-V a

THE EARLIEST TRUMPET METHOD BOOK ETLT :

A LECTURE RITL; TOGETHER WITH

THrLEE OTHER RECITALS

D I S SERTA T 10ON

Presented to 'the Graduate Couni of the

North Tas Stcae University in partial

Jillmunt f the Requirements

For the Degree of

DOCT0 OF MUSICAL ARS

By

Willi D. De, ons

y 197".!3"7

Please Note:

Some pages have very lighttype. Filmed as received.

University Microfilms.

De J 1,, Wi.1E, T a , E trtst iTjrftet MthodBo B

Etant: At tLe tr RZt l; To jther with 7Thre Othr ReCIta s.

Docto 9o, IuCcIYC Arts (Tr t), y, 1971, 66 pp. , 30 lus

trCationws, aLW vrany /4 2 tAt-es

Is isconsists of Our pro-ras: One cCture

,wo ecitals for solo t-rCump et, Cta nd one ic. 0.n cobilnior

withothe intrumntsand voices.

T he I 5rst recitall ea ttur-.ed works from Ithraee o the

primary srcs " oft t

Si (Ther"tancrto in D," by Giseppe Tcom -, osc l- ,- t .4

>2e r t irvalveless'tnat--a t1 umpet -A th: :3arqc

Er~aIas ef ormed on ar.odern, valved D trumpet.

2. has Te iranires 7 " t I" represents the

F c MIOra d C Go" COea 23ncourCs cUovpteiticttr , a1d

via E3r)layr2d on the C tr ump et.L

4l 3 K4 C.3 L ti ' r 9UL I rte

3. Contemp eorary -A&eric3 trature twas r -

Soetd by the "Soa oa r Truapat and Iano," by Paul

H, ercormaed on the -kIt Ctflp. AdditionaI

Sont> rary works on the prgr werc an uniaccomapanied

so.o, "ItadGeI by -th LNetherlatdS comPor Otto Kettino,

a ndI 3 "IIrtimtt f Vr Fbve ind ,"or(I by AmricPI

.".7C>0'1 IL. PiThe ecn solh re

Rii "y Zni, by Ernest Block, were performed

with piano ieductions of the o igil rche

In ad ition t n litary signaIs ncianares , the bookccn-

lnsc; ex ercises nr.deelapn technical bLiLity on the tr2umt,

a large num f ttdanc> pieces with and without accoipanuient,

duets cor to atumpts, and sonatas for trumpet and keyboard.

The ec.ture jointed upp, t demonstration on a

TALE OM F Ci"TE-T

IN RODUCT-ION .... ..... . .... . ..Page

. . - 4 1

2ecitaV .rogas

I.FIS "GL? RECQITAL . .* . . . . . . . . . . . 4

i. SECND 70LO REITA .IPE . . . . . . . * . . .. 7

ITT. 0HA R UsIC RECIT*. . . . . . a . . .-- it j)r 1 rn C; W1-111'3i r ?1 T

LTO )B)0CK. ET6 . . . , . . . . . . . .161 4"P9"0 T'1-,uL 0hS

0 Is 4 -7J Lg;tme Lectr

T:E E RIG -V PER OLVTCES . a * a . a . . .Enclosed

I I 3

INTRODUCTION

This d rti n s: one lecture

rOEI C CCItaL, tLwo r0 itls Or soAo rum end one i*n combijnation

withLoter . suents anI voices.

T ist rec it w: featured a-orks fom three o the

p:rimur si-rces of tr> pe1Ljt Itertue:

. Th "ConcNrto in D11 ," y 7Giusee TorelliRL, t-

d -0 the vaveess na tural trumpet e1 th 1a-,oque. c

FperfTOrmdi 11 o l9 ;lode, Ivalved D t trumpet.

2. Charles Tu emire's "Fantaisi" represents the

Frech iorceau de CorcoCrs coe tition iterature, andc

a plKayed in the C trumpet

f0 , FDCtefC -i7 r IhL ted by7 th wk t )fo ~rnirtetand i , y PanO

s, nrtred(Io Lthe B-:7flt tum-at.-1 LddtI h2d onal *

c f n fempoa ry wIOrk,,S onth poga were am unaccompan.-ied

soo,"Itrda"by the Ntelns opsOttoKe ttig

ao'r jnomnetmet rcveWnd, b mria MlPoelI.L CTwoLv I~~is 5 aecnd SOo recital consisted entirely 0 twentieth-

enuey compositiofns promdon the tue.Two o-,7-th-)e

yk"ConcetRti n for Trv :pet>nd t , 1y Knudage

ciisa~e ?nd "P~CtL1ktDLn," iy Ern st Dlock, wxe pormxedF

withF pian eticns of th orgna 1rche;tral. score

"Trumpet Voluntary, byDne-ika.wspromdwt

2

OOrga, nd "9Anfbintte," by einz ethrt-e,aS unac- acmpPi, d

" lystische T2ompettr," y Fredrich Wildgcans, f eal tured

trupeLt), spanc voice, and piao, i 5n cycle of six We,

Wh-.-ian poems lltr--anuslated intoGrm.

The chab er wisinc prra consisted do e Corma nces

w.-TctIh v Oario-us sied enCselec on tmree dfetrnt Drocras

" idS," VI by > in7 ent Iersichett, Is a OScC0 Ition or choir

solo truet and string orchestra, hih wr-as erfomed with

-he North Texas State University Choir on Its 969 spring tour

and LoQ concErt, The re-inder of the recital prOgram

i1ccded 'te ~f VLowing -- Os P Or c cmbr ensembles: "Essay f or

Pm L~tcVlt; "h10o L i c tt f oxi-. n d I np n rt N.,B-ras s Pn d WJ ind s," IlIinm Mayr; Ottf idIstL et,

Igor Stravinsky; "Scherzo alUla ai" from Symphony o. 8,

Ralph Vaughan Williams; "Towerusic," Alan Hovhaness ; "Old

Wine iNei Bott les," GoTodon Jacob; "Concertino,"1 Tgor St

vanski; Octet," JohnT LeOssA> d; and "Dive into for Winds,"

Itobrc-t WNag el.

The aouth recital s a lecture ecP2ital: The Eariest

Trump e Mehiod BookEtat

This lecture Tas anexplration of 'the contenits o T7odo

Tv amare ; Sonare di Trom b, r2Lby G9rol0mo Fantini, published

in 18 tFaLntini, ho was also a trumpet play-r, inclucd in

his volume a wce varIety Cf rusi a cor the natural truSpat,

In addition to military signs and fanfares, eth book Con-

tains xerCisf devel oPing technical ability on the trumpet,

large. number oftdance .0eces ith and without accompaniment,

3

diuett trnnets, and sornt pas for and keyboard.

he - Lufreintd p, thrugcoh deIonstratiot rn a

tr,: 20 Lcet uitc rv 4- Uotnatut ralt p t ar to chos- us.d ino thL-

s nt eth centour7, (as vell as wIt.h other udio and visual

il1utratons, L at0t of TIaUa trUfP(st titerture bwh:ch are

not COmml3 assoctCjed witb dates as emr-y as the publication0 1 The OL se. sJC2LQe T r,

-L this voI umie.Ths iude the resc fnotl-es outside

tv nftural harttwiw series, the ue o' the ficri in.?c a

,rngi as hjgh s thne eichteonth prtis, adthten- earl s-S

sonarias o r tarpet and krewyoad

NORTH TEXAS STATE UNIVERSITY

SCHOOL OF MUSIC

presents

Wfliam D. DeJong

assisted by

DOROTHY DOOLEY, Piano

HELEN ANN SHANLEY, Flute

JAMES GAVIGAN, Oboe

RICHARD SHANLEY, Clarinet

KELBERT TAYLOR, Bassoon

in

Graduate mp-.. rpet Recital

Wednesday, December 18, 1968 6:3o p.m. Rcital Hall

Intrada ............................................ O tto K etting

Unaccompanied trumpet solos are rare in the literature for the instrument.From the earliest known solos for the valveless trumpets to those being writtenfor the modern three valve trumpet, almost all are associated with an ensembleor keyboard accompaniment.

Otto Ketting, one of Holland's young generation of composers, has createdhere an unaccompanied work that, although brief, displays various facets ofexpression available from the instrument . . . from a legato melodic passage toa punctuated fanfare-like passage. The form resembles a rondo through therecurring use of the opening melodic fragment. It was written in 1958 for TheoLaanen, professor of trumpet at the Royal Conservatory of Music in The Hague.

Concerto in D ......... ................. Guiseppe Toreli

AllegroAdagio - Presto - Adagio

Allegro

Although Italy abounded in compositions for the trumpet during the lateseventeenth century, this work is quite probably the first authentic concerto forthe instrument. It was published by Estienne Roger in Amsterdam as the sixthin a collection of concertos by various composers.

The original score calls for the violins to play in unison in both the firstand third movements so as to counterbalance the trumpet. The tessitura of thesolo line lies primarily in the clarino range above the eighth partial, although itdescends at one point to the fourth partial. The second movement shows ahallmark of Torelli's style: a short fast section between two adagios. Thetrumpet part of this movement is obviously an editor's transcription from theorchestral cores, since the Baroque trumpet was not capable of producing sus-tained tones between partials.

