Sackbut

Renaissance-era tenor sackbut (modern replica)
Brass instrument
Classification	Wind Brass Aerophone
Hornbostel–Sachs classification	423.22 (Slidingaerophone sounded by lip vibration)
Developed	Earliest form of thetrombone used in theRenaissance andBaroque periods (mid 15th to early 18th centuries)
Playing range
Range of the tenor sackbut
Related instruments
Buccin Buisine Clarion Cornett Trombone

Asackbut is an early form of thetrombone used during theRenaissance andBaroque eras. A sackbut has the characteristic telescopic slide of a trombone, used to vary the length of the tube to changepitch, but is distinct from later trombones by its smaller, more cylindrically-proportionedbore, and its less-flaredbell. Unlike the earlierslide trumpet from which it evolved, the sackbut possesses a U-shaped slide with two parallel sliding tubes, rather than just one.

Records of the termtrombone predate the termsackbut by two decades, and evidence for the German termPosaune is even older.^[1]Sackbut, originally a French term, was used in England until the instrument fell into disuse in the eighteenth century; when it returned, the Italian termtrombone became dominant.^[2] In modern English, an older trombone or a replica is called asackbut.

The bell section was more resonant, since it did not contain the tuning slide and was loosely stayed rather than firmly braced to itself. This trait and its smaller bore and bell produce a "covered, blended sound which was a timbre particularly effective for working with voices,...zincks andcrumhorns",^[3] as in analta cappella.

The revived instrument had changed in specific ways. In the mid-18th century, the bell flare increased,crooks fell out of use, and flat, removable stays were replaced by tubular braces. The new shape produced a stronger sound,^[2] suitable for open-air performance in the marching bands where trombones became popular again in the 19th century. Before the early 19th century, most trombone players adjusted their tuning using a crook placed at the joint between the bell and the slide or seldom between the mouthpiece and the slide.",^[4] rather than the modern tuning slide on the bell curve,^[5] whose cylindrical sections prevent the instrument from flaring smoothly through this section. Older trombones also generally don't havewater keys,^[5] stockings,^[6] aleadpipe, or a slide lock, but as these parts are not critical to sound, replicas may include them.^{[citation needed]} Bore size remained variable, as it still is today.^[2]

The first reference to a slide instrument was probablytrompette des ménestrels, first found in Burgundy in the 1420s and later in other regions of Europe. The name distinguished the instrument from thetrompettes de guerre (war trumpets), which were of fixed length.^[7]

The next word to appear in the 15th century that implied a slide was thesackbutt group of words. There are two theories for the sources: it is either derived from theMiddle Frenchsacquer (to pull) andbouter (to push) or from the Spanishsacar (to draw or pull) andbucha (a tube or pipe).^[7] The term survives in numerous English spelling variations including sacbutt, sackbutte, sagbut, shagbolt, sacabushe, shakbusse^[8] and shakbusshe.

Closely related tosackbutt was the name used in France:sacqueboute and in Spain, where it wassacabuche. These terms were used in England and France until the 18th century.

In Scotland in 1538 the slide instrument is referred to asdraucht trumpet (drawn trumpet) as opposed to aweir trumpet (war trumpet), which had a fixed length.^[9]

In Germany, the original word wasPosaune, appearing about 1450 and is still used today. This (as well asbason) derives frombusine, which is Latinate and meant straight trumpet.^[10]

In Italy it was (and remains)trombone, which derived from trumpet in the Latintromba ordrompten, 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 wordstrompone andsacqueboute and mentions the instrument as playing thecontratenor part in a danceband.^[11]

See:Clarion

The trombone developed from thebuisine trumpet. Up until 1375 trumpets were simply a long straight tube with a bell flare.^[13]

There are various uses ofsackbut-like words in the Bible, which has led to a faulty translation from the Latin bible that suggested the trombones date back as far as 600 BC, but there is no evidence of slides at this time.^[14]

From 1375 the iconography sees trumpets being made with bends, and some in 'S' shapes. Around 1400 we see the "loop"-shaped trumpet appear in paintings and at some point in the 15th century, a single-tube slide was added. Thisslide trumpet was known as a "trompette des ménestrels" in thealta cappella bands.^[15]

The earliest clear evidence of a U-shaped slide moving on two inner tubes is in a fresco painting byFilippino Lippi in Rome,The Assumption of the Virgin, dating from 1488 to 1493.^[12]

From the 15th to the 19th centuries, the instrument designs changed very little overall, apart from a slight widening of the bell in classical era. Since the 19th century, trombonebore sizes andbells have increased significantly.^{[citation needed][16]}

It was one of the most important instruments in Baroquepolychoral works, along with thecornett andorgan.

