History of the Trumpet - Case Study Example

History of the Trumpet A Senior Thesis Submitted to the Department of Music in Partial Fulfillment of the Requirements for the Degree in Music Technology by Fletcher D. Harley Thesis Advisor: Dr. Todd G. Westervelt Bethune-Cookman University Spring 2011 April 22, 2011 Table of Contents Introduction………………………………………………………………………..4 Review of Literature….…………………………………………………………...4 Need for the Present Study………………………………………………………10 Purpose and Problem….…………………………………………………………11 Related Research….……………………………………………………………12 Analysis and Synthesis…………………………………………………………14 Summary and Conclusion………………………………………………………15 Abstract The history of the trumpet is not only important in defining the way in which the changes have been made with the shape and size of the instrument. More important, is a relationship to the compositional attributes of the trumpet and the way in which this relates to society. This paper will examine the ways in which the trumpet has changed the sounds of compositions and the role which it has played in history, specifically with the understanding that this is based on the aspects of experimentation from composers and acceptance by society. Introduction The trumpet is one of the instruments that have evolved through time through various makes and models. The consistency of this instrument is not only reflective of the diverse concepts and approaches to the make and model of the instrument. There is also a direct relationship to the cultural and social implications of the trumpet and how it links to the use of the trumpet. This paper will explore the evolution of this instrument as well as how it has changed in time with sound, function, social and cultural status and uses within society. The examination of this will show how different instruments and concepts relate directly to the social context of a given time frame. Literature Review The trumpet is often referred to in two different time frames, one before the 1700s and one after this time frame. Before the 1700s, the trumpet used natural tuning. Instead of having keys or ways to move between notes, all of the sounds were made with the embouchure of the player. The trumpet was limited to specific tones and sounds, most which were based on an interval of two to three spaces, specifically which coincided with the harmonic series used by the trumpet. The size of the instrument as well as the placement of the brass would change which tones were heard and which could be altered with the trumpet. The other tones which were used came as passing notes and occurred only when the trumpet player could slide between notes (Brownlow, 1996). The tuning of the trumpet and the natural sound which it carried caused the trumpet to hold a specific place in society. It was used mostly for solo concepts. The louder sound which was provided from the shape of the trumpet as well as the materials used created one aspect of using it for solo purposes. The natural tuning, which often didn’t match with other types of tuning, also presented problems if playing with other instruments. These two considerations led to the instrument being used with solo pieces. It was considered a way to make announcements among royalty and others in society. It was also referenced in Biblical and church components, such as when the trumpet would sound from the angels. This showed the instrument as a way to make announcements, to grab attention and to work as a way to add melody into a situation where no other music was heard (Noble, 2004). It wasn’t until the 1700s that composers involved in music began to change the arrangements and basic approaches to music. During this time, the composers became interested in the Well – Tempered tuning. This used a chromatic spacing of intervals among all instruments and was often referred to as perfect tuning. J.S. Bach used this tuning most often with the harpsichord and in the arrangements of string instruments. After this tuning became popular, other composers began to arrange orchestration differently while combining the well – tempered tuning with the orchestration. The addition of trumpets was one of the challenges and was introduced by Handel in some of his later works. To assist with the orchestra arrangements and to create the right tuning among the harmonic structure, the trumpets had to change with the various aspects to play in conjunction with the other instruments in the various arrangements (Wenke, 1994). The first step in creating the orchestration with the trumpet wasn’t based on the use of the chromatic scale, specifically which was developed with various keys incorporated into the trumpet. Instead, different sizes of the trumpet were included, specifically with the Bb, C, D, Eb and G trumpet. The trumpets would use the range of notes available, usually which would consist of the root, fifth and seventh of the chord, with no third which could be used. Mozart was known for changing the key of some of his orchestral pieces to compensate for this while other composers demanded a specific type of trumpet for different arrangements. Another concept which was used was to allow the trumpets to take a section alone while the other parts of the orchestration were divided by class. This assisted with the dynamics of the arrangement and also offered a place for the trumpets to play in the given key without changing the treatment and coloring of the piece (Carse, 1994). It was from the arrangements of orchestration that the modern trumpet became a main aspect, specifically beginning in the 1800s. The structure slowly began to change with the fine