Pitch Of Brass Instruments
The pitch of a brass instrument is determined by the fundamental frequency and the frequencies of the overtones, which typically follow a harmonic series. The fundamental is not playable in some instruments. The table below provides the pitch of the second overtone (an octave above the fundamental) for some common brass instruments in descending order of pitch. This is notated as middle C in brass band music.
| B♭4 or A4 | piccolo trumpet |
| E♭4 | soprano trumpet or cornet |
| B♭3 | trumpet, cornet, flugelhorn, soprano trombone |
| E♭3 | alto horn, alto trombone, alto trumpet |
| B♭2 | tenor trombone, baritone horn, euphonium, B♭ horn, bass trumpet |
| F2 | F horn |
| E♭2 or F2 | bass tuba |
| B♭1 | contrabass tuba, sousaphone |
Read more about Pitch Of Brass Instruments: Range
Famous quotes containing the words pitch of, pitch, brass and/or instruments:
“It is beyond a doubt that during the sixteenth century, and the years immediately preceding and following it, poisoning had been brought to a pitch of perfection which remains unknown to modern chemistry, but which is indisputably proved by history. Italy, the cradle of modern science, was at that time, the inventor and mistress of these secrets, many of which are lost.”
—Honoré De Balzac (1799–1850)
“It is beyond a doubt that during the sixteenth century, and the years immediately preceding and following it, poisoning had been brought to a pitch of perfection which remains unknown to modern chemistry, but which is indisputably proved by history. Italy, the cradle of modern science, was at that time, the inventor and mistress of these secrets, many of which are lost.”
—Honoré De Balzac (1799–1850)
“... [a] girl one day flared out and told the principal “the only mission opening before a girl in his school was to marry one of those candidates [for the ministry].” He said he didn’t know but it was. And when at last that same girl announced her desire and intention to go to college it was received with about the same incredulity and dismay as if a brass button on one of those candidate’s coats had propounded a new method for squaring the circle or trisecting the arc.”
—Anna Julia Cooper (1859–1964)
“I lay my eternal curse on whomsoever shall now or at any time hereafter make schoolbooks of my works and make me hated as Shakespeare is hated. My plays were not designed as instruments of torture. All the schools that lust after them get this answer, and will never get any other.”
—George Bernard Shaw (1856–1950)