Sackbuts come in several sizes. According toMichael Praetorius, these were:

The pitch of the trombones has (notionally) moved up a semi-tone since the 17th century, and this is explained in the section onpitch.

Because the tenor instrument is described as "Gemeine" (common or ordinary), this is probably the most widely used trombone. The basses, due to their longer slides, have a hinged handle on the slide stay, which is used to reach the long positions.

A giant contrabass sackbut known as theOctav-Posaun (lit. 'octave trombone') was known in 16th and early 17th centuries, and is represented by only a few existing instruments. One surviving original instrument in B♭, an octave below the tenor, built in 1639 by Georg Nicolaus Öller in Stockholm, is housed in theScenkonstmuseet.^[17] In addition, Ewald Meinl has made a modern copy of this instrument, and it is currently owned and played by Wim Becu.

The bore size of renaissance/baroque trombones is approximately 10 mm (0.39 in) and the bell rarely more than 10.5 cm (4.1 in) in diameter.^[18] This compares with modern tenor trombones, which commonly have bores 12.7 mm (0.50 in) to 13.9 mm (0.55 in) and bells 17.8 cm (7.0 in) to 21.6 cm (8.5 in).

Modern reproductions of sackbuts sacrifice some authenticity to harness manufacturing techniques and inventions that make them more comfortable for modern players, while retaining much of the original character of the old instruments.

Some original instruments could be disassembled into the constituent straight tubes, bowed tubes, bell flare, and stays, with ferrules at the joints.Mersenne has a diagram. (Little imagination is needed to see how it could be reassembled—with an extra tube—into something approaching anatural trumpet.) There is a debate as to whether they used tight fittings, wax or another joining substance. Modern sackbut reproductions are usually soldered together. Some modern sackbut reproductions use glue as a compromise to give a loose fitting for high resonance without risk of falling apart.

Tuning slides came in during the very late 18th century. Early trombonists adjusted pitch with the slide, and by adding variously shaped and sizedcrooks. Modern reproductions often have a bell bow tuning slide or telescopic slide between the slide and bell sections. Crooks are still used, as are variously sized bell bow sections for larger changes.^[19]

The stays on period sackbuts are flat. While the bell stay remained flat, from about 1660 the slide stays became tubular. On many modern reproductions round slide stays are much more comfortable to play and easier to make.

A loose connection between the bell stay and the bell is thought key to a resonant bell, and thus a better sackbut sound. Original instruments have a hinge joint (a looser connection helped imperfect slides slide^[20]). Modern copies with a tuning slide in the bell can need more support for operation of the slide, so either an extra stay by the tuning slide is provided or a joint without play in only one axis is employed.

The original way to make the slide tubes was to roll a flat piece of metal around a solid cylinder mandrel, and the joining edges soldered together. Modern manufacturers now draw the tubes. They also tend to have stockings, which were only invented around 1850. In addition, modern made slides are usually made of nickel silver with chrome plating, giving a smoother finish and quieter action than simply the brass that would have originally been used.

Thewater key was added in the 19th century, but modern reproductions often have them.^[21]

Until some time in the 18th century, the trombone was in A and the pitch of that A was about a half-step higher than it is today—460–480 Hz. There was a transition around the 18th century when trombones started to be thought of in B♭ at around 440 Hz. This change did not require a change in the instrument, merely a new set of slide positions for each note. But it does mean that the baroque and renaissance repertoire was intended to be played at the higher pitch. There are many examples of evidence for this:

• Fellow church instruments that are fixed pitch—cornetts and organs—werepitched at approximately A=460–480 Hz ("Chorton") across Europe in the Renaissance and baroque eras. High pitch is also seen in Renaissance wind bands.

• Aurelio Virgiliano'sIl dolcimelo (c. 1600) teaches trombonists that first position gives A, E, A, C, E and G.^[22]
• In 1687, Daniel Speer'sGrund-richtiger concurs with these notes for the slide all the way in (while describing pushing the slide out a bit to get the C).
• Praetorius describes an alto in D, tenor in A, and bass in D.

