document_title: Brass instrument

question_text: name four instruments that belong to the brass family

question_tokens: name four instruments that belong to the brass family

text: Brass instrument

text: Families[edit]

text: Modern brass instruments generally come in one of two families:

text:
Valved brass instruments use a set of valves (typically three or four but as many as seven or more in some cases) operated by the player's fingers that introduce additional tubing, or crooks, into the instrument, changing its overall length. This family includes all of the modern brass instruments except the trombone: the trumpet, horn (also called French horn), euphonium, and tuba, as well as the cornet, flugelhorn, tenor horn (alto horn), baritone horn, sousaphone, and the mellophone. As valved instruments are predominant among the brasses today, a more thorough discussion of their workings can be found below. The valves are usually piston valves, but can be rotary valves; the latter are the norm for the horn (except in France) and are also common on the tuba.
Slide brass instruments use a slide to change the length of tubing. The main instruments in this category are the trombone family, though valve trombones are occasionally used, especially in jazz. The trombone family's ancestor, the sackbut, and the folk instrument bazooka are also in the slide family.

text:
Part of a series onMusical instruments
Woodwinds[show]
Piccolo
Flute
Oboe
Cor anglais
Clarinet
Saxophone
Bassoon
Contrabassoon
Bagpipes
Recorder
Garklein in C6 (c‴)
Sopranino in F5 (f″)
Soprano in C5 (c″)
Alto in F4 (f′)
Voice flute in D4 (d′)
Tenor in C4 (c′)
Bass in F3 (f)
Great bass in C3 (c)
Contrabass in F2 (F)
Sub-great bass in C2 (C)
Sub-contrabass in F1 (FF)

Brass Instruments[show]
Trumpet
Trombone
Cornet
Alto horn
Baritone horn
Flugelhorn
Mellophone
Euphonium
Helicon
Tuba
French horn

String instruments[show]Bowed
Banhu (China)
Baryton
Bowed psaltery
Cello
Electric cello
Cizhonghu (China)
Crwth
Dahu (China)
Đàn gáo (Vietnam)
Diyingehu (China)
Double bass
Erhu (China)
Erxian (China)
Esraj (India)
Fiddle (colloquial term for violin)
Gadulka (Bulgaria)
Gaohu (China)
Gehu (China)
Ghaychak (Iran)
Goje (Ghana)
Gudok (Russia)
Gusle
Haegeum (Korea)
Hardanger fiddle (Norway)
Huluhu (China)
Huqin (China)
Hurdy-gurdy
Jinghu (China)
Kemenche (Turkey)
Kokyū (Japan)
Laruan (China)
Leiqin (China)
Lirone
Long-string instrument
Maguhu (China)
Morin khuur (Mongolia)
Nyckelharpa (Sweden)
Octobass
Psalmodikon
Rebec
Sarangi (India)
Sarinda (India)
Saw sam sai (Thailand)
Sihu (China)
Tro (Cambodia)
Trumpet marine or tromba marina
Vielle
Viol (viola da gamba)
Violone
Viola
Viola d'amore
Viola pomposa
Violin
Electric violin
Kit violin (Dancing master violin)
Stroh violin
Violin octet instruments
Vertical viola
Violotta
Yehu (China)
Zhonghu (China)
Zhuihu (China)
Plucked

Appalachian dulcimer (United States)
Autoharp
Baglama or Saz (Turkey)
Bajo sexto (Mexico)
Balalaika (Russia)
Bandura (Ukraine)
Bandurria
Banjo (American)
Barbat
Begena (Ethiopia)
Bordonua
Bouzouki (Greece)
Bugarija (Croatia)
Cavaquinho (Portugal and Brazil)
Çeng (Turkey)
Charango (South America)
Chitarrone
Cittern
Cuatro
Cümbüş (Turkey)
Đàn bầu (Vietnam)
Đàn nguyệt (Vietnam)
Đàn tranh (Vietnam)
Đàn tỳ bà (Vietnam)
Daruan (China)
Diddley bow (United States)
Dombra (East Europe and Middle Asia)
Domra (Russia)
Doshpuluur (Tuva)
Dramyin
Dutar
Duxianqin (China)
Electric bass
Gayageum (Korea)
Guitar
Bass guitar
Acoustic bass guitar
Cigar box guitar
Electric guitar
Harp guitar
Dobro (a.k.a. resonator guitar)
Guitarrón (Mexico)
Gusli (Russia)
Guqin (China)
Guzheng (China)
Harp
Electric harp
Irish bouzouki
Kacapi
Kankles (Lithuania)
Kantele (Finland)
Kanun (Middle East, Persia)
Kobza (Ukraine)
Kokles (Latvia)
Komungo (Korea)
Konghou (China)
Kontigi (Nigeria)
Kora (West Africa)
Koto (Japan)
Krar (Ethiopia)
Laud
Laouto
Liuqin (China)
Lute (Europe)
Archlute
Theorbo
Lyre
Mandolin
Mandobass
Mandocello
Mandola
Mandolin-banjo
Mohan veena (Hawaii / India)
Monochord
Musical bow
Nyatiti (Kenya)
Oud (Middle East, Greece)
Pandura
Pipa (China)
Portuguese guitar
Psaltery
Qanún/kanun (Middle East, Persia)
Qinqin (China)
Requinto
Rote
Rubab
Sanxian (China)
Sarod (India)
Saung (Burma)
Shamisen (Japan)
Sitar (India)
Surbahar (India)
Sursingar (India)
Tambura (India)
Tamburitza (Pannonian plain)
Tanbur
Tar (lute)
Tea chest bass
Tiple
Torban
Tres (Cuba)
Ukulele (Hawaii)
Valiha (Madagascar)
Veena (India)
Vihuela (Spain)
Ellen Fullman's and Paul Panhuysen's string installations
Yazh (India)
Yueqin (China)
Zhongruan (China)
Zhu (China)
Zither

Percussion
Keyboardsvte

text: There are two other families that have, in general, become functionally obsolete for practical purposes. Instruments of both types, however, are sometimes used for period-instrument performances of Baroque or Classical pieces. In more modern compositions, they are occasionally used for their intonation or tone color.

