Natural Trumpet
BY
ELISA KOEHLER
Fig. 1. The harmonic overtone series in C. These notes are all playable by a natural trumpet. Darkened notes indicate partials that
are out of tune.
informed performance.
Historians rightfully contend that the use of vent
holes, tapered leadpipes, and modern mouthpieces borders on the heretical, but quibbling over equipment is
not the primary concern of the beginning natural
trumpet player. All musicians should begin by playing
a natural, unvented trumpet with a familiar mouthpiece. Like any style tradition, the conflict between
theory and practice in the 20th century Baroque
revival rages on, and these issues must be confronted
when a player purchases a professional instrument
and seeks to perform in public.8 Any musician embarking on the study of the natural trumpet must respect
authentic performance practices and strive to serve
them as closely as possible. An instrument with vent
holes does improve accuracy, but the added security
can lead to overblowing and inappropriately harsh
articulations if aesthetic standards are not observed,
especially in the early learning stages.
Finding an Instrument
The Historic Brass Society is the best source of
information about current makers of natural trumpets
and authentic mouthpieces. The most recent compilation of makers was published in the Summer 2001
Historic Brass Society Newsletter.9
The purpose of this article is not to recommend
specific brands of instruments; however, a sampling of
current makers includes Robert Barclay (Ottawa),
Rainer Egger (Switzerland), Keavy & Vanryne
(Reading), Ewald Meinl (Germany), Andrew Naumann
Fig. 4. A natural trumpet by Frank Tomes (UK) pitched in D (modern pitch) with additional crooks, shanks, and tuning bits for the
keys of B-flat, C, and D which is playable in modern pitch
(A=440), and Baroque pitch (A= 415).
mation on groups all over the world and includes performance schedules, when available.
Aside from the physical challenges of playing the
valveless trumpet, the study of appropriate Baroque
performance style should be an ever-present task. The
primary differences between modern performance traditions and those of the 17th and 18th centuries concern intonation, improvisation and ornamentation,
articulation (especially unequal tonguing patterns), a
heightened emphasis on strong vs. weak beats, and a
more bel canto sound ideal.17 Luckily, several good references have recently been published that provide
sound advice for those new to Baroque performance. In
1999, Cambridge University Press instituted a new
series devoted to performance practice, Cambridge
Handbooks to the Historical Performance of Music. The
first volume in this series, The Historical Performance
of Music: An Introduction, by Colin Lawson and Robin
Stowell, delivers precisely what its title offers: a valuable overview of the major issues involved in performing early music.18 Similarly, Doningtons classic
Baroque Music: Style and Performance. A Handbook is
a fertile source of information.
Although modern research is useful, there is no
substitute for reading the original historic treatises.
Most are available in good English translations.
Thanks to the efforts of Edward Tarr, Igino Conforzi,
and others, the trumpet treatises by Bendinelli,
Fantini, and Altenburg are all available. Although
Fantini and Alternburg provide enlightening comments on articulation, ornamentation, and trills, perhaps the most useful source of information on Baroque
music performance was written by a flutist who also
played the trumpet, Johann Joachim Quantz.19
Quantzs early training as a town musician required
him to acquire passable proficiency on a variety of
instruments and, in addition to the flute, he was an
accomplished violinist and oboist as well.
Consequently, Quantzs treatise is a veritable gold
mine of information on all aspects of musical performance in the first half of the 18th century.
Many professional valveless trumpeters today take
a page out of Quantzs book and double on the cornetto, the premier wind instrument of the Renaissance.
This not only presents new repertoire, but it emphasizes the subtle articulations and phrasing of early
Baroque wind playing. It is beyond the scope of this
article to discuss cornetto playing, but the curious will
find a wealth of knowledge in Jeremy Wests excellent
method book, How to Play the Cornett.20 Wests book is
available along with inexpensive resin cornetti on his
web site (www.jeremywest.co.uk). Since the cornetto is
a hybrid instrument that requires a trumpet
embouchure and woodwind fingering technique, it is
advisable to spend some time studying the recorder
before approaching the cornetto.21 Soprano (descant)
recorders are readily available and provide an enjoyable break from trumpet playing with the instruments
relaxed embouchure and gentler airflow. Recorder fingerings are not identical to those of the cornetto, but
the fingering technique is the same, and the switch
from recorder to cornetto is not difficult for trumpet
players accustomed to transposing. Finally, since the
human voice was (and remains) the model for all wind
instruments, taking private voice lessons further
enhances the musicianship of any instrumentalist.
