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How a Trumpet Is Made. II. the Natural Trumpet and Horn (Continued) Author(S): D

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How a Trumpet Is Made. II. the Natural Trumpet and Horn (Continued) Author(S): D How a Trumpet Is Made. II. The Natural Trumpet and Horn (Continued) Author(s): D. J. Blaikley Source: The Musical Times, Vol. 51, No. 804 (Feb. 1, 1910), pp. 82-84 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907450 Accessed: 12-06-2016 16:29 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times This content downloaded from 159.178.22.27 on Sun, 12 Jun 2016 16:29:16 UTC All use subject to http://about.jstor.org/terms 82 THE MUSICAL TIMES.-FEBRUARY I, I9I0. which brings one face to face with the realities of considerations; but when used as an accompani- life and death, than to hear from the organ a light- ment to Church music, it must still jealously hearted and irresponsible Voluntary. We have guard the Church's traditions. So long as our heard Handel's chorus, '0, the pleasure of the Church instruments include their full complement plains,' on such an occasion: no doubt a fine of real 'organ' stops, of non-imitative character, chorus, but, then and there, entirely inappropriate. just so long may we hope to maintain the dignity In conclusion, it may be said that the organist and beauty of the music of the Sanctuary; then should always bear in mind the end towards which the congregation would feel that Church music is he is working. By all means let the organ develop, something separate and apart, and that while within becoming more and more responsive to the calls the hallowed precincts they leave the world and made upon it, either from tonal or technical its cares elsewhere. HOW A TRUMPET IS MADE. BY D. J. BLAIKLEY. II.-THE NATURAL TRUMPET AND HORN. (Continuedfrom p. I6.) As examples of the short, straight trumpet, the between these, the addition of tubing sufficient in ancient Roman tuba and the modern coach-horn length to lower the pitch an octave will give the may be named. Considerations of the rigidity of desired result. By this alteration, while all the the tube and the convenience of handling limit the original notes remain (but, relatively to the funda- length of such instruments to about four feet, and mental, an octave higher), new notes are introduced a consequent easy compass limited upwards by the intermediate in pitch between each of the original sixth harmonic. If we would increase the compass, notes on the short trumpet. In the following the necessary extra length must be disposed of by table is shown how the fourth and fifth notes of some manner of bending, and in the lituus, the the short trumpet are replaced by the eighth and Roman cavalry trumpet, the form given was that of tenth on the altered instrument, or, in general, the letter J, the bell end being turned upwards. that certain notes are common to both, and that Other instruments used in the Roman armies were, the ninth note is the required d". It may be at in quality, rather of the bugle and horn type than once stated that the eleventh and thirteenth notes of the trumpet, and were bent into large curves. do not strictly agree with any notes in the diatonic Assuming that we have a short trumpet on scale, and that the seventh and fourteenth are which the fourth and fifth harmonics, or c" and e", slightly flat for B flat. Some considerations can be sounded, and that we wish to obtain the d arising from these facts will be dwelt upon later. NATURAL SCALE OF THE TRUMPET. Harmonic series 1 2 3 4 5 6 7 8 9 on 4-feet trumpetj C c < c' e' g' b'D c" d" e" f'f ,"' a- /" b6" c"' r"'# d"' Harmonic series 1 I 2 3 4 5 6 7 8 9 I1 II I2 I3 14 15 i6 17 I8 on 8-feet trumpet The upward limit of compass is indefinite, from the records of those maintained by our depending chiefly upon the ability of the player, own sovereigns. King Edward III. had five and on long trumpets the pedal or fundamental trumpeters in a band of nineteen musicians, note is practically impossible; even the second King Henry VIII. fourteen trumpeters in a band harmonic is seldom used. of forty-two, and Queen Elizabeth no less than The short straight horn, thus increased in length sixteen trumpeters, out of a similar total of and