text:
Natural brass instruments only play notes in the instrument's harmonic series. These include the bugle and older variants of the trumpet and horn. The trumpet was a natural brass instrument prior to about 1795, and the horn before about 1820. In the 18th century, makers developed interchangeable crooks of different lengths, which let players use a single instrument in more than one key. Natural instruments are still played for period performances and some ceremonial functions, and are occasionally found in more modern scores, such as those by Richard Wagner and Richard Strauss.
Keyed or Fingered brass instruments used holes along the body of the instrument, which were covered by fingers or by finger-operated pads (keys) in a similar way to a woodwind instrument. These included the cornett, serpent, ophicleide, keyed bugle and keyed trumpet. They are more difficult to play than valved instruments.

text: Bore taper and diameter[edit]

text: Brass instruments may also be characterised by two generalizations about geometry of the bore, that is, the tubing between the mouthpiece and the flaring of the tubing into the bell. Those two generalizations are with regard to

text:
the degree of taper or conicity of the bore and
the diameter of the bore with respect to its length.

text: Cylindrical vs. conical bore[edit]

text: While all modern valved and slide brass instruments consist in part of conical and in part of cylindrical tubing, they are divided as follows:

text:
Cylindrical bore brass instruments are those in which approximately constant diameter tubing predominates. Cylindrical bore brass instruments are generally perceived as having a brighter, more penetrating tone quality compared to conical bore brass instruments. The trumpet, and all trombones are cylindrical bore. In particular, the slide design of the trombone necessitates this.
Conical bore brass instruments are those in which tubing of constantly increasing diameter predominates. Conical bore instruments are generally perceived as having a more mellow tone quality than the cylindrical bore brass instruments. The "British brass band" group of instruments fall into this category. This includes the flugelhorn, cornet, tenor horn (alto horn), baritone horn, horn, euphonium and tuba. Some conical bore brass instruments are more conical than others. For example, the flugelhorn differs from the cornet by having a higher percentage of its tubing length conical than does the cornet, in addition to possessing a wider bore than the cornet. In the 1910s and 1920s, the E.A. Couturier company built brass band instruments utilizing a patent for a continuous conical bore without cylindrical portions even for the valves or tuning slide.

text: Whole-tube vs. half-tube[edit]

text: The second division, based on bore diameter in relation to length,[2] determines whether the fundamental tone or the first overtone is the lowest partial practically available to the player:

text:
“

Neither the horns nor the trumpet could produce the 1st note of the harmonic series ... A horn giving the C of an open 8 ft organ pipe had to be 16 ft (5 m). long. Half its length was practically useless ... it was found that if the calibre of tube was sufficiently enlarged in proportion to its length, the instrument could be relied upon to give its fundamental note in all normal circumstances. – Cecil Forsyth, Orchestration, p. 86[3]

”

text:
Whole-tube instruments have larger bores in relation to tubing length, and can play the fundamental tone with ease and precision. The tuba and euphonium are examples of whole-tube brass instruments.
Half-tube instruments have smaller bores in relation to tubing length and cannot easily or accurately play the fundamental tone. The second partial (first overtone) is the lowest note of each tubing length practical to play on half-tube instruments. The trumpet and horn are examples of half-tube brass instruments.

text: For half tube instruments the 'fundamental', although half the frequency of the second harmonic, is in fact a pedal note rather than a true fundamental[4]

text: Other brass instruments[edit]

text: The instruments in this list fall for various reasons outside the scope of much of the discussion above regarding families of brass instruments.

text:
Alphorn (wood)
Conch (shell)
Didgeridoo (wood, Australia)
Natural horn (no valves or slides—except tuning crooks in some cases)
Jazzophone
Keyed bugle (keyed brass)
Keyed trumpet (keyed brass)
Serpent (keyed brass)
Ophicleide (keyed brass)
Shofar (animal horn)
Vladimirskiy rozhok (wood, Russia)
Vuvuzela (simple short horn, origins disputed but achieved fame or notoriety through many plastic examples in the 2010 World Cup)
Lur

text: Valves[edit]

text: Valves are used to change the length of tubing of a brass instrument allowing the player to reach the notes of various harmonic series. Each valve pressed diverts the air stream through additional tubing, individually or in conjunction with other valves. This lengthens the vibrating air column thus lowering the fundamental tone and associated harmonic series produced by the instrument. Designs exist, although rare, in which this behaviour is reversed, i.e., pressing a valve removes a length of tubing rather than adding one. One modern example of such an ascending valve is the Yamaha YSL-350C trombone,[5] in which the extra valve tubing is normally engaged to pitch the instrument in B♭, and pressing the thumb lever removes a whole step to pitch the instrument in C. Valves require regular lubrication.

text: A core standard valve layout based on the action of three valves had become almost universal by (at latest) 1864 as witnessed by Arban's Method published in that year. The effect of a particular combination of valves may be seen in the table below. This table is correct for the core 3-valve layout on almost any modern valved brass instrument. The most common four-valve layout is a superset of the well-established 3-valve layout and is noted in the table, despite the exposition of four-valve and also five-valve systems (the latter used on the tuba) being incomplete in this article.

text:
Valve combination and effect on pitch

Valve combination
Effect on pitch
Interval
Tuning problems

2
1⁄2 step
Minor second

1
1 step
Major second

1+2 or 3
1 1⁄2 step
Minor third
Very Slightly sharp

2+3
2 steps
Major third
Slightly sharp

1+3 or 4
2 1⁄2 steps
Perfect fourth
Sharp (1+3 only)

1+2+3 or 2+4
3 steps
Tritone
Very sharp (1+2+3 only)

