Bb and C Rotary Trumpets in Orchestras of the United States: Perspectives from Professional Orchestral Trumpet Players on the Use, Audition Considerations, and Current Makes/Models D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Music in the Graduate School of The Ohio State University By Whitney Rose Davis, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee: Timothy Leasure, Advisor Bruce Henniss David Bruenger Danielle Fosler-Lussier Copyright By Whitney Rose Davis 2020 Abstract Information regarding rotary trumpets in the United States is sparse and difficult to find, being limited to, mainly, snippets of interviews with individual players talking generally about their careers, and short paragraphs within larger works. This study is based on interviews with numerous professionals from top U.S. orchestras about their experiences regarding Bb and C rotary trumpets within the current classical music scene. Interviews collected information regarding equipment preference, pieces and orchestral audition excerpts that are performed with rotary trumpets, how the instruments feel and sound, and considerations for new players. In addition to the information from the interviews, this study includes a chart of current manufacturers and models of Bb and C rotary trumpets (and the features available) as well as a compiled list of all pieces which have been requested for trumpet orchestral auditions in the United States. i Acknowledgements My sincere thanks goes out to all of my committee members: Thank you, Professor Timothy Leasure, for your extreme patience and understanding through this doctoral program. It has been a pleasure to work with you for so long. Thank you, Professor Bruce Henniss, for always having a warm and calm demeanor. It always made me smile. Thank you, Professor Joe Duchi, for always taking the time to talk to me. Thank you, Professor Jim Akins, for filling in when I needed you in a pinch. Thank you, Professor David Bruenger, for being so open-minded and willing to share your vast experience. I enjoyed every story and brainstorm session. Thank you, Professor Fosler-Lussier, for being my deus ex machina and working with me through my many questions and for caring so much about students. Thank you, Professor Hedgecoth, for being willing to sit with me and cobble together my thoughts. Finally, thank you, Alan Green, for your knowledge on conducting research and for taking time to have great trumpet-talk. I would also like to thank the Central Ohio Brass Band, Jessica Sneeringer, Jan Duga, Ginger Turner, and Jennifer Kirby for making beautiful and challenging music with me during this process. You have all made me a stronger, more confident person and player. Thank you to all the friends who were willing to listen and provide feedback: Julie Vish, April Whyte, Dale Nawrocki, and Laura Millar. I cannot say “Thank you” enough to my family. I am forever indebted to every one of you for supporting me through all these years. I would not have been able to achieve so much without you! Finally, thank you to my husband, Julian, who did not hesitate to tell me I had what it took to go through this process despite the challenges we faced. You always knew I could do it even when I doubted myself. ii Dedication This paper is dedicated to every one of my family members. I love you all. iii Vita 2005 ........................................................... Brunswick High School, Ohio 2009 ........................................................... B.M. Music Performance, The Ohio State University, Columbus, Ohio 2011 ........................................................... M.M. Music Performance, The Pennsylvania State University, State College, Pennsylvania 2016-Present ................................................ Affiliate Instructor, Denison University, Granville, Ohio 2017-Present ................................................ 2nd Trumpet/Assistant Principal, New Albany Symphony Orchestra, New Albany, Ohio Fields of Study Major Field: Music iv Table of Contents Abstract ........................................................................................................... i Acknowledgements ........................................................................................... ii Dedication ...................................................................................................... iii Vita ............................................................................................................... iv Table of Contents ............................................................................................. v List of Figures ................................................................................................ viii List of Tables .................................................................................................. ix Chapter 1: Introduction .................................................................................... 1 Introduction .......................................................................................... 1 Statement of the Problem ....................................................................... 2 Need for the Study ................................................................................. 3 Research Objectives ............................................................................... 4 Terms ................................................................................................... 5 Assumptions and Delimitations ................................................................ 7 Chapter 2: Literature Review ............................................................................. 9 Review of Current Literature .................................................................... 9 History of the Rotary Valve .................................................................... 11 History of the Use of Rotary Trumpet in U.S. Orchestras ........................... 18 Trumpet Player Perspectives on Substituting Instruments ............... 22 Composers Writing Styles During the 19th Century .................................. 24 Chapter Summary ................................................................................ 26 Chapter 3: Methods and Procedures ................................................................. 27 v Research Design .................................................................................. 27 Confidentiality ..................................................................................... 27 Selection of Subjects ............................................................................ 28 Question Formulation............................................................................ 29 Data Analysis ....................................................................................... 30 IRB Clearance ...................................................................................... 31 Procedure of Participation ............................................................ 31 Interview Questions .................................................................... 32 Trumpet Orchestral Excerpt List Compilation ................................. 33 Chapter 4: Results / Discussions ...................................................................... 35 Respondents Experience with Rotary Trumpets ........................................ 35 Why Professionals Use Rotary Trumpets in U.S. Orchestras ....................... 36 What Repertoire Rotary Trumpets are Being Used For ............................... 40 Differences Between Rotary and Piston Trumpets ..................................... 45 Equipment Choices ............................................................................... 55 Mouthpieces .............................................................................. 59 Purchasing Rotary Trumpets in the Current Market ................................... 60 Current Trend of Usage in U.S. Orchestras .............................................. 63 Audition Considerations............................................................... 64 Words of Wisdom for the Novice ............................................................ 67 Use Outside Orchestral Setting .............................................................. 70 Other/Unexpected Findings ................................................................... 71 Audition Excerpt Compilation Summary................................................... 74 vi Chapter 5: Conclusions ................................................................................... 82 Summary ............................................................................................ 82 Further Research .................................................................................. 85 Appendices .................................................................................................... 86 Appendix A: IRB Materials ..................................................................... 86 Research Protocol ....................................................................... 86 Interview Questions and Script .................................................... 94 Recruitment Materials: Request for Participation ............................ 98 Appendix B: Trumpet Orchestral Excerpt List Compilation Form ............... 101 Appendix C: Tables of Rotary Trumpet Manufacturers, Makes, Models, and Specifications ...................................................................................