job at the level required for the
best interests of the band, they may be pulled from the job and replaced by the assistant drum
major. A new assistant is then selected.
SELECTING THE DRUM MAJOR
Any member of the band may tryout to become the drum major for the following year. Try-outs
are held on a pre-announced date and all drum major candidates are evaluated by a qualified
panel selected by the band director.
The panel may select one person to be the drum major for all performances, or may select one
drum major for parade performances and another for field performances.
There are four sections in the tryout (with an optional 5th section). Each section is designed to
show how well a student can perform the different roles of the drum major.
1. The Parade Section
The purpose of this section is to see how well a student can perform in a band review or parade
situation. This trial is held in an area 250 - 300 feet long. It place of the full band, a recording is
used.
At least two-weeks prior to the tryout, the director will give all drum major candidates a cassette
recording of a march. Each student then creates their own routine.
Each candidate starts on the “Competition Begins” line. They call the band to attention. Next,
they perform an introductory routine and, following that, give the command to start the band.
The march is then played and the student steps-off down the route.
About 150 feet later is the “Salute Line” where candidates salute as part of their routine. At the
end of the competition area, the student gives a mark-time/halt command. They then dismiss the
band.
Drum major candidates are evaluated on their posture, bearing, twirling ability, clarity of beat,
confidence, originality and ability to stay in step with the music.
2. The Field Section
The purpose of this section is to see how well a student can conduct a band in a field show
situation. This section is held in an open area with a drum major's podium. If the full band isn't
available during the tryout, a recording is used.
At least two weeks prior to the tryout, the director will give all drum major candidates a cassette
recording of the music that has been selected for the tryout. Each student then creates his/her
own routine.
Each candidate can start on the field or on the podium. He/she calls the band to attention, then,
executes a series of commands to get the band ready for performance.

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As the music plays, the drum major candidate conducts as if they had a full band in front of
them. They should make their performance as realistic as possible. After the music ends, the
candidate turns and does an acknowledgement salute to the audience.
Candidates are evaluated on their musicality, clarity of beat, confidence, command presence and
the loudness of their commands.
3. The Teaching Section
The purpose of this section is to see how well a candidate can teach and work with other
members of the band. A group of at least six student volunteers are needed to act as a small band
for the candidates to teach.
During this section the other candidates are kept isolated until they too have completed the
teaching section of the tryout. Part of this tryout section is to see how well each person "thinks
on their feet." If candidates are allowed to watch other students teach before them, they have the
advantage of "learning from other's mistakes."
This section is done in an open area. The director selects a simple command or sequence of
commands for the candidates to teach the group. All candidates should be given the same
command or series of commands to teach. Each person then instructs the group to the best of
their ability. Students are evaluated on their confidence, clarity of instruction and ability to work
with the group.
4. The Interview
The purpose of the interview is to determine the skills, expertise and attitudes each contestant has
for performing as the band's leader.
The interview is done privately with each student and the selection committee. The same
questions are asked of all the drum major candidates to assure that they are all being evaluated
using the same criteria.
Candidates are evaluated on their leadership potential, their ability to handle the pressures of the
job and their ability to work with both the instructional staff and the band.
5. Advisory Band Vote (optional)
To provide the selection committee with feedback on the student's preferences, a vote can be
taken. Students are asked to list their first choice for drum major first, their second choice
second, etc. This indicates how the students feel the drum major candidates should be ranked.
This vote is strictly advisory. Since the selection committee often has to decide based on criteria
that the full band may not know (for example, what was said in the private interview), the result
of the vote is for the information of the committee only.

In a Marching Band
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THE DRUM MAJOR MACE
Military bands, civilian brass bands and pipe bands generally use a mace for giving signals and
commands while marching. As marching bands in the United States have started to focus more
directly on halftime shows and less on parades, the traditional use of the mace has largely
vanished from high school and college marching bands, in preference of hand movements,
occasionally with the use of a conductor's baton or whistle.
THE MARCHING PERCUSSION INSTRUMENTS IN A MARCHING BAND
MARCHING SNARE DRUMS
Marching snare drums are deeper in size than snares normally used for orchestral or drum kit
purposes. This gives the drum the big, full sound necessary for outdoor use. Standard sizes
(listed as diameter x depth) are 13x11 and 14x12 inches. They can weigh anywhere from 16-
45 lb. Smaller sizes such as 13x9 have become increasingly popular in recent times with the
proliferation of indoor drum lines.
The modern "high tension" snare was developed in response to the higher head tensions made
possible with the development of Kevlar and other high strength fibers bonded into the drum
head. These high tension drums were first developed by Legato of Australiafor pipe band snare
drums. High tension drums began and were perfected in the pipe band market and later moved
into the marching band and drum corps areas. The bottom (or resonant) side of the drum has a
tightly tuned head and synthetic gut or metal snare wires, which are often secured to the drum
using a strainer to limit their movement and make the sound more staccato. For outdoor use, a
projector or "scoop" - a piece of curved plastic - may be attached to the back of the bottom hoop
to help project the sound forward to the audience.
Snare drums used in pipe bands are similar in construction to standard marching snare drums,
with two key differences. First, the drum has an additional set of snares, directly under the batter
(top) head. Second, the snares under the bottom head are made of coiled steel wires, similar to a
drumset (as opposed to the synthetic "gut" snares on a corps-style drum). These differences tend
to give the pipe drums a "snappier" snare sound, emphasizing the higher frequencies of the drum.
Recently, corps-style drums have been produced with steel wire snares underneath the batter
head (while remaining the gut snares under the bottom head). These snares are able to be
switched on and off separate from the bottom snares, which allows units to use the second snares
as a specific effect or as a permanent modification to the sound of the drum.
The head of the snare drum can also be varied to give the drum a different sound. Depending on
the music or style that the drumline plays, different brands and types of heads may be used. For
maximum volume and stick articulation, a head made of woven Kevlar fibers is used and usually
tuned to a very high tension. If the player desires a slightly "softer" feel, then an aramid fiber
head (such as Remo's Black Max) is a good choice. Finally, if more overtones and the softest
head-feel are desired, the player may want to consider a heavy clear head with a center
reinforcement dot (such as a Remo Powerstroke 77). This type of head is rarely used today
among competitive drumlines, mostly owing to its lack of outdoor projection in comparison with
Kevlar, but nonetheless it may still be used if a unique timbre is desired. One of the most famous

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marching bands utilizing this head is the Ohio State University Marching Band. Though they
play difficult cadences and drum features, they still use the sling drum and Remo Powerstroke 77
head to remain as traditional and formal as possible.
Below Here are Images of Snare Drum:
MARCHING TENOR DRUMS
Modern marching bands and drum corps use multi-tenors, which consist of several single-headed
tom-toms played by a single drummer. The bottoms of the shells are open and beveled to project
the sound of the drum forward. They are typically played with wooden- or aluminum-shafted
mallets that have disc-shaped heads made of nylon. Mallets with felt or fleece heads, drum
sticks, drum brushes, and other implements are occasionally used to achieve different timbres.
The playing technique used for multi-tenors is somewhat different from that of a snare drum, and
more like that of a timpani because the drumhead is struck closer to the edge instead of in the
center. This creates a sound with more overtone, as opposed to striking the drumhead in the
center, which produces a very short, dull sound with few overtones that is considered undesirable
for multi-tenors.
A full-size set of tenors consists of 10, 12, 13, and 14-inch (360 mm) toms arranged in an arc,
often with an additional one or two smaller (6 or 8-inch) toms called "gock", "spook", "shot",
"spock", or "sprock" drums inside of the arc. Because a full-sized set of tenors with a carrier can
exceed 55 pounds (recently the Dynasty Quints, thought of as one of the heaviest sets, weighed
in at 32 lbs. without a carrier) smaller and lighter versions of tenors outfitted with 8, 10, 12, and
13-inch (330 mm) toms are often used by lines with smaller or younger players. All multi-tenors
based on the four-drum configuration are called quads despite the fact that there may be a total
of five or six drums counting the shot drums. Sets with one gock drum are called quints, and sets
with two gock drums are called sextets,"squints", hexes, or sixpacks. To produce different sounds
between gock drums with the same diameter, the head type, shell depth, and or tuning between
the two drums may vary. A common name for all multi-tenors is simply, 'Tenors'. Tenor drums
have often been compared to the Latin percussion Timbales, as many musicians, including Tito
Puente use a setup similar to modern marching tenors.
Modern multi-tenors evolved from horizontally mounted dual single-headed bass drums first
used by the Boston Crusaders Drum and Bugle Corps in the late 1960s. Early multi-tenors had