1+4
3 1⁄2 steps
Perfect fifth

1+2+4 or 3+4
4 steps
Augmented fifth
Flat

2+3+4
4 1⁄2 steps
Major sixth
Slightly sharp

1+3+4
5 steps
Minor seventh
Sharp

1+2+3+4
5 1⁄2 steps
Major seventh
Very sharp

text: Tuning[edit]

text: Since valves lower the pitch, a valve that makes a pitch too low (flat) creates an interval wider than desired, while a valve that plays sharp creates an interval narrower than desired. Intonation deficiencies of brass instruments that are independent of the tuning or temperament system are inherent in the physics of the most popular valve design, which uses a small number of valves in combination to avoid redundant and heavy lengths of tubing[6] (this is entirely separate from the slight deficiencies between Western music's dominant equal (even) temperament system and the just (not equal) temperament of the harmonic series itself). Since each lengthening of the tubing has an inversely proportional effect on pitch (Pitch of brass instruments), while pitch perception is logarithmic, there is no way for a simple, uncompensated addition of length to be correct in every combination when compared with the pitches of the open tubing and the other valves.[7]

text: Absolute tube length[edit]

text: For example, given a length of tubing equaling 100 units of length when open, one may obtain the following tuning discrepancies:

text:
Valve combination and creation of pitch discrepancies

Valve(s)
Desired pitch
Necessary valve length
Component tubing length
Difference
Slide positions

Open tubing
A♯/B♭
0
–
–
1

2
A
5.9
–
–
2

1
G♯/A♭
12.2
–
–
3

1+2 or 3
G
18.9
18.1
0.8
4

2+3
F♯/G♭
25.9
24.8
1.1
5

1+3 or 4
F
33.5
31.1
2.4
6 or T

1+2+3 or 2+4
E
41.4
37
4.4
7 or T+2

1+4
D♯/E♭
–
45.7
–
T+3

1+2+4 or 3+4
D
–
52.4
–
T+4

2+3+4
C♯/D♭
–
58.3
–
T+5

1+3+4
C
–
64.6
–
T+6

1+2+3+4
B
–
70.5
–
T+7

text: Playing notes using valves (notably 1st + 3rd and 1st + 2nd + 3rd) requires compensation to adjust the tuning appropriately, either by the player's lip-and-breath control, via mechanical assistance of some sort, or, in the case of horns, by the position of the stopping hand in the bell. 'T' stands for trigger on a trombone.

text: Relative tube length[edit]

text: Traditionally[8] the valves lower the pitch of the instrument by adding extra lengths of tubing based on a just tuning:

text:
1st valve: 1⁄8 of main tube, making an interval of 9:8, a pythagorean major second
2nd valve: 1⁄15 of main tube, making an interval of 16:15, a just minor second
3rd valve: 1⁄5 of main tube, making an interval of 6:5, a just minor third

text: Combining the valves and the harmonics of the instrument leads to the following ratios and comparisons to 12-tone equal tuning and to a common five-limit tuning in C:

text:
Valves
Har-monic
Note
Ratio
Cents
Cents from12ET
Justtuning
Cents fromjust

○○○
2
C
1:1
0
0
1:1
0

●●●
3
C♯/D♭
180:167
130
30
16:15
18

●○●
3
D
60:53
215
15
9:8
11

○●●
3
D♯/E♭
45:38
293
−7
6:5
−23

●●○
3
E
180:143
398
−2
5:4
12

●○○
3
F
4:3
498
−2
4:3
0

○●○
3
F♯/G♭
45:32
590
−10
45:32
0

○○○
3
G
3:2
702
2
3:2
0

○●●
4
G♯/A♭
30:19
791
−9
8:5
−23

●●○
4
A
240:143
896
−4
5:3
12

●○○
4
A♯/B♭
16:9
996
−4
9:5
−22

○●○
4
B
15:8
1088
−12
15:8
0

○○○
4
C
2:1
1200
0
2:1
0

●●○
5
C♯/D♭
300:143
1283
−17
32:15
−29

●○○
5
D
20:9
1382
−18
9:4
−22

○●○
5
D♯/E♭
75:32
1475
−25
12:5
−41

○○○
5
E
5:2
1586
−14
5:2
0

text: Tuning compensation[edit]

text: The additional tubing for each valve usually features a short tuning slide of its own for fine adjustment of the valve's tuning, except when it is too short to make this practicable. For the first and third valves this is often designed to be adjusted as the instrument is played, to account for the deficiencies in the valve system.

text: In most trumpets and cornets, the compensation must be provided by extending the third valve slide with the third or fourth finger, and the first valve slide with the left hand thumb (see Trigger or throw below). This is used to lower the pitch of the 1–3 and 1–2–3 valve combinations. On the trumpet and cornet, these valve combinations correspond to low D, low C♯, low G, and low F♯, so chromatically, to stay in tune, one must use this method.

text: In instruments with a fourth valve, such as tubas, euphoniums, piccolo trumpets, etc. that valve lowers the pitch by a perfect fourth; this is used to compensate for the sharpness of the valve combinations 1–3 and 1–2–3 (4 replaces 1–3, 2–4 replaces 1–2–3). All three normal valves may be used in addition to the fourth to increase the instrument's range downwards by a perfect fourth, although with increasingly severe intonation problems.

text: When four-valved models without any kind of compensation play in the corresponding register, the sharpness becomes so severe that players must finger the note a half-step below the one they are trying to play. This eliminates the note a half-step above their open fundamental.

text: Manufacturers of low brass instruments may choose one or a combination of four basic approaches to compensate for the tuning difficulties, whose respective merits are subject to debate:

text: Compensation system[edit]

text: In the Compensation system, each of the first two (or three) valves has an additional set of tubing extending from the back of the valve. When the third (or fourth) valve is depressed in combination with another one, the air is routed through both the usual set of tubing plus the extra one, so that the pitch is lowered by an appropriate amount. This allows compensating instruments to play with accurate intonation in the octave below their open second partial, which is critical for tubas and euphoniums in much of their repertoire.

text: The compensating system was applied to horns to serve a different purpose. It was used to allow a double horn in F and B♭ to ease playing difficulties in the high register. In contrast to the system in use in tubas and euphoniums, the default 'side' of the horn is the longer F horn, with secondary lengths of tubing coming into play when the first, second or third valves are pressed; pressing the thumb valve takes these secondary valve slides and the extra length of main tubing out of play to produce a shorter B♭ horn. A later "full double" design has completely separate valve section tubing for the two sides, and is considered superior, although rather heavier in weight.

