ORCHESTRAL PARTS FOR NATURAL TRUMPETS

The rather florid trumpet parts with unusually high tessituras occurring in the scores of the Baroque period are not to be construed as carrying over beyond the works of Johann Sebastian Bach. This style of playing, known as clarion, became, for all practical purposes, a lost art with the advent of the more homophonic style of composition developed by the post-Bach composers. Accordingly, trumpet parts became less melodic and more functional as harmonic supports, in keeping with the structural changes.

Orchestral parts for the natural trumpet are, in the main, quite similar to those for the natural horn. Their rather stereotyped functions include: (1) long sustained notes at all dynamic levels, (2) quasi-fanfare figurations, (3) brief statements of principal thematic ideas for emphasis, (4) chord outlining mostly of major triads, (5) building cadential climaxes with their stronger tonal weights, and (6) emphasis of isolated melodic notes and/or accented chord tones. Extended phrases of cantabile are conspicuously absent. Excerpts in Example B-12 illustrate, in part, typical trumpet passages in these categories. (Review Examples B-8a and b for (4) and (5).)

THE VALVE TRUMPET

The gradual acceptance of a trumpet with valves paved the way for a new approach to its potentialities both as a solo and ensemble instrument. With scale restrictions removed, its new flexibility and responsiveness could be applied to melodic ideas and figurations heretofore possible only in the wood-winds. Symphonic scores after 1850 show the composers' awareness of its capacities for cantabile and extraordinary agility with figurations having large and unusual intervals. Trumpet parts became more important melodically, more active rhythmically, and more conspicuous dynamically for peak accents and climaxes. A comparison of the excerpts given in Example B-14 with those previously shown for natural trumpets reveals the extent to which changes occurred.

The superior tonal strength of the trumpet is an important consideration, as it is the highest voice part in the brass section. Its brilliant, piercing tone can cut through any orchestral fabric, yet its softer tones are rewardingly smooth and well voiced for subdued melodic ideas. It responds finely to all tonguing styles and trills. There are no serious tonal breaks in its compass other than some comparatively minor insecurities with the lowest tones. However, extremes of range, both high and low, are difficult to control in the softer dynamic levels.

Fortissimo in muted trumpets, in the medium-to-high range, has brilliant, but brassy, carrying power. When played pianissimo, muted trumpets in two or three parts produce an effect which all but defies description; they become phantom trumpets of another sphere. Debussy caught this color well in the second of his orchestral Nocturnes, Fetes.

The basic playing formulas developed for the natural trumpet have been retained for the valve instrument. Composers have simply developed their range and scope in keeping with the newer and broader concepts of orchestral thinking. Their creative expansiveness with orchestral textures has resulted in increased technical skill on the part of players.

It is the ever-present danger of overwriting for the trumpets which should be watched. The trumpet and its music need constant reevaluation in the perspective of context, appropriateness, and musical value. It should not be used indiscriminately for artificial doublings or for effects far removed from the music it seeks to enhance.

The trumpet in F, the one most commonly found in symphonic scores dating from the 1850s, has been supplanted by ones in C and Bb. The trumpet in C appears to have been favored by European composers, possibly because of practical reasons of notation as recommended by Richard Strauss in his revision of the Treatise on Instrumentation by Hector Berlioz. The theory set forth by Strauss is that written parts in C would facilitate and standardize notation inasmuch as trumpet parts are not always played by the instrument that is designated. This theory has been accepted in principle and, to some extent, has been practiced by American composers and trumpeters of major symphony orchestras.

However, the trumpet in Bb is the choice of the great majority of players and is the one to write for. This instrument has the advantage of an extra slide, or spiral-key mechanism, which changes its Bb fundamental to that of A, thereby making it serviceable for all key tonalities. A choice between the two is determined, as with the clarinets, by the key deviations from C major, Bb being used for flat keys and A for those with sharps. The use of key signatures is recommended.

CORNET

Some confusion exists concerning the tonal differences between the trumpet and the cornet. Since the 1920s, trumpet-model cornets have been introduced, thereby increasing this confusion. Most symphony conductors would not agree with some theorists that tonal differences between the two instruments are slight and inconsequential. The fact remains that the cornet's tube length and shape are not the same as those of the trumpet and neither are the size and shape of its mouthpiece. These differences account for a distinctive set of tonal values for each instrument. The cornet has a round, mellow, smooth tone, but with less brilliance and power than the trumpet. It excels in flexibility, agility, and lyric expressiveness — qualities which distinguish it as the best high-range brass instrument for cantabile melody and for rapid, intricate passages. Its tonal qualities lie between those of the horn and trumpet and have playing characteristics of each. Representative parts for cornets can be examined in the Symphony in D minor by Franck, the Capriccio Italien by Tchaikovsky, and the ballet Petrouchka by Stravinsky.

Cornets are not to be considered as regular members of the brass section but rather as supplementary, auxiliary instruments. A choice of Bb or A crooking will be determined in the same manner as that given for the trumpets. They are ordinarily used in pairs, have the same written and sounding ranges as the trumpets, and are given parts spanning the soprano-alto registers.

ROTARY TRUMPET

Rotary trumpets offer a unique timbral quality that is distinct from their piston-valve counterparts, commonly used in American orchestras and bands. Characterized by a softer, rounder tone, rotary trumpets are especially favored in European orchestral settings and are considered the instrument of choice for performing traditional Austrian or German works by composers like Mozart, Mahler, and Bruckner. The rotary valves in these trumpets contribute to a smoother airflow, which in turn creates a more fluid legato line. This is particularly useful for passages that require delicate phrasing and subtlety, where the sound must blend seamlessly with other instruments.

In orchestral music, the choice of using a rotary trumpet can make a significant impact on the overall interpretation of a piece. The instrument's particular timbre and natural articulation characteristics can bring out nuances in the music that might otherwise go unnoticed. In works from the Romantic era, the warm and lyrical sound of rotary trumpets can enhance the richness of the orchestral palette, providing a tonal contrast to the brighter, more brilliant sound of piston-valve trumpets. Renowned orchestras such as the Vienna Philharmonic and the Leipzig Gewandhaus Orchestra frequently utilize rotary trumpets to maintain their signature sounds and interpretive styles. Thus, the rotary trumpet continues to be an invaluable asset in orchestral settings, offering musicians and listeners alike a different avenue for musical expression.