those in the United States, in fact, except the Boston and Chicago
Orchestras and the Symphony Society of New York) the word trumpet is
merely a euphemism for cornet, the familiar leading instrument of the
brass band, which, while it falls short of the trumpet in the quality
of its tone, in the upper registers especially, is a more easily
manipulated instrument than the trumpet, and is preferable in the
lower tones.

[Sidenote: _The trombone._]

Mendelssohn is quoted as saying that the trombones (Plate X.) "are too
sacred to use often." They have, indeed, a majesty and nobility all
their own, and the lowest use to which they can be put is to furnish a
flaring and noisy harmony in an orchestral _tutti_. They are
marvellously expressive instruments, and without a peer in the whole
instrumental company when a solemn and spiritually uplifting effect is
to be attained. They can also be made to sound menacing and
lugubrious, devout and mocking, pompously heroic, majestic, and lofty.
They are often the heralds of the orchestra, and make sonorous
proclamations.

[Sidenote: _Trombone effects._]

[Sidenote: _The tuba._]

The classic composers always seemed to approach the trombones with
marked respect, but nowadays it requires a very big blue pencil in the
hands of a very uncompromising conservatory professor to prevent a
student engaged on his _Opus 1_ from keeping his trombones going half
the time at least. It is an old story how Mozart keeps the instruments