text: Additional valves[edit]

text: Initially, compensated instruments tended to sound stuffy and blow less freely due to the air being doubled back through the main valves. In early designs, this led to sharp bends in the tubing and other obstructions of the air-flow. Some manufacturers therefore preferred adding more ‘straight’ valves instead, which for example could be pitched a little lower than the 2nd and 1st valves and were intended to be used instead of these in the respective valve combinations. While no longer featured in euphoniums for decades, many professional tubas are still built like this, with five valves being common on CC- and BB♭-tubas and five or six valves on F-tubas.[citation needed]

text: Compensating double horns can also suffer from the stuffiness resulting from the air being passed through the valve section twice, but as this really only affects the longer F side, a compensating double can be very useful for a 1st or 3rd horn player, who uses the F side less.

text: Additional sets of slides on each valve[edit]

text: Another approach was the addition of two sets of slides for different parts of the range. Some euphoniums and tubas were built like this, but today, this approach has become highly exotic for all instruments except horns, where it is the norm, usually in a double, sometimes even triple configuration.

text: Trigger or throw[edit]

text: Some valved brass instruments provide triggers or throws that manually lengthen (or, less commonly, shorten) the main tuning slide, a valve slide, or the main tubing. These mechanisms alter the pitch of notes that are naturally sharp in a specific register of the instrument, or shift the instrument to another playing range. Triggers and throws permit speedy adjustment while playing.

text: Trigger is used in two senses:

text:
A trigger can be a mechanical lever that lengthens a slide when pressed in a contrary direction. Triggers are sprung in such a way that they return the slide to its original position when released.
The term "trigger" also describes a device that lengthens certain brass instruments' main length of tubing to shift its range to another playing range, as with certain trombones.

text: A throw is a simple metal grip for the player's finger or thumb, attached to a valve slide. The general term "throw" can describe a u-hook, a saddle (u-shaped grips), or a ring (ring-shape grip) in which a player's finger or thumb rests. A player extends a finger or thumb to lengthen a slide, and retracts the finger to return the slide to its original position.

text: Examples of instruments that use triggers or throws[edit]

text: Trumpet or cornet[edit]

text: Triggers or throws are sometimes found on the first valve slide. They are operated by the player's thumb and are used to adjust a large range of notes using the first valve, most notably the player's written top line F, the A above directly above that, and the B♭ above that. Other notes that require the first valve slide, but are not as problematic without it include the first line E, the F above that, the A above that, and the third line B♭.

text: Triggers or throws are often found on the third valve slide. They are operated by the player's fourth finger, and are used to adjust the lower D and C♯. Trumpets typically use throws, whilst cornets may have a throw or trigger.

text: Trombone[edit]

text: Trombone triggers are primarily but not exclusively[5] installed on the F-trigger, bass, and contrabass trombones[9] to alter the length of tubing, thus making certain ranges and pitches more accessible.

text: Euphoniums[edit]

text: A euphonium occasionally has a trigger on valves other than 2 (especially 3), although many professional quality euphoniums, and indeed other brass band instruments, have a trigger for the main tuning slide.[10]

text: Mechanism[edit]

text: The two major types of valve mechanisms are rotary valves and piston valves. The first piston valve instruments were developed just after the start of the 19th century. The Stölzel valve (invented by Heinrich Stölzel in 1814) was an early variety. In the mid 19th century the Vienna valve was an improved design. However many professional musicians preferred rotary valves for quicker, more reliable action, until better designs of piston valves were mass manufactured towards the end of the 19th century. Since the early decades of the 20th century, piston valves have been the most common on brass instruments except for the orchestral horn and the tuba.[11] See also the article Brass Instrument Valves.

text: Sound production in brass instruments[edit]

text: Because the player of a brass instrument has direct control of the prime vibrator (the lips), brass instruments exploit the player's ability to select the harmonic at which the instrument's column of air vibrates. By making the instrument about twice as long as the equivalent woodwind instrument and starting with the second harmonic, players can get a good range of notes simply by varying the tension of their lips (see embouchure).

text: Most brass instruments are fitted with a removable mouthpiece. Different shapes, sizes and styles of mouthpiece may be used to suit different embouchures, or to more easily produce certain tonal characteristics. Trumpets, trombones, and tubas are characteristically fitted with a cupped mouthpiece, while horns are fitted with a conical mouthpiece.

text: One interesting difference between a woodwind instrument and a brass instrument is that woodwind instruments are non-directional. This means that the sound produced propagates in all directions with approximately equal volume. Brass instruments, on the other hand, are highly directional, with most of the sound produced traveling straight outward from the bell. This difference makes it significantly more difficult to record a brass instrument accurately. It also plays a major role in some performance situations, such as in marching bands.

text: Manufacture[edit]

text: Metal[edit]

text: Traditionally the instruments are normally made of brass, polished and then lacquered to prevent corrosion. Some higher quality and higher cost instruments use gold or silver plating to prevent corrosion.

text: Alternatives to brass include other alloys containing significant amounts of copper or silver. These alloys are biostatic due to the oligodynamic effect, and thus suppress growth of molds, fungi or bacteria. Brass instruments constructed from stainless steel or aluminium have good sound quality but are rapidly colonized by microorganisms and become unpleasant to play.

text: Most higher quality instruments are designed to prevent or reduce galvanic corrosion between any steel in the valves and springs, and the brass of the tubing. This may take the form of desiccant design, to keep the valves dry, sacrificial zincs, replaceable valve cores and springs, plastic insulating washers, or nonconductive or noble materials for the valve cores and springs. Some instruments use several such features[not specific enough to verify].

text: The process of making the large open end (bell) of a brass instrument is called metal beating. In making the bell of, for example, a trumpet, a person lays out a pattern and shapes sheet metal into a bell-shape using templates, machine tools, handtools, and blueprints. The maker cuts out the bell blank, using hand or power shears. He hammers the blank over a bell-shaped mandrel, and butts the seam, using a notching tool. The seam is brazed, using a torch and smoothed using a hammer or file. A draw bench or arbor press equipped with expandable lead plug is used to shape and smooth the bell and bell neck over a mandrel. A lathe is used to spin the bell head and to form a bead at the edge of bell head. Previously shaped bell necks are annealed, using a hand torch to soften the metal for further bending. Scratches are removed from the bell using abrasive-coated cloth.