The tenor trombones that survive are pitched closest to B♭ at A=440 Hz, which is the same as A at A=466 Hz. So what we now think of as a tenor trombone with B♭ in first position, pitched at A=440 was actually thought of as a trombone in A (in first position), pitched at A=466. Surviving basses in D at A=466 (E♭ at 440)—for example: Ehe, 1612 (Leipzig) and Hainlein, c.1630 (Nuremberg) confirm Praetorius' description. It is also worth noting that Rognoni's "Suzanne ung jour" setting descends repeatedly to BB♭, which is a tone lower than the lowest note playable on a bass in F; on a bass in D, it falls in (modern) fifth position.

Many groups now perform at A=466 Hz for the sake of greater historical accuracy.

The sackbut was described as suitable for playing with the 'loud' ensembles in the outdoors, as well as the 'soft' ensembles inside.

Thealta capella bands are seen in drawings as entertaining outside with ensembles including shawms, trumpets and trombones. When pushed, sackbuts can easily make a loud and brassy sound.

The sackbut also responds very well to rather soft playing—more so than a modern trombone. The sound is characterized by a more delicate, vocal timbre. The flat rims and shallow cups of the older mouthpieces are instrumental in providing the player with a much wider palette of articulations and tonal colours. This flexibility lends itself to a vocal style of playing and facilitates very characterful phrasing.

Mersenne wrote in 1636, "It should be blown by a skillful musician so that it may not imitate the sounds of the trumpet, but rather assimilate itself to the sweetness of the human voice, lest it should emit a warlike rather than a peaceful sound."

Lorenzo da Lucca was said to have had "in his playing a certain grace and lightness with a manner so pleasing".^[23]

In musical traditions that continued into thebaroque from earlier practice, musicians were expected to give expression to the written music byornamenting with a mixture of one-note "graces" and whole passage "divisions" (also known as "diminutions"). The suggestions for producing effective ornaments without disrupting the line and harmony are discussed alongside countless examples in the 16th and early 17th century Italian division tutors. Graces such as the accento, portar della voce, tremolo, groppo, trillo, esclamationo and intonatio are all to be considered by performers of any music in this period.

"Cornetts and trombones...play divisions that are neither scrappy, nor so wild and involved that they spoil the underlying melody and the composer's design: but are introduced at such moments and with such vivacity and charm that they give the music the greatest beauty and spirit"Bottrigari, Venice 1594^[24]

Along with theimprovisation, many of these tutors discussarticulation.Francesco Rognoni in 1620 describes thetonguing as the most important part of producing "a good and beautiful effect in playing wind instruments, and principally the cornett"^[25] (which of course had a very similar role to the trombone).^{[citation needed]} The treatises discuss the various strengths ofconsonants from "le" through "de" to "te". But the focus of the text is for playing rapid notes "similar to the gorgia of the human voice" with "soft and smooth" double tonguing ("lingua riversa") using "le re le re". This is opposed to using "te che te che", which is described as "harsh, barbarous and displeasing". The natural 'pairing' of notes these articulations provide is similar to the instructions for string players who are instructed to slur ("lireggiar") pairs of eighth notes with one bow stroke per quarter beat.

Another integral part of the early music sound-world is the musical temperament. Music in the middle-ages favours intervals of the fourth and fifth, which is whyPythagorean tuning was used. The interval of a third was used as aclash until the Renaissance, when it becameconsonant in compositions, which went hand-in-hand with the widespread use ofmeantone temperament.^{[citation needed]} During the 17th century,Well temperament began to become more and more popular as the range of keys increased. Temperament affects thecolour of acomposition, and therefore modern performances, typically employingequal temperament, may not be true representations of the composers' intentions.

These oldtunings are the result of the naturalharmonic series of a brass instrument such as the sackbut.

As the bell is smaller than a modern trombone, the harmonic series is closer to a perfect harmonic series, which is the basis for just tuning. Without adjusting the slide, the first to second harmonic is a perfect octave, second to third harmonic is a fifth slightly wider than equal temperament and fourth to fifth harmonic is a major third slightly narrower than in equal temperament. These adjusted intervals make chords ring and are the basis of meantone.^{[citation needed]} In fact, Daniel Speer says "Once you have found a good C (third position), this is also the place you will find your F♯.”^{[This quote needs a citation]} Playing a sounding C and F♯ in exactly the same position on a modernorchestra sounds out of tune, but it tunes perfectly well on in a sackbut choir if everyone plays natural harmonics.

