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Slide Trumpet Madness: Fact Or Fiction? Downloaded from by Guest on 30 September 2021 INSTRUMENTS Herbert W. Myers Slide trumpet madness: fact or fiction? Downloaded from https://academic.oup.com/em/article/XVII/3/383/417713 by guest on 30 September 2021 The existence of the slide trumpet as the 15th-century [the S-shaped trumpet] was widely used in hauts precursor of the trombone has long been accepted by instruments bands at courtly dances' His challenge historians of brass instruments, the shawm band and instead concerns only the slide, and specifically the basse dance Peter Downey's article 'The Renaissance telescoping mouthpiece extension or single slide' slide trumpet Fact or fiction7" (EM, Feb 1984, p 26) Since the melodic capabilities of a natural trumpet questions the theoretical basis for believing there was would have been limited in this period to the lowest such an instrument in the Renaissance, claiming that notes of the harmonic series, the trumpet's function in the notion is supported by no documentary evidence, the shawm band, he contends, would have been to written or iconographic Downey has gone so far as to provide a drone or simple counterpoint based upon compare the belief in the Renaissance slide trumpet to harmonics 2, 3 and possibly 4 He is convinced that the 'Bach trumpet madness' of the 1950s, when many the first slide mechanism applied to the trumpet was musicologists were convinced, as a matter of faith, the U-shde (or 'double slide') of the trombone, and he that playing of Baroque clanno trumpet music had proposes his own, unique explanation for its in- depended upon a secret and now lost art vention In refuting his arguments, therefore, it is not Downey is in the strictest sense quite correct in his enough to prove that brass instruments participated in basic assertion none of the written sources of the 15th the shawm band, it will be necessary to show how his century refers unequivocally to the slide action in account does not constitute an adequate explanation connection with the trumpet, furthermore, iconography of the known historical facts (as he says) cannot prove its existence, since still I n order to understand the role of the trumpet in the pictures are limited in their ability to portray motion shawm band we must first consider the historical Indeed, most researchers of 15th-century instrumental development of the band itself The ceremonial loud performance have been fully aware of the hypothetical band of the Arab world was adopted in Europe during status of such a mechanism in this period They have the 13th century Consisting of small shawms, nakers continued to feel, none the less, that several pieces of and other percussion, and straight trumpets (usually evidence strongly suggest its existence Taken indi- employed in pairs), the Arabic band seems to have vidually these may be ignored or dismissed, taken been augmented occasionally by other loud instru- together, however, they constitute a much more ments in the West, in particular by bagpipes and pipe compelling argument It is the purpose of this article and tabor The function of the trumpets in such a band to review the available evidence as presented by (as heard still in traditional Arabic music) would have various scholars, in order to show why the existence of been something of a cross between drone and the slide trumpet is still the best explanation for the percussion sounding a single note roughly an octave facts as we know them My aim is not so much to (or sometimes two) below the keynote of the shawms, present new data as to correct certain misunder- the Arabic trumpets 'burst in intermittently with standings of chronology and to challenge some of hoarse interruptions through which the shawmists Downey's conclusions based upon them unconcernedly play on' ' It should be clarified from the outset that Downey In the 14th century we find indications of European does not question that trumpets were members of the development away from the standard makeup of this shawm band, in fact, he says that'illustrations [c 1400] Arabic loud band First, there seems to have arisen a tell us that in addition to the usual military function it separation between the military or 'fanfare' trumpets, EARLY MUSIC AUGUST 1989 383 on the one hand, and the freely melodic instruments when a trumpet appears in the 15th century shawm (shawms and bagpipes), on the other (Percussion band, by contrast, it is a single brass instrument might still join with either group ) Second, the tonal intruding among the reeds This fact is confirmed resources of the reed instruments were considerably repeatedly both by iconography6 and written sources expanded The small Arabic shawm seems to have (payment records and instrument purchases) 7 The been lengthened and lowered in