Fantaisie .................................... Charles Tournemire

French trumpet solos which have won the composition award in the annualMorceau de Concours competition have become a prime source of high qualitytrumpet literature. Since 1833 the competition has included composition prizesand subsequent performance competition on the winning solos. Most of France'sforemost composers have written for solo trumpet in conjunction with this event.

Although Tournemire was primarily an organ virtuoso, he did a smallamount of composing. Fantaisie is one of two solo works which he wrote forbrass instruments, and was selected as the winning composition of the 1935Morceau de Concours competition.

Intermission

Spjata for Trumpet and Piano ...................... Paul Holmes

AllegroAdagio

Allegro

Written in late 1960 in Beaumont, Texas, the Sonata was premiered, whilestjll in manuscript, in the spring of 1962 by Richard Burkart, professor of brassat JI amar State College.

Each of the three movements is concise and closely knit with emphasis onst 1 y.tural context, projected by the use of melodic development, rich sonoritiesari rhythmic variety.

The composer states ' .fy purpose in writing this work is simply to displayth? finest qualities of the trumpet in the best musical way. A knowledge of thek g interest shown by the trumpet players in contemporary iusic has madetp creation of this work a real pleasure.'

Iiiertimento for Five Winds ........................ Mel Powell

Allegro CantiblePresto

LargoVivo

Mel Powell was*a formidable studio and recording jazz pianist prior to195?. This quintet never once speaks a jazz language, however, and the scoringis what one might expect in a woodwind quintet. Instrumental combinationsare conservatively used, and each movement is carefully built.

A writer in all media, Mr. Powell has recently become an exponent of theelmetronic idiom, and he is currently serving as director of the Yale UniversityEteqtronic Music Studio.

Presented in partial fulfillment of the requirements for the

Doctor of Musical Arts Degree.

NORTH TEXAS STATE UNIVERSITY

SCHOOL OF MUSIC

presents

illiam D. De Jong

assisted by

Marts Menn, Piano and Organ

and

Karen Hunt, Soprano

in

GRADUATE TRUMPET RECITAL

Monday, May 12, 1969 6:30 p.m. Recital Hall

7

0

Program

Proclamation (1955) ............................. Ernest Bloch

Ernest Bloch moved from Switzerland to the United States in 1.917 and spentmost of his adult life as a citizen here. Most of Bloch's early works we;e, in aHebraic style or on Hebraic subjects and, although his style and subjectseventually changed, most of his later compositions were still characterizedby a rhapsodic nature and stirring emotion.

His compositions include many symphonic poems, lyric dramas, operas, a suitefor viola and piano, symphonies and one of his best known works, "Schelomo,"Hebrew Rhapsody for Cello and Orchestra.

Proclamation bears the inscription "To My Friend Samuel Laderman," andis one of several works which he wrote for solo instrument and orchestra. Thesolo thematic material consists of fanfare motives and a contrasting melodicfragment of a more lyrical nature. It is a work of modest proportions whichwas reduced for piano by the composer.

Trumpet Voluntary (1955) ...................... Daniel Pinkham

A native of Lynn, Massachusetts, Daniel Pinkham is probably better knownas a performer on harpsichord than as a composer. However, his list of com-position teachers includes Piston, Copland, Honegger and Boulanger. Amonghis works are a concerto for celesta and harpsichord soli, one violin concerto,two cantatas, and two symphonies.

Trumpet Voluntary is governed more by the contrapuntal play between trum-pet and organ than by harmony. Two brief motives, one lyrical and one stac-cato, constitute the basis of this exchange. It was composed for Roger Voisin,former principal trumpet in the Boston Symphony Orchestra.

Concertino for Trumpet and Orchestra (935) .... Knudage Riisager

Allegro

Andante Semplice

Rondo: Vivace

Though born outside of Denmark, Knudage Riisager, whose parents wereDanish, is closely identified with Danish music. As a youth he studied violin,but his degree from the University in Copenhagen was in political economy.He later studied composition in Paris with Paul Le Flem and Albert Roussel,which inspired him to experiment with syncopation, polyrhythms and poly-tonality. His works are mostly for orchestra or chamber music combinations,including four symphonies, an orchestral suite, several overtures, a windquintet, six string quartets, one opera and three ballets.

After 1931, Rilsager began to incorporate elements of the Baroque in manyof his compositions, including the Concertino. This work was premiered in itsoriginal form for trumpet and string orchestra by George Eskdale at theLondon Festival of the International Society for Contemporary Music on June20, 1938. Riisager subsequently prepared the version of Concertino being pre-sented tonight.

INTERMISSION

9

Fanfarette (1963) .... Hc... .................. Heinz Schrdter

Heinz Schrbter, who was born in Berlin in 1907, entered the Leipzig Conserva-tory at the age of 20. This was later followed by further study in Frankfort.In 1932 he was honored by being the recepient of the Schdnberg medal. Sincethat time he has served on music faculties in Darmstadt and Cologne, and inaddition to composing, Schrbter has been active in radio and studio program-ming. One of his most successful shows was a forum, begun in 1945, whichwas designed to bridge the gap between contemporary compositions and thelistening public.

Fanfarette is an unaccompanied solo in simple ABA form with a giocoso,march-like section flanking the short, melodic trio. Punctuated arpeggiopassages alternate with brief slurred motives in conjunction with suddendynamic changes, to provide the light character of this piece.

Der Mystische Trompeter (1963) ............... Fredrich Wildgans

I Dunkel

II Die Geistesfreiheit

III Die Heiterkeit

IV Der Krieg

V Empdrung

VI Hymnus

Fredrich Wildgans, a contemporary Austrian composer, has served as compos-er, performer and teacher at the Salzburg Mozarteum and at the Vienna StateAcademy of Music. He has written music for many areas of performance, in-cluding one opera, a choral symphony, two clarinet concertos and 3 pianosonatas.

The Mystic Trumpeter is a cycle of six poems by Walt Whitman which hasbeen translated into German by Gustav Landauer. The soprano part waswritten for the composers wife, Ilona Steingruber, a famous Austrian soprano.

Following are the original Whitman poems:

THE MYSTIC TRUMPETER

Hark, some wild trumpeter, some strange musician,Hovering unseen in air, vibrates capricious tunes to-night.

I hear thee trumpeter, listening alert I catch thy notes,Now pouring, whirling like a tempest round me,Now low, subdued, now in the distance lost.

II

Come nearer bodiless one, haply in thee resoundsSome dead composer, haply thy pensive lifeWas fill'd with aspirations high, unform'd ideals,Waves, oceans musical, chaotically surging,That now ecstatic ghost, close to me bending, thy cornet echoing, pealing,Gives out to no one's ears but mine, but freely gives to mine,That I may thee translate.

10

III

Blow trumpeter free and clear, I follow thee,While at the liquid prelude, glad, serene,The fretting world, the streets, the noisy hours of day withdraw,A holy calm descends like dew upon me,I walk in cool refreshing night the walks of Paradise,I scent the grass, the moist air and the roses;Thy song expands my numb'd imbonded spirit, thou freest, launchest me,Floating and basking upon heaven's lake.

IV

Blow again trumpeter-conjure war's alarums.

Swift to thy spell a shuddering hum like distant thunder rolls,Lo, where the arm'd men hasten-lo, mid the clouds of dust the glint

of bayonets,I see the grime-faced cannoneers, I mark the rosy flash amid the smoke,

I hear the cracking of the guns;Nor war alone-thy fearful music-song, wild player, brings every sight

of fear,The deeds of ruthless brigands, rapine, murder-I hear the cries for help!I see ships foundering at sea, I behold on deck and below deck the terrible

tableaus.

V

0 trumpeter, methinks I am myself the instrument thou playest,Thou melt'st my heart, my brain-thou movest, drawest, changest them at will;And now thy sullen notes send darkness through me,Thou takest away all cheering light, all hope,I see the enslaved, tht overthrown, the hurt, the opprest of the whole earth,I feel the measureless shame and humiliation of my race, it becomes all mine,Mine too the revenges of humanity, the wrongs of ages, baffled feuds and

hatreds,Utter defeat upon me weighs-all lost-the foe victorious,(Yet 'mid the ruins Pride colossal stands unshaken to the last,Endurance, resolution to the last.)

VI

Now trumpeter for thy close,Vouchsafe a higher strain than any yet,Sing to my soul, renew its languishing faith and hope,Rouse up my slow belief, give me some vision of the future,Give me for once its prophecy and joy.

0 glad, exulting, culminating song!A vigor more than earth's is in thy notes,Marches of victory-man disenthral'd-the conqueror at last,Hymns to the universal God from universal mnan-all joy!A reborn race appears-a perfect world, all joy!Women and men in wisdom innocence and health-all joy!Riotous laughing bacchanals fil'd with joy!War, sorrow, suffering gone-the rank earth purged-nothing but joy left!The ocean flll'd with joy-the atmosphere all joy!Joy! Joy! in freedom, worship, love! joy in the ecstasy of life!Enough to merely be! enough to breathe!Joy I joy ! all over joyI

Presented in partial fulfinent of the requirements for theDoctor of Musical Arts Degree

NORTH TEXAS STATE UNIVERSITY CHOIRFRANK MCKINLEY, Conductor

PROGRAM

1. Sing Ye To The Lord..............Allegro moderatoAndante sostenutoAllegro vivace

II. Benedictus qui venit .................

Where Does The Uttered Music Go?.