Plenty of musical understanding can be gathered from reading the original music print. Publishers such as SPES^[26] and Arnaldo Forni Edition provide facsimile copies of plenty of music for trombone from this era. To read these it one needs to become familiar with the oldclefs,time signatures,ligatures and notational conventions of the era.

The sound of sackbuts (and trombones) has long been thought especially solemn and noble, had an association with death and the afterlife.^[27] The instrument was a symbol of divine presence, the voice of the angels and instrument of judgment.^[28] This symbolism can be seen, for instance, inL'Orfeo,Alceste,The Magic Flute, theDeath March fromSaul, and funeralaequales.^[2]

This association was probably encouraged by the lack of distinction made betweennatural horns,slide trumpets, and trombones in thisRenaissance; they were used and often named interchangeably.Martin Luther's 1534 translation of the Bible into German renders the Greekshophar andsalpigx toPosaune.Posaune at the time could refer to anatural horn or other brass instrument, but it later came to mean exclusively "trombone" (similarly, English translations generally have "trumpet", and only occasionally "horn" or "shofar"). This gives the later reader of the Luther Bible texts such as: “…we shall all be changed, in a moment, in the twinkling of an eye, at the last trombone; for the trombone shall sound and the dead shall be raised incorruptible" (1 Corinthians 15:52).^[29]

The sackbut replaced the slide trumpet in the 15th centuryalta capella wind bands that were common in towns throughoutEurope playingcourtly dance music. SeeWaits.

Another key use of the trombone was in ceremonies, in conjunction with the trumpet. In many towns in Germany and Northern Italy, 'piffari' bands were employed by local governments throughout the 16th century to give regular concerts in public squares and would lead processions for festivals. Piffari usually contained a mix of wind, brass and percussion instruments and sometimes viols.^[30]

Venice's doge had his own piffari company and they gave an hour-long concert in the Piazza each day, as well as sometimes performing for services in St. Mark's. Each of the six confraternities in Venice also had their own independent piffari groups too, which would all play at a lavish procession on the feast of Corpus Domini. These groups are in addition to the musicians employed by St. Mark's to play in the balconies with the choir (the piffari would play on the main level).^[30]

It also was used inchurch music both for instrumental service music and as a doubling instrument forchoral music. The treble and high alto parts were most often played bycornetts orshawms, with theviolin sometimes replacing the cornett in 17th centuryItalian music.^[30]

The first record of trombones being used in churches was in Innsbruck 1503. Seville Cathedral's records show employment of trombonists in 1526, followed by several other Spanish cathedrals during the 16th century, used not only for ceremonial music and processionals, but also for accompaniment of the liturgical texts as well, doubling voices.^[31]

The sacred use of trombones was brought to a fine art by theAndrea Gabrieli,Giovanni Gabrieli and their contemporaries c.1570-1620Venice and there is also evidence of trombonists being employed in churches and cathedrals in Italy at times during the second half of the 16th century in Bologna, Rome, Padua, Mantua and Modena.^[31]

Since ensembles had flexible instrumentation at this time, there is relatively little music beforeGiovanni Gabrieli's publicationSymphoniae sacrae (1597) that specifically mentions trombones. The only example currently known is the music byFrancesco Corteccia for the Medici wedding 1539.^[32]

The 17th century brings two pieces of real solo trombone repertoire.

Giovanni Martino Cesare wroteLa Hieronyma, (Musikverlag Max Hieber, MH6012) the earliest known piece for accompanied solo trombone. It comes from Cesare's collectionMusicali Melodie per voci et instrumenti a una, due, tre, quattro, cinque, e sei published in Munich 1621 of 28 pieces for a mixture of violins, cornetts, trombone, vocal soloists and organ continuo. The collection also containsLa Bavara for four trombones.

The other solo trombone piece of the 17th century,Sonata trombone & basso (modern edition by H Weiner, Ensemble Publications), was written around 1665. This anonymous piece is also known as the 'St. Thomas Sonata' because it was kept in the library of the Saint Thomas Augustinian Monastery in Brno, Czech Republic.