Back to the Future
Playing the valveless trumpet and other early
brass instruments clarifies the artistic heritage of
brass playing and demonstrates that the fundamentals of good trumpet playing are timeless.
Furthermore, the rapid rise in the performance of
early music on period instruments is a cultural phenomenon that has impacted performances on modern
instruments in addition to invigorating classical
music-making in general. The cultural historian
Jacques Barzun wisely observes that:
The recent interest in playing old music with the
instruments of its own day has shown the difference it
makes not merely in dynamics but in meaning. The
absence of certain timbres and the presence of others
affect the force and the atmosphere of the passage and
dispose of the idea that a note is a note whether played
on the kettledrum or the ocarina. Also of our time, the
retreat from the 19C orchestra and the popularity of
chamber music, partly due to economic reasons, have
arisen from the feeling that Romanticist passion is
pass.22
A topic that most definitely is not pass is the controversy over the use of vent holes on the natural
trumpet. The battle between purists and practitioners
has at times created a rancorous partisan atmosphere.
Brilliant scholars such as Robert Barclay object strenuously to the use of vent holes, while great artists like
Michael Laird have furthered the art and built audiences for the Baroque trumpet by employing vent holes
in countless fine performances and recordings. See
Figs. 5 & 6). Although the purists rightfully voice the
conscience of authenticity, the overwhelming majority
Historic Methods
Altenburg, Johann Ernst. Essay on an Introduction to
the Heroic and Musical Trumpeters and Kettledrummers Art [1795]. Translated by Edward H. Tarr,
Nashville: 1974.
Bendinelli, Cesare. The Entire Art of Trumpet Playing
[1614]. Translation and Critical Commentary by
Edward H. Tarr, Nashville: The Brass Press, 1975.
Dauvern, Franois Georges Auguste. Mthode pour la
trompette [1857]. Paris: Editions I.M.D. Diffusion,
1991.
Dauvern, Franois Georges Auguste. Mthode pour la
trompette [1857]. Complete English Translation by
Gaetan Chenier, Ruby Miller Orval, Rebecca Pike, and
Jeffrey Snedeker, Historic Brass Society Journal 3
(1991): 179-261.
Fantini, Girolamo. Method for Learning to Play the
Trumpet [1638]. Translation and Critical Commentary
by Edward H. Tarr, Nashville: The Brass Press, 1975.
Fantini, Girolamo. Modo per Imparare a sonare di
tromba [1638]. Facsimile, Nashville: The Brass Press,
1978.
Fantini, Girolamo. Modo per Imparare a sonare di
Lawson, Colin and Robin Stowell. Historical Performance of Music: An Introduction. Cambridge: Cambridge University Press, 1999.
Menke, Werner. History of the Trumpet of Bach and
Handel. Translated by Gerald Abraham, Nashville:
The Brass Press, 1985.
Nussbaum, Jeffrey. A Survey of Baroque Trumpet
Makers Worldwide. Historic Brass Society Newsletter
Issue 14 (Summer 2001): 12-19.
Owens, Frank J. Creating a High School Baroque
Trumpet Ensemble. M.M. thesis, Towson University,
2000.
Smithers, Don L. The Music and History of the
Baroque Trumpet before 1721. 2nd ed. Carbondale and
Edwardsville: Southern Illinois University Press,
1988.
17
18
10
19
11
Owens, Creating a High School Baroque Trumpet Ensemble, 9-21. Frank Owens provides a
detailed description of the procedure he followed
for building natural trumpets this way. Information on authentic 18th-century procedure is
found in Barclays Art of the Trumpet Maker, 102168.
20
21
22
12
13
14
15
16