text: Other materials[edit]

text: A few specialty instruments are made from wood.[citation needed]

text: Instruments made mostly from plastic emerged in the 2010s as a cheaper and more robust alternative to brass.[12][13] Plastic instruments could come in almost any colour. The sound plastic instruments produce is different from the one of brass, lacquer, gold or silver. While originally seen as a gimmick, these plastic models have found increasing popularity of the last decade and are now viewed as practice tools that make for more convenient travel as well as a cheaper option for beginning players.

text: Ensembles[edit]

text: Brass instruments are one of the major classical instrument families and are played across a range of musical ensembles.

text: Orchestras include a varying number of brass instruments depending on music style and era, typically:

text:
two to three trumpets
two to four French horns
two tenor trombones
one bass trombone
one tuba
Baroque and classical period orchestras may include valveless trumpets or bugles, or have valved trumpets/cornets playing these parts, and they may include valveless horns, or have valved horns playing these parts.
Romantic, modern, and contemporary orchestras may include larger numbers of brass including more exotic instruments.

text: Concert bands generally have a larger brass section than an orchestra, typically:

text:
four to six trumpets or cornets
four French horns
two to four tenor trombones
one to two bass trombones
two to three euphoniums or baritone horns
two to three tubas

text: British brass bands are made up entirely of brass, mostly conical bore instruments. Typical membership is:

text:
one soprano cornet
ten cornets
one flugelhorn
three tenor (alto) horns
two baritone horns
two tenor trombones
one bass trombone
two euphoniums
two E♭ tubas
two B♭ tubas

text: Quintets are common small brass ensembles; a quintet typically contains:

text:
two trumpets
one horn
one trombone
one tuba or bass trombone

text: Big bands and other jazz bands commonly contain cylindrical bore brass instruments.

text:
A big band typically includes:
four trumpets
four tenor trombones
one bass trombone (in place of one of the tenor trombones)
Smaller jazz ensembles may include a single trumpet or trombone soloist.

text: Mexican bandas have:

text:
three trumpets
three trombones
two alto horns, also called "charchetas" and "saxores"
one sousaphone, called "tuba"

text: Single brass instruments are also often used to accompany other instruments or ensembles such as an organ or a choir.


document_title: Sean Bean

question_text: who played eddard stark in game of thrones

root

text: Sean Bean

text: Early life[edit]

text: Shaun Mark Bean[3] was born on 17 April 1959 in Handsworth, a suburb of Sheffield, which was then part of West Riding of Yorkshire, the son of Rita (née Tuckwood) and Brian K. Bean (1934–).[4][5] He has a younger sister, Lorraine. His paternal grandfather, Harold Bean Jr. (1914–?), was a stud mill labourer.[5] His father owned a fabrication shop that employed 50 people, including Bean's mother, who worked as a secretary. Despite becoming relatively wealthy, the family never moved away from the council estate as they preferred to remain close to friends and family.[6] As a child, Bean smashed a glass door during an argument, which left a piece of glass embedded in his leg that briefly impeded his walking, and left a large scar.[4] This prevented him from pursuing his ambition of playing football professionally.

tag: p

text: In 1975 Bean left Brook Comprehensive School with O levels in Art and English.[7] After a job at a supermarket and another for the local council, he started work at his father's firm. Once a week, on day release, he attended Rotherham College of Arts and Technology to study welding.[8] While at college, he came upon an art class, and decided to pursue his interest in art. After attending courses at two other colleges, one for half a day and the other for less than a week, he returned to Rotherham College, where he enrolled in a drama course. After some college plays and one at Rotherham Civic Theatre, he won a scholarship to the Royal Academy of Dramatic Art (RADA), starting a seven-term course in January 1981.[4]

text: Career[edit]

text: Bean graduated from RADA in 1983, making his professional acting debut later that year as Tybalt in Romeo and Juliet at the Watermill Theatre in Newbury.[4] His early career involved a mixture of stage and screen work. As an actor, he adopted the Irish spelling of his first name. His first national exposure came in an advert for non-alcoholic lager.[9] In 1984 he starred in David and Jonathan by William Douglas-Home at the Redgrave Theatre in Farnham.[10] Between 1986 and 1988, he was a member of the Royal Shakespeare Company, appearing in productions of Romeo and Juliet, The Fair Maid of the West, and A Midsummer Night's Dream.[11][12] He appeared in his first film, Derek Jarman's Caravaggio (1986), opposite Tilda Swinton, playing Ranuccio Tomassoni, followed in the same director's War Requiem (1988). In 1989, he starred as the evil Dominic O'Brien in The Fifteen Streets, where he gained a dedicated following.

text: During the late 1980s and early 1990s, Bean became an established actor on British television.[13] He appeared in the BBC productions Clarissa and Lady Chatterley (1993) with Joely Richardson.[14] In 1990, Bean starred in Jim Sheridan's adaption of the John B. Keane play The Field. Also in 1990, his role as the journalist Anton in Windprints examined the difficult problems of apartheid in South Africa. In 1996, he combined his love of football with his career to finally achieve his childhood dream of playing for Sheffield United, as Jimmy Muir in the film When Saturday Comes.[15] Although the film was not critically acclaimed, Bean received credit for a good performance.[16] In August 1997, Bean appeared in what became a famous Sky Sports commercial for the upcoming 1997–98 Premier League season.[17] His football related work continued in 1998 when he narrated La Coupe de la Gloire, the official film of the 1998 FIFA World Cup held in France.[18]

text: Bean's critical successes in Caravaggio and Lady Chatterley contributed to his emerging image as a sex symbol, but he became most closely associated with the character of Richard Sharpe, the maverick Napoleonic Wars rifleman in the ITV television series Sharpe. The series was based on Bernard Cornwell's novels about the Peninsular War, and the fictional experiences of a band of soldiers in the famed 95th Rifles. Starting with Sharpe's Rifles, the series followed the fortunes and misfortunes of Richard Sharpe as he rose from the ranks as a Sergeant, promoted to Lieutenant in Portugal, to Lieutenant Colonel by the time of the Battle of Waterloo.