tuning while several levels of experimentation became a main component of the trumpet. The structure included different sizes to the trumpet as well as refinement in the shape to get the correct intervals and tuning, as opposed to the natural tuning which was used. This was combined with the elements of finding ways for the trumpet to play chromatically and to blend into the orchestration. One approach of this was to add in the sliding trumpet, which consisted of a sliding bar, similar to the trombone, for the chromatic perfection of notes. However, this led to other difficulties because of the higher pitch of the instrument. This didn’t allow the right amount of air to move through the trumpet and caused a loss in the initial sound of the trumpet. The experimentation eventually led into the movement into the three keys on the instrument, all which were refined to send a proportionate amount of air through the trumpet with the pressing of the keys and which created the effect of having a chromatic set of intervals for the trumpet (Dale, 1985). The experimentation which occurred during the 1800s led to several classifications of the instrument and to what is now considered the modern day trumpet. The trombone was known to emerge from the sliding trumpet, specifically because of the lower tone which was provided as well as the chromatic effects presented from the sliding handle. The flugelhorn and cornet were also introduced, both which are known for the different sizes and pitches which are created as well as the various sounds which are given, mostly which include a distinct and sharper tone. For general orchestration, this sound didn’t blend with the other classifications of instruments. The result was the modern trumpet, with keys used for the pitches, as well as the Bb and C trumpets used for various types of music. The round shape in brass and the tuning of the slide are the two components which set the modern trumpet apart, specifically because this controls the sound of the instrument, sharpness which is associated with this and the ability for the chromatic effects to take effect (Pinksterboer, 2009). The basic make of the modern trumpet then led into new experimentation of the trumpet, specifically through the Romantic Era. During this time, there was an approach to the instrumentation by using the blend of instruments with the maximum effect. The instrumentation which was used was classified by the sound as well as the different ways in which it could be used for the arrangements which were used. Strings, woodwinds and brass were the three components, all which were added into the orchestration for both solo and harmonic arrangements. The experimentation which occurred included ways to blend the timbres of different instrumentation. This began with identifying the specific instruments and the amount of sound which could be given by this one instrument. This was followed by the number of players needed in a given section and the arrangements which were made in turn. When different instruments from various classifications were required to blend together, then alterations would be made. For instance, if the orchestration led to flute and trumpet playing together, then a mute would be added to the trumpet for a softer sound. The louder sound of the trumpet made it so the modern day arrangements only included two to five trumpet players as well as solo parts which were played during louder sections, unless using a mute (Kendall, Carterette, 1993). The contemporary use of the trumpet has moved beyond this component and into 20th century and modern style writings that have experimented with the timbre and tone of the instrument. The movement into contemporary styles first was influenced by jazz, which included more chromatic parts to the trumpet as well as the use of embouchure to create different sounds and slides that were used with solos and to blend in with the variety of instrumentation used. Other changes with the instrument also occurred, such as Husa’s style, which combined with micro-tones and sound masses in orchestral writing. This allowed the trumpet to become a type of coloring with the other instrumentation and followed an Impressionistic style of writing. Another example is with Takemitsu’s chamber orchestra, in which he only uses the trumpet for a louder coloring of the rhythm and the overall expressions which take place. The texture is then able to change, specifically dependent on the intent of the composer and the approach which is taking place with the contemporary styles (Chan, 2011). The suggestions with the contemporary elements of the trumpet lead to other questions regarding the position of the trumpet as well as how these specific elements relate to the expectations of various types of instrumental arrangements. The question which is raised is based on the development into the chromatic instrument as well as the understanding of how the trumpet is now used for expression. The modern trumpet still holds the same style which was developed in the Classical Era and which has created a change in how many approach the instrument. However, the development which comes from performers and with the development of the instrument has altered the way in which most are thinking about the use of the instrument. The ability to continue to create different timbres and arrangements as well as the alteration into various tones, dependent on the arrangement, is one which shows a sense of a gap between the compositions created in the past and the present components that are a part of the arrangements used (Collins, 2002). The concept of the