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The Trumpet
The Trumpet
The history of the trumpet can be traced back to devices used for signaling, such as the
conch shell, animal horn, and shofar. These early instruments were made of metal as the
science of metallurgy progressed. They were also lengthened in order to play more
pitches. Among the earliest natural trumpets found were a set uncovered in the tomb of
King Tutankhamen.
The trumpet was limited from the standpoint of available pitches. These early natural
trumpets could only produce the notes of the overtone series (see "OVERTONE
SERIES"). As a result of this, trumpets were built in various keys, or "crooks"
(additional lengths of tubing) were added to change the overtone series (the longer a
brass instrument is, the lower its fundamental is, thus lowering its overtone series). The
natural trumpet thrived in the Baroque Era, and was considered one of the virtuosi solo
instruments of the period. During this Era the upper register of the trumpet (called the
"clarino" register) was used quite often, particularly by composers such as Bach and
Handel. Trumpet music from this time period is rather demanding, even on modern
instruments. Imitating the dark, rich character of the sound produced by the natural
trumpet is impossible with modern trumpets. Likewise, the natural trumpet was unable
to produce the bright, metallic sound possible on today's instruments. Natural trumpets
blended within the orchestra far better than trumpets of today.
During the late 1700's, Anton Weidinger experimented with the addition of keys to the
natural trumpet. What evolved, for better or worse, was called the "keyed trumpet. This
instrument was the first fully chromatic trumpet. The gaps in the overtone series for the
natural trumpet had been filled in by Weidinger's invention. One of the most well
known trumpet concertos was composed for Weidinger and the keyed trumpet Haydn's
Concertoin Eflat. Hummel's Concertoin E was also written for the keyed trumpet.
The valve was invented around 1813, and added to the trumpet shortly thereafter. The
valve enabled the trumpet to play intune far easier than the keys did, but the color of
sound was compromised. Orchestras were reluctant to accept valve trumpets into the
ensemble because the tone color was far less desirable than that of the natural trumpet.
Bands, however, readily welcomed valve trumpets into their ensembles. Today's
trumpets utilize piston valves.
PROPER HOLDING POSITION
As with any wind instrument, you should be sitting up straight, not leaning back in the
chair, with both feet flat on the floor, and the body as relaxed as possible.
LEFT HAND
The ring finger should go in the third valve slide ring. The pinky should rest on top of
the third valve slide in a relaxed, natural position. the middle and index fingers should
wrap firmly, but gently, around the third valve casing. The thumb on the left hand
should go in the first valve slide saddle if available (unfortunately, beginner horns will
not likely have this feature). If the horn is not equipped with a first valve saddle, the
thumb should wrap around the first valve casing. All of the horns weight should be
supported by the left hand.
RIGHT HAND
The right hand should be curved as if holding a baseball. The thumb should go between
the first and second valve casings, up against the leadpipe. The pinky should rest on
topof the finger hook, not inside of it! Placing the pinky inside the ring will create
unwanted tension in the left hand, and often results is "pulling" the horn into the lips
with the pinky in attempts to play high notes. The valves should be operated with the tip
of the index finger (1st valve), middle finger (2nd valve), and ring finger (3rd valve), and
pressed straight down as to limit unnecessary wear on the valve pistons.
INTONATION TENDENCIES
On the trumpet, low D's (D just below the staff in treble clef valve combination 1 & 3)
and low C#'s/Db's (valve combination 1, 2, & 3) are noticeably sharp. The trumpet is
able to compensate for this by the extension of the third valve slide on beginner
trumpets, and the extension of the third and first valve slides on most intermediate, and
all professional line trumpets.
Without use of these slides, low D (D just below the staff in treble clef) will be sharp
(pitchwise), and low C#/Db will be extremely sharp. When the slides extend, the length
of the instrument is increased, thus lowering the pitch. For low D, the third valve slide
must be extended by pushing out the ring finger on the left hand, the necessary distance
to bring the note into tune. This distance will vary slightly from student to student, but
the use of the slide is a must.
For low C#/Db, the third valve slide is not quite enough to lower the pitch sufficiently,
therefore, the third andfirst valve slides should be extended to correct these pitches.
You, as the teacher, should emphasize the importance of the use of the third and first
valve slides for correcting intonation problems on a regular basis!