The Lamentations of Jeremiah.........1. 0 vos omn ts qui transitis per viarn2. Ego vir videns paupertatem meam3. Recordare domine quid acciderit nobis

Johann Sebastian Bach

.Franz Liszt

. . William Walton

Alberto Ginastera

INTERMISSION

III. The PleiadesWilliam DeJong, trumpet

Jan Ellerd, piano

Vincent Persichetti

IV. Excerpts from Candide ..................... Leonard BernsteinMary Banks, alto Robert Austin, tenorLinda Catt, soprano William Bumstead, tenorJenny Farrell, soprano Barry Craft, tenorMartha Hartman, soprano Clark Dugger, tenorDiana Herring, soprano Ralph Griffin, baritoneKaren Hunt, soprano Robert Johnson, bassJan Price, alto Dan Peavy, bass

Jan Ellerd and Alvin Cope, pianoRalph Griffin and David Nagid, choreography

Program forMusic Educators National Conference, Southwest Region

St. Louis, Mo.March 8, 1969

Convention,

The Pleiades . .............. ............... Vincent PersichettiWilliam Dejong, trumpet

Jan Ellerd, piano

Benedictus qui venit................................Franz Liszt

Where Does The Uttered Music Go? ................ William WaltonThe Lamentations of Jeremiah ...................... Alberto Ginastera

1. 0 vos ones qui transitis per viam2. Ego vir videns paupertatem meam3. Recordare domine quid accident nobis

ITINERARY, 1969March 4-Pine Bluff, Ark.March 5-Russellville, Ark.March 6-Murray, Ky.March 7-Martin, Tenn.

March 8-St. Louis, Mo.March 9-Bartlesville, Okla.March 14-Denton

11

NORTH TEXAS STATE UNIVERSITY

SCHOOL OF MUSIC

presents

A FESIVAL

01f

CHAMBER MUSIC

Recital Hall

Monday, Tuesday and Wednesday

8:15 p.m.

December 9, 10, 11, 1968

13

Tuesday Evening, December o

Quintet, Op. 43 (1923) .................. . Karl NielsonAllegro ben moderatoMenuetTema con variazoni

Jo Meyers, flute James McElwaine, clarinetJames Gavigan, oboe Kelbert Taylor, bassoon

Dean Corey, horn

Quintet in A Major, Op. 114 "The Trout" .......... Franz SchubertAllegro vivace

John Schertz, violin George Bartow, violaJohn Hall, violoncello Edmundo Garcia,, bas

Howard Johnson, piano

Sequences pour Quatuor de Saxophones...........Franz ConstantI. Rhythme

I, NostalgieIl. Exultation

Chuck Wilson, soprano Doug Saxon, tenorPaul Watkins, alto James Sharpe, baritone

Intermission

Essay for Brass and Winds (1965)................. William MeyerUn poco lentoAllegro ma non troppo

Helen Ann Shanley, flute William DeJong, trumpetBrenda Rager, oboe Robert Lanese, trumpetRichard Shanley, clarinet Jack Cobb, tromboneKelbert Taylor, bassoon Jerry Jansa, tubaDean Corey, horn Ron Snider, percussionCeleste McClellan, horn

David Kuehn, conductor

Octet for Wind Instruments (1923) ................ Igor StravinskySinfoniaTema con variazoniFinale

Helen Ann Shanley, flute William DeJong, trumpetRichard Shanley clarinet Robert Lanese, trumpetKelbert Taylor, bassoon Jack Cobb, tromboneLinda Miller, bassoon James Clark, trombone

Lee Gibson, conductor

Scherzo alla marciafrom Symphony No. 8 (1956) ...... .. Ralph Vaughan-Williams

Chamber EnsembleDavid Kuehn, conductor

NORTH TEXAS STATE UNIVERSITY

SCHOOL OF MUSIC

presents

THE CLIAMBER ENSEMBLE

David Kuehn, conductor

Richard Shanley, graduate assistant

Wednesday, April 16, 1969 8:15 p.m. Recital Hall

Tower M usic .... ............................... Alan Hovhaness

PreludeFugueAriaAntiphonyTwo HymnsPostlude

Old Wine in New Bottles ............................ Gordon Jacob

The Wraggle Taggle GipsiesBegone, Dull CareEarly One Morning

Mr. Shanley, conducting

Concertino............................. igor Stravinsky

INTERMISSION

14

15

O ctet .............................................. John Lessard

Overture

ScherzoAirFinale

O ctandre ........................................ Edgard Varese

Assez lentTres vif et nervesGrave

Divertimento for Winds ........................ Robert Nagel

AllegroSlowWaltzModerateLively

PERSONNEL

Helen Ann Shanley, flute

Suzanne Rollins, flute

Brenda Rager, oboe

James Gavigan, oboeand English Horn

Richard Shanley, clarinet

Wayne Bennett, clarinet

William McGuire, clarinetGeorge Jones, tuba

Kelbert Taylor, bassoonSue Houseworth, bassoonJames Taylor, French HornClaudia Wood, French Horn

William Dejong, trumpetRobert Lanese, trumpetJack Cobb, tromboneJames Clark, trombone

assisted by:

John Schertz, violinJohn Hall, celloEdmundo Garcia, double bassDean Corey, French Horn

NORTH TEXAS STATE UNIVERSITY

SCHOOL OF MUSIC

presents

William D. D1e Jong

TRUMPET

in

LECTU R E REC ITiAL

assisted by

Gabriel Di Piazza, Harpsichord

Monday, February 8, 1971 6:3 0pm. Recital Hall

17

The Earliest Trumpet Method Book Extant

Modo per Imperare

A Sonare Di Tromba..............Girolamo Fantini

Girolamo Fantini was a Tuscan court trumpeter during

the early seventeenth century. In 1638 he published a collection

of nearly one hundred pieces for trumpet which range from

simple military signals to sonatas for trumpet and keyboard.

Several of the compositions will be performed on .a natural

trumpet.

Presented in partialfulfillment of the requirements for

the degree Doctor of Musical Arts

LIST 0F ILLUSrATION

Fiure Pag

. r rt dttd Vitell- 20

2. aetorius plate of instrument . . 23

3. Overtone Se-ies, partial three through si.teen. 27

4. AdrjsCur,:dusfteld Overtn ois, rt s eiht thr.U2hS a a a a . a a a . a a a a a a a a a 27

5. 11ot o ttdumpet, as listed by 'antin.L a a a a a 32

6. ta . . a a a a a a a a . a a . 33

7. Ottava Toccat. . . .34

. Undecima Toccata.. 34

Dec'la Ouarta Toccata a a a a a a a a a a a a . 35

10. DifFerent methods of tonguing byFantinLi. a a 37

a ;QA I?"artIcu3at.on ;fortrillo a a a a a a a a a a 38

12. rima chl4Lata di Guer9. a a . a a a a a a a a 39

13.Excen-.t-From La Marciata. .40

a4 iartc ne, t, three, and four of fria Sonataper SauLire dal Basso a opran. .. 0..1..0. 42

15. P--art 0iv ,ofPr5Ima Sonata 2-er Sal-ire ,dal 3Basso

-1-Crtcrom Seconda -Ipe rile.5

17 l.lc o2nOda racerct * a a a a a .a 46

taricercata detta la T iaaia a .. a .a 7

10 L~ W(1 0d i~e aaaau

xS. Extor o 2-t~t1 -ic-rata detta la Nartillini 48

20. Excerpts from Undecima ricezcata detta

t a a a a a a a a a a a a a a a a .L 9

18

a a d

sigure

21.o

22.w

23 *

24*

25.

26.

27.

28.

29,to

- dettode cN, - -

1oalleto detto Storasoldo. . . . . .

Ba-L:tt -de i- ontAuto

rt 1rello d]etto dl iadI. .N . . . a .- d-- --

' -

Saralanda dt t del ZOzzi.2.,

E~cnrt f ON CaDihci cdetto delCarducci.

Corrente detta la Volestain . . . . a -

rLAonata a due t Lombe detta dellC c CorsL.

Excerit i romSonata adue vrob ett ci

GC'c~Iardini . , . , . . a a a a * * * a

0Lr'tfroL Prim Sonataci Trombaa a raanoinsm da- d- O-ret. .

cge

50

51

* 52

* 53

.54

-55

* 57

- 58

52

19

a a a

a a a

a a a

a a a

a a a

a a a

a a a

-

TH EARLIEST 7TRUET 'THOD B1OOK 7EXTANT

aAs

- -0

dO~

tk f}t I ~~e--

i j. -- Excerft romSonata dett> dI Vi t e1

on ita detta del Vitelli is onC of eiJht such works f or

tumpedt and keyboard contained in the earliest coll.ction oF

20

91

t tEAiUt That011ectientIe, titled -od -1r

Inarare a Sonarea dj TromL , y C oU0Girolam PFant:n, 4as f t

ubIsbeJd in 2163, and is the rry sRubject > 0 thisI eCture.

ith t s iAterestin the musi of dealer

tisamd cSope ciaIly reusi of-the baroque >era, t is 0 cOn-

idrable value to the seros .4.re o erh nw

sourc-s tyle s ,techniqu-s, and r. cities f'that:period.

gn the e ly 7ninetedentl century, the

I n productionn o-.k-yand vlves onto the t orupet transformed

that intru-ent into the orchstral instrument with t-ree

valves hat- e hav- 1oday. This physical change in the

structLure of the trummpet opened to it vast new cOpUblities

In considering any musiLc written prior to th-e dvnt of these

ec.h- nnis, one mus t be aware o-f the Instuent for which

cs writtenn ani, even more so, the 1iLmitations pLaced upon

both ciposer andprre Vn Vng t- the restrictd cpiL-a N

ities o that instrument.

