what is the lowest note on a trombone
Trombone 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 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-foot (2.7 m) B♭ tenor trombone, requiring a full 7 feet 4 inches (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.
Air on the G String The arrangement differs from the original in that the part of the first violins is transposed down so that it can be played entirely on a violin's lowest string, i.e., the G string. It is played by a single violin (instead of by the first violins as a group).
The Rite of Spring The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable;[121] gradually other woodwind instruments are sounded and are eventually joined by strings.[122] The sound builds up before stopping suddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower.[123]
French horn A classical orchestra usually contained two horns. Typically, the 1st horn played a high part and the 2nd horn played a low part. Composers from Beethoven onwards commonly used four horns. Here, the 1st and 2nd horns played as a pair (1st horn being high, 2nd horn being low), and the 3rd and 4th horns played as another pair (3rd horn being high, 4th horn being low). Music written for the modern horn follows a similar pattern with 1st and 3rd horns being high and 2nd and 4th horns being low. This configuration serves multiple purposes. It is easier to play high when the adjacent player is playing low and vice versa. Pairing makes it easier to write for horns, as the 3rd and 4th horns can take over from the 1st and 2nd horns or play contrasting material. For example, if the piece is in C minor, the 1st and 2nd horns might be in C, the tonic major key, which could get most of the notes, and the 3rd and 4th horns might be in Eâ™­, the relative major key, to fill in the gaps. Many orchestral horn sections today also have an assistant[17] who doubles the 1st horn part for selected passages, joining in loud parts, playing instead of the principal if there is a 1st horn solo approaching, or alternating with the principal if the part is tiring to play.[18] Often the assistant is asked to play a passage after resting a long time. Also, he or she may be asked to enter in the middle of a passage, exactly matching the sound, articulation, and overall interpretation of the principal.