“Like the horn, the trumpet is a transposing instrument. It has a number of crooks,[26] or lengthening pieces. [Illustration: TRUMPET, SYMPHONY SOCIETY OF NEW YORK _Carl Heinrich_] “Of great agility, the trumpet is admirably suited to rapid figures, _arpeggios_ and especially to repetitions of notes. Besides noisy fanfares and strident calls, it is able to produce in _piano_, or _pianissimo_, effects either fantastic, or of extreme sweetness.” Berlioz says: “The quality of the trumpet tone is noble and brilliant. It suits with warlike ideas, with cries of fury and vengeance, as with songs of triumph. It lends itself to the expression of all energetic and lofty and grand sentiments and to the majority of tragic accents. It may even figure in a jocund piece, provided the joy assume a character of pomp and grandeur.” “The first improvement in the trumpet,” writes Carl Heinrich, “was made by Meyer of Hamburg in the Eighteenth Century. This was a practical mouthpiece. In 1780 Wogel added tubes by which the performer was enabled to play in tune with other instruments. Wiedenger, the court-trumpeter in Vienna (1801), added stops to the trumpet by means of which the player could reach two octaves in chromatic tones. Other improvements were made by German and French players; but it was not until the keys were applied that the trumpet began to approach its present condition. By the use of keys it became possible for the chromatic tones to equal the natural ones, and for the player to perform difficult passages with ease. The first trumpets with keys were manufactured by Sattler of Leipzig. Striegel, who played in the Gewandhaus Orchestra of Leipzig, introduced improvements in the bore and tubing. “The scores of Bach and Handel often call for many trumpets. In their day it was necessary to use a number of trumpets of different size, because no one instrument could play all the notes required.” THE TROMBONE Contemporary with the clarion, or claro, was a similar instrument called the buysine; and, like the clarion, it was a straight brass tube with a cupped mouthpiece at one end and a bell at the other. The only difference appears to be that the buysine was _enormously_ long. This instrument changed in form; and as early as the Fourteenth Century it was actually supplied with a _slide_! Though it was called _sackbut_, it shows the beginning of our modern trombone. The sackbut was made in several sizes. There was a whole band of these instruments. In the Sixteenth Century there was a bass sackbut almost identical with the trombone of to-day. The trombone may be described as a slender brass tube bent twice upon itself and ending in a bell. In the middle section it is double, so that the two outer portions _slide_ upon the inner ones. We always enjoy watching the performer on the trombone pulling out his instrument at different lengths; and we often wonder how he knows when to stop it at the right points.