Consid:laable controversy exists as to certa-in aspects

of the physical characterist-ics and performance capabili.,,tiePs

01 te natural trumpet. It is not intended that this lecture* t U-C -Lktt L tt t 2I3 tCIY

concern its: 7 Jty i th atTcontroversy. It is the pu-

ID 0 Seat-, to oic1ss the -Irst kVVnt instruction ook- for

tr1umit in 2 0 ter-s of i t-s conten tsR and how it 137 be viewed in

the sphere olf tru-petliteraturetoday.

Surviving seciuens ofnatuaral trumpets pror to late

seventeenth- and early ei ht .enth-century prototypes are

Early representations of the instrument which occur in pictures

or carvings o' the Midde Aces show it as a strait tuCbe bout

four o five fCeet loncr. This oud suggest a range up to the

sith nr ei.th U t:aLK, sitoIr t that io the post horn.

ze need for a greater nuer ( -tpartial tones, however, led

to q longer instrument. By 1500 the tru-pet reached its

tyical orm, that of a folded instrwent approximately seven

-eetin length. The davete a: th ebore was lessthan that

Of m.odernm sumnts, about .4 inches compared with about

45 Inch n a 27). today's trrow bore. It was cylindrical except

z) the Last eleven o- twelve inches from-tha"bell.The bell

was sr,,MaLl-er than, our bells o'f t-odzay, about four inches instead

of four and one-hlf or fIve inches.1

Occasionally trumtQ cO pets were cO~ ~o ln a circular a-s ah ion.'t like

a FreIch horn. Just such an instruaent i shown by Praetorius

in hs Syntagqa usicum (1618), in plate which has frequently

been reproduced. (See F. 2, nuaer 11.) It is listed here

as a JLge trommet, or huting trumpet. A siviar instrument

is also prornent in tiUhe Camous, t E. G. Haufssmann portrait

Gottfried rtiche, J. S. Bach's m: ost2 aous trumpet player.

Christopher W. Monk, "The Older Brass Instruments: Cornett

Trou"ibone and Trumpet ," iwical Instrum.nts Though The As,(New York-,-191)

VIII 13 0

9

1.,. ~Qu art- d)fainen. C1i~iinhfoais Ki fu.5 orno;Orog Tenor-Cornet. 6. M cbt Sboraiact . .7-ein Difcant2indctfo cin Quintbobr.8. G dmittiM0?iofin. v 9.e5tiq3na. 'o. 2rommcf , u, 3" jryrommff.Iz. -Z. fecrntrommg. 1 UI6Med 4I ff g1t1 1U j,

,2 0uL art-Trombonesr. . 0rdiary Trombone. 4.AltoT10rbone. 5. Cornon, Geat Tenor Cornett. . ordinary

hirCornettI. 7. Sma !I Treble Cornett it- q h-.higher.S. Straight Cornett with a Mouthpiece. 9. Mte Cornett,

10. Trumpe It, .IH Huntin Trm t 12. loodIen Trumpet(AU 1horn). I. r oook, trnosioe oe tone lower,

11 / JgF l

230-)

-r- 0 11 LI! s2? is (C- t 13' DIVA! Of KINTIAMINIOL

Tor the pLuSpoSes this study there is 1.ittle di-fer-

ence cn the folded and the coiled shapesO It is on an

instrument not Lnlike those two coiled shapes that portions

o the materials n this lecture il be demonstrate ed. er-

has the COUst-ical designation and the iodel name of the

instiument do not CoincIde 4 o-it2h those frequently. ccepted.

HoViever , a s Bes arabof:7says,

. th shae into nhich the tube is bent toform a lodcl is not important, as long as the bore is

k-ept geoietrically similar to one wth an i-aginarystraight cenlerline. AS long as this requir-erent isCuIled, the acoustical r opertles of the tuiberemain unchanged. Therefore, not every instrument ina tarupet shape.1 is a trumipet.2

Likewise, a trtp t nmed not be inal folded shapein

order tCo be a trumwpet1-,.

In order -o understand this and further: di*scuiOVs

involving the natural tu t yore clearl-y, it is necessary

to dwel b:ifly on the T mechanics of t EinstrUent and the

harmon-ic seris.

Teeason it ire-erred to as a natural tirnpet- i

th.t i--l2Szes only t0he9nat2alhamoni's 01-4,2iven serie

As lon--vs the ength ofc a given -ube &ains constant, it

can be l.ad e 1to produce only ,e-rtai-'n sounds. The length -1o ,

that .Tub: i1c torAine the a&teal pitches in the series

Thc I.UEnd player, by va'ying the initensity of the -it

stram whina 45ch he blows into the nmouthji1ece, a -poduce

2NihoasBssraoff, n et Zuropean 1MusliCal Inst-nt l (camiadv s-ra uosnecI-Elt, 2941, . 4U7ni nt8 n,-1 -)- ( -, , 2, sC- h e "3e

25

various t .Hihrit Chs are-produced by compressing

the I streak t tti0henngh 9tbouchr (vr;at<

ofc the li)t, singusthetVIu i e tm mouth, nd icreaSIng

h t of flow of the vlibraitOingr hcol:in. oveorselY

lower pitches are obtIained by means 0:7 a mr,17e rela-red etibou-

0h1re iL coyjunctio with lowering the tongue anUd decreasig

the & te o" the cir colun.

These souds re variously erred to as overtones,

har onics, Opart-ials, antd the 0Ts3t Ot N cOn2 available, w whether

thl e0."17retiCa041r tu, ,iC t11ed V1th , 1uedImnte1.I illuse

the ~ ~~~~K t1-11rin, it teundamenntal tone also bein ale

TheI h 22,1 1atiu2r2nsrSe t IZ at

26

today, only two o three are known ,in:thhe pin holesPr thermrac -Clarino playing had d:ied out y the dateoF these eaaples.3

iTe -hap e of this Fi'we tr

27

tith the thre holes closed, txhe -zrtis avib"'eare

______ ~,A24h

1i, 3--overt oneS -r , riSe thrt chrouh s> en

The sers :s&> hon is built on C, since that was the custo:ry

method of writing or th e ntura trmpct ., no patter wh-t

the key. The tones shown are the natcuralpartials numbered

tree through ixee, tiot 3e1ably out of tune are numbers

seven, eLeven, and thirtn, thm lttr t o -hich' prevent

tesouniding ,of c .1rec'asonably in-tune mua jor Scale. BY slightCly

o0nin the thumb hole o oIY itwo Lrtias, CVC and

teen, and by skipping overC partiL number rourten, th :o-

Oi ma 5o-tr ditonic scale is valbLe.

. 4 L-r---vdjusted Overt o ne. vertes,- p rts igbt thrt

Farts located prim3rily-in this rangerom c2 to c3

wee consi dered clari.no , O claitn narts. Blandf ord sm s

up current thoug ht on thisMatter:

It has been suggested that the teru 'clarion-y shu be usdto denot t hfis - kind of trumpet-

>nw. This, however, presupposes a special meaning rOfth d :Srrtclarinon, t as the name of ar instrument

designed that purpose, and th:at ;eaning cannot beaccepted as established. It is no generally recoJnizedthatisc!cores the tr tclarinot denotes the reister,noU the instrument, avnd this spring should be retained,

e-:ven In Eniglish, when the equivalent ne: nn 3is ntended.4

AI1thouc;h inF ortin on tIs roint :tdiers, it is ee-w-

1y 0 eCptCd tha t ancient truM meters speci ized in certi

registers o f tteririt nt. Bessaralbof is the ollow-

ing clatssif icaiOns.

Pat Prial Tones

9LriL I a a a a . a a a a and upward

C .I. a a . a * a a a a * .a 6 to 16 InclusivexPinCip) I. . . . a a . a 1 . * . 4 to 10 inlsive

II(Toccato,Tucket)o, . 3 to 8 inclusive

B3s0. . a a a . a a . a. . 2 to 4; :dclisiV- 5

T]'lefudament-al and second toncs of the sries on ala

instru:ent sUch as this are of no value as musical -tones,

ad: ae t K :cat t 0 )betcorrected Ithe ips.The-Eu tmgiven

to t"hesePedal toes by old-tine German t r 7pet;.ayers

"Il at:terob"-- t ite appro P-ia-e because , h proiAcdpr

they have a coarse, lutte n e.

U, F. H. Baadcor "The Bach Trunpet," ionthlz MusicalReCC2rd, LX>7 3y, 1935), 73

R BorJ ary1 19 3p. 795essmas ci,-F 195.