Francesco Rognoni was another composer who specified the trombone in a set of divisions (variations) on the well-known songSuzanne ung jour (London Pro Musica, REP15). Rognoni was a master violin and gamba player whose treatiseSelva di Varie passaggi secondo l'uso moderno (Milan 1620 and facsimile reprint by Arnaldo Forni Editore 2001) details improvisation of diminutions and Suzanne is given as one example. Although most diminutions are written for organ, string instruments or cornett, Suzanne is "per violone over Trombone alla bastarda". With virtuosic semiquaver passages across the range of the instrument, it reflects Praetorius' comments about the large range of the tenor and bass trombones, and good players of the Quartposaune (bass trombone in F) could play fast runs and leaps like a viola bastarda or cornetto. The term "bastarda" describes a technique that made variations on all the different voices of a part song, rather than just the melody or the bass: "considered illegitimate because it was not polyphonic".^[33]

In the 17th century, a considerable repertoire ofchamber music using sackbut with various combinations of violins, cornetts anddulcians, often withcontinuo, appeared. Composers includedDario Castello,Giovanni Battista Fontana,Giovanni Paolo Cima,Andrea Cima,Johann Heinrich Schmelzer andMatthias Weckmann.

Antonio Bertali wrote several trio sonatas for 2 violins, trombone and bass continuo in the mid-17th century. One suchSonata a 3 is freely available in facsimile form from the Düben Collection website hosted byUppsala universitet.^[34] A "Sonata a3 in C" is published by Musica Rara and attributed to Biber, although the authorship is unclear and it is more likely to have been written by Bertali.^[35]

Dario Castello, a wind player at St. Mark's Venice in the early 17th century had two books ofSonate Concertate published in 1621 and 1629. The sonatas of 1-4 parts with bass continuo often specify trombones, as well as cornett, violin and bassoon. The numerous reprints during the 17th century affirm his popularity then, as perhaps now.

Giuseppe Scarani joined St. Mark's Venice in 1629 as a singer and in the following year publishedSonate concertate, a volume of works for 2 or 3 (unspecified) instruments (and b.c.). The title has been suggested was chosen to try and capture some of Castello's success.^[30]

Tiburtio Massaino wrote a Canzona for eight trombones, published in Raverio's 1608 collection.

Johann Heinrich Schmelzer wrote several sonatas that included trombones—such as hisSonata à 7 for two cornetts, two trumpets, three trombones, and basso continuo.

Daniel Speer published a four-part sonata inNeu-gebachene Taffel-Schnitz (1685). In 1687, Speer published the first written instruction in sackbut (and several other instruments) playing:Grund-richtiger/kurtz/leicht und noethiger Unterricht der Musicalischen Kunst. The second edition in 1697 provides two three part sonatas for trombones.

An English work of note from this period isMatthew Locke'sMusic for His Majestys Sagbutts and Cornetts, a suite for Charles II's coronation 1661.^[36]

Non-serious music, often based on dances for festive occasions, rarely had specified instrumentation. Often you find something like "per diversi musici". Indeed, the groups that would perform them would often be full of multi-instrumentalists.^[37]

Johann Pezel wrote forStadtpfeifer with hisHora decima musicorum (1670), containing sonatas, as well asFünff-stimmigte blasende Music (1685) with five-part intradas and dance pieces.

Well known pieces from Germany includesSamuel Scheidt'sLudi Musici (1621) andJohann Hermann Schein'sBanchetto musicale (1617).^[37]

The first English piece scored for trombone isJohn Adson'sCourtly Masquing Ayres (1611). Another light collection suitable for including trombones isAnthony Holborne'sPavans, Galliards, Allmains, and other short Aeirs both Grave and Light in Five Parts for Viols, Violins or Other Musicall Winde Instruments (1599).

Trombonists were in the regular ensemble at St. Mark's Venice from its formation in 1568 until they left the payroll in 1732.^[38] The first two ensemble directors—maestro di concerti—Girolamo Dalla Casa (1568–1601) andGiovanni Bassano (1601–1617)—were cornett players and the nucleus of the group was two cornetts and two trombones, although for the larger ceremonies many extra players were hired. During a mass attended by the Doge, evidence suggests they would have played a canzona in the Gradual after the Epistle and the Agnus Dei, a sonata in the Offertory as well as reinforcing vocal parts or substituting for absent singers.^[39]

This ensemble was used extensively byGiovanni Gabrieli in pieces substantially for brass, voices and organ in Venice up until his death in 1612. He was greatly influential in Venetian composers in other churches and confraternities, and his early baroque and cori spezzati style is seen in contemporaries likeGiovanni Picchi andGiovanni Battista Grillo.