In a Marching Band
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shells with a flat bottom. These drums sounded a lot like timpani, so they were called timp-toms.
As drum sizes got smaller, more drums began to be added to multi-tenor configurations. The
largest sets of multi-tenors had 7 drums and were carried by both the 1977 and 1992 Spirit of
Atlanta Drum and Bugle Corps tenor lines.
Scottish pipe bands use a single tenor drum as part of their drum corps. Traditional marching
bands and drum corps may also use single tenors, which are double-headed drums much like
snare drums without snares. Some show bands such as those at historically black colleges and
universities use both single tenors and multi-tenors.
Below are images of tenor drums:
MARCHING BASS DRUMS
Bass drums used by modern ensembles come in a variety of sizes, with a 14-inch (360 mm)
"universal" depth, and diameter measured in 2-inch (51 mm) increments from 14 to 36 inches
(910 mm). The heads of these drums are usually made of a smooth white PET film, which gives
a tonality that is mid-way between clear and coated heads. Unlike tenors and snares, bass drums
are mounted so that the cylindrical shell of the drum is mounted on the player's harness and the
two drum heads of the drum face out sideways. The player can then play on both heads, one arm
for a drum head on either side. Each drummer plays and carries one drum, and a line is created
by having several people carry different-sized drums. Such drums are called tonal bass drums.
The lowest drum in a line, however, is often tuned to have a low "thump" like a traditional bass
drum rather than a tone. The Cavaliers Drum and Bugle Corps were the first marching unit to use
and standardize tonal bass drum tuning. Many groups try to use the largest size bass drum that is
comfortable for the physically largest bass drummer to carry as the bottom bass drum, as larger
people are generally better able to carry a bigger drum for long periods of time.
In corps-style bands, each bass drummer only plays one segment of the entire bass drum part,
unlike the snares and tenors. This is known as a split part. A unison refers to when all or some
bass drummers play together at the same time. Lines can vary in size from as few as 3 players in
small high schools to as many as 9 in very large college marching bands. A line of 5 (with
individual drum sizes ranging from 18" to 32") is the most common in a drum corps. Some
traditional groups, such as some show-style marching bands from historically black colleges and

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universities continue to use a non-tonal bass line, where each drum is roughly the same size and
each drummer plays the same part.
Pipe bands and some traditional groups use a single bass drummer, who typically carries the
pulse of the group. The bass drums used by pipe bands have seen an increase in size and more of
a focus on tone in recent times. Typical sizes range from 12 to 18 inches (460 mm) deep by 28
inches (710 mm) in diameter. The goal is to produced a subtle deep tone which is usually in tune
with the drones of the bagpipe. Various muffling techniques (sometimes referred to as
"treatments") can be used on bass drums to achieve a desired sound. The most common of these
involve applying foam weatherstripping, either on the head directly or on the shell of the drum.
Some drumhead manufacturers make heads that are "pre-muffled." These heads usually have
separate pieces of PET film or other material which are set into the head's flesh hoop and touch
the head to control overtones.
Below here are images of bass drum:
STICK HEIGHTS
SNARES AND TENORS DRUMS
Marching bands in general and especially marching drum lines emphasize uniformity. To
achieve absolute uniformity, every member of the drumline must play with proper stick heights.
A stick height is an approximate measurement of how high the bead of the stick comes off the
drum head on any given note. Regularly used heights range from 3" to 12", with 1" and 15"
being used mostly for visual effect. Snares and tenors can use this chart to establish guidelines
for stick heights, but techniques and specifications may vary between lines and can be changed
depending on what the music calls for.
BASS DRUMS
Bass drums do not use the same guidelines as snares and tenors. They are grouped in a different
section of the battery. The most important thing to remember is that when playing at a higher
dynamic level, one is not to attempt to play with more height but with more force and through
the head to get more tone and more sound. Playing correct heights is important, but if you're not
getting correct sound quality this means nothing. This will naturally project the sound. Below are
the guidelines for bass drum heights. Again, techniques and specifications vary between

In a Marching Band
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drumlines. (All fractions are based on the Forte / perpendicular height. Establish this height first
and then work the others around it.) Start in “set” position with the mallets about 1 inch away
from the head.
Stick heights are not only important for visual reasons but they also strongly affect the sound
quality. To get a uniform and consistent sound, one must play with even stick heights on the
right and left hand. To practice playing with accurate stick heights, set up your drum or pad in
front of a mirror. Start with a simple exercise and watch to see if your left heights are even with
your right. If you have access to a video camera, you can record yourself and watch it later. It is
easier to watch your heights and critique your performance when you are not focusing on
playing.
CYMBALS
Cymbals are not played in the same manner as orchestral crash cymbals, as there is a change in
the grip of the straps. The hand goes through the hoop and twists, causing the hand to be flat
against the bell of the cymbal, although variations are sometimes used for effect. Each player
carries two cymbals of identical size and crashes them together, in addition to producing other
sound effects by striking or rubbing the cymbals together. Cymbal players often perform
visuals – movements such as twirls and flips that are eye-pleasing and boost the general effect of
the group. There is generally a 1-to-1 or 1-to-2 ratio of cymbal players to snares, as snare
drummers sometimes play on the cymbals at some point during the performance, much in the
manner that hi-hat cymbals are used on a drum set. The number of cymbal players can vary
according to their use. Cymbal parts are often split in the same manner as bass drum parts – each
cymbalist plays one component of a larger part. Some drum corps (or less often, marching
bands) do not have marching cymbal players at all, instead choosing to march additional hornline
or color guard members, or other percussion instruments. In indoor percussion ensembles, the
trend seems to be towards keeping or expanding cymbal sections.
Among many differences between marching and orchestral cymbals, there are many types of
crashes. Crash-chokes are played beginning with a normal crash, but pulled into the body at the
shoulders or stomach so as to effectively stop the sound after attaining the desired crash. Slides
are played using the right cymbal to drive into the left, where the outer edge hits 1/2 way
between the bell and the edge of the left cymbal. After the right cymbal slides up on the left, it is
brought back straight into the body. The cymbal is stopped by catching the air pocket inside of
the cymbals. The cymbals maintain contact at all times. The desired sound is a "sizzle then
choke" effect. As well as different types of crashes, cymbals can use many types of visuals,
which are only limited to the imaginations of those wielding the cymbals.

In a Marching Band
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THE ROLE OF BRASS INSTRUMENT IN A MARCHING BAND
THE BRASS INSTRUMENT
A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in
a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also
called labrosones, literally meaning "lip-vibrated instruments".[1]
There are several factors involved in producing different pitches on a brass instrument. Slides,
valves, crooks, or keys are used to change vibratory length of tubing, thus changing the available
harmonic series, while the player's embouchure, lip tension and air flow serve to select the
specific harmonic produced from the available series.
The view of most scholars (see organology) is that the term "brass instrument" should be defined
by the way the sound is made, as above, and not by whether the instrument is actually made of
brass. Thus one finds brass instruments made of wood, like the alphorn, the cornett, the serpent
and the didgeridoo, while some woodwind instruments are made of brass, like the saxophone.
Families of Brass Instrument
Modern brass instruments generally come in one of two families:
Valved
Brass instruments use a set of valves (typically three or four but as many as seven or more in
some cases) operated by the player's fingers that introduce additional tubing, or crooks, into the
instrument, changing its overall length. This family includes all of the modern brass instruments
except the trombone: the trumpet, horn (also called French horn), euphonium, and tuba, as well
as the cornet, flügelhorn, tenor horn (alto horn), baritone horn, sousaphone, mellophone, and the
saxhorn. As valved instruments are predominant among the brasses today, a more thorough
discussion of their workings can be found below. The valves are usually piston valves, but can be
rotary valves; the latter are the norm for the horn and are also prevalent on the tuba.
Slide
Brass instruments use a slide to change the length of tubing. The main instruments in this
category are the trombone family, though valve trombones are occasionally used, especially in
jazz. The trombone family's ancestor, the sackbut, and the folk instrument bazooka are also in
the slide family.
There are two other families that have, in general, become functionally obsolete for practical
purposes. Instruments of both types, however, are sometimes used for period-instrument
performances of Baroque or Classical pieces. In more modern compositions, they are
occasionally used for their intonation or tone color.
Natural
Brass instruments only play notes in the instrument's harmonic series. These include the bugle
and older variants of the trumpet and horn. The trumpet was a natural brass instrumentprior to
about 1795, and the horn before about 1820. In the 18th century, makers developed
interchangeable crooks of different lengths, which let players use a single instrument in more
than one key. Natural instruments are still played for period performances and some ceremonial

