Editing Trombone (section)

=== Romantic period ===

==== 19th-century orchestras ====
Trombones were included in operas, symphonies, and other compositions by [[Felix Mendelssohn Bartholdy|Felix Mendelssohn]], [[Hector Berlioz]], [[Franz Berwald]], [[Charles Gounod]], [[Franz Liszt]], [[Gioacchino Rossini]], [[Franz Schubert]], [[Robert Schumann]], [[Giuseppe Verdi]], and [[Richard Wagner]], and others.

The trombone trio was combined with one or two [[cornett]]s during the Renaissance and early Baroque periods. The replacement of cornetts with oboes and clarinets did not change the trombone's role as a support to the alto, tenor, and bass voices of the chorus (usually in ecclesiastical settings), whose moving harmonic lines were more difficult to pick out than the melodic soprano line. The introduction of trombones into the orchestra allied them more closely with trumpets, and soon a tenor trombone replaced the alto. The Germans and Austrians kept alto trombone somewhat longer than the French, who preferred a section of three tenor trombones until after the [[Second World War]]. In other countries, the trio of two tenor trombones and one bass became standard by about the mid-19th century.

Trombonists were employed less by court orchestras and cathedrals, who had been providing the instruments. Military musicians were provided with instruments, and instruments like the long F or E{{Music|flat}} bass trombone remained in military use until around the [[First World War]]. Orchestral musicians adopted the tenor trombone, as it could generally play any of the three trombone parts in orchestral scores.{{vague|date=December 2018}}

Valve trombones in the mid-19th century did little to alter the make-up of the orchestral trombone section. While its use declined in German and French orchestras, the valve trombone remained popular in some countries, including Italy and [[Bohemia]], almost to the exclusion of the slide instrument. Composers such as Giuseppe Verdi, [[Giacomo Puccini]], [[Bedřich Smetana]], and [[Antonín Dvořák]] scored for a valve trombone section.

{{listen|type=music|title=Trombone solo|description=from [[Symphony No. 3 (Mahler)|Mahler's 3rd Symphony]], 1st movement (composed 1893–1896)
|filename=Gustav Mahler - Trombone Solo from 3rd Symphony, 1st movement.ogg}}

As the [[ophicleide]] or the tuba was added to the orchestra during the 19th century, bass trombone parts were scored in a higher register than previously.{{vague|date=December 2018}} The bass trombone regained some independence in the early 20th century. Experiments with the trombone section included Richard Wagner's addition of a [[contrabass trombone]] in ''[[Der Ring des Nibelungen]]'' and Gustav Mahler's and Richard Strauss' addition of a second bass trombone to the usual trio of two tenors and one bass. The majority of orchestral works are still scored for the usual mid- to late-19th-century low brass section of two tenor trombones, one bass trombone, and one tuba.

==== 19th-century wind bands ====
Wind bands began during the French Revolution of 1791 and have always included trombones. They became more established in the 19th century and included circus bands, military bands, brass bands (primarily in the UK), and town bands (primarily in the US). Some of these, especially military bands in Europe, used rear-facing trombones with the bell pointing behind the player's left shoulder. These bands played a limited repertoire that consisted mainly of orchestral transcriptions, arrangements of popular and patriotic tunes, and feature pieces for soloists (usually cornetists, singers, and violinists). A notable work for wind band is Berlioz's 1840 ''[[Grande symphonie funèbre et triomphale]]'', which uses a trombone solo for the entire second movement. Toward the end of the 19th century, trombone virtuosi began appearing as soloists in American wind bands. [[Arthur Pryor]], who played with the [[John Philip Sousa]] band and formed his own band, was one of the most famous of these trombonists.

==== 19th-century pedagogy ====
In the Romantic era, [[Leipzig]] became a center of trombone pedagogy, and the instrument was taught at the [[University of Music and Theatre Leipzig|Musikhochschule]] founded by [[Felix Mendelssohn Bartholdy]]. The [[Paris Conservatory]] and its yearly exhibition also contributed to trombone education. At the Leipzig academy, Mendelssohn's bass trombonist, [[Karl Traugott Queisser]], was the first in a long line of distinguished professors of the trombone. Several composers wrote works for Queisser, including Mendelssohn's concertmaster [[Ferdinand David (musician)|Ferdinand David]], Ernst Sachse, and [[Friedrich August Belcke]]. David wrote his ''[[Trombone Concertino (David)|Concertino for Trombone and Orchestra]]'' in 1837, and Sachse's solo works remain popular in Germany. Queisser championed and popularized [[Christian Friedrich Sattler]]'s tenor-bass trombone during the 1840s, leading to its widespread use in orchestras throughout Germany and Austria.

==== 19th-century construction ====
Sattler had a great influence on trombone design, introducing a significantly larger bore (the most important innovation since the Renaissance), ''Schlangenverzierungen'' (snake decorations), the bell garland, and the wide bell flare. These features were widely copied during the 19th century and are still found on German made trombones.

The trombone was improved in the 19th century with the addition of "stockings" at the end of the inner slide to reduce friction, the development of the water key to expel condensation from the horn, and the occasional addition of [[F attachment tenor trombone|a valve]] that was designed to be set in a single position but later became the modern F-valve. The valve trombone appeared around the 1850s shortly after the invention of valves, and was in common use in Italy and Austria in the second half of the century.