It is suggested thatMonteverdi wrote hisVespro della Beata Vergine (1610) as a pitch for employment at St. Mark's as successor toGiovanni Gabrieli. In addition to the Magnificat, two movements specify trombones: the opening "Deus in adiutorium" is for six voices, two violins, two cornetts, three trombones, five viole da braccio and basso continuo; Sonata sopra "Sancta Maria, ora pro nobis" is for soprano, two violins, two cornetts, three trombones (one of which can be aviola da braccio) and basso continuo. Monteverdi also leaves the option to use trombones as part of the "sex instrumentis" of theDixit Dominus and in the instrumentalRitornello a 5 between verses ofAve maris stella.^[40]

From around 1617, when themaestro de' concerti at St. Marks changed to violinistFrancesco Bonfante and correspondingly the ensemble changed from basically a brass ensemble to being more evenly mixed with brass, wind and string instruments.^[30]

Monteverdi arrived at St. Mark's in 1613 and it is unsurprising that he includes trombones and strings for several more sacred works during his time here, published in hisSelva morale e spirituale 1641. Of the c.40 items in this collection, six specify three or four trombones (orviola da braccio, ad lib): SV268 Beatus vir I, SV263 Dixit Dominus I, SV263 Dixit Dominus II, SV261 Et iterum venturus est, SV258 Gloria in excelsis Deo, SV281 Magnificat I. Each is for 3-8 voices with 3 violins (apart from SV261), the trombones/violas and basso continuo. Monteverdi also specified trombones in two more sacred works: SV198 Laetatus sum (i) (1650) for 6 voices, 2 violins, 2 trombones and bassoon and SV272 Laudate Dominum omnes gentes I (1641) for 5 voices 'concertato', 4 voice chorus ad lib, 4 viola da braccio or trombones and basso continuo.^[40]

A prolific composer for trombones in Germany in the 17th century wasHeinrich Schütz. HisFili me, Absalon (SWV 269) andAttendite, popule meus (SWV 270), are both scored for bass voice, four trombones (of which two are optionally violins) and basso continuo, are well known. They are part of his firstSymphoniae Sacrae collection dating from 1629 and commentators have noted that the style reflects his studies in Venice withGiovanni Gabrieli 1609–1612. Other pieces that specify trombones (according to Grove) are (grouped by the collection they were published in): Concert mit 11 Stimmen (1618): SWV 21, inPsalmen Davids (Psalms of David) Op. 2 (1619): SWV 38, 40–46, Symphoniae sacrae I Op.6 (1629): SWV 259, 269–271, 274, Symphoniae sacrae II Op.10 (1647):SWV 344, Symphoniae sacrae III Op. 12 (1650): SWV 398a, Historia (1664): SWV 435, 448, 449, 453, 461, 452, 466–470, 473, 474–476,Schwanengesang Psalm 119 (1671): SWV 500, although many others are suitable for trombones too.^[41]

Johann Hermann Schein specified trombones in some of his sacred vocal works in theOpella nova, ander Theil, geistlicher Concerten collection (Leipzig, 1626). For example,Uns ist ein Kind geboren is scored for violino, traversa, alto trombone, tenor voice, fagotto and basso continuo.Mach dich auf, werde licht, Zion uses Canto 1: violino, cornetto, flauto picciolo e voce, Canto 2: voce e traversa, Alto: Trombone e Voce, Tenore: Voce e Trombone, Basso: Fagotto Trombone e Voce and Basso Continuo, during which solos for each of the trombonists are specified. Of particular interest isMaria, gegrüsset seist du, Holdselige, which uses soprano and tenor voices, alto trombone, 2 tenor trombones and on the bass line "trombone grosso," which goes down to pedal A, and a couple of diatonic scale passages from bottom C.^[42]

German composerJohann Rudolf Ahle wrote some notable sacred pieces for voices and trombones.Höre, Gott uses five favoriti singers, two ripieno choirs (which double other parts at intense moments) and seven trombones, with basso continuo. And his most famousNeu-gepflanzte Thüringische Lust-Garten.. (1657–65) contains several sacred works with 3 or 4 trombones, includingMagnificat a 8 for SATB soloists, cornett, 3 trombones and continuo andHerr nun lässestu deinen Diener a 5 for bass, 4 trombones and continuo.^[43]

Dieterich Buxtehude specifies trombones in a few sacred concertos using style derived from polychoral Venetian works and one secular piece. For example,Gott fähret auf mit Jauchzen (BuxWV33 from CW v, 44) is scored for SSB voices, 2 violins, 2 violas, trombones, 2 cornetts, 2 trumpets, bassoon and basso continuo.^[44]

