So what we now think of as a tenor trombone with B in first position, pitched at A=440 was actually thought of as a trombone in A (in first position), pitched at A=466. Surviving basses in D at A=466 (E at 440)—for example: Ehe, 1612 (Leipzig) and Hainlein, c.1630 (Nuremberg) confirm Praetorius' description. It is also worth noting that Rognoni's "Suzanne ung jour" setting descends repeatedly to BB, which is a tone lower than the lowest note playable on a bass in F; on a bass in D, it falls in (modern) fifth position. Many groups now perform at A=466 Hz for the sake of greater historical accuracy. Timbre The sackbut was described as suitable for playing with the 'loud' ensembles in the outdoors, as well as the 'soft' ensembles inside. The alta capella bands are seen in drawings as entertaining outside with ensembles including shawms, trumpets and trombones. When pushed, sackbuts can easily make a loud and brassy sound. The sackbut also responds very well to rather soft playing—more so than a modern trombone. The sound is characterized by a more delicate, vocal timbre. The flat rims and shallow cups of the older mouthpieces are instrumental in providing the player with a much wider palette of articulations and tonal colours. This flexibility lends itself to a vocal style of playing and facilitates very characterful phrasing. Mersenne wrote in 1636, "It should be blown by a skillful musician so that it may not imitate the sounds of the trumpet, but rather assimilate itself to the sweetness of the human voice, lest it should emit a warlike rather than a peaceful sound." Lorenzo da Lucca was said to have had "in his playing a certain grace and lightness with a manner so pleasing". Performance practice In musical traditions that continued into the baroque from earlier practice, musicians were expected to give expression to the written music by ornamenting with a mixture of one-note "graces" and whole passage "divisions" (also known as "diminutions"). The suggestions for producing effective ornaments without disrupting the line and harmony are discussed alongside countless examples in the 16th and early 17th century Italian division tutors. Graces such as the accento, portar della voce, tremolo, groppo, trillo, esclamationo and intonatio are all to be considered by performers of any music in this period. "Cornetts and trombones...play divisions that are neither scrappy, nor so wild and involved that they