29

T the uper. l>it X the Parti .tones on the instrituen

is sOcehVt uertai,. Much-is dependen Lx't iqon the natural

ptI: itd te1:te plyeLr, as mentioned by Bsrbf i

In old scmres trupet antd horn parts-arer fitlten

s 1-i as the tHnti&t batic] tone and in some indi-vidlt instances even hher , . . In Gemany a

sp c.L practice of producincg T &h he rt Cl ones as, the so-called 'Clarinblasen; but su

technique is an accompliCsmfnt of ecptional individ-uals- which cannot be tak1-en cos a n orzy

Since t0hzt J clarin trmrpeOterLwasO t 3 responsbl XL pO-

& ducim- - the2 *rang-e 0nth i.nstruent, his efforts

could "be concentrated on the exacting breathin and emLbouchure

rcqyireats of th hh register in vhic h vTould perfozr

F or the mainder: of his i e.

Jusvt: such a layer as 1GiOlro Pantinicc h t upetx.

in the service of Ferdit-nand II, cn raind Due of Tuscany.

Although Tl0s known o7 1antsii, ittis states that he was

born in the late s>&teenth or early seventeen century in

Spolet' He is also describedd ahs bein the inest military

u>petar of al Italy. Due to an apparennt mi sunderstanding

of at Mer- nue statedO bout Fantn in hIs Harmon.'crun,

itis dec'cIbs tbe irtUso trumeterJs ability to produce

-Al o the pitches of the chromtic scae on the natural

lrot . hi as been reofered to ac an incrediblee

61b-id., . 139.

J. , ets ntin,:o-rapie Universelle Des

usicnCsr, 2nd 0d., 1II (1874)

30

0, ":2y- tal ofusic a I h'Isto 8vII

If -e ccept cek t s vi.ew that Fantini d od not perorm

cats which are now cons-idered impossible on the natural

Crumpet, our CuiLOsty will again be whetted henv e reach

cetain musical e-iamles in his book. which use t ones outside

the harmonic series.

Te seventeenth century saw the emergence of merouLs

methods , or tutors, in the techniques of the different instru-

nt. Ftntinl's Uod ocr o Im&-are a Sonare diTromb i-

the ony %one nown to have eme7ed reading the tr7m1fpet.

rec ding the actual musical contents are several

Tn uctoy ges. T, tit age reads

Mhod fo r Lrin t la the Trumpet, Both MAILItary

l:.et.hTLea--c n oLnnn-0 B'-Fh~itin )C r7 AcTuCTle -Jand Axtisi c with 0 anAccom a it, wItht7fhe Muted7711175t 17-11th Ha sico, and Anyu utherilstmIent.

n Addition thr wre many sonatas such as Bal779s'-n4e s, Capice, Sarabades, Correntos, 0:ramlOtatitonR,

andw Son)tts -ith the Truet nd rga Thlyhr.

OLLoweig th3 ttI p is so me i:troductorymaterIal

-9r the in dr wt Nhich Ith ii states that the volme is

intedccd Lor hoseC woho ish to actic pyi g ihe trpe. t

Jener in!I, iStory ftJhe TrYUe ft of Bach an andel,(Loncon, 3934), p.JS

9Giro .ao -Fanti oodoZer0Imparare a Sonaoe dITrombV,TantodGuerraano Muic-almente in Organo, con rOm,

So-dina, coI CimbPo, eogc'altro iStuLIMnto. Aggluntove moltis Lat, 3, alo ,Brandi, Capri14cciL, Serabande ^i1)s) w --,eC om T1>- 0 L,C'1E,-Ic'--

CorntPssge Sonat. e con la Tromba, &T Orc;a1n0 inIsi-eM.C

Tr: tdc byc Rtbeort ' 2,.Do&g:ass, "The History olf the TLUpetThrough the Baroque Er a," unpi.blished caster s thesis, (Sch)oI

*f 7iUsic, Nrti Teas S tc Univrity,Denton,Tex>0s,0953,1c. 4.

4th accomanimenti, and not only fo: playi out-of-doors 9s

yth s He k -f theLMiPtations of th

natural harmonic series and cautions that notes outside the

seriLs ust be avoided by composers.

An ddto alc ctagraphc of advice to trumpet players

is theost instru0ctiLve one mn the entire book. Ie mentions

the necessity of beinilng the sounds by us-ing the tip of

the tongue because a breath attack will not produce a stable

tone. YfIn a Iye finds it necessary o J to take n r-ea

h*lLeperf]orming a sonata, he is admonished to do so during

the dot of an appropriate dotted note. In reference to Che

groppo, he states that it ucst be teng. ued, but tL t:io

must be done "it-hpressuir fro the chest and the beating

of- the th "10 A note 01' great length must be begun

so:tly, ". . . becoing Louder 2or half the Vlue of the note,

and with the other hasf dying away until at the. end of the

beat, it can scarcely b harld . ."1 He concludes by

saYing thC when aute is used, -he pt.ch of the instrument

i risd ro to D.

On the irst Cge f mtusiC2 are listed almost all of the

notes 0 the naturP1 hawoniC ser01e:, From the -indamental

through the sixteenth pa-tia, (See "PF. 5.) ConspICUUs

in thIs list;ingis the absence of the two B-f-lats, partial

seven and fourteen, as well as listen6 partials eleven and

1!ibid., p. 6, translated by Douglass, p. 162.

,Ibid., . 6, translated b Douglass, pp. 162-163.

32

10 0 -

ig. 5-Nots of' trpt, s Jist- ed by Fantini

thirteen as Simnply F-natural and A-natural rat.-her than alt

es snot..it they ere o uto U. Yt, s tio d eI th

0rg t h2a"-LLis "Aeaders, the authr cautioned that the tun-

pet ha- oily tn' nturat tones ava:Lable to t, that one

must avoid ritInrL ry others.

Th e first exerciLs e s i n t he b o ok Par-e ourteen toccatas,,

The terM toccata at th t Ime wasfrequently used forIfestiV

brassmsi as wl as '.or the low trumPet parts whichwr

SoIP,"1s rYayed with k7ettldrLus. 2

The first eleven of ts t:occt Qascend. no higher than

the eight-h rti and descend tO the second ®rartial. The

Last C three utIize not only partials as htgh as nmber )twelve

but 0a*Lso bin to develop some rhythmiLC and intervaLic

12 42 l AD21, "T ccat ," Harvard Dicti r 0f Muimc,CarIdge,1955).

int erest. For example, the it toat is as ows.

1 .dii AP- Laii

4- '

Fig. 6-Quinta Toccata

That tis quite shor as it IS Written. However, althA o g

Fantin tcmade no ntiO of i-t in hL book-, Titrob stat s

that trum sandfanfarswere1not meant1tf)be

peror.d only one tire. They were always played three ties

in s csin, according to a lonrg-standing tradition.1 3

A sim-ilar toccata, number eight, set 'In si.Lx.-eIght -time,

is nothing ore than our measures rpeting a r Ihthc

Pa tte'r (See7 ,ig 7.) Toccata number eleven, also in six-

elght ti e, bgins the irst use of any hytic riati

(See Fig, 8.

The twelrth toccata, vhich is the fi rstto ascend above

the igLhth pti, goes up to , and the fourCeenth toccata

cadwl 1 Titc omb, "Baroque Court and MiitaY7 Trumretsa nd K C C 1-eldruwins:1Tec h ni.q ue an d M us Ic,"G a I pifn So cie ty Jour nal ,IX (J u,e c, 1956),71

-I-

34

ci* 7--Ottava Toccata

I

J ILI

-i1.8--Unde ci"ma Toccata

In fOrfor tie, includess some Light rhythic shifrtng

in addition to ascending to the tvielth parti1,I (Sce

1i . 9.)

&-

IF V-dop- doL

OP doalm----- - -IO

op ov so jo

11 milli 1 0

..........

I IW .0 -0,W -

9_-Decima Quarta Toccata

From th estandpoint- o techniqu and pedagocry, the

nexct section, concerning diffierent methods of tonguing, is

probably the most intriuing. vWind players in the sixteenth

century y alr-eady used a d variety of toncruing syllables.

Gnassi, iLnFonteara (1535), listed for th recorder three

bsic ty o tguig. Horsley describes these:

Tih e-irst, teche techeteche, Is rough andsound2ing. The second, tr there there es, gives an ef t

35

that is 1hal-v;ay betweentc irst t and th th:d,lere lere lere le, which is smooth and pleasant to the

er. For a grePteIrvaretcy these tonguings ay bealerted. In the f irst, the init.L. t tmay be changed tod and the vowels altered, g ving tacEa teche tich~ocho tuchu, or dacha deche dchi dTochoductiu. or the

TJ type, he changes oy the voweLS resulting inthevaian7ts I le Ir uor u.14

Da Casa, in Booklr% I of. 1 vero od cd diminu.r (1584)

oives t sm three types of tonuing.

ILt is interesting to note the similarity of those

r ecooTder syllables to the ones LIsted by Fant:Lni noLre than

a c ntUrv a 7 ter Fonteara, One oF the m methods causes no

surprises, since VI i most exactly t hat is used on brass

and somne woodwind instruments today. That is tohe tohe

combination, or one of its slight variations, which we usuaLly

efer to today as dCouble-tonguin'. While not exactly the same

as :u. odern-day t-c or a-ka, it obtains the same result.