There are a few vocal works involving trombones in works byAndreas Hammerschmidt. These includeLob- und Danck Lied aus dem 84. Psalm for 9 voices, 5 trumpets, 3 trombones, 5 violas and basso continuo (Freiberg, 1652). There is alsoHochzeitsgesang für Daniel Sartorius: Es ist nicht gut, dass der Mensch allein sei for 5 voices, 2 violins, 2 trombones, bassoon and basso continuo.^[45]

Johann Schelle has numerous sacred vocal works that use trombones. For instanceVom Himmel kam der Engel Schar is scored for soprano, tenor, SSATB choir, 2 violins, 2 violas, 2 cornetts, 3 trombones, 2 trumpets, timpani, basso continuo, andLobe den Herrn, meine Seele is for two choirs of SSATB and similar instruments to the previous work.^[46]

The lesser known Austrian composerChristoph Strauss, Kapellmeister to the Habsburg Emperor Mathias 1616–1620, wrote two important collections for trombones, cornetts and voices. His motets published in Nova ac diversimoda sacrarum cantionum composition, seu motettae (Vienna, 1613) are in a similar tradition to Gabrieli's music. Of the sixteen motets in the collection, all are titled "concerto" apart from the "sonata"Expectans Expectavi Dominum for 6 trombones, cantus voice and tenor voice. In 1631 he published a number of masses, which were much more baroque, with basso continuo, rhetoricalword painting and obligato usage of instruments.^[47]

Later in the 17th century,Heinrich Ignaz Franz Biber composed sacred works for voices and orchestra featuring trombones. HisRequiem mass (1692) uses an orchestra of strings, 3 trombones and basso continuo. A similar ensemble accompanies 8 vocal lines in hisLux perpetua (c1673), and three more similar works in the 1690s.^[48]

Monteverdi ushers sackbuts into the first great opera, 'L'Orfeo' 1607. The orchestra at the first performance, as shown in the first publication, the list of "stromenti" at the front of the score specifies four trombones, but at one point in Act 3, however, the score calls for five trombones.

There is relatively little repertoire for the trombone in the late baroque.

Johann Sebastian Bach uses trombones in fourteen of his church cantatas—BWV 2,3,4,21,23,25,28,38,64,68,96,101,121,135—as well as motetBWV 118. He uses the trombone sound to reflect the (by now) archaic sounds of the Renaissance trombones doubling voices (withcornett playing the soprano line), yet he also uses them independently, which John Eliot Gardiner says prepares the way for their use inBeethoven's Symphony No. 5.^[49] The cantatas were either composed in Leipzig during 1723–1725, or (for BWV 4, 21 & 23) the trombone parts were added to the existing cantata during the same period. The cornett and trombone parts would have been played by theStadtpfeifer.^[50]

In England,George Frideric Handel includes trombones in three of his oratorios:Saul (1738),Israel in Egypt (1738) andSamson (1741). There are no other documented groups or performances with trombone players in England at this time, and it has been suggested that the premiers took place with a visiting group from Germany, as was the custom in Paris at this time.

Vienna's Imperial court used trombones in church music:

Johann Joseph Fux was Hofkapellmeister in Vienna from 1715 until 1741. Many of his masses use the choir strengthened by strings, cornetts and trombones, often with independent moments for the instrumentalists and sometimes.Missa SS Trinitatis uses two choirs, which again points to the traditions going back to Gabrieli. His highly successful Requiem is for five vocal parts, two cornetts, two trombones, strings and continuo. He also uses the trombone in smaller motets and antiphons, such as his setting ofAlma Redemptoris mater for soprano, alto trombone, strings and continuo. Some of his chamber music involves trombones, as do many of his operas, used as an obbligato instrument.^[51]

Also in the Vienna court wasAntonio Caldara, vice-kapellmeister 1717–1736. Among his output are two Holy Week settings as Da Capo arias:Deh sciogliete, o mesti lumi for soprano, unison violins, bassoon, two trombones and organ andDio, qual sia for soprano, trombone, bassoon and basso continuo.^[52]

Again this period suffers from a lack of trombone players.^{[clarification needed]} Most of these works derive from Vienna and Salzburg.

Joseph Haydn uses trombones inIl rotorno di Tobia,Die sieben letzten Worte,The Creation,Die Jahreszeiten,Der Sturm,Orfeo ed Euridice and secular cantata choruses.