In a Marching Band
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functions, and are occasionally found in more modern scores, such as those by Richard Wagner
and Richard Strauss.
Keyed or Fingered
Brass instruments used holes along the body of the instrument, which were covered by fingers or
by finger-operated pads (keys) in a similar way to a woodwind instrument. These included the
cornett, serpent, ophicleide, keyed bugle and keyed trumpet. They are more difficult to play than
valved instruments.
Bore taper and diameter
Brass instruments may also be characterised by two generalizations about geometry of the bore,
that is, the tubing between the mouthpiece and the flaring of the tubing into the bell. Those two
generalizations are with regard to
 The degree of taper or conicity of the bore and
 The diameter of the bore with respect to its length.
Cylindricality vs. Conicality
While all modern valved and slide brass instruments consist in part of conical and in part of
cylindrical tubing, they are divided as follows:
 Cylindrical Bore: Brass instruments are those in which approximately constant diameter
tubing predominates. Cylindrical bore brass instruments are generally perceived as
having a brighter, more penetrating tone quality compared to conical bore brass
instruments. The trumpet, baritone horn and all trombones are cylindrical bore. In
particular, the slide design of the trombone necessitates this.
 Conical Bore: Brass instruments are those in which tubing of constantly increasing
diameter predominates. Conical bore instruments are generally perceived as having a
more mellow tone quality than the cylindrical bore brass instruments. The "British brass
band" group of instruments fall into this category. This includes the flugelhorn, cornet,
tenor horn (alto horn), horn, euphonium and tuba. Some conical bore brass instruments
are more conical than others. For example, the flugelhorn differs from the cornet by
having a higher percentage of its tubing length conical than does the cornet, in addition to
possessing a wider bore than the cornet. In the 1910s and 1920s, the E.A. Couturier
company built brass band instruments utilizing a patent for a continuous conical bore
without cylindrical portions even for the valves or tuning slide.
Whole-tube vs. half-tube
The second division, based on bore diameter in relation to length,[2] determines whether the
fundamental tone or the first overtone is the lowest partial practically available to the player:

In a Marching Band
12
Neither the horns nor the trumpet could produce the 1st note of the
harmonic series ... A horn giving the C of an open 8 ft organ pipe
had to be 16 ft (5 m). long. Half its length was practically useless
... it was found that if the calibre of tube was sufficiently enlarged
in proportion to its length, the instrument could be relied upon to
give its fundamental note in all normal circumstances. – Cecil
Forsyth, Orchestration,
Whole-Tube: Instruments have larger bores in relation to tubing length, and can play the
fundamental tone with ease and precision. The tuba and euphonium are examples of whole-tube
brass instruments.
Half-Tube: Instruments have smaller bores in relation to tubing length and cannot easily or
accurately play the fundamental tone. The second partial (first overtone) is the lowest note of
each tubing length practical to play on half-tube instruments. The trumpet and horn are examples
of half-tube brass instruments.
Other Brass Instruments
The instruments in this list fall for various reasons outside the scope of much of the discussion
above regarding families of brass instruments.
 Alphorn (wood)
 Conch (shell)
 Didgeridoo (wood, Australia)
 Natural horn (no valves or slides except tuning crook)
 Keyed bugle (keyed brass)
 Keyed trumpet (keyed brass)
 Serpent (keyed brass)
 Ophicleide (keyed brass)
 Shofar (animal horn)
 Vladimirskiyrozhok (wood, Russia)
 Vuvuzela (simple short horn, origins disputed but achieved fame or notoriety through
many plastic examples in the 2010 World Cup)
 Lur

In a Marching Band
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Valves
There are majorly two types of valves, the piston valve and rotary valve
Piston valve Rotary valve
Rotary valve
Slide
Valves are used to change the length of tubing of a brass instrument allowing the player to reach
the notes of various harmonic series. Each valve pressed diverts the air stream through additional
tubing, individually or in conjunction with other valves. This lengthens the vibrating air column
thus lowering the fundamental tone and associated harmonic series produced by the instrument.
Designs exist, although rare, in which this behaviour is reversed, i.e., pressing a valve removes a
length of tubing rather than adding one. One modern example of such an ascending valve is the
Yamaha YSL-350C trombone,[4] in which the extra valve tubing is normally engaged to pitch the
instrument in Bb, and pressing the thumb lever removes a whole step to pitch the instrument in
C. Valves require regular lubrication.
A core standard valve layout based on the action of three valves had become almost universal by
(at latest) 1864 as witnessed by Arban's Method published in that year. The effect of a particular
combination of valves may be seen in the table below. This table is correct for the core 3-valve
layout on almost any modern valved brass instrument. The most common four-valve layout is a
superset of the well-established 3-valve layout and is noted in the table, despite the exposition of
four-valve and also five-valve systems (the latter used on the tuba) being incomplete in this
article.

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Valve combination and effect on pitch
Valve combination Effect on pitch Interval Tuning problems
2 1/2 step Minor second
1 1 step Major second
1+2 or 3 1½ step Minor third Flat
2+3 2 steps Major third Slightly sharp
1+3 or 4 2½ steps Perfect fourth Sharp
1+2+3 or 2+4 3 steps Tritone Very sharp
1+4 3 ½ steps Perfect fifth
1+2+4 or 3+4 4 steps Augmented fifth
2+3+4 4 ½ steps Major sixth
1+3+4 5 steps Minor seventh
1+2+3+4 5 ½ steps Major seventh

In a Marching Band
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Tuning
Since valves lower the pitch, a valve that makes a pitch too low (flat) creates an interval wider
than desired, while a valve that plays sharp creates an interval narrower than desired.Intonation
deficiencies of brass instruments that are independent of the tuning or temperament system are
inherent in the physics of the most popular valve design, which uses a small number of valves in
combination to avoid redundant and heavy lengths of tubing[5] (this is entirely separate from the
slight deficiencies between Western music's dominant equal (even) temperament system and the
just (not equal) temperament of the harmonic series itself). Since each lengthening of the tubing
has an inversely proportional effect on pitch (Pitch of brass instruments), while pitch perception
is logarithmic, there is no way for a simple, uncompensated addition of length to be correct in
every combination when compared with the pitches of the open tubing and the other valves.[6]
Absolute Tube Length
For example, given a length of tubing equaling 100 inches when open, one may obtain the
following tuning discrepancies:
Valve combination and creation of pitch discrepancies
Valve(s) Desired pitch
Necessary
valve length
Component
tubing length
Difference Slide positions
Open tubing A♯/B♭ 0" – – 1
2 A 5.9" – – 2
1 G♯/A♭ 12.2" – – 3
1+2 or 3 G 18.9" 18.1" 0.8" 4
2+3 or F♯/G♭ 25.9" 24.8" 1.1" 5
1+3 or 4 E♯/F 33.5" 31.1" 2.4" 6 or T
1+2+3 or 2+4 E/F♭ 41.4" 37" 4.4" 7 or T+2
1+4 D♯/E♭ 45.7" T+3
1+2+4 or 3+4 D 52.4" T+4
2+3+4 C♯/D♭ 58.3" T+5
1+3+4 B♯/C 64.6" T+6
1+2+3+4 B/C♭ 70.5" T+7
Playing notes using valves (notably 1st + 3rd and 1st + 2nd + 3rd) requires compensation to
adjust the tuning appropriately, either by the player's lip-and-breath control, via mechanical
assistance of some sort, or, in the case of horns, by the position of the stopping hand in the bell.
'T' stands for trigger on a trombone.
Relative tube length