(See i.1)

Some of the other combinations of syllbles, hile

conceivable on recorder or flute, are etremely dif ficult to

apply to the trucmet, especially in t-he clarino ran e. Even

allowing f. the Itali' ponUnciation, these ca1' .cor a

t:ecni.que.wehich ay have been only .or experimental or prac-

tice purposes, since Fantni does not- tecommnend most of ther

during the re d> o -te book. 5.Passages using series such

Ikoene lorsley, "Wind Techniques in the sXtenth.1and Early S7(lventeenth Centuries," D ss Quarter.ly, IV Winter,1960), 56.

i5Ibd 4 5

36

37

It r a /c It r e1 t rtIft H le;%I IM I Ca /C

g ~Agt ee L e.31#e Ii 1 4 fe ret I e- 1-4 ~

wet 4 JOL da-

ig. 10--Di'f erent 4ethods4of tonguing by Fantini

a s La l ,la !a la 'a, or la1, dea de ra d ra, ae

totLally absent Crom olur- moderi-n Itc h niqean.r'poa

o1n t sligt va.ri nations o)-_ doub]Le tonguing, xvithEi.I U ci I fQ kV2

1 s1ih1tycdif2erent1-at 1Ctk(n'y7the tongue.

EiThborn refers to .Fntiot se o f' most of these sylla-

blesas uter onse sstatIng t-Lhat the only vowels or conson-

-)t thabt i-e o. r

8)

these combinations do not have slur markings present, theIe

are 'ocks later in the book which have slur marks and no

indications by the author as to reco mended tonguing. The

type described above was, presuably, to be applIed in those

circumstances. Horsley comments on such writing:

Taken as a whole these mny instruction of fernosimple formula :oite wind player of today who isper-omng csiteenth and seventeerth century compos-tIons ,At times they are contradictory, and often bring

oth aore questions than they answer, but they shouldat least open the door to more eerlients with articu-lation in the performance of this mrUsic.-7

I Cth reference to what Fantin. said in the beginning

Sthe book about'the trillo, an exercise now occurs,

1]) in wh h there are witten-ott thirty-second notes

on a given pitch with siply one vowel written underneath.

Fig -- Vowel artculat---on fortriIo

Thi sIs to indicate that that vowel is to be used to execute

thia oraM~enttil1 "with pressuie. 0from the chest and the

be- ting of the throat t." -8 The efect o:f rapid reitera tion

17Horsley, 62. Douglass, p. 162.

39

oc tC saMe pitch, which was an iPOrtant means o,0 vocal c na-

mentation at that time called C los an effect toich is

rarely ULse in voca Imusic today, ndit is certainLy never

used today on tr umpet. That it0 was ever really used at

all on the trumpet is not at all surprising, however, in view

O2 soMe of the other effects hich were accomplished on this

Lon crved tube. The term oppo menoned by Ttni vat

reference to what we understand today as a trill. On t

natura tumpet- it must be executed in the manner of today

i, c-t.ivth, or strictly rith embouichure and tongue variation.

Havi -Xnishedi the sectIon on techniue , Fantini next

spends lost ten pages in reproducing a number of Italian

trupetcalls LLofW that tie. (These ar called bugl Jcalls

in ite The calls are with ver ew

e4rceptns, extre y barrena1 - of melodic interest. The f irst

one, f:or e a mpl (Fig. 12), has just such a triadic line as

we wud exect :irom a anf,are, and rises only to the eighth

p a rtia.

, 12- im chi tahGwrow

40

Probably the most nteresting is one titled L Marciata

(F-ig. 13). Ai- the upper extrem1ty is only the eighth

partial, but a bit of iterest is created through the use of

a rhythm shift of the alternate ing eighth and sixteenth

notes. For the most part, however, it is a siple variance

of t triad tones available on the natural instrument.

-0- 4--~- 4-4 - - L

Fi.13--EXCerpt froM arCi Ca ta

The use of such tCri adic-1ke figures in other composi-

tions is referred to by arbour:

It would be gratif ying ifthe triadic trumpetfigure s in musical compositions could be shown to be

Si y signals contemporarywith them. Fro-mthe rltvl small amount of Source

ateria at hd, it would appear as if the connectionwere not too close. Even at th beginning ftseventlc4nth century the trumpet was assigned notes inart music above the ighth harmonic, that is, in the

.1t of its compass -in vhih diatonic rtelody s p sible.So, if composition contained only triadic melody fortr_ mpe t s, ?thiswas n artistic device, an evocation of

the concept of,ar or of civil pomp, either literal01 fgurative.

In the midst of this lengthy section of bugle calls Is

inserted the title Prima Sonata sr Salire dalBasso at

Soprano (First Sonata for Asendn from the Bass to the

Soprano). The meaning of the term "sonata" for this brIef

sra o fve pieces, from seven to fifteen measures each,

is a b- vague. It consists mostly of simple rhythm.

exercises on the same monotonous triad in varying meters,

(See F-

4I2

'ELIrt

_ _ .I ' II

I + 4#1+-+4~#+44 - 1 -,

Terzna Parte

Quara Parte

o t ire da Bass'o al opratno.

)uinta Parte

Fg. 15--Part f ive of PrIMa Sonata er Sa dal Basoa! Sop-rano.

alBas

Whether he or anyone actually produced such tones wIll

prObaly alys reMinU a matterr for speculation. Th act

that Fantin is Rnown to have eperimented wIth theJ

troriet has ,added great deal of credence to the theory

that he performed these notes by some means of "stopping"

the instruetI either partially or completely, in the manner

of the French horn Player.21

Experimentation ih a techiq of this type on the

,Inke instrVent, keeping the p3n holes stopped, has not

been totally unsucce-ssal in that certain pitches can be

somewhatC adjusted by the use of the hand alone . By i*ntro-

ducing some sort of mu t e Into the be', it is conceivable

that a more accura-e adjustment oF the pitch could have ben

-ade. The age of introduction to thsi ethod book stated,

211enke , P. 3.

43,

41

t e r a, that although the works weremeant to be performed

in the key o C, hen mu!te was used they would be in D.

o t1oticture or descipton o such a nute is cootaIned

in -antinis book. Although possible, the rapid insertion

and withdrawal O such a device in cases such as the present

one, vru ld be extreely diffICUlt. That is not to mention

the change in tone color which wVould result.

Barbouoir feels these three particular pitches, a, f , I and

C, were probably produced by f orcing the partial below each

note u1ard enough to force -itinto acceptable Intoration. 2 2

The use of these tones was not the only use of tones

outsCde the natural series. T one partial. most of-ten

reCognized as being available for more than one pitch is the

eleventh. This note ies almost exactly halfway between

-naturalCand ,-sharp. The use of this tone as either pitch

id rnot be'me >idely used UiL the ihteenth century, 2 3

yet Fatn jrt uently utiliod i't as both pitches in this

early collection.

His filrt introduction ofe it s :n his most ambitious

piece, The .cond jIperiale (Intrade), Utilizin aImost

exclusively partials eight and above, (only three notes

descend to the sixth), these fIf ty- .ive measures are Lcll

more demandIng in endtrance than any other single piece in

the book. It also includes anti7 s first use of -the

22 a "D OC p p 5- *.L 5 6 23gomb 3

45

In re ern e000h v ribl AMen h Pri lT tTm

~ A'JL U_ AO'L

A tAn

state:

The cdision Al ~ to th4 sresV usablet ne was signfi cant,~or it meant tht th Neacing-tory a:: th cornrat could 0o ho eLoyed to efh degre. Herron-

tI:l sptaking, the rescricto yf the kcttledr ums aidlowest ftrump ts to te t wei and daymin nt y:L-ldedamgre- hordal oprtoire. But thisf added c' fOurtlba

46

Wit- t-he iTIted notes ava lable, the second player would

of ten be required to drop down more than a third, as when

p 22 5fIIIr-s t part goes belm. e2,2

ersenneL, i THamonie UniverselE, gave the sixteenth

partia- as the top note available o th tie1nstrUen6t This

heiht reached in several other of Fantini's p.Ieces, as

well, so it was certainly within the playing range o-f Fantini.

In one D, piece, Seconda ricercata detta l cioli,e even

wrote the eihteenth partia, d3, (See Fig. 17.)

Fig, 17-~-conda. ricrcata dett U'Acciaioli

In thi>, as in .ther piees labeled icerCat,th

Luch, it iY atlt ' an introductiont to ossibLe uppr

17

In >frtca to t-hese iCs, Horsley says:

Another musil source of InfoZration on earlyt techniques is the solo ricercar. Yhen

these icercars appea in instruental tutors suchas . , . . Girolam I< 's iodo oer Imperare a

Sonae di Trorba (Frankfort, 187tTay are clearTyin cSty. distnctive to the specific instruent

being taught These solo ricercars give us anidea of one type of material used in teachinE; the difer-ent instruments and a clear 'ndicacion that individualperfO rers were aware of the possibilities and problemsof their ticul:r nsumnts.27

These rccc.:as are in noticeable contrast to the

Poedig aIs and func tona IJeCe, vhere s the r

included a grent deal of single-note repetition on

VrioUs L:ytus, the new eer(CIses contain ae t eai r

curva in the low ofthe mc odic line. F7o1:raeample, in

Jwr L icercat dEtta aj1rIani, ( ig. lA, after

the opening :ive not-es, the se of adjacent notes in -. Cairly

steady pattern of ei-hth and sixteenh notes demonstrates the

i:g, l3--QUrt icercatadeCat a Torrisiani

27Htosley, 52.

absence oz' the tiring tridic uzage in addition -to voidance

O.J singe-note repet1.IiOn.