Wolfgang Amadeus Mozart uses trombones in connection with death or the supernatural. This includes theRequiem (K626, 1791),Great Mass in C minor (K423, 1783),Coronation Mass (C major) (K317, 1779), several other masses,Vesperae Solennes de Confessore (K339, 1780),Vesperae de Dominica, his arrangement ofHandel'sMessiah plus two of his three great operas:Don Giovanni (K527, 1787) andDie Zauberflöte (K620, 1791). Mozart's first use of the trombone was an obligato line in the oratorioDie Schuldigkeit des ersten Gebots (K35, 1767)

Christoph Willibald Gluck includes trombones in five of his operas:Iphigénie en Aulide (1774),Orfeo ed Euridice (1774),Alceste (1776),Iphigénie en Tauride (1779) andEcho et Narcisse (1779), as well as balletDon Juan (1761).^[53]

Some chamber music in this period includes trombone in an obligato role with voice, and also as a concerto instrument with string orchestra. Composers include the likes ofLeopold Mozart,Georg Christoph Wagenseil,Johann Albrechtsberger,Michael Haydn andJohann Ernst Eberlin.

For works for trombone post-1800, please seetrombone.

Plenty of recordings of the authentic sackbut are now available from the groups such as Concerto Palatino, HMSC, Gabrieli Consort and the Toulouse Sacqueboutiers. For a closer examination of the instrument, here are some recommended recordings where the sackbut is heavily featured in a "solo" capacity.

• Songs Without Words. Adam Woolf. SFZMusic 2010.
• Treasury of a Saint. Caecilia Concert, Challenge Records 2006.
• La Sacqueboute. Michel Becquet, Les Sacqueboutiers de Toulouse.^{[full citation needed]}
• Sackbutt. Jorgen Van Rijen.Channel Classics 2008.
• Schmelzer & Co. Caecilia-Concert. Challenge Records 2009.
• Buxtehude & Co. Caecilia-Concert. Challenge Records 2007.

The earliest instruments:

Other notable sackbuts:

For more information, see Herbert (2006).^[7]

The modern German "church trombone" also resembles a sackbut.^[58]

• Electronic Sackbut, an early synthesizer.
• Glissando

• Carter, Stewart (2012).The Trombone in the Renaissance: A History in Pictures and Documents. Bucina. Vol. 8. Hillsdale, New York: Pendragon Press.ISBN 978-1-57647-206-4.OCLC 747331985.
• Palm, Paul W. (2010).Baroque Solo and Homogeneous Ensemble Trombone Repertoire: A Lecture Recital Supporting and Demonstrating Performance at a Pitch Standard Derived from Primary Sources and Extant Instruments (DMA thesis).University of North Carolina at Greensboro.
• Woolf, Adam (2012). Bregman, Adam (ed.).Sackbut Solutions: A Practical Guide to Playing the Sackbut (2nd ed.). Belgium: Mechelen.ISBN 978-90-814833-1-5.OCLC 908422925.

• Virgiliano, Aureleo:Il dolcimelo (manuscript, c. 1600)
• Rognoni Taeggio, Francesco:Selva de varii passaggi secondo l'uso moderno, per cantare, & suonare con ogni sorte de stromenti, 2 vols. Milan: Filippo Lomarzo, 1620.
• Mersenne, Marin:Harmonie Universelle (1636)
• Praetorius, Michael:Syntagma Musicum, 3 vols. Wolfenbüttel: Elias Holwein, 1619.
• Speer, Daniel (1687).Grund-richtiger/kurtz/leicht und noethiger Unterricht der Musicalischen Kunst(blackletter script) (in German). Ulm: G. W. Kühnen.
  • 2nd, much enlarged edition:Grund-richtiger... Unterricht... oder Vierfaches musicalisches Kleeblatt. Ulm: G. W. Kühnen (1697).

• Sackbut solo recordings, tenor and bass, Early Music Instrument Database, Case Western University
• Musica Antiqua's Sacbut page^[usurped] History, photos, and sounds
• Greg Ingles introduces the sackbutPiffaro member Greg Ingles explains the key features of the Sackbut and demonstrates its use in the music of the renaissance "loud band".
• Chisholm, Hugh, ed. (1911)."Sackbut" .Encyclopædia Britannica (11th ed.). Cambridge University Press.

• Continuous pitch instruments
• Early musical instruments
• Renaissance music
• Trombones

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