trumpet and the place which it has held throughout history then raises several questions about the use of the instrument and how it relates to specific time periods. The evolution indicates that the music theories, relationships to expression in society and the culture of music are intertwined. The perception which is held through the composers as well as the use of testing limits based on the sounds which are available through an instrument lead to an understanding that the musical styles were developed specifically with the ideology of experimentation in mind first, while the evolution which occurred was based on the need to change the sounds and arrangements that were used during a specific time. More important, this was based on the psychoacoustics, linked to what individuals were used to hearing as well as what society was used to hearing at the time. This related to the expectations of the different arrangements as well as the concept of psychoacoustics, which stated that the psychology of what individuals and composers were used to hearing directly linked to the development of acoustics. The trumpet and the evolution which occurred can then be said to link directly to the acoustical sounds which most were used to during the time, while the examples of new arrangements was based on breaking the traditional expectations for sound (Belkin, 1988). Need for the Present Study The indications of the trumpet and the evolution which occurred shows that there was a shift in the composer attitudes, expectations for hearing arrangements in a specific way and the need to alter tones in a different manner. The changes which occurred in the 1700s and 1800s, as well as the changes from jazz and experimentation such as micro – tones all show that there are specific changes which occur at different times. This is based on the theory of psychoacoustics (Belkin, 1988), which presents that the evolution and history of a given instrument alters according to what society and the composer is able to hear and perceive. The trumpet is an indicator of how the ideologies of acceptable music changed throughout time. The use of the instrument, changes from a natural to chromatic instrument and the dynamic ranges which have evolved through time show that there is a direct relationship to what was expected from different instruments for the musical understanding. While there are indications that musical instruments evolved based on social standards and the experimentation of composers, there are very few studies which trace the evolution of an instrument to the expectations of sound at different time frames. More important, the history of the trumpet has few traces that are based on how the concept of sound was changing in society. While there are developments in the understanding of composers changing arrangements and uses of instruments, there isn’t a link to how this was based on the expectations within society and the understanding of music at different times. The importance of this study is linked to understanding how the evolution of an instrument is directly related to the evolution of composers and the indications of acceptable music within society. By linking these together, there will be a different perspective which can be approached in understanding music theories and the arrangements of various time frames. Purpose and Problems The purpose of this research study is to show how there is a direct relationship to the history and evolution of the trumpet with the expectations and experimentation of composers, as well as the acceptable sounds which were associated with a given culture and society. By determining this, there will be the ability to look at instrumentation from various time periods and to trace it’s relevance to other time frames in terms of style and acceptable musical theories. The trumpet is an example of an instrument which followed with other defined instrumentation, specifically by moving from a solo instrument used for announcements to becoming one which could blend with other instrumentation in orchestras. Examining the relationships and associations throughout time will also create a deeper understanding of responses from society in terms of acceptable music for a time frame. While there is the ability to create an understanding of how the evolution of the trumpet relates to society, there is currently little evidence outside of the experimentation of composers which points to the changes which have been made. The disadvantage of this particular study comes from the lack of relevant information which is available as well as outdated sources which don’t provide links to the evolution of the trumpet to the social viewpoint of the use of instruments. To compensate for this, evaluations and links will need to be made from a variety of literature and different sources to show how the social perspective, composer initiatives and the evolution of the trumpet link together. The most which can be provided from these three separate statements is based on creating links between the overall ideologies of a given time period with the evolution of the trumpet. Related Research The concept of the trumpet is one which was based on the role in which the instrument played in orchestration and in society. When a composer approaches a specific arrangement or solo component, there is the focus on what the instrument will add into the sound and overall understanding of expression. Before the modern trumpet, there was only the use of the trumpet in terms of ceremony, ritual, celebration or in announcing a specific event. This particular concept was accepted within society