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APPROVE): La Minor Fro Feasor Iran of Fcha Sehoosf vest HISTORY OF THS rssntm TMMM THE MROQIIB » APPROVE): la Minor Fro feasor *jyuj Iran of fcha SehooSf '®T Ifuaic at* School THE nmmm of mm THSKPET FM MMMA THKSIS Presented to tim Sraiwat® Council of tfao Horth Tmi Stmt® College la Partial FulfilJUMmt of th* Requirement* For fcho Degree of MASTER OF MCSIC by Robert S. Douglaee, B* tf« 1/ Br®@fe®urlig®» Texaa August» 1953 /. ^ PREFACE The purpose of this study is to present the development of the trumpet from the primitive lip-vibrated instruments of aneient cultures to the baroque trumpet 011 which were performed the astounding parts composed by the culminating figures of that period, Baoh and Handel# The considerable interest displayed in the music of the baroque period and the recent revival of mch of it in modern performance demands an investigation of the instru- ments upon which it was performed, among which one of the least understood is the trumpet. It is desirable for modem performers using modern instruments in rendering these parts to understand the resouroes and limitations of the instru- ment contemporary with the music* ili TABLE OP CONTENTS fag® nmes . ifi LIST OF ILLtfSTKATIOSS v LIST OF PLATES Chapter I. AHTIQUITY AW THE MIDDLE AOSS ~-o. li^OO) . 1 II. THE RKUAISSAHCK (®. li*00-l600) 28 III* THJS BAROQUE ERA (l600-XT50) |^. IV. MODERN PERFORMANCE OF MSOQl® TRUMPET PARTS . , 138 Appendix I. HOJflJNCLATtJRg OP THB TRUMPKT AS) MOOTHPISCB . Xl|3 II. TABLR OP THE WORKS OF KAHDKL T7SING THUMP® . III. TABLE OF TIES 80BKS OP BACH USING 7RUSEPKT . ISO IV. DIGEST OF 140150 PSE IMPAHARE A SONARS CI TBGSBA. M GIHOLAHO FA!»TINI 159 BIBLIOGRAPHY 215 It LIST OP ILLUSTRAflOHS Figure Page 1* Harmonic S®ries of Lip-Vibrated Aerophones ... 3 2» Shophar Galls Used la the Jewish Synagogue » • . 12 3# Harmonic Series of the Trumpet in C 29 WP##»W frea Pufav'a Gloria Ad liete . 37 5« Exeerpt fmm Motet, Stlrps Mocsnlgo ...... Ij2 6# The Range of the Truapet i|4 7* Processional far Six Trurapets , 52 0» Harmonic Series for Variously Pitohed Truxapets . 57 9» Method of Kotating for the Transposing Trumpet . £C 10. Division of Traaqpet Parts 55 11. Overture to Monteverdi's Orfeo . 60 12. First Measure of Fanfare . » . 63 13* Truanpet Parts in the Opening Measures of Benevoli * s Fsstaaesae und ffyranus 66 34. Exeerpt from the Gloria 67 15. Exoerpt frea |ja Deri.. • 69 l6* Opening Measures of a Sonatina fro» 11 Poao g..«0ro 70 17* Three Exeerpt» from Pallavacino*s ^ ^ 18. Exeerpt froni Oadalus et Horalona ........ 82 19* Truapet Flourish from Aleeate ......... 82 Pi glare Fag# 20* Tim Satire Trorapet fart from Hlppolyte SM Ariel* . 83 21. Trumpet Parts for the Ie%en*»«t pout lee Qaerrlera e| Xm Amazon®® . 85 22* Opening Meaeuree of Trunpet and Mag® Continuo Part to Aot Z. Seen® IV. ' CaaWr et*mii*x 86 23. Twuspet Parte for tba Opening Ifeaearea of The Yorkahlre Peaet S00& 88 2lf. Bxeerpt from line Arthur *..•.*•••••« 88 25. Excerpt from Jgi£ 89 26. Exenrpt front The Pttfe® of Qloaoeater1* Birthday Ode 90 27. Trumpet Overture, frosa The Indian. Queen ..... 91 28. Salute to Claudio, froa &iylpglte, ........ 93 29. Opening Meaeurea of the Truaspet Parte for Day by Day We Hagnlfy Thee . 30. The Meeea 41 Voce as Applied to the tjwspet ... 9^ 31* An Bxeerpt fro» ifttborah . 95 32. An Bxeerpt from Israel In Egypt ......... 96 33* Rxeerpt of Truapet Part for the Halleluiah Usaa 97 3^« First Meaeuree of the fnaspet Part for The 35* LeaeeTrtagpet Nott eShal Writtel Sounn fod r Truopet ......... 98 36. Tmuapet and Horn Parte at the Beginning of the Seeond Aet of Joahua ..•••«•«••• 99 37» Florid Trumpet Part froa the Flret Act of The TyjywBjhNoar tlxm and Truth . 100 vl Figure Fug® 38* Fanfare Figures Employed by Schfits • •••••• 102 39. Xxaaples of Schuts* Method of Using C Trunpete in Moveaents in P * . 1<% 4,0# Closing insures of the Truapet Parte in Sohelle1a Cantata .«•«• 106 lp>. Excerpt from Voia Hlaaael Kara der Bngal Sohsflf . • 106 1)2, Excerpt of Pour-Part Canonic '«7riting ...... 108 t|3* Excerpt froa Coneentas Musloo-Instruisontalla * • 109 Wl* Excerpt of Trunpet and Cembalo Parts frosa ?oleraann*0 letttert in F . » lilt 45 • Excerpt Trot* Cantata Ho. IS • . • « 118 ¥>* Saia J* iigggi, igt, 119 lj.7• Chart Showing Positions of the Zttgtroapete . • 123 kS. Kxcerpt froa® ffroaba Pa Tlrarsi Part in Cantata Ko. £.&>"* ........ 124 ^9. Sl^Si£,da T£rftrsi Parts in the Chorale Finale of Cantata go. k3 . 125 50. Trmsgmt Part for the Chorale Finale of Cantata No. 128 51* First Measures of the Trtuqpet Part for Brandenburg Concerto Io« 2 .... 129 52* Exftinpl© of High, Rapid Hotes to fie Played Softly 130 S3* Example Showinc Transposition of the P Truuspet • 131 $k* Kxcerpt from the Foui* Trusgjot Farts for Cantata £&. 133 55* Trmupet Farts from the Introduction to the Gloria of the S-Mlnor Mags .......... 