pitch to produce a player of this single trumpet is usually depicted treble whose keynote sounded near the bottom of the holding his instrument in a manner consistent with its treble staff, to it was added a tenor size or bombarde possessing a single slide the mouthpiece is held to the (first mentioned as a musical instrument in 1342) mouth with one hand, while the body of the whose distinguishing characteristic was a key (with its instrument is held by the other hand Furthermore, thDownloaded from https://academic.oup.com/em/article/XVII/3/383/417713 by guest on 30 September 2021 e protective barrel—the fontanelle) to close the bottom instrument is typically held at downward slant—a hole Just when the other major developments of the position found to be the only practical one on modern Western shawm (the appearance of the lip-controlled reconstructions of slide trumpets Players of fanfare reed and the concomitant disappearance of the trumpets also may be shown holding their instruments thumbhole) took place is much more difficult to with two hands (with one hand near the mouthpiece), ascertain, presumably both the availability of a but are usually distinguishable by their more heroic different kind of reed material in the West and the posture as befits their heraldic function 8 Western proclivity for a more articulated musical style If we are to believe iconography, the 15th-century 2 played parts in this story shawm band was most often a trio, although some Soon after the beginning of the 15th century the pictures of duos and quartets are also to be found bagpipe—a regular member of the loud band in the Some illustrations of quartets show one of the 14th century—had all but disappeared from the members (usually a bombarde player) resting, these company of shawms, so too had percussion instru- too then represent trios in performance 9 The most ments, which are conspicuously absent from most common trio consists of (treble) shawm, bombarde 15th-century representations of the shawm band One and trumpet, although again there are many ex- implication of these developments is very clear ceptions Often there appear to be three shawms, three polyphony had replaced heterophony as the basic bombardes, or two of either with a trumpet Of course, musical structure of the ensemble Near the middle of some of this apparent variety in instrumentation can the 15th century this circumstantial evidence is be attributed to inattention on the part of illustrators, buttressed by direct documentary evidence linking the the visual difference between the shawm and the shawm band to polyphonic music Perhaps the first bombarde (the presence or absence of the fontanelle) unequivocal instance is the famous performance of a is, after all, rather subtle, and a musically unsophis- motet by a costumed shawm band at the wedding of ticated artist might easily either forget such a detail or Charles the Bold in 1468,3 already, however, the reproduce it incorrectly However, it seems less likely opening lines of Le champion des dames by Martin le that the substitution of a completely different type of Franc (written 1441-2) allude to the new style of instrument (brass for woodwind, or woodwind for composition practiced by Dufay and Binchois en hault brass) can be blamed on carelessness et en basse musique, implying that these masters of The free mixture of trumpet with shawms makes polyphony composed music for the alta band (as well sense only if its melodic capabilities were roughly as for voices or soft instruments) at the court of equivalent to theirs Such a trumpet must, therefore, 4 Charles's father, Philip the Good have been equipped with some form of slide mechan- Both the pictorial and written records attest to the ism in order to fill in the larger intervals in the use of trumpets as regular—but by no means harmonic series 10 This mechanism must certainly indispensable—members of the shawm band in the have been available by the first years of the 15th 15th century 5 The instrument most often depicted is century, without it, the trumpet surely could not have the folded trumpet developed in the late 14th century, survived in a polyphonic environment A natural built first in the shape of a flattened S and then (after trumpet, limited in this period to its first few the opening decades of the 15th century), of a harmonics, would have represented a severe impedi- flattened loop As mentioned above, trumpets had ment to the free course of polyphony That the overall appeared in the earlier loud band typically in pairs, development of the shawm band was away from such 384 EARLY MUSIC AUGUST 1989 Downloaded from https://academic.oup.com/em/article/XVII/3/383/417713 by guest on 30 September 2021 2 Master of the Life of Mary, detail from Coronation of the Virgin (Cologne, c.
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