bent into a convenient form for handling, has forty-two performers. become the typical natural or simple trumpet, As in former days trumpets were always which has been subjected to no material change pitched in Dt, and yet the part-music written for several hundred years. For a long time its for them comprised a range of three octaves, it use, apart from military purposes, was reserved must be explained that the difficulty of the for kings and nobles, and trumpeters were the compass was met by making the instruments on aristocracy of wind-instrument players. Town which the upper parts were played, of smaller bore. bands were not allowed to employ either trumpeters Such an instrument with small bore, and small, or kettle-drummers, and the first recorded departure shallow-cupped mouthpiece, was known as the from this is a grant to the town of Augsburg by clarino or clareta, as distinguished from the the Emperor Sigismund in I426, of the privilege of tromba, or trumpet proper. The illustrations keeping town trumpeters, for which the town paid given on p. 83 show the contrast betweenr an a good sum to the imperial exchequer. elementary type, and the standard model of The important position held by the trumpet trumpet as it has existed for three or four in former times in Court bands may be judged centuries. This content downloaded from 159.178.22.27 on Sun, 12 Jun 2016 16:29:16 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-FEBRUARY I, I9IO. 83 African war-horn or trumpet, of ivory, in the possession of Messrs. Boosey & Co. This instrument may be regarded as an example of a natural horn, and the type from which all our trumpets and horns have sprung. The mouth-hole is at the side, in the position marked (a). (See reference to natural horns and tusks on p. 14 of January number.) /- " ! Copper trumpet with mounts in silver, handsomely embossed. The following inscription appears in raised letters on the bell-rim: 'Augustine Dudley 1651. Londini. Fecit.' This instrument, now in the possession of Mr. Alfred H. Littleton, is reputed to have been found on the field of the Battle of Worcester. The mouthpiece is missing. For the lowest part, an instrument of rather larger bore was used, and the whole family comprised the compass here shown: COMPASS OF THE TRUMPET. Rarely ist Clarino. used. /) -- I Tromba. - --I I Y 1I I , _r-- - -r M I- b.' *I +- I f: Itl X ? H l i j br r r i I t - - - I 2nd Clarino. Principale. 'v 8vaz.-a i-4: I The following two short extracts from Kappey's 'History of Military Music' show the manner of writing for trumpets in four parts, with kettle-drums : FLOURISH FOR TRUMPETS. 3 D..X.. = - =_=a =Fi r tr ^ /(,- n) i-~ e^ a I .i ~ .i ~ .r~ . .. - - - u -I--2. -i ?^ o I .I : j -';''s'-"-r 1 -- if - tr- - , - - 1 1 _1_ TROMPETTES. ff a II I clIr tr OL. -dI -o- o-~ f~ jE~;r ea~-~?P:I ~if ( iz -; TIMPANI. '--. I 1. GRAND TRUMPETER MARCH. AUFZUG, TEIERLICH (MARCH, SOLEMN). CLARINO PRIMO IN D. f3 ' -- CLARINO SECONDO IN D. 5(m f r r X - rr f 3 3 3 TROMBA TERZIA IN D. PRINCIPAL IN D. 33 3 r TIMPANI IN D-A. _____ 11 r ^ s1 .- -L This content downloaded from 159.178.22.27 on Sun, 12 Jun 2016 16:29:16 UTC All use subject to http://about.jstor.org/terms 84 THE MUSICAL TIMES.-FEBRUARY i, I9IO. In orchestral compositions the trumpet has held The French horn, which in some ways may be its place since the time of Monteverde, and it is considered the most important brass instrument in remarkable that some of the old trumpet parts the orchestra, is generally regarded as the connecting were carried upwards to a degree that is now never link between the 'wood-wind' and the 'brass,' for attempted. The following passage for trumpets in D its tone blends well with the flutes and reed instru- natural occurs in J. S. Bach's 'Christmas Cantata': ments. Its quality is mellow and plaintive when piano or mezzo-forte, but in forte passages it can ff= = - I - give tones suggestive of anguish and even despair. iZf - -- 1 . S~- eF;lrFE; I , r ' I_ &c. This valuable instrument has been evolved from the Waldhornor Cor de chasse used bythe mediaeval in which the 'top C,' sounding D, is the sixteenth foresters and huntsmen, and, as now known, has a harmonic, and even higher notes were written by this master.
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