text: Bean was not the first actor to be chosen to play Sharpe. As Paul McGann was injured while playing football two days into filming, the producers initially tried to work around his injury, but it proved impossible and Bean replaced him. The series ran continuously from 1993 to 1997, with three episodes produced each year. It was filmed under challenging conditions, first in Ukraine and later in Portugal. After several years of rumours, more episodes were produced: Sharpe's Challenge, which aired in April 2006, and Sharpe's Peril, which aired in autumn 2008 and was later released on DVD.[19] Both of these were released as two cinema-length 90 minute episodes per series.[20] With a role as enigmatic Lord Richard Fenton in the TV miniseries Scarlett, Bean made the transition to Hollywood feature films. His first notable Hollywood appearance was that of an Irish republican terrorist in the 1992 film adaptation of Patriot Games. While filming his death scene, Harrison Ford hit him with a boat hook, giving him a permanent scar. Bean's rough-cut looks made him a patent choice for a villain, and his role in Patriot Games was the first of several villains that he would portray, all of whom die in gruesome ways.[21]

text: In the 1995 film GoldenEye, Bean portrayed James Bond's nemesis Alec Trevelyan (MI6's 006).[22] He played the weak-stomached Spence in Ronin (1998), a wife-beating ex-con in Essex Boys (2000), and a malevolent kidnapper/jewel thief in Don't Say a Word (2001). He was also widely recognised as villainous treasure hunter Ian Howe in National Treasure, and played a villainous scientist in The Island (2005). In the independent film Far North, he plays a Russian mercenary who gets lost in the tundra and is rescued by an Inuit woman and her daughter, whom he later pits against one another.

text: Bean's most prominent role was as Boromir in Peter Jackson's The Lord of the Rings trilogy. His major screen time occurs in the first installment, The Lord of the Rings: The Fellowship of the Ring. He appears briefly in flashbacks in The Lord of the Rings: The Two Towers and The Lord of the Rings: The Return of the King, as well as in a scene from the extended edition of The Two Towers. Before casting finished, rumours circulated that Jackson had considered Bean for the role of Aragorn, but neither Bean nor Jackson confirmed this in subsequent interviews. Bean's fear of flying in helicopters caused him difficulties in mountainous New Zealand, where the trilogy was filmed. After a particularly rough ride, he vowed not to fly to a location again; in one instance, he chose to take a ski lift into the mountains while wearing his full costume (complete with shield, armour, and sword) and then hike the final few miles.[23][24]

text: Other roles gave more scope for his acting abilities. In 1999's Extremely Dangerous, his character walked a fine line between villain and hero.[25] He became a repentant, poetry-reading Grammaton cleric who succumbs to his emotions in 2002's Equilibrium, a quirky alien cowboy in 2003's The Big Empty, and a sympathetic and cunning Odysseus in the 2004 film Troy. He appeared with other Hollywood stars in Moby's music video "We Are All Made of Stars" in February 2002.[26] In the same year, he returned to the stage in London performing in Macbeth.[27] Due to popular demand, the production ran until March 2003.

text: Bean has done voice-over work, mostly in the British advertising industry.[28] He has featured in television adverts for O2, Morrisons and Barnardos as well as for Acuvue and the Sci-Fi Channel in the United States. He also does the voice over for the National Blood Service's television and radio campaign. For the role playing video game, The Elder Scrolls IV: Oblivion, he voiced Martin Septim.[29] Bean's distinctive voice has also been used in the intro and outro segments of the BBC Formula 1 racing coverage for the 2011 and 2012 seasons.

text: Bean completed a one-hour pilot, Faceless, for US television. He has also appeared in Outlaw, an independent British production, and a remake of 1986 horror film, The Hitcher (released in January 2007); here he used an American accent again. In 2009, he appeared in the Red Riding trilogy as the malevolent John Dawson. He also appeared in Percy Jackson & the Olympians: The Lightning Thief (2010), playing the role of Zeus, the king of Mount Olympus and god of the sky, thunder, and lightning. Also that year, Bean starred in Cash, playing the lead role of Pyke Kubic, a dangerous man determined to recover his wealth in a bad economy. Cash explored the role money plays in today's hard economic times. Bean also played the villain's twin brother, Reese.

text: Bean starred in the first season of Game of Thrones, HBO's adaptation of the A Song of Ice and Fire novels by George R. R. Martin, playing the part of Lord Eddard Stark.[30] Bean and Peter Dinklage were the two actors whose inclusion show runners David Benioff and D. B. Weiss considered necessary for the show to become a success, and for whose roles no other actors were considered. His portrayal won him critical praise; as The A.V. Club's reviewer put it, he "portrayed Ned as a man who knew he lived in the muck but hoped for better and assumed everyone else would come along for the ride."[31] HBO's promotional efforts focused on Bean as the show's leading man and best-known actor.

text: In August 2012, Bean appeared as cross-dressing teacher Simon in the opening episode of the second season of UK television series Accused, a role which would earn him a Royal Television Society best actor award. He starred in Soldiers of Fortune and the 2012 film Cleanskin, in which he plays a secret service agent faced with the task of pursuing and eliminating a suicide bomber and his terrorist cell.

text: He appeared in Tarsem Singh's Snow White film, Mirror Mirror, which was released in the U.S. in March 2012. Bean reprised his role as Christopher Da Silva in the Silent Hill film sequel Silent Hill: Revelation.[32] He co-starred in the ABC drama series Missing, which premiered in early 2012.

text: Bean starred in the espionage television series Legends as Martin Odum, an FBI agent who takes on various fabricated identities to go undercover. The show was cancelled after its second season. An intensive viral marketing campaign was centred on the hashtag #DontKillSeanBean, focusing on the various deaths of his past characters and promising his character in Legends would not suffer the same fate.[33] The campaign culminated with a Funny or Die exclusive video featuring Bean filming a scene for the show where he's become so accustomed to dying on screen that he expects his character to die a bizarrely gruesome death despite the simplicity of the scene.[34]

text: He currently stars in the ITV Encore drama series The Frankenstein Chronicles.