In this se-ries of tvwelve 'iCeratasz, he In t r 0d]lc e s s

first use of d-ynamic marings fEor forte and piano. The fi1*rst

occurrence is in the Settima rLcercata detta l Martellini,

(Fig. 19), which also includes a change of vneter. T-'hi*s chance

is frontou- rtiime to triple time an,-d returns aanto

f or-fourtiJme. The entire section in ti.,ple ti4 swihu

br 1ins, and one of the four-.f

(S ee Fi. 20.) T1hyi s eers e chan ti from fOzr- r

to twelve-si.teen and returns to four-f:our, with two measures

(twvo andthte) conta-iningto many beats.,

AHIero

Fig. rom Undecima i at detta Albergotti

'The"1llett"l of t7he early seventeenth century of tn

appeared as an instrumental orkof da-nce-like character.28

Fanitini included tcwenty-tvo of these in the nextr section ofL"

his collection, theLrg.est single sect ion oc sir il o ar ks

in the booL. Altholgh somne of them In inLtrilple timrEJ, Most

0f themu--L Jin o ur-- f o ur Lt ime. Al! of them,hoerrer-

viIed ith aIpe, : unfgured bass.

One of thc. elyones in triple time, Balletto detto

del velze-r, conta. 3ins three L2rt movements. These

28 ,B t .

50

sectIOns are rhythmically very similar to each er d th

contour ti the trumpt Lie is very much1 ike ia L thre

utili.1zin ohadot ted- eirhth- and- sixe nth ,pattern and a

uarte- Ls 4-two-sixteen-tLhs Patter in all three movements.

The most noticeable changes were at the end of the first

repeated portion of each rvement. In the fl rst acnd third

movements, it cadences on the dominant, but in the second

one it.remains in the tonic. (Se Fi 21)

Pria Parte

___ - 71

Te__Parte

I

40 0 I A K ,r , d 'I '!00~

eit. 2 -B lQL'o dtto del _ezer_

Thc pr dingf expO fe very h of a dance-like

c uh . 'ot all OiOthe allettos are of tht t Th

Baeto on o:det:oo1Ji1 S:tras,odo, furfor tne is vry shott,

ad ti he Lrd, runnngsi-cteenth-note

pasage tht ere characteristic oll the unaccomapanied ric(:-

c,-Itas It containS 1 only one binary movement steac of th .

It so a ccnds to the siXtent 6 partal,r ich appears in

pieces orekrequently as t he boo- progresses. (See Fig. 22.)

Dig. 22-1Ballett*o detto 'I Strasoldo

rsevera- other sflhort d . 4nc -es din

,ilbth he blets Seven brandIos of vayin length rel'at-c'

closely I'LU-ci Iit theplar sixent-nury group dance. FiVe

these are .cn) flDuetIime andt in:Ti, -r six-f0ur

time. The term brando is the Italian equivalent Of the

'rench "branle" or E.;i "r , d std in vy

VarietIes, including boith dupIe and triple tLe.2 Ore of

29APel Branle, p. 95.

52

Fa ntins is isted in the 'able oC contents as Brando detto

i Mo t 'Ato, and above the uusic -i is labeled Balletto

dtto i 3ontIAutO (Sto SCie . F.23.) Some ofthe ballettos and

brands are, in fact, so SiLar in character thit the two

ters may have been used interchaneably..

__________jI)l4J L I[

Fi.23--Ball-et1-to det:,"to :1. Mont Auto

in-the midst o' th ese dances ap-pears ne example , each,

If a treIl, (FITg. 24),a nd a s ara7a n de, (F Igr. 2 5) Both

L__- L-I v r

aref C Ourse, in tr*pe me-tder and are o, (iir silaor

F'ive capriccios, all in duple tCIME, contain essentially

th seo g iuresand ight and sixtaeent.-

note passagices ;as were pr.mesen-t In SO Many of the toccatns and

rice-rCatas. Capr "J*_cio detto del -Carduc-ci does inPclude,

Fi. 4-Salterello detto de Nald-I

00

Itj J

Fig. 25-Sarabanda detta eZozz

however, the use of triplets i conjunction with tones outside

the har-monic ".3exies. These are the sa-,-me a, E, and d which

were discussed earlier, -- nd are used -in almost exactly the

Samle m:anne2r. (See Fi.*g. 26.)

AnotTierW notJ-iceabl aspect of t.i s piece is the dulL,

SLatic bass"n e. For eight contIOUmeasUres, there i;

54

.iven tonly a ed I hebS S, while the Itrurmet performs

tradic fig'u.reo:Is i 4-ntihonal fashion with-Lits el.

N

F______F__ -7-___

.---

f p

Fi . Z. Gt-EoriC~rccio dettc:qIdel Ca ucci

next secti~on are all.oo 1- he ae, s t eal puse

itaL an -ypr Oe *nerstnge.ce--ont - h i h

I

Corrente dtt a Volgehtin. (Sec Fig. 27.) Whereas the

othesr elt ine a tady - t to a measure, this one con-

tains the rhythric shit from three to to and returnsto

a ter two eashures."The names in all of tIhe tites

IxcetIti -s o ne arle Italian. Ths is nme , Volgrestailn, however,

may support the theory presented by7 Eichborn that FPantini

traveled around both Italy and Germany performing his virtuo so

1-as and th he d id not a .CtUA1y compose all of the musIC

iLn his ook. S-uch A trVels would have i-.1ven-hMthe opportity

tc) otn UULsuUcd work from another country and t onae _it -fter

Otr it copor r a Gran mily. 'The :act that the

-.a

-p.t Z --Ifi 4 I f

.10000-0 --" t -U

-r-- -Ile

II IT~jO.__~jO-

I I I1,I

I

F I

ig. 27--Corrente dettala Vogest-akin

ft

m r0 1 Aoft

MEW 0 -m- a lm r

410('0 *-.,-0 -ft AWN&M .0

F-T0. 107 10 1 '10ift-

56

entire book was Published in FrZnkfort enhances this theory,

ltho4 t~hr is no r record readily available of a publishing

house in rnkt ti by the name 01 vautsch (or Vaustc, as it30t

Is pe1d 1 i d thIne bo3 k).

ThC Setnd Imp Ie mentioned earlierR1y have been

intended to be perfored by two trumpets, although only one

Linv vs rItten out There mre also eight pieces for two

trumupetsiith both parts wrItten out. 7TwO of these are

tLtLd GgLiarda, the other si are titled Sonata.

SeZven these consist of the expected use o 1parallelIAM

0 in x1 yOthm aQn i e tch Contouro t0h tLi(., UnE SUCh

-ap, ~ (Fi-:. 28), shows the prt ain arllel throu ghout.

They never cross each other and the second part drops beLow

the eighth partial only once. T o qUote BarboU, a "Through the

cent>ries, pairael1 thirds ave been one ofL theost comonr

Concoictants of the style aen . pair of li e instruents is

hear tge ther.

In a ,.ecentCly published moade-rn edtion of this duet,3

there appears a a-t in easure ::Lv, (Fig. 28). A though

Fa vtii did use the >--at fourt eenth partia- on at eest

one ocCcfnsi f. on einhEIs boo k,t in C this duet shows a

13i0- .11 2b'r1,,a24. B rbur, p. 56#

"Gir'ant-,antii, EZht Dues for Trumpets (or Horns),editd b. Jb h Glasej, New1 cr01k7~~T7Thr MUSiC LIbrryT 192,duet-1_ no.2, p. 2.

57

dp AnA A As Ap AI 0 ? __to E1 F IWft#F4--S"p.rJr AE 5LL Ae FF

so

. 2,--ri7ma Sonata a due trombe de--ta del Corsi"

Tn contrast to tihe seven ducts m toned, one example,

(ig. 29), utL,1Z cbngh of raeter, crossing zoicVc, Ino

dNaMiCS, an7d r Oe ld1hythmiric surpis.-I tes

of nteestaddd t th exremly imied notes available0 nterest toc >he.~

on th e tr upr;e t ate sts to the reseS lnesS of Fnti1i s

C P and comKVporer.

gIv e by FanIni oncrnn thepyngor' the numerous

exmple xers ~ t-he pe0rf-orr of ti.-,> odays

~ii2Lt~ JL~~ OL C T ~flI0 Q1CUfLa, 0 11%S C C )Ctecr m in ingei thler-i^ S p e CIic te ch11Iquei rtyle of perfr

mance.The bok- certainIV IElrE 01 t 1time when techniqLues

and styIesssin g C eater importance than t hd had

"Owl

wo Ar -00

10 ISO

I

-- -- --- --- -

f___1 4J+171I 11A

AV* ~

~ 1z

~ --a'--Iz4ziz,

IF -- 1 - ,- I - I'

__a

0O.