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Traditionally the valves lower the pitch of the trumpet, by adding extra lengths of tubing based
on a just tuning:
 1st valve: 1/8 of main tube, making an interval of 9:8, a pythagorean major second
 2nd valve: 1/15 of main tube, making an interval of 16:15, a just minor second
 3rd valve: 1/5 of main tube, making an interval of 6:5, a just minor third
Combining the valves and the harmonics of the instrument leads to the following ratios and
comparisons to 12-tone equal tuning and to a common five-limit tuning in C:
Valves Harmonic Note Ratio Cents Cents from
12ET
Just tuning Cents from
just
○○○ 2 C 1:1 0 0 1:1 0
●●● 3 C♯/D♭ 180:167 130 30 16:15 18
●○● 3 D 60:53 215 15 9:8 11
○●● 3 D♯/E♭ 45:38 293 -7 6:5 -23
●●○ 3 E 180:143 398 -2 5:4 12
●○○ 3 F 4:3 498 -2 4:3 0
○●○ 3 F♯/G♭ 45:32 590 -10 45:32 0
○○○ 3 G 3:2 702 2 3:2 0
○●● 4 G♯/A♭ 30:19 791 -9 8:5 -23
●●○ 4 A 240:143 896 -4 5:3 12
●○○ 4 A♯/B♭ 16:9 996 -4 9:5 -22
○●○ 4 B 15:8 1088 -12 15:8 0
○○○ 4 C 2:1 1200 0 2:1 0
●●○ 5 C♯/D♭ 300:143 1283 -17 32:15 -29
●○○ 5 D 20:9 1382 -18 9:4 -22
○●○ 5 D♯/E♭ 75:32 1475 -25 12:5 -41
○○○ 5 E 5:2 1586 -14 5:2 0
Tuning compensation

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The additional tubing for each valve usually features a short tuning slide of its own for fine
adjustment of the valve's tuning, except when it is too short to make this practicable. For the first
and third valves this is often designed to be adjusted as the instrument is played, to account for
the deficiencies in the valve system.
In most trumpets and cornets, the compensation must be provided by extending the third valve
slide with the third or fourth finger, and the first valve slide with the left hand thumb (see Trigger
or throw below). This is used to lower the pitch of the 1-3 and 1-2-3 valve combinations. On the
trumpet and cornet, these valve combinations correspond to low D, low C♯, low G, and low
F♯, so chromatically, to stay in tune, one must use this method.
In instruments with a fourth valve, such as tubas, euphoniums, piccolo trumpets, etc. that valve
lowers the pitch by a perfect fourth; this is used to compensate for the sharpness of the valve
combinations 1-3 and 1-2-3 (4 replaces 1-3, 2-4 replaces 1-2-3). All three normal valves may be
used in addition to the fourth to increase the instrument's range downwards by a perfect fourth,
although with increasingly severe intonation problems.
When four-valved models without any kind of compensation play in the corresponding register,
the sharpness becomes so severe that players must finger the note a half-step below the one they
are trying to play. This eliminates the note a half-step above their open fundamental.
Manufacturers of low brass instruments may choose one or a combination of four basic
approaches to compensate for the tuning difficulties, whose respective merits are subject to
debate:
Compensation System
In the Compensation system, each of the first two (or three) valves has an additional set of tubing
extending from the back of the valve. When the third (or fourth) valve is depressed in
combination with another one, the air is routed through both the usual set of tubing plus the extra
one, so that the pitch is lowered by an appropriate amount. This allows compensating
instruments to play with accurate intonation in the octave below their open second partial, which
is critical for tubas and euphoniums in much of their repertoire.
The compensating system was applied to horns to serve a different purpose. It was used to allow
a double horn in F and B flat to ease playing difficulties in the high register. In contrast to the
system in use in tubas and euphoniums, the default 'side' of the horn is the longer F horn, with
secondary lengths of tubing coming into play when the first, second or third valves are pressed;
pressing the thumb valve takes these secondary valve slides and the extra length of main tubing
out of play to produce a shorter B-flat horn. A later "full double" design has completely separate
valve section tubing for the two sides, and is considered superior, although rather heavier in
weight.
Trigger or Throw

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Some valved brass instruments provide triggers or throws that manually lengthen (or, less
commonly, shorten) the main tuning slide, a valve slide, or the main tubing. These mechanisms
alter the pitch of notes that are naturally sharp in a specific register of the instrument, or shift the
instrument to another playing range. Triggers and throws permit speedy adjustment while
playing.
Trigger is used in two senses:
 A trigger can be a mechanical lever that lengthens a slide when pressed in a contrary
direction. Triggers are sprung in such a way that they return the slide to its original
position when released.
 The term "trigger" also describes a device that lengthens certain brass instruments' main
length of tubing to shift its range to another playing range, as with certain trombones.
A throw is a simple metal grip for the player's finger or thumb, attached to a valve slide. The
general term "throw" can describe a u-hook, a saddle (u-shaped grips), or a ring (ring-shape grip)
in which a player's finger or thumb rests. A player extends a finger or thumb to lengthen a slide,
and retracts the finger to return the slide to its original position.
Mechanism
The two major types of valve mechanisms are rotary valves and piston valves. The first piston
valve instruments were developed just after the start of the 19th century. The Stölzel valve
(invented by Heinrich Stölzel in 1814) was an early variety. In the mid 19th century the Vienna
valve was an improved design. However many professional musicians preferred rotary valves for
quicker, more reliable action, until better designs of piston valves were mass manufactured
towards the end of the 19th century. Since the early decades of the 20th century, piston valves
have been the most common on brass instruments except for the orchestral horn and the tuba.[10]
See also the article Brass Instrument Valves.
Sound production in brass instruments
Because the player of a brass instrument has direct control of the prime vibrator (the lips), brass
instruments exploit the player's ability to select the harmonic at which the instrument's column of
air vibrates. By making the instrument about twice as long as the equivalent woodwind
instrument and starting with the second harmonic, players can get a good range of notes simply
by varying the tension of their lips (see embouchure).
Most brass instruments are fitted with a removable mouthpiece. Different shapes, sizes and styles
of mouthpiece may be used to suit different embouchures, or to more easily produce certain tonal
characteristics. Trumpets, trombones, and tubas are characteristically fitted with a cupped
mouthpiece, while horns are fitted with a conical mouthpiece.
One interesting difference between a woodwind instrument and a brass instrument is that
woodwind instruments are non-directional. This means that the sound produced propagates in all
directions with approximately equal volume. Brass instruments, on the other hand, are highly

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directional, with most of the sound produced traveling straight outward from the bell. This
difference makes it significantly more difficult to record a brass instrument accurately. It also
plays a major role in some performance situations, such as in marching bands.
Manufacture
Traditionally the instruments are normally made of brass, polished and then lacquered to prevent
corrosion. Some higher quality and higher cost instruments use gold or silver plating to prevent
corrosion. A few specialty instruments are made from wood.
Alternatives to brass include other alloys containing significant amounts of copper or silver.
These alloys are biostatic due to the oligodynamic effect, and thus suppress growth of molds,
fungi or bacteria. Brass instruments constructed from stainless steel or aluminiumhave good
sound quality but are rapidly colonized by microorganisms and become unpleasant to play.
Most higher quality instruments are designed to prevent or reduce galvanic corrosion between
any steel in the valves and springs, and the brass of the tubing. This may take the form of
desiccant design, to keep the valves dry, sacrificial zincs, replaceable valve cores and springs,
plastic insulating washers, or nonconductive or noble materials for the valve cores and springs.
Some instruments use several such features.
The process of making the large open end (bell) of a brass instrument is called metal beating. In
making the bell of, for example, a trumpet, a person lays out a pattern and shapes sheet metal
into a bell-shape using templates, machine tools, handtools, and blueprints. The maker cuts out
the bell blank, using hand or power shears. He hammers the blank over a bell-shaped mandrel,
and butts the seam, using a notching tool. The seam is brazed, using a torch and smoothed using
a hammer or file. A draw bench or arbor press equipped with expandable lead plug is used to
shape and smooth the bell and bell neck over a mandrel. A lathe is used to spin the bell head and
to form a bead at the edge of bell head. Previously shaped bell necks are annealed, using a hand
torch to soften the metal for further bending. Scratches are removed from the bell using abrasive-
coated cloth.
Ensembles
Brass instruments are one of the major classical instrument families and are played across a
range of musical ensembles.
Orchestras include a varying number of brass instruments depending on music style and era,
typically:
 two to five trumpets
 two to eight horns
 two tenor trombones