text: Image[edit]

text: Bean is often described as "down to earth" and has retained his Yorkshire accent.[14] He admits that he does not mind being considered as a "bit of rough" by women.[35] He has developed a reputation as a loner, a label that he considers unfair.[14] He has described himself instead as quiet, and interviewers confirm that he is a "man of few words",[36] with one interviewer calling him "surprisingly shy".[37] He admits that he can be a workaholic; he reads books or listens to music in his spare time, and is a skilled pianist. He is also a keen gardener, welder, and sketcher.[38]

text: Acting style[edit]

text: Despite being professionally trained, Bean adopts an instinctive style of acting that some say makes him especially well-suited to portraying his characters' depths.[39] He has said that the most difficult part is at the start of filming when trying to understand the character.[40] After achieving this, he can snap in and out of character instantly. This ability to go from the quiet man on set to the warrior Boromir "amazed" Sean Astin during filming of The Fellowship of the Ring.[41] Other fans include directors Mike Figgis and Wolfgang Petersen, who described working with Bean as a "beautiful thing".[39]

text: Personal life[edit]

text: Bean has married five times and divorced four times. He married his secondary school sweetheart Debra James on 11 April 1981, and they were divorced in 1988. He met actress Melanie Hill at RADA, and they were married on 27 February 1990. Their first daughter was born in October 1987, and their second was born in September 1991. Their marriage ended in divorce in August 1997. During the filming of Sharpe, Bean met actress Abigail Cruttenden, and they were married on 22 November 1997. Their daughter was born in November 1998. They were divorced in July 2000.

text: Bean began dating actress Georgina Sutcliffe in 2006. After cancelling their planned January 2008 wedding on the eve of the ceremony for "personal reasons", he married Sutcliffe at the Marylebone Register Office in London on 19 February 2008. During allegations that Bean physically abused Sutcliffe in 2009,[37] domestic disturbances resulted in the police being called to their home in Belsize Park on three occasions. Bean and Sutcliffe's separation was announced on 6 August 2010,[42] and a decree nisi was granted on 21 December 2010.[43] He married Ashley Moore on 30 June 2017.[44]

text: Bean has been a fan of Sheffield United since he was eight years old, and has a tattoo on his left shoulder that reads "100% Blade".[45][46] He opened their Hall of Fame in 2001 and, after making a six-figure contribution to the club's finances, was on their board of directors between 2002 and 2007 to help raise the profile of the club. He stepped down in 2007 to "go back to being an ordinary supporter" where he feels at home.[47] During his time there, he had some issues with Neil Warnock, former manager of Sheffield United, after Warnock claimed that Bean stormed into his office and shouted at him in front of his wife and daughter when the club had just been relegated from the Premier League. Bean denies it, calling Warnock "bitter" and "hypocritical".[48] He wrote the foreword and helped to promote a book of anecdotes called Sheffield United: The Biography.[49] He also follows Yorkshire County Cricket Club.[50]

text: Bean has a tattoo of the number nine on his shoulder, written using Tengwar, in reference to his involvement in the Lord of the Rings films and the fact that his character was one of the original nine companions of the Fellowship of the Ring. The other actors of "The Fellowship" (Elijah Wood, Sean Astin, Orlando Bloom, Billy Boyd, Ian McKellen, Dominic Monaghan, and Viggo Mortensen) have the same tattoo. John Rhys-Davies, whose character was also one of the original nine companions, arranged for his stunt double to get the tattoo instead.[51]

text: Aligned with the British Left, Bean is a supporter of Jeremy Corbyn and of "old Labour",[52] the era before former Prime Minister Tony Blair rebranded the Labour Party as New Labour, and has expressed his admiration for Tony Benn.[53]

text: Filmography[edit]

text: Film[edit]

text:
Year
Title
Role
Notes

1984
Winter Flight
Hooker

1986
Caravaggio
Ranuccio

1988
Stormy Monday
Brendan

1989
How to Get Ahead in Advertising
Larry Frisk

The Fifteen Streets
Dominic O'Brien

War Requiem
German Soldier

1990
Windprints
Anton

Field, TheThe Field
Tadgh McCabe

1992
Patriot Games
Sean Miller

1994
Shopping
Venning

Black Beauty
Farmer Grey

1995
GoldenEye
Alec Trevelyan / Janus

1996
When Saturday Comes
Jimmy Muir

1997
Anna Karenina
Vronsky

1998
Ronin
Spence

Airborn
Dave Toombs

1999
Bravo Two Zero
Andy McNab

2000
Essex Boys
Jason Locke

2001
Lord of the Rings: The Fellowship of the Ring, TheThe Lord of the Rings: The Fellowship of the Ring
Boromir
Phoenix Film Critics Society Award for Best Cast
Nominated—Empire Award for Best British Actor
Nominated—Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture

Don't Say a Word
Patrick Koster

2002
Lord of the Rings: The Two Towers, TheThe Lord of the Rings: The Two Towers
Boromir
Online Film Critics Society Award for Best Cast
Phoenix Film Critics Society Award for Best Cast
Nominated—DVDX Award for Best Audio Commentary (New for DVD) (shared with others)
Nominated—Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture Extended Edition only

Equilibrium
Errol Partridge

Tom and Thomas
Paul Shepherd

2003
Lord of the Rings: The Return of the King, TheThe Lord of the Rings: The Return of the King
Boromir
Broadcast Film Critics Association Award for Best Cast
National Board of Review Award for Best Cast
Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture
Nominated—Phoenix Film Critics Society Award for Best Cast

Big Empty, TheThe Big Empty
Cowboy

2004
National Treasure
Ian Howe

Troy
Odysseus

2005
North Country
Kyle

Flightplan
Captain Marcus Rich

Island, TheThe Island
Dr. Merrick

Dark, TheThe Dark
James

2006
Silent Hill
Chris Da Silva

2007
Hitcher, TheThe Hitcher
John Ryder

Outlaw
Danny Bryant

Far North
Loki

2010
Black Death
Ulric
Screamfest Horror Film Festival Trophy for Best Actor
Nominated—Chainsaw Award for Best Actor

Percy Jackson & the Olympians: The Lightning Thief
Zeus

Cash
Pyke Kubic
Reese Kubic

Death Race 2
Markus Kane
Direct to video

2011
Age of Heroes
Jones

2012
Cleanskin
Ewan

Soldiers of Fortune
Dimidov

Mirror Mirror
The King, Snow White's father

Silent Hill: Revelation
Christopher Da Silva / Harry Mason

2014
Wicked Blood
Frank Stinson

2015
The Snow Queen 2: The Snow King
Arrog
Voice

Any Day
Vian

Jupiter Ascending
Stinger Apini

Pixels
Corporal Hill

The Martian
Mitch Henderson

2016
The Young Messiah
Severus

Kingsglaive: Final Fantasy XV
King Regis
Voice[54]