AV

0.

h7--

I - AV

004tA

_ _ fdP-do

.ce -t40rM 00nat, a c d u e trn e de t ta dI

a- -LIe e a s.Th e h e.1rv.4Ichitdoes p-rovid, however,

s ha o gvi5 71ngh nto the ilange ard tch nic a

capbiltie oftrupetPla ying in-th11 first -;aLf 0ft

CoJo

I

UzIi~I2I.~

C14

-

a e

ft

70I., I

A-a 40

aw

59

sev enttuawy. tOC L' Ome- writer Aee. ithat -w need no

mi-ore th-an that. Ca rse st-'at es:

Much has been witcten about the high clarino parts

on account o" t aiffi-u-tis which they offer to players

who are not in a position to special. izen icquirin :com-

nd over the harmonics of the- :cou-rth octave. It hold)a rhih d C7ethat :.or this urpose no speciat instruten

was used by the old player), nor did they Carry to theirany lost secret hich has never since been recov-

ered. The sounds of the mrt octave, or even higherr LL tb nd, nd ould be elicited by any I-ayer

1ndo ed with the rih !IinatvurIlgits, provided he used

Jan ins3t rumet of rUficiy nty Jgreat sou nding-eth, anddevoted himself specially to practice i*n the hig ris-ter3

As to the technique of playing the dissonant oartias

in tune -1,a cnt ko to whet ,-tein the greatest players

did this. They can bebloia shar or :.at, and possibly

enough to satisfy the listeners of that era. The notes which

are spra0ted b Cy more than i haIf-step from a tone n the

harmonic series, however, present considerably more difficult y

in prodinsuc changes. One- theory presented by a per-

)2orming trumpet Lar trumpet players also played

zinsUC n that d:fficult pieces, because o. either endurance

or nonavda'ibI yh o-Fitches, xere performed on those instru-

rents inst&d or th. trumqet.4

TJnfthetunotey, th Faniniethod book LAs5t is most

coaonly.< Tca1Vd, d0es ot fCJp tr ansitr o LwrSuch questions 11

any ay.J The f-ewexec ises5 n the beginning the book and

he bief scion on dictfer.nt methods of tonuing r the

rlan Carse MusicaUl Wind Instruoments, (London, 1939),

p.237.

p34D e 1.-_ts , D e iTfrumpet e, (H il.v er Sum 19 15 7)pp 19 -21.

only ; ares -s hich mi 'ghtsiderd under the eneral

Jd1eCiTiCn,mthod.J]ven n the t o nin section, th-re

h. r0agrLp> of 0 dvie to trumpc< ayer sIn the

be1 S;gInInnt rnOJbL7 U> oot

61

A.Ll L th25%, ese techniques were not necessarily orig LSinal.

The gradual crescendo and decrescendo o" a stained tone

as a vocal technique mtc es called "ms di voce," and

soie of> the tonuing )o2lables cad apn iX earli.

t ots or perfl3rmitg (+'heron % i mAtl.

I d t fiLnd y r eP detailed descript ions c .the

tecI)LquesLofnIa yin this natural instrument, on Lmusto Poh

36 37inOLt0tcheluCch3.aier', sof Seer1 and Altenburg.7 Even

then, 2DoCr Csy nothing aIbut intonation difficult tes or

ont--the. prtia, athoughAltenbtr>gL does speak, of th es

and descriIbes how to cr tthem.

The sinLt are of the boo- hih2 would seem to be of

most interest dui L LW ( cir1rent revivalo'5 )2 baroque iusic ILS

the In SectIon of eitt sonatas f or trumpet and kIPeyborcd.

Th.pec rfrat2he beginning of: tileeture was one

O tIs e S o n atad e tta de ViteI

Tl)e)set 1.& I"t ' CiO:t a0 4 disin Ittempt- on the part

-f FantinitoprOVide some solooft-rtr , o remusical

vJAlue tan -threpetitious and triAiC buglte-li-e cls and

dane iccs. AC

620

r is, prove 0n occasional rest for th' trumpetseries, L I Q cl J, d'~

p1-a y era nd v ary t h e rhy t hmn d meLfIo d y e n o ugh1)t-o0crve at e a t

least some interest for th L.istene. WI-thL a sight bCit O

c-diting, these would rovide n aCLdtion to t he veryIlmited

repertoire o uthentIc ba 7aroque trumpet solos.

One o Cthose eilt sonatas wil. now be presented as a

fina seleci.Aon. This piece is ttled rima Sonata di TrOmba

e: O Irn insIeme detta del Col'oreto, (First Sonalt fIor TrUet

and Orantgth, d Co Lcoreo). It will be er-

- ormedoerst On thei - t Think UtIruet, and then on a

modern-day, valved D trumpet. (See i 30.)

_IT--__I

_-- _ _

30--Ex c er-tDfrom raS o nata di Tro , -det nonsmeOdt- J.a del Colloreto.

B BLFGRPH

rarOQUr, T11 ra, ijump cs, TO OL, At AWL, >stL1nin, ficitnLMC El iJL JtteUnVerLcty ;cre2,

iat, Uhli, h Tru'itC and Tri btu, Londo, Ernest

B , d.,twcY t r to , 0 ."L. L' e 'x, CV3-J

ass,,ba s11bQd , sahs t, HrvL >n&Lvr0a -)- urn1t ?Un er ity Pre ,

--a -o ri~i TvY, kLe-1 E- Qs O OX It-,14, Q Q101tDL -rar saT, Adac, r eiVcleWindTinsrtruments ,L nd orTTn hIan

2d. heT 139, Trna=d, Th= Ietenti7 tv =7ftrvent-n-th an, t tt -

71n /L50 2 0'3leip2o -Bre,. g.nd -- , ,4

Ei r, ,na, DL Tm teinAter und1Kneuer Zeit,LIpzig, Bre7'r J- d Hr Ll TG,

aT7 ini n Gi ao lMo d o iperD,4 Imp(Q-aare aS onPa redi T r o bai.-a k r tDne Vas Ch,138 a s im e edlition by

in Ji iogra3-i o 7Unlv, i r > -n 1-.

H ayes, Gera-.-ldc. .T1 ntuet h I uic,J-500-1750, London, Of dU0e, Nes 1928"M

'st - 01-enkw, ea,3, T ach and Hand

ndoTnT, WTT, i TIdut,

-erse n ne i, )arIn, Harmqon:'e Univer-se le-- r a ,t e es

I,("Inmets y, translateCd by 1R0ge- hpmn Lf HgM-T711. 0, ij T ,1957.

Pit sch e , Di)e Tr 'pee , (dit ( y Li a and iAnnfrr, 1cian, T11e Uiversity u Ic Press , ,19620

raet ".3u, 7Michael, Syntllagmo sicmt-ranslated by IHaro 1dm ned J Yk (n , c'bi" cfl i V 1949.TI vQT.1 1 flt 4 o-, (7T27'TT"1(l

L)

LSachsc, Curt,2 The sor fMusica3_ Instruaents New York"W.T7. 1Orton and compan,92.

02it, 0 , sI ic 01f the Sevente

65

RasmussenMary, "Onth c ,o dern r1r1c o atOrigin7 F-ittn ir th crt," trass Quartcy

I ( ptr b1 rC 1 95 7), 20-28.

I IrS

3acsJ t, P "Crmai Trpt in cho RtUaimsanc, sic"I

bmithers, Din, " T Setzeth-Cent' y Engli[h Tr3mpt M UFIC,"aci andLeTe VI I (Oct b0[ 1967), 35-365.

Ticomf,) aldwll,7B13 ue C court nd MIl ,It-Iarz- ITrumapetsandK t d s T ique and*si c,"Ga innrSo

1ity

(Thrn , X (June, C1996), 56- 1.

Enc Y cIopedas &Di 5tio n ari s

Ae , 7i, editor, HarvardDi-tio5ry Cctusc, w:abidgepa r0. 1U1v e1 t y 1e s1,-9 51

FIlta oIL 0 L Ly, 94

tO 17,-1., "ntx,B Grvchi - Ui vr L W D-ILSiICc W r3C. T1a r, PaV sVil n-.dC,7 4.77,

Tro clane and CTrmp ," Ms ialInstr en9sThr54

]7 el A 0Ci n ) "

T heL Gt;, i, ,y nthU toIveny :aine c .2w Yrc,7 W-l

jTT coiany, ' 9kIr",oy , b. E.. 0C d rui t s3,v ura s Ins tu ent, Th

Us air-a ridT,. Mus ic n efra ce acst Iei ns

di ortt (on, Un irsty~ of Souther, Caiforni, L

Ur{ IS..lvfvcC ( LCLL

TTA~noby 4940

Dougla$7 RbB., k "The 3HiVtoy of ~the T:ump ThrouIgI

Dmm.L, J, "o T nl TO F o bytagoa iL) III byLL hO > o r i, Unv e rsty of South er1 0fnorns. 2 ,o

sJ.1 -rnou, 'nc ib'inco u a on M , n o

o, :se2:tn 120 nI vr- -s 0P ' 0I--ah mtn c,I T~e

0 131 o 2-I - T 7 s- L. - c Ua27-v eItn y '; OOK 31., byNa,-

5 r vo 1 Syr SabLvtiJ C 71cifbL,"L Ipn1

66

Rsw-sn, Lst :E A3I , u sdy t of the Natural Ta rp t an i'tsModern oUtr t," unpubis doctoral disrt

hOOl 41 uUsc, UILversty of Southern Cal oaLos Anrgels, June, 196 0

anltin, Gir-lamo, "Egh Dwetsfor tTmpets (or Horns)" fromod ir Loarare a Sonare di TLroba, edi.tedby John

G77sFTt7s Yorr, 2h1Cma T iiU iCLibray 1962.

Fant, G 1oirmo, Miodo pi I.arare a onare di Trobrao,Fr.nk mrt, Ut"S uatsc , T , aCsLimoilI AI)U y

i Biligri iji 9342;~ .UJo ar i.-c o 01 ' Ths.3 -c