and the sound continued to indicate the main use of not only the trumpet but the occurrences within society. When the trumpet was first added into the orchestral arrangements, the same ideology was used; however, the concept of the announcement became a part of the expression of the arrangement. Solo indications and the different quotes and phrases used with the trumpet indicated the same concept of the use of the trumpet (Pinnock, 1989). The movement into the modern trumpet is also one which was based on the ideology of musical synthesis. The initial uses of the trumpet synthesized into the orchestral arrangements used, specifically by keeping the initial expressions of the music similar. This was combined with models and performance expectations with the instrument, specifically through the sharp sound and loudness of the instrument. When this changed, there was also an alteration in the use in the music. This slowly became accepted in society through the Romantic Era. However, it can also be noted that society began to accept and expect the changes in music, specifically with the prodigal players such as Listz, composers such as Beethoven through Wagner and others who were making pieces of music and orchestration more monumental. The acceptance of this and the movement into the modern day trumpet then worked as a synthesis of what was expected in society and how the trumpet reflected this (Dannenberg, Derenyi, 1998). These trends and the movement into the contemporary music, which includes the experimentation through jazz, micro-tones and the combination of electronics are some of the several branches that have been placed with the use of the trumpet. Similar to other time frames, the understanding of the use of the instrument, sound which it produces and the way in which the composers are able to blend this with other arrangements has allowed for wide acceptance of the instrument in the more progressive forms. For instance, the movement into the electrical guitar and louder instruments allows the trumpet to blend in a different manner than in the past. The trumpet then becomes an accepted part of the newer elements which are defined throughout the instrument. These different concepts show that the psychoacoustical relevance of the instrument is one of the indicators that drives forward the instrument and the uses which are associated with the development and evolution of the trumpet (Belkin, 1998). Analysis and Synthesis When looking at the various concepts of the instrument, it can be seen that the evolution coincides with other concepts. The trumpet has evolved not only because of the need to have different arrangements. The purpose of the trumpet has also combined with the understanding that society has held with the blend of instruments, accepted sounds and changes which have occurred with experimentation and innovation. The natural trumpet has been able to change the place which it has in society specifically because of the different needs of composers as well as the expected role which music has in a given society. While this begins with experimentation, the wide acceptance of a specific sound is what allows the specific instrument to have a given place in society. Summary and Conclusion When looking at the history of the trumpet, it can be seen that there is a direct relationship to the concept of the instrument and the role in which it has played in society. The initial use of the trumpet is one which coincides with the expectations in society, such as for ritual and announcements. However, the sound and the timber has slowly evolved into one which is used within orchestration and is combined with various elements which composers can use for experimentation and acceptance within society. The various forms of the trumpet are then able to provide a different approach to the overall use of the instrument while combining this with the blend of other instruments for a psychoacoustical acceptance within society. Glossary of Related Terms Embouchure – placement of the mouth to play a specific pitch Trumpet – Brass instrument used for solo and orchestral sounds. Classification of instruments – Woodwinds, string, brass and percussion. Used when orchestration became a popular element of society. References Belkin, Alan. (1988). “Orchestration, Perception, and Musical Time: A Composer’s View.” Computer Music Journal 12 (2). Brownlow, Arthur. (1996). The Last Trumpet: A History of the English Slide Trumpet. Pendragon Press: New York. Carse, Adam. (1994). The History of Orchestration. Dover Publications; New York. Chan, CT. (2011). Apparitions – A Fantasy for Chamber Ensemble. Ohio Link Education: Ohio. Collins, Dale. (2002). “Old Music and New Instruments: Baroque Music and the Modern Trumpet.” International Trumpet Guild Journal (June). Dale, Delbert. (1985). Trumpet Technique. Oxford University Press: London. Dannenberg, Roger, Istvan Derenyi. (1998). “Combining Instrument and Performance Models for High – Quality Music Synthesis.” Journal of New Music Research 27 (3). Kendall, Roger, Edward Carterette. (1993). “Identification and Blend of Timbres as a Basis for Orchestration.” Contemporary Music Review 9 (1). Noble, Mark. (2004). A History of the College of Arms: and the Lives of All the Kings. Routledge: New York. Pinksterboer, Hugo. (2009). Tipbook Trumpet and Trombone, Flugelhorn and Cornet. Hal Leonard Corporation: New York. Pinnock, Andrew. (1989). “A Wider Role for the Flat Trumpet.” The Galpin Society Journal (42). Wenke, Werner. (1994). History of the Trumpet of Bach and Handel: a New Point of View. Pendragon Press: New York. Read More