135 56. Sxoaple Showing Bach*® Use of the Trusspet in a tlinor Key 13& vil LIST OF PLATES Plat® PitS® I. Triuwot ? XI. Raraftn Trumpets 15 III. Oliphant 25 IV. Trumpet mad mtn . • . $$ V. Zugtrowpet© 122 •ill CHAPTER I ANTIQUITY AND THE MIDDLE AGES (~~C. 3400) Definition® of the trumpet exhibit certain diversities that oust be resolved to some point of agreement, e "common denominator" as it were, before the history of the instrument can be studied. Examination of the following definitions from various sources reveals that each describes the tube of the trumpet as being cylindrical for the greater part of its length, and flaring into & boll at the end* Apel defines the trumpet as: Trumpet (P. trompettet a, Trompete: It. tromba)• !• The modern orchestral trumpet is a brass instru- ment with a narrow tube which is cylindrical for about three"quarters of its length, then widening out into a moderate sited belli and with a cup-shaped mouth- piece Catty concurs with Apel* s definition, but adds a specification of external shapes Trumpet (natural trumpet, Pr. trompettei Qer. Trompete. Trumaet. Tarantarai Ital. trealMu" tr« doppja. clarino). An instrument usually of brass consisting of a tube mainly cylindrical in bore doubled back on Itself /Ttalios ain©7 ***& played witk a mouthpi^e of tlie hemispherical variety,2 1 Willi Apel, "Trumpet," Harvard Dictionary of Music. ^Nicolas C. Gatty, "Trumpet," Orovg's Dictionary of Music and Musicians* edited by H» C, Colles, Vol« V, 3r3T ed« Sessaraboff adds a specification of range insisting that true trumpets are capable of playing in the fourth octave of the harmonic series: Trumpets—cylindro-conoidal bore Instrument® with two-third® of the tube length cylindrical9 one-third oonoidal, with a bell of medium slsef. four-octave instrumental cup-shaped mouthpiece either with a shallow hemispherical or medium depth cup and long baokbore*3 The real or classical trumpets form an incomplete family which has only the alto and tenor voioe* There are no real four-octave trumpets in the soprano or the sopranino tonal positions nor a real bass trumpet in the lower position* The instru- ments pitched above the alto and below the tenor trumpets change their generic acoustioal character- istics to that of the trombone family, JL* e*, become . three-ootave instruments and change their Tone oolor*^ Bessaraboff*s reference to "three-octave instruments* and "four-octave Instruments" is clarified in his classifi- cation of lip-vibrated aerophones* There are certain well established facts which may be taken as a guide for the generic classification of lip-vibrated aerophones. There are clearly recog- nizable groups of lip-vibrated aerophones: 1* Two- octave instruments* 2, Three-octave instruments* 3* Pour-octave instruments* The first group, two- oetave instruments, is so-called because their partial tones range from the pedal tone to the fourth partial tone inclusive* Some primitive instruments made of animal horns, tusks or tree bark and having short, large bores produce only the pedal tonef some produce the pedal and the second partial tone, etc*, not exceeding the fourth partial tonef anything above that produced by sane exceptional player* should be regarded as a primitive Mclarenblaaen*M-* ^See Plate 3, Appendix I* Nicholas Bessaraboff, Ancient European luslc&l Instruments» p* 155. ^See p. 28. ^festtp..g O O Two-octave instruments 5- g., animal horns/ Three-ootave instruments £@m g, , modern truopetjg7 Pour-octave instruiaents /©« g., trumpet of the baroque/ Pig# !•—Hanaonio series of lip-vibrated aerophone® 6 The ton® color of such an instrument is either dull or rough and brutal, owing to the saall number of over- tones# Sinoe the pedal tone is always producible on instruments of this group there are no sub-groups. The second group, the three-octave instruments, has a range of partial tones from the pelSTtmSri© the eighth partial tone inclusive* Some exceptional players can produce partial tones above the eighth by means of the "clarenblasen" technique, but practical experience shows that it is wiser to stay within this limit* The slide trombones belong to this group, as mil m the modern valve instruments Invented in the nineteenth century* bugles (tubas, fltigelhoras, sax- horns of all si&es), comets, valve trombones, modern high tnuapets (in B-flat, C, B, E-flat, and F), saxo- trombas, and saxtubas* The tone color of those instru- ments is more suitable for military bandsj some instruments like the euphonium {the baritone bugle) have a fine tone not devoid of a certain degree of nobility. Nevertheless, they are inferior to the next group#which may be regarded as the aristocracy of the brass-wind Instruments• 'Bessaraboff, ibid., adapted from p. 139. The third group, four-ootave instmaenta. reaches normally AS high as the sixteenth partial tone.
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