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However, English full-circle ringing is capable of much better control of bell speed, as it is independent of the counter-balance effect. The Bolognese style of bell hanging does not have any counter-balancing. In English full circle ringing "mini-rings" are used to demonstrate how full-circle ringing on large bells works. These rings can be ...
Mutes on brass instruments are typically inserted into the flared end of the instrument (bell). They can also be held in front of or clipped onto the bell. Of brass mutes, the "straight mute" is the most common and is frequently used in classical and jazz music, but a wide variety are available.
The wah-wah effect is believed to have originated in the 1920s, with brass instrument players finding they could produce an expressive crying tone by moving a mute, or plunger, in and out of the instrument's bell. [3] In 1921, trumpet player Johnny Dunn's use of this style inspired Tricky Sam Nanton to use the mute with the trombone. [2]
Roger Reynolds, ...from behind the unreasoning mask for Trombone, Percussion and Electroacoustic Sound (1974-75) Corrado Maria Saglietti, Suite for Alto Trombone and String Quartet (1993) R. Murray Schafer, Music for Wilderness Lake for 12 Trombones (1979) Ernst Schiffmann, Intermezzo for Trombone and Organ, Opus 53
A distinctive form of tenor trombone was popularized in France in the early 19th century. Called the buccin, it featured a tenor trombone slide and a bell that ended in a zoomorphic (serpent or dragon) head. It sounds like a cross between a trombone and a French horn, with a very wide dynamic range but a limited and variable range of pitch.