2017
Drone
Neil

Dark River
Richard Bell

The Unconquered
Narrator
Voice
Short animation about the history of Poland[55]

tag: table

text: Television[edit]

text:
Year
Title
Role
Notes

1984
The Bill
Horace Clark
Episode: "Long Odds"

1985
Exploits at West Poley
Scarred Man
Television film

1986
The Practice
Terry Donlan
2 episodes

1988
The Storyteller
The Prince
Episode: "The True Bride"

Troubles
Capt. Bolton
Television film

1989
The Jim Henson Hour
Prince
Episode: "Musicians"

1990
Screen Two
Vic
Episode: "Small Vones"

Lorna Doone
Carver Doone
Television film

Wedded
Man

1991
4 Play
Smith
Episode: "In the Border Country"

Screen One
Gabriel Lewis / Jack Morgan
2 episodes

Clarissa
Lovelace
4 episodes

1992
Inspector Morse
Alex Bailey
Episode: "Absolute Conviction"

Fool's Gold: The Story of the Brink's-Mat Robbery
Micky McAvoy
Television film

My Kingdom for a Horse
Steve

1993
Sharpe's Rifles
Sergeant/Lieutenant Richard Sharpe
Television film

Sharpe's Eagle
Captain Richard Sharpe
Television film

Lady Chatterley
Mellors
4 episodes

A Woman's Guide to Adultery
Paul
3 episodes

1994
Jacob
Esau
Television film

Sharpe's Company
Captain Richard Sharpe

Sharpe's Enemy
Major Richard Sharpe

Sharpe's Honour

Scarlett
Lord Richard Fenton
3 episodes

1995
Sharpe's Gold
Major Richard Sharpe
Television film

Sharpe's Battle

Sharpe's Sword

1996
Decisive Weapons
Narrator
Documentary

Sharpe's Regiment
Major Richard Sharpe
Television film

Sharpe's Siege

Sharpe's Mission

1997
Sharpe's Revenge

Sharpe's Justice

Sharpe's Waterloo
Lieutenant Colonel Richard Sharpe

1998
The Canterbury Tales
The Nun's Priest
Voice
Episode: "Leaving London"

1999
Bravo Two Zero
Andy McNab
Television film

Extremely Dangerous
Niel Bryne
4 episodes

The Vicar of Dibley
Himself
Episode: "Spring"

2003
Henry VIII
Robert Aske
Television film

2004
Pride
Dark
Voice
Television film

2006
Faceless
Eddie Prey
Unaired pilot

Sharpe's Challenge
Lt Col Richard Sharpe
Television film

2007
Once Upon a Time in Iran
Narrator
Documentary[56]

2008
Crusoe
James Crusoe
4 episodes

Sharpe's Peril
Lt Col Richard Sharpe
Television film

2009
Red Riding
John Dawson
2 episodes

2010
Lost Future, TheThe Lost Future
Amal
Television film

2011
Game of Thrones
Eddard "Ned" Stark
9 episodes
Portal Award for Best Actor (Television)
IGN Award for Best TV Hero
IGN People's Choice Award for Best TV Hero
Nominated—EWwy Awards for Best Actor
Nominated—Saturn Award for Best Actor on Television
Nominated—Scream Award for Best Fantasy Actor
Nominated—Scream Award for Best Ensemble
Nominated—Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series

2012
Missing
Paul Winstone
8 episodes

Accused
Simon / Tracie
Episode: "Tracie's Story"
International Emmy Award for Best Actor
Royal Television Society Best Actor Award
Nominated—BAFTA TV Award for Best Actor

2013
Family Guy
Portrait Griffin
Voice
Episode: "No Country Club for Old Men"

2014
Robot Chicken
Dr. Doom, North, Heathcliff
Voice
Episode: "Catdog on a Stick"

2014–15
Legends
Martin Odum
20 episodes; also producer
Nominated—People's Choice Award for Favorite Cable TV Actor

2015–present
The Frankenstein Chronicles
John Marlott
12 episodes; also co-producer

2016
The Untamed
The Stranger
Voice
26 episodes

Wasted
Himself
Multiple episodes

Roman Empire: Reign of Blood
Narrator
Documentary

2017
Broken
Father Michael Kerrigan
TV drama

2018
Medici: Masters of Florence
Jacopo de' Pazzi

2018–present
The Oath
Tom Hammand
Main role

text: Video games[edit]

text:
Year
Title
Role

1997
GoldenEye 007
Alec Trevelyan (likeness)

2002
The Lord of the Rings: The Two Towers
Boromir

2006
The Elder Scrolls IV: Oblivion
Martin Septim

2012
Lego The Lord of the Rings
Boromir

2013
Papa Sangre II
Narrator/Guide

2014
Train Simulator 2014
Narrator for the trailer

2015
Kholat
Narrator

Life Is Feudal

2016
Sid Meier's Civilization VI

text: Music videos[edit]

text:
Year
Artist
Title
Role

2002
Moby
"We Are All Made of Stars"
Himself

text: Awards and honours[edit]

text: Bean received three separate awards in 2004 as part of the ensemble cast in The Return of the King[57] from the Screen Actors Guild, the National Board of Review, and the Broadcast Film Critics Association. In 2013, he was named best actor at the Royal Television Society awards and won an International Emmy Award for his role in Accused.[58] He won two further awards in 2017: the Hollywood Reporter Award at the Cologne Film Festival,[59] and the award for Best Performance in a Single Drama or Drama Series (Male) in the Royal Television Society's Regional Awards North West.[60]

text: In his home city of Sheffield, he has received several honours and acclaims, including an honorary doctorate from Sheffield Hallam University in 1997 and a Doctor of Letters in English Literature from the University of Sheffield in July 2007.[57][61] He was selected as one of the inaugural members of Sheffield Legends (the Sheffield equivalent of the Hollywood Walk of Fame) and a plaque in his honour has been placed in front of Sheffield Town Hall.[62] Bean commented: "I did get a doctorate from Sheffield Hallam University about 11 or 12 years ago so now I'm a double doctor. But this was wonderful, especially from my home city."[57][61]