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 one bass trombone
 one tuba
o Baroque and classical period orchestras may include valveless trumpets or bugles, or
have valved trumpets/cornets playing these parts, and they may include valveless
horns, or have valved horns playing these parts.
o Romantic, modern, and contemporary orchestras may include larger numbers of
brass including more exotic instruments.
Concert bands generally have a larger brass section than an orchestra, typically:
 four to seven trumpets or cornets
 four to eight horns
 two to four trombones
 one to two bass trombones
 two to three euphoniums or baritone horns
 two to three tubas
Big bands and other jazz bands commonly contain cylindrical bore brass instruments.
 A big band typically includes:
o four trumpets
o four tenor trombones
o one bass trombone (in place of one of the tenor trombones)
 Smaller jazz ensembles may include a single trumpet or trombone soloist.
Single brass instruments are also often used to accompany other instruments or ensembles such
as an organ or a choir.
Brass instruments are also known as labrosones or lip-vibrated instruments. The pitch of brass
instruments is affected by the player's lip vibration, or embouchure, and the airflow. Other
components of the instrument like crooks adjusted by slides or valves can change the length of
the tubing and alter the harmonic series of some instruments. It is generally held that the
classification of instruments should be decided based on how the sound is produced rather than
the material of the instrument. For this reason some brass instruments may be made of wood like
certain alp horns, cornets, and serpents. Additionally an instrument like the saxophone, while

In a Marching Band
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commonly constructed out of brass, is classified as a woodwind as its sound is produced by a
vibrating reed rather than the vibration of the lips on the mouthpiece.
Early brass instruments include those in the natural or keyed families and are nearly obsolete.
Natural instruments are without valves or slides to provide key changes, so they only play the
notes in their harmonic series. There are natural versions of instruments like the bugle, trumpet,
and horn which are typically only played in Baroque or Romantic concerts.
The two predominant contemporary families of brass instruments are valved brass and slide
brass. Valves began to be used on instruments as early as the late 18th century but were first
patented by Friedrich Bluhmel and Heinrich Stolzel in 1818. These early valves were
manufactured by W. Schuster. It is common for an instrument to have three to four valves
although there may be as many or more than seven. The three valve standard was published in
Arban's Method in 1864 and remains predominate today. Valved instruments make up the
majority of modern brass. There are some instruments like the trombone which more commonly
falls into the slide brass family which utilize a slide to change the length of tubing and adjust the
pitch rather than valves.
Brass instruments can also be classified as cylindrical bore or conical bore. Cylindrical
instruments have tubing which maintains the same diameter like the trumpet, baritone horn, and
trombone. These tend to have a brighter and more penetrating tone. Big Bands contain primarily
cylindrical bore bass with trumpets and trombones. The tubing of conical instruments is
constantly increasing in diameter allowing for a mellow, subdued sound as found in the cornet,
tenor horn, euphonium, and tuba. British brass bands are composed entirely of conical brass
instruments such as these.
We have different series and types of brass instrument but for the cause of this study we are
going to dwell on few of the instrument.
TRUMPET AS AN BRASS INSTRUMENT
A trumpet is a musical instrument. It has the highest register in the brass family. As a signaling
device, trumpets have a very long history, dating back to at least 1500 BC; they have been used
as musical instruments since the 15th century. They are played by blowing air through closed
lips, producing a "buzzing" 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,
usually bent twice into a rounded oblong shape.
There are several types of trumpet. The most common is a transposing instrument pitched in B♭
with a tubing length of about 1.48 m (4 ft10 in). Earlier trumpets did not have valves, but modern
instruments generally have either three piston valves or, more rarely, three rotary valves. Each
valve increases the length of tubing when engaged, thereby lowering the pitch.
A musician who plays the trumpet is called a trumpet player or trumpeter.
Image of Various Trumpets

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History
The earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from
Tutankhamun's grave in Egypt, bronze lurs from Scandinavia, and metal trumpets from China
date back to this period. Trumpets from the Oxus civilization (3rd millennium BC) 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 Moche people of ancient Peru depicted trumpets in their art
going back to 300 AD. 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.
The trumpet players were often among the most heavily guarded members of a troop, as they
were relied upon to relay instructions to other sections of the army.
Improvements to instrument design and metal making in the late Middle Ages and Renaissance
led to an increased usefulness of the trumpet as a musical instrument. 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 attempt to give the trumpet more chromatic freedom in its range saw the development of the
keyed trumpet, but this was a largely unsuccessful venture due to the poor quality of its sound.
Although the impetus for a tubular valve began as early as 1793, it was not until 1818 that
Friedrich Bluhmel and Heinrich Stölzel made a joint patent application for the box valve as
manufactured by W. Schuster. The symphonies of Mozart, Beethoven, and as late as Brahms,
were still played on natural trumpets. Crooks and shanks (removable tubing of various lengths)
as opposed to keys or valves were standard, notably in France, into the first part of the 20th
century. As a consequence of this late development of the instrument's chromatic ability, the
repertoire for the instrument is relatively small compared to other instruments. The 20th century
saw an explosion in the amount and variety of music written for the trumpet.
Types

In a Marching Band
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The most common type is the B♭ trumpet, but A, C, D, E♭, E, low F, and G trumpets are also
available. The C trumpet is most common in American orchestral playing, where it is used
alongside the B♭ trumpet. Its slightly smaller size gives it a brighter, more lively sound.
Orchestra trumpet players are generally adept at transposing music at sight, sometimes playing
music written for the A, B♭, D, E♭, E, or F trumpet on the C trumpet or B♭ trumpet.
Piccolo trumpet in B♭, with swappable leadpipes to tune the instrument to B♭ (shorter) or A
(longer)
The smallest trumpets are referred to as piccolo trumpets. The most common of these are built to
play in both B♭ and A, with separate leadpipes for each key. The tubing in the B♭ piccolo
trumpet is one-half the length of that in a standard B♭ trumpet. Piccolo trumpets in G, F and C
are also manufactured, but are rarer. Many players use a smaller mouthpiece on the piccolo
trumpet, which requires a different sound production technique from the B♭ trumpet and can
limit endurance. Almost all piccolo trumpets have four valves instead of the usual three the
fourth valve lowers the pitch, usually by a fourth, to assist in the playing of lower notes and to
create alternate fingerings that facilitate certain trills. Maurice André, HåkanHardenberger,
David Mason, and Wynton Marsalis are some well-known trumpet players known for their
additional virtuosity on the piccolo trumpet.
Trumpets pitched in the key of low G are also called sopranos, or soprano bugles, after their
adaptation from military bugles. Traditionally used in drum and bugle corps, sopranos have
featured both rotary valves and piston valves.
The bass trumpet is usually played by a trombone player, being at the same pitch. Bass trumpet
is played with a shallower trombone mouthpiece, and music for it is written in treble clef. The
most common keys for bass trumpets are C and B♭. Both C and B♭ bass trumpets are
transposing instruments sounding an octave (C) or a major ninth (B♭) lower than written.
The Modern Slide Trumpet
The modern slide trumpet is a B♭ trumpet that has a slide instead of valves. It is similar to a
soprano trombone. The first slide trumpets emerged during the Renaissance, predating the
modern trombone, and are the first attempts to increase chromaticism on the instrument. Slide
trumpets were the first trumpets allowed in the Christian church.
The historical slide trumpet was probably first developed in the late 14th century for use in
altacapella wind bands.
The Pocket Trumpet
The pocket trumpet is a compact B♭ trumpet. The bell is usually smaller than a standard
trumpet and the tubing is more tightly wound to reduce the instrument size without reducing the
total tube length. Its design is not standardized, and the quality of various models varies greatly.

In a Marching Band
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It can have a tone quality and projection unique in the trumpet world: a warm sound and a voice-
like articulation. Unfortunately, since many pocket trumpet models suffer from poor design as
well as cheap and sloppy manufacturing, the intonation, tone color and dynamic range of such
instruments are severely hindered. Professional-standard instruments are, however, available.
While they are not a substitute for the full-sized instrument, they can be useful in certain
contexts. The jazz musician Don Cherry was renowned for his playing of the pocket instrument.
The Herald Trumpet
The herald trumpet is a B♭ trumpet with an elongated bell extending far in front of the player.
Due to its showy appearance, this type of trumpet is mostly used for ceremonial events such as
parades and fanfares.
There are also rotary-valve, or German, trumpets, (which are commonly used in professional
European orchestras) as well as alto and Baroque trumpets.
The trumpet is often confused with its close relative the cornet, which has a more conical tubing
shape compared to the trumpet's more cylindrical tube. This, along with additional bends in the
cornet's tubing, gives the cornet a slightly mellower tone, but the instruments are otherwise
nearly identical. They have the same length of tubing and, therefore, the same pitch, so music
written for cornet and trumpet is interchangeable. Another relative, the flugelhorn, has tubing
that is even more conical than that of the cornet, and an even richer tone. It is sometimes
augmented with a fourth valve to improve the intonation of some lower notes.
Fingering
On any modern trumpet, cornet, or flugelhorn, pressing the valves indicated by the numbers
below produces the written notes shown. "OPEN" means all valves up, "1" means first valve, "1-
2" means first and second valve simultaneously, and so on. The concert pitch that sounds
depends on the transposition of the instrument. Engaging the fourth valve, if present, drops any
of these pitches by a perfect fourth as well. Within each overtone series, the different pitches are
attained by changing the embouchure, or lip-aperture size and "firmness". Standard fingerings
above high C are the same as for the notes an octave below (C♯ is 1-2, D is 1, etc.)
A step = a tone; a half step = a semitone

In a Marching Band
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Each overtone series on the trumpet begins with the first overtone—the fundamental of each
overtone series cannot be produced except as a pedal tone. Notes in parentheses are the sixth
overtone, representing a pitch with a frequency of seven times that of the fundamental; while this
pitch is close to the note shown, it is slightly flat relative to equal temperament, and use of those
fingerings is generally avoided.
The fingering schema arises from the length of each valve's tubing (a longer tube produces a
lower pitch). Valve "1" increases the tubing length enough to lower the pitch by one whole step,
valve "2" by one half step, and valve "3" by one and a half steps. This scheme and the nature of
the overtone series create the possibility of alternate fingerings for certain notes. For example,
third-space "C" can be produced with no valves engaged (standard fingering) or with valves 2-3.
Also, any note produced with 1-2 as its standard fingering can also be produced with valve 3 -
each drops the pitch by 1-1/2 steps. Alternate fingerings may be used to improve facility in
certain passages, or to aid in intonation. Extending the third valve slide when using the
fingerings 1-3 or 1-2-3 further lowers the pitch slightly to improve intonation.
Range
The standard trumpet range extends from the written F♯ immediately below Middle C up to
about three octaves higher. Traditional trumpet repertoire rarely calls for notes beyond this
range, and the fingering tables of most method books peak at the high C, two octaves above
middle C. Several trumpeters have achieved fame for their proficiency in the extreme high
register, among them Maynard Ferguson, Cat Anderson, Dizzy Gillespie, Doc Severinsen, and
more recently Wayne Bergeron, Thomas Gansch, James Morrison, Jon Faddis and Arturo
Sandoval. It is also possible to produce pedal tones below the low F♯, which is a device
commonly employed in contemporary repertoire for the instrument.
Extended technique
Contemporary music for the trumpet makes wide uses of extended trumpet techniques.
Flutter tonguing: The trumpeter rolls the tip of the tongue to produce a 'growling like' tone. It is
achieved as if one were rolling an R in the Spanish language. This technique is widely employed
by composers like Berio and Stockhausen.
Growling: Simultaneously humming while playing a note creates two sets of vibrations that
interfere with each other and create a characteristic 'growling' sound. Many jazz players use the
technique which is different from flutter-tonguing, where the tongue modifies the sound.
Double tonguing: The player articulates using the syllables ta-ka ta-ka ta-ka
Triple tonguing: The same as double tonguing, but with the syllables ta-ta-ka ta-ta-ka ta-ta-ka or
ta-ka-ta ta-ka-ta.
Doodle tongue: The trumpeter tongues as if saying the word doodle. This is a very faint
tonguing similar in sound to a valve tremolo.

In a Marching Band
26
Glissando: Trumpeters can slide between notes by depressing the valves halfway and changing
the lip tension. Modern repertoire makes extensive use of this technique.
Vibrato: It is often regulated in contemporary repertoire through specific notation. Composers
can call for everything from fast, slow or no vibrato to actual rhythmic patterns played with
vibrato.
Pedal tone: Composers have written for two-and-a-half octaves below the low F♯, which is at
the bottom of the standard range. Extreme low pedals are produced by slipping the lower lip out
of the mouthpiece. Claude Gordon assigned pedals as part of his trumpet practice routines, that
were a systematic expansion on his lessons with Herbert L. Clarke. The technique was pioneered
by BohumirKryl.
Microtones: Composers such as Scelsi and Stockhausen have made wide use of the trumpet's
ability to play microtonally. Some instruments feature a fourth valve that provides a quarter-tone
step between each note.
Mute belt: Karlheinz Stockhausen pioneered the use of a mute belt, worn around the player's
waist, to enable rapid mute changes during pieces. The belt allows the performer to make faster
and quieter mute changes, as well as enabling the performer to move around the stage.
Valve tremolo: Many notes on the trumpet can be played in several different valve
combinations. By alternating between valve combinations on the same note, a tremolo effect can
be created. Berio makes extended use of this technique in his Sequenza X.
Noises: By hissing, clicking, or breathing through the instrument, the trumpet can be made to
resonate in ways that do not sound at all like a trumpet. Noises may require amplification.
Preparation: Composers have called for trumpeters to play under water, or with certain slides
removed. It is increasingly common for composers to specify all sorts of preparations for
trumpet. Extreme preparations involve alternate constructions, such as double bells and extra
valves.
Singing: Composers such as Robert Erickson and Mark-Anthony Turnage have called for
trumpeters to sing during the course of a piece, often while playing. It is possible to create a
multiphonic effect by singing and playing different notes simultaneously.
Split tone: Trumpeters can produce more than one tone simultaneously by vibrating the two lips
at different speeds. The interval produced is usually an octave or a fifth.
Lip Trill or Shake: By rapidly varying lip tension, but not changing the depressed valves, the
pitch varies quickly between adjacent harmonics. These are usually done, and are more
straightforward to execute, in the upper register.
Construction

In a Marching Band
27
The trumpet is constructed of brass tubing bent twice into a rounded oblong shape. As with all
brass instruments, sound is produced by blowing air through closed lips, producing a "buzzing"
sound into the mouthpiece and starting a standing wave vibration in the air column inside the
trumpet. The player can select the pitch from a range of overtones or harmonics by changing the
lip aperture and tension (known as the embouchure). The mouthpiece has a circular rim, which
provides a comfortable environment for the lips' vibration. Directly behind the rim is the cup,
which channels the air into a much smaller opening (the back bore or shank) that tapers out
slightly to match the diameter of the trumpet's lead pipe. The dimensions of these parts of the
mouthpiece affect the timbre or quality of sound, the ease of playability, and player comfort.
Generally, the wider and deeper the cup, the darker the sound and timbre.
Modern trumpets have three (or infrequently four) piston valves, each of which increases the
length of tubing when engaged, thereby lowering the pitch. The first valve lowers the
instrument's pitch by a whole step (2 semitones), the second valve by a half step (1 semitone),
and the third valve by one-and-a-half steps (3 semitones). When a fourth valve is present, as with
some piccolo trumpets, it usually lowers the pitch a perfect fourth (5 semitones). Used singly and
in combination these valves make the instrument fully chromatic, i.e., able to play all twelve
pitches of classical music. For more information about the different types of valves, see Brass
instrument valves.
The pitch of the trumpet can be raised or lowered by the use of the tuning slide. Pulling the slide
out lowers the pitch; pushing the slide in raises it. To overcome the problems of intonation and
reduce the use of the slide, RenoldSchilke designed the tuning-bell trumpet. Removing the usual
brace between the bell and a valve body allows the use of a sliding bell; the player may then tune
the horn with the bell while leaving the slide pushed in, or nearly so, thereby improving
intonation and overall response.
A trumpet becomes a closed tube when the player presses it to the lips; therefore, the instrument
only naturally produces every other overtone of the harmonic series. The shape of the bell makes
the missing overtones audible. Most notes in the series are slightly out of tune and modern
trumpets have slide mechanisms for the first and third valves with which the player can
compensate by throwing (extending) or retracting one or both slides, using the left thumb and
ring finger for the first and third valve slides respectively.

In a Marching Band
28
Trumpet valve bypass (depressed)
TROMBONE AS A BRASS INSTRUMENT
The trombone is a musical instrument in the brass family. Like all brass instruments, sound is
produced when the player’s vibrating lips (embouchure) 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. Special variants like the valve trombone and
superbone have three valves like those on the trumpet.
The word trombone derives from Italian tromba (trumpet) and -one (a suffix meaning "large"),
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 tenor trombone and bass
trombone. The most common variant, the tenor, is a non-transposing instrument pitched in B♭,
an octave below the B♭ trumpet and an octave above the B♭tuba. The once common E♭alto
trombone became less widely used as improvements in technique extended the upper range of
the tenor, but it is now enjoying a resurgence due to its lighter sonority which is appreciated in
many classical and early romantic works. Trombone music, along with music for euphonium and
tuba, is typically written in concert pitch, although exceptions do occur, notably in almost all
brass-band music where tenor trombone is presented as a B♭transposing instrument, written in
treble clef.
A tenor trombone mouthpiece
Construction
Basic trombone anatomy
1. tuning slide
2. counterweight

In a Marching Band
29
3. mouthpiece
4. slide lock ring
5. bell
6. knob/bumper
7. water key/spit valve
8. main slide
9. second slide brace/stay
10. first slide brace/stay
11. bell lock nut
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 complex series of tapers with the
smallest at the mouthpiece receiver and the largest just before the bell flare. The design of these
tapers affects the intonation of the instrument. As with other brass 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 closely related
to that of the trumpet. 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 slide
tubes, and the bracing, or stays. Modern stays are soldered, while sackbuts (medieval precursors
to trombones) were made with loose, unsoldered stays (this remained the pattern for German
trombones until the mid-20th century).
The 'slide', the most distinctive feature of the trombone (cf. valve 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 these
stockings were soldered onto the ends of the inner slide tubes. Nowadays, the stockings are
incorporated into the manufacturing process of the inner slide tubes and represent a fractional
widening of the tube to accommodate the necessary method of alleviating friction. This part of
the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the
instrument through a neckpipe, and bell or back bow (U-bend). The joint connecting the slide
and bell sections is furnished with a ferrule to secure the connection of the two parts of the
instrument, though older models from the early 20th century and before were usually equipped
with friction joints and no ancillary mechanism to tighten the joint.

In a Marching Band
30
The adjustment of intonation is most often accomplished with a tuning slide that is a short slide
between the neckpipe and the bell incorporating the bell bow (U-bend); this device was designed
by the French maker François Riedlocker during the early 19th century and applied to French
and British designs and later in the century to German and American models, though German
trombones were built without tuning slides well into the 20th century. However, trombonists,
unlike other instrumentalists, are not subject to the intonation issues resulting from valved or
keyed instruments, since they can adjust intonation "on the fly" by subtly altering slide positions
when necessary. 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 (and therefore lower its pitch) by directing the air flow
through additional tubing.
Like the trumpet, the trombone is considered a cylindrical bore instrument since it has extensive
sections of tubing, principally in the slide section, that are of unchanging diameter. Tenor
trombones typically have a bore of 0.450" (small bore) to 0.547" (large or orchestral bore) after
the leadpipe and through the slide. The bore expands through the backbore to the bell, which is
typically between 7" and 8½". A number of common variations on trombone construction are
noted below.
History
Etymology
"Trombone" is the Italian word for the sackbut, the earliest common form of trombone, and is
derived from trumpet in the Latin tromba or drompten, used in the Low Countries. The first
records of it being used are around 1440, but it is not clear whether this was just a nickname for a
trumpet player. In 1487 a writer links the words trompone and sacqueboute and mentions the
instrument as playing the contratenor part in a danceband.
Twentieth century
20th-century orchestras
In the 20th century the trombone maintained its important place in the orchestra with prominent
parts in works by Richard Strauss, Gustav Mahler, Arnold Schoenberg, Alban Berg, Maurice
Ravel, Darius Milhaud, Olivier Messiaen, Igor Stravinsky, Dmitri Shostakovich, Sergei
Rachmaninov, Sergei Prokofiev, Ottorino Respighi, Edward Elgar, Gustav Holst, Ralph
Vaughan Williams, Benjamin Britten, William Walton, Jean Sibelius, Carl Nielsen,
LeošJanáček, George Gershwin, Aaron Copland, Leonard Bernstein and BélaBartók.
With the rise of recorded music and music schools, orchestral trombone sections around the
world began to have a more consistent idea of a standard trombone sound. British orchestras
abandoned the use of small bore tenors and G basses in favor of an American/German approach
of large bore tenors and B♭ basses in the 1940s. French orchestras did the same in the 1960s.
Contemporary Use

In a Marching Band
31
Today, the trombone can be found in wind ensembles/concert bands, symphony orchestras,
marching bands, military bands, brass bands, and brass choirs. In chamber music, it is used in
brass quintets, quartets, or trios, or trombone trios, quartets, or choirs. The size of a trombone
choir can vary greatly from five or six to twenty or more members.
Trombones are also common in swing, jazz, merengue, salsa (e.g., Jimmy Bosch, Luis Bonilla,
and Willie Colón), R&B, ska (e.g., Don Drummond), and New Orleans brass bands.
Types
The most frequently encountered trombones today are the tenor and bass, though as with many
other Renaissance instruments, the trombone has been built in sizes from piccolo to contrabass.
Trombones are usually constructed with a slide that is used to change the pitch. Valve trombones
use three valves (singly or in combination) instead of the slide. The valves follow the same
schema as other valved instruments-the first valve lowers the pitch by 1 step, the second valve by
1/2 step, and the third valve by 1-1/2 steps.
Some slide trombones have one or (less frequently) two rotary valves operated by a left-hand
thumb trigger. The single rotary valve is part of the F attachment, which adds a length of tubing
to lower the instrument's fundamental pitch from B♭ to F. Some bass trombones have a second
trigger with a different length of tubing. The second trigger facilitates playing the otherwise
problematic low B.
Technique
Basic Slide Positions
The modern system of seven chromatic slide positions on a tenor trombone in B♭ was first
described by Andre Braun circa 1795. In 1811 Joseph Fröhlich wrote on the differences between
the modern system and an old system where four diatonic slide positions were used and the
trombone was usually keyed to A. To compare between the two styles the chart below may be
helpful (take note for example, in the old system contemporary 1st-position was considered
"drawn past" then current 1st) In the modern system, each successive position outward
(approximately 3.25") will produce a note which is one semitone lower when played in the same
partial.
New system 1 2 3 4 5 6 7
Old system - 1 - 2 - 3 4
Partials and intonation

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32
Trombone first position harmonic series, "where additional overtones may be used to stretch the
upper range a bit higher."
Trombone seventh position harmonic series
As with all brass instruments, progressive tightening of the lips and increased air pressure allow
the player to move to different partial in the harmonic series. In the first position (also called
closed position) on a B♭ trombone, the notes in the harmonic series begin with B♭2 (one
octave higher than the pedal B♭1), F3 (a perfect fifth higher than the previous partial), B♭3 (a
perfect fourth higher), D4 (a major third higher), and F4 (a minor third higher).
F4 marks the sixth partial, or the fifth overtone. Notes on the next partial, for example A♭4 (a
minor third higher) in first position, tend to be out of tune in regards to the twelve-tone equal
temperament scale. A♭4 in particular, which is at the seventh partial (sixth overtone) is nearly
always 31 cents, or about one third of a semitone, flat of the minor seventh. On the slide
trombone, such deviations from intonation are corrected for by slightly adjusting the slide or by
using an alternate position.[9] It should be noted that though much of Western music has adopted
the even-tempered scale, it has been the practice in Germany and Austria to play these notes in
position, where they will have just intonation (see harmonic seventh as well for A♭4).
The next higher partials B♭4 (a major second higher), C5 (a major second higher), D5 (a major
second higher) do not require much adjustment for even-tempered intonation, but E♭ (a minor
second higher)is almost exactly a quarter tone higher than it would be in twelve-tone equal
temperament. E♭ and F5 (a major second higher) at the next partial are very high notes; a very
skilled player with a highly developed facial musculature and diaphragm can go even higher to
G5, A♭5, B♭5 and beyond.
Trombone with F attachment slide position second harmonics
The higher in the harmonic series any two successive notes are, the closer they tend to be (as
evidenced by the progressively smaller intervals noted above). A byproduct of this is the

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relatively few motions needed to move between notes in the higher ranges of the trombone. In
the lower range, significant movement of the slide is required between positions, which becomes
more exaggerated on lower pitched trombones, but for higher notes the player need only use the
first four positions of the slide since the partials are closer together, allowing higher notes in
alternate positions. As an example, F4 (at the bottom of the treble clef) may be played in first,
fourth or sixth position on a B♭ trombone. The note E1 (or the lowest E on a standard 88-key
piano keyboard) is the lowest attainable note on a 9' B♭ tenor trombone, requiring a full 2.24 m
of tubing. On trombones without an F attachment, there is a gap between B♭1 (the fundamental
in first position) and E2 (the first harmonic in seventh position). Skilled players can produce
"falset" notes between these, but the sound is relatively weak and not usually used in
performance. The addition of an F attachment allows for intermediate notes to be played with
more clarity.
Pedal Tones
Trombone slide position "pedal tones"
The pedal tone on B♭ is frequently seen in commercial scoring but much less often in
symphonic music while notes below that are called for only rarely as they "become increasingly
difficult to produce and insecure in quality" with A♭ or G being the bottom limit for most
trombonists.[9]
Valve Attachments
The Thayer valve is an advanced, conically shaped rotary valve that has become very popular in
recent trombone design due to the open air flow it allows. The Thayer valve bends the air
flowing through the trombone as little as 25 degrees.
The Hagmann valve is a rotary valve variation that has become popular in recent years. It was
invented following the Thayer valve as a response to maintenance issues of the Thayer valve.
Many trombones have valve attachments to aid in increasing the range of the instrument while
also allowing alternate slide positions for difficult music passages. In addition, valve attachments
make trills much easier. Valve attachments appear on alto, tenor, bass, and contrabass
trombones. It is rare on the alto, but when the instrument does have it, the valve attachment
changes the key of the instrument from E♭ to B♭, allowing the alto trombone to play in the
tenor trombone range. Tenor trombones commonly have valve attachments, the most common
being the F-attachment, which changes the pitch of the instrument from B♭ to F, increasing the
range of the instrument downward and allowing alternate slide positions for notes in 6th or 7th
position.

In a Marching Band
34
Bass trombones also very commonly have F-attachments, which serve exactly the same function
as on the tenor trombone. Some single valve bass trombones have E-attachments instead of F-
attachments, or sometimes there is extra tubing on the F-Attachment to allow it to be used as an
E-attachment if desired. However, many bass trombones have a second valve attachment instead,
which increases their range downward even more. The most common second valve attachment is
the G♭-attachment, which changes the instrument's key to D when used in combination with the
F-Attachment (or D♭ if used with the less common E-attachment). There are other
configurations other than the G♭-attachment however.
The two valves on a bass trombone can either be independent or dependent. Double rotor
dependent valve bass trombones were created in the late 1950s, and double rotor independent
valve bass trombones were created in the late 1960s/early 1970s. Dependent means that the
second valve only works when used in combination with the first, as it is located directly on the
F- or E-Attachment tubing. Newer bass trombones have independent (in-line) valves instead,
meaning that the second valve is located on the neckpipe of the instrument and can therefore
operate independently of the other.[13] Contrabass trombones also can have valve attachments.
Contrabass trombones in the key of F typically have two valves tuned to C and D♭ respectively.
Contrabass trombones in BB♭ on the other hand typically only have one valve, which is tuned
to F, though some have a second valve tuned to G♭.
Valves
Some trombones have valves instead of a slide (see valve trombone). These are usually rotary
valves, or piston valves.
A cross section of a valve trombone
Tubing
More often than not, tenor trombones with an F attachment, or trigger, have a larger bore through
the attachment than through the 'straight' section (the portion of the trombone through which the
air flows when the attachment is not engaged). Typically, for orchestral instruments, the slide
bore is 0.547" and the attachment tubing bore is 0.562". A wide variety of valve attachments and
combinations are available. Valve attachment tubing usually incorporates a small tuning slide so
that the attachment tubing can be tuned separately from the rest of the instrument. Most B♭/F
tenor and bass trombones include a tuning slide long enough to lower the pitch to E with the

In a Marching Band
35
valve tubing engaged, enabling the production of B2. Whereas older instruments fitted with
valve attachments usually had the tubing coiled rather tightly in the bell section (closed wrap or
traditional wrap), modern instruments usually have the tubing kept as free as possible of tight
bends in the tubing (open wrap), resulting in a freer response with the valve attachment tubing
engaged. While open-wrap tubing does offer a more open sound, the tubing sticks out from
behind the bell and is more vulnerable to damage. For that reason, closed-wrap tubing remains
more popular in trombones used in marching bands or other ensembles where the trombone may
be more prone to damage.
Tuning
Some trombones are tuned through a mechanism in the slide section rather than via a separate
tuning slide in the bell section. This method preserves a smoother expansion from the start of the
bell section to the bell flare. The tuning slide in the bell section requires two portions of
cylindrical tubing in an otherwise conical part of the instrument, which affects the tone quality.
Tuning the trombone enables it to play with other instrumentswhichare essential for the
trombone.
Slides
Common and popular bore sizes for trombone slides are 0.500", 0.508", 0.525" and 0.547" for
tenor trombones, and 0.562" for bass trombones. The slide may also be built with a dual bore
configuration, in which the bore of the second leg of the slide is slightly larger than the bore of
the first leg, producing a step-wise conical effect. The most common dual bore combinations are
0.481"-0.491", 0.500"-0.508", 0.508"-0.525", 0.525"-0.547", 0.547"-0.562" for tenor trombones,
and 0.562"-0.578" for bass trombones.
Mouthpiece
The mouthpiece is a separate part of the trombone and can be interchanged with similarly sized
trombones from different manufacturers. Available mouthpieces for trombone (as with all brass
instruments) vary in material composition, length, diameter, rim shape, cup depth, throat
entrance, venturi aperture, venturi profile, outside design and other factors. Variations in
mouthpiece construction affect the individual player's ability to make a lip seal and produce a
reliable tone, the timbre of that tone, its volume, the player's subjective level of comfort, and the
instrument's playability in a given pitch range. Mouthpiece selection is a highly personal
decision.
BARITONE HORN AS AN BRASS INSTRUMENT
A bass trombone Cross section of trombonist presenting

In a Marching Band
36
The baritone horn is a low-pitched brass instrument. It is a piston valve brass instrument with a
predominantly cylindrical bore like the trumpet and uses a wide-rimmed cup mouthpiece like
that of its peers the trombone and euphonium. Like the trombone and the euphonium, the
baritone can be considered either a transposing or non-transposing instrument.
In the UK the baritone is frequently found in brass bands. The baritone horn in the United States
is common in school and university bands, the baritones found in school inventories often being
older models as the instrument over time is yielding in popularity to the euphonium.
Furthermore, marching baritone horn are specially wrapped versions of the baritone horn they
have been created for use in marching bands and drum and bugle corps. They have three valves
and a front-facing bell and are the tenor voice of a drum and bugle corps, below the soprano
voice of the trumpet, the alto voice of alto horn or mellophone, and above the low tubas.
Some high school and college bands do not use marching baritones and continue to use upright-
bell front baritone horns on the field, and some marching bands substitute a section of baritones
for the trombone or euphonium section.
A person who plays a baritone horn is a baritone (horn) player or baritonist.
Below here are images of a baritone horn and a marching baritone horn
Baritone Horn Marching Baritone Horn
Construction and general characteristics
The baritone, like the trombone and euphonium, is a nine-foot brass tube. Valves are most often
piston-style. It is predominately of cylindrical bore, in contrast to the more conical bore of the
euphonium, rendering its attack more distinct than the rounder attack of the euphonium.
Key
The baritone is pitched in concert B♭, meaning that when no valves are in use, the instrument
will produce partials of the B♭harmonic series. Music for the baritone horn can be written in
either the bass clef or the treble clef. When written in the bass clef, the baritone horn is a non-
transposing instrument. However, when written in the treble clef, it is often used as transposing
instrument, transposing downward a major ninth, so that written middle C for the baritone is

Latest the role of drum major, percussion instrument and few selected